The Age of List-Serves & Links This Workshop Points of Focus Rules & Basics

Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Music Library Association: Educational Outreach Program The EOP of the MLA provides workshops on the basics of music librarianship to all currently working in or considering careers in libraries. These workshops are taught by instructors who are practicing music A Workshop for SEMLA, Columbia, SC October 18, 2012 librarians and active members of MLA. The EOP is Nara Newcomer, Assistant Music Librarian sponsored by the Education Committee of MLA and [email protected] the Music OCLC Users Group (MOUG). Mac Nelson, Cello Music Cataloger, UNCG [email protected]

The Age of List-Serves & Links This Workshop Music OCLC Users’ Group: 1. This is a “roll-up-your-sleeves workshop.” [email protected] 2. Information sessions punctuated by hands-on, pencil- Music Library Association: and-paper activities. [email protected]

http://www.oclc.org/bibformats/en/default.shtm

Points of Focus Rules & Basics Rules and Basics Parts of AACR2 used most in cataloging sound recordings: Sources of Information When to Input a New Record • Chapter 1: General rules • Chapter 6: Sound recording rules Choice of Entry • Chapter 9: Electronic Resources (enhanced CDs 006 and sound files) Dates • Chapter 21: Choosing added entries 007 • Chapter 22: Headings for persons • Chapter 24: Headings for corporate bodies Durations (performing groups) Numbers • Chapter 25: Uniform titles (classical music) Titles • Appendices Statements of Responsibility/Performers/Contents Subject Headings From: http://abacus.bates.edu/~ssaunder/homepage/NELA/NELA_files/v3_document.htm

1 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

What about New Sound Recordings Rules & Basics Formats? AACR2, Chapter 6 (6.0A1) covers the description of sound recordings in all media: LC is good place to start:  Discs (compact discs, vinyl, etc.) http://www.loc.gov/catdir/cpso/soundrec.pdf  Tapes (cassettes, reel-to-reel, cartridge)  Rolls (piano, organ, etc.) Compact Disc Formats:  Sound recordings on film (sound track film) • Dual Discs  Wires & Cylinders—NOT! • Mini CDs • Mini Discs • SACD • Shaped Discs

LC: New Sound Recordings New Sound Recordings Formats: Two Additional Links Formats (con’t) http://www.trincoll.edu/mla2008/docs/weitzslides.pdf http://www.loc.gov/catdir/cpso/soundrec.pdf http://abacus.bates.edu/~ssaunder/homepage/NELA/N DVD Formats: Electronic ELA_files/v3_document.htm Resources: • CD-ROMs • CD/DVD Combos • Dual Discs • Midi Files • DVD Audio • MP3 Files

Rules & Basics Type i: Nonmusical Sound Recording Type j             Musical Sound Recordings                    2008

Type i  007  |b  |  |  |   040 OO | OO  Nonmusical Sound Recordings  043 h-----  050 4 Q691.H55 |b 65 2008  Sound effects  090 |b  049 NGUU   1001  . Birdcalls and animal sounds  24510  f h H |h [ ] / | [    b  ].  Physical exercise recordings (instructions over musical  2463   f h H  260 [ O]  |b  N | 2008. accompaniment)  300 1    |b  ; | 4 3/4 . + | 1 bk ([8] . ; 12  .)  Stories read over incidental music  650 0  |z H .  650 0  |z H  | If.  Plays with incidental music

2 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Rules & Basics AACR2 vs. RDA  Filmstrips or slides with accompanying sound  LC Day 1 for RDA is March 31, 2013  Catalog as Projected Graphics (Type “g”)  But – existing bibliographic records will continue in  “Read-along” materials AACR2 (no “magical” change)  Catalog as nonmusical Sound Recording (Type “i”) with  Some changes will be made by machine processes, to accompanying text LCNAF and by bibliographic utilities to their databases  Recorded theses http://www.oclc.org/rda/default.htm  Catalog as Sound Recording (Type as appropriate)  Most catalogers will need to be familiar with both standards for some time.

OCLC # 34299807 505 abridged What won’t RDA change? some 700’s omitted  Not all fields in the bibliographic record are governed Fields governed by by AACR2/RDA. AACR2/RDA are in red brackets  Examples of fields governed by other standards:  Call numbers (classification system, ex. LCC, Dewey, local accession number)  Subject headings (LCSH, MESH, etc. – watch for coming Medium of Performance Thesaurus)  Fixed fields, 007, 049, 938 (MARC, or OCLC-MARC)  RDA Toolkit RDA Mapping for MARC Bibliographic to RDA can help determine whether/what RDA rules govern a field (not perfect)

2. Sources of Information - Chief 2. Sources of Information - Chief Type Chief Source Type Source Disc Disc and label Disc Disc and label Tape cassette Cassette and label Tape (open 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

3 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Sources of Information Sources of Information - Chief LCRI 6.0B1 o If accompanying material or container furnishes a “For compact discs and cassettes, consider information collective title not on the chief source, treat it as the that can be read through the closed container chief source. (including information on the front cover of a booklet o Make a note indicating the source inserted in the container) to be on the container.” o 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

Sources of Information - Prescribed Area Prescribed Source Sources of Information - RDA Title & statement of responsibility Chief source  “Preferred source” replaces AACR2 “Chief source” concept Edition Chief source, accompanying  Preferred source for SR: RDA 2.2.2.4 “a label bearing a title textual material, container that is permanently printed on or affixed to the resource, excluding accompanying textual material or a container (e.g., Publication, distribution, etc. Chief source, accompanying a label on an audio CD, or a model)” textual material, container  No brackets or notes for other sources unless outside the Physical description Any source resource. Series Chief source, accompanying  RDA 2.2.4 “If information taken from a source outside the textual material, container resource itself is supplied in any of the elements listed below, Note Any source indicate that fact either by means of a note or by some other Standard no. & terms of Any source means (e.g., through coding or the use of square brackets).” availability Bracket information taken from outside the prescribed sources

When to Input a New Record When to Input a New Record Consider differences in: The first step is to consult:  Dates  Publishers and distributors OCLC Bibliographic Formats and Standards, 4th ed. (last  Numbers in print), Chapter 4  Series http://www.oclc.org/bibformats/default.htm  Titles  Edition statements

4 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

When to Input a New Record When to Input a New Record  Different sound recording format, size, speed “Absence or presence of multiple publishers, distributors,  CD vs. LP etc., as long as one on the item matches one on the record  10 inch vs. 12 inch and vice versa.”  33 1/3 rpm vs. 78 rpm  Stereo vs. Mono Edit existing record when in doubt  Specific differences in Music Publisher Number (028)  Different dates of publication

When to Input a New Record Choice of Entry Sound Recording “Label Name”  AACR2 6.4D2: “If a sound recording bears both the o Main entry vs. added entry?: name of the publishing company and the name of a o Many entities may contribute to a sound recording: subdivision of that company or a trade name or brand composer, performers, librettists, etc. name used by that company, give the name of the o So who gets the main entry?? subdivision or the trade name or brand name as the o This is where it gets complicated…. name of the publisher.”  AACR2 6.4D3: “If, however, a trade name appears to be the name of a series rather than of a publishing subdivision, give it as a series title (see 6.6). In case of doubt, treat the name as a series title.”

Choice of Entry Choice of Entry One work or multiple works by the same person/body o One work or multiple works by the same person/body o “Enter … under the heading appropriate to that work.” o Works by different persons/bodies with a collective [AACR2 23.21A&B] title o Others (performers, librettists, readers, etc., etc.) get o Works by different persons/bodies with NO collective added entries. title

o “Popular” idiom o “Classical” idiom

5 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Choice of Entry Choice of Entry One work or multiple works by the same person/body One work or multiple works by the same person/body o J.K. Rowling’s Harry Potter and the Goblet of Fire read o Beethoven’s 9th Symphony performed by New York by Jim Dale. Philharmonic Orchestra with Leonard Bernstein o Main entry for Rowling conducting. o Main entry for Beethoven

Choice of Entry Choice of Entry One work or multiple works by the same person/body o Before we move on, we need to consider two concepts: o “principal performers” o “collective titles” o Any day now : songs of Bob Dylan (Sung by Joan Baez) o Main entry for Dylan

Choice of Entry Choice of Entry Principal Performers Collective Titles o “those given prominence (by wording or layout) in the chief source of information of the item being catalogued.” o [AACR2] Collective title: “A title proper that is an inclusive title o 1) When two or more performers are named in the chief for an item containing several works” [AACR2] source of information, consider to be principal performers o those given the greatest prominence there. Examples: th o If all the performers named in the chief source of information are o Great symphonies by 20 century composers given equal prominence there, consider all of them to be principal performers. o American harpsichord revolution o 2) When only one performer is named in the chief source of o Entertainment Weekly’s top songs of 1982 information, consider that performer to be a principal performer. o 3) When no performers are named in the chief source of information, consider that there are no principal performers. [From LCRI 21.23C]

6 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Item With Collective Title Items Without Collective Titles   100 1    1931-  007 s ǂb d ǂd f ǂe u ǂf n ǂg g ǂh n ǂi n ǂj m ǂk m ǂl n ǂm e ǂn d  040 TOH ǂc TOH  245 10   h [ ]  028 00 SK 92611 ǂb Sony. b f  b   b  090 ǂb  /   .     f f  049 NGUU   b      /  100 1 Barrios Mangoré, Agustin, ǂd 1885-1944.  bb.  240 10 Guitar music. ǂk Selections  245 14 The great Paraguayan ǂh [sound recording] / ǂc Agustín Barrios.  260 N k N..  b Nh  1980. 260 New York, NY : ǂb Sony, ǂc c2004, p1995.  300 1 sound disc : ǂb digital ; ǂc 4 3/4 in.   300 1    b  33 1/3   500 "Consists of previously released material" --Insert. . ;  12 .  505 0 Vals no. 3 -- Preludio en do menor -- Cueca --Maxixa --La catedral -- Julia Florida (barcarola) --Vals no. 4 -- Una limosna por el amor de Dios --Mazurka appassionata –   700 12 bb   1916-     Las abejas -- Medallon antiguo --Choro de saudade -- Aire de zamba -- Aconquija – .  Preludio en sol menor -- Sueño en la floresta --Villancico de navidad. 511 0 John Williams, guitar. 650 0 Guitar music. 700 1 Williams, John, ǂd 1941- (Example from Jay Weitz.)

Choice of Entry Choice of Entry Works by different performers/bodies with collective title o One work or multiple works by the same person/body o One principal performer: o Works by different persons/bodies with a o enter under that person/body collective title o Two or three principal performers: o Works by different persons/bodies with NO collective o enter under the heading for the first named title o Four or more principal performers: o “Popular” idiom o enter under title o “Classical” idiom o No principal performer: o enter under title

Choice of Entry Choice of Entry Works by different performers/bodies with collective title Works by different performers/bodies with collective title o Mary Parker and Todd Walker sing songs of the Outer o Romantic piano sonatas performed by Janet Green. Banks (songs by various composers & folk songs) Includes sonatas by Beethoven, Schubert, and o Two principal performers Schumann. o Main entry for Mary Parker o One principal performer o Main entry for Janet Green

7 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Choice of Entry Choice of Entry Works by different performers/bodies with collective title o Organ music of America (works by various composers o One work or multiple works by the same person/body performed by 9 different organists) o Works by different persons/bodies with a collective o Four or more principal performers (if performers named title in chief source) OR no principal performers (if o performers not named in chief source) Works by different persons/bodies with NO collective title o Main entry under title o “Popular” idiom o Classical/“serious” idiom

Choice of Entry Choice of Entry Works by different performers/bodies Works by different performers/bodies with NO collective title with NO collective title o “Popular” idiom o Classical/“serious” idiom o “participation of the performer(s) goes beyond performance, execution, or interpretation (as is o “participation of the performer(s) does not go beyond commonly the case in “popular,” rock, and jazz music” performance, execution, or interpretation [AACR2 [AACR2 23.21D] 23.21D] o Entry depends on number of principal performers: o Enter under the heading for the first work named. o One: enter under the principal performer o Two or three: enter under the first named principal performer o Four or more, OR none: enter under the heading for the first work named

Choice of Entry Works by different performers/bodies Choice of Entry with NO collective title Works by different performers/bodies with NO collective title o I want to make you smile / Bill Medley ; [sung by] o Kenny Rogers. Coward of the county / R. Bowlings, Symphony no. 4 / Mozart ; Trout quintet / Schubert ; Moonlight sonata / Beethoven. (various performers) B.E. Wheeler ; [sung by] Kenny Rogers o “Serious idiom o “Popular” idiom o Principal performers don’t matter o One principal performer (Kenny Rogers) o Main entry under Mozart (first named) o Main entry under Rogers

8 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Choice of Entry 006: Additional material o Your turn! Characteristics o Worksheet on “Choice of Entry”  Optionally, use for characteristics that cannot be o You’ll also need the “Choice of Entry” flow chart. coded in fixed field

 Optionally, use for substantial accompanying material

006: Additional material 006: Example 006 jsunn n Characteristics 028 22 EP-199 ǂb Edizioni dell'Ariete 041 1 eng ǂa ita ǂh ita 090 ML910 ǂb .L43 1999  Sound recording 006 for recordings as accompanying 100 1 Lebet, Claude. material 245 13 Il violoncello : ǂb Mainardi-Baldovino : Giovanni Grancino, Milano 1710 / ǂc Claude Lebet.  Serial aspects of serially-issued sound recordings 260 [Siracusa?] : ǂb Edizioni dell'Ariete, ǂc 1999. 300 65 p. : ǂb 7 ill. (4 col.), ports. ; ǂc 25 cm. + ǂe 1 sound disc (digital ; 4 3/4 in.)  Interactive aspects of some audio CDs 546 Text in Italian and English. 500 Accompanying compact disc has title: Suites a Violoncello solo senza Basso. Contains Suite No. 4 (BWV 1010) and Suite No. 5 (BWV 1011) performed by Amedeo Baldovino on the Giovanni Grancino violoncello of 1710. 504 Includes bibliographical references (p. 65). 505 0 Storia del violoncello -- Enrico Mainardi (1897-1976) / Dario De Rosa -- Amedeo Baldovino (1916-1998) / Dario De Rosa -- Il mio violoncello / Amedeo Baldovino – Due Suites per il violoncello di Baldovino-Grancino / Flavio Arpini -- Ringraziamenti e bibliografia. 518 Suites on accompanying sound disc recorded Apr. 24, 1998 (Suite 4) and Apr. 29, 1998 (Suite 5).

Dates Dates  Various sources of date on item: • In general, consider dates from the chief source to be  Label most important.  Container • Don’t be deceived, though:  Accompanying material – LPs first available in 1948  Various bibliographic events: – Pre-recorded reel-to-reel tapes first available in 1954  Original capture – Pre-recorded audio cassettes first available in 1965  Release – Audio compact discs first available in 1982  Re-release • Earlier dates are obviously not the “publication” date.  Accompanying material

9 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Dates Dates – MARC fields affected  DtSt & Dates (go with 260 $c and 518)  p dates vs. c dates  s = single date  “Do not regard as a copyright date for the recording a  r = Reprint/Original date date preceded by the copyright symbol “©” that  Date 1: reprint/reissue date appears on the container or accompanying material.  Date 2: date of original (LCRI 6.4F1)  p = Distribution /Production date  Date 1: year of distribution/release/issue (e.g., the date the material was made available)  Date 2: year of production/recording (i.e., the date the material was made).  Use “u” for missing digits. Example:  260 $c [198-]  Date 1: 198u

Physical Description (007):Encoded Physical Characteristics for CDs 300 – a quick review  $a and $c are standard TAG DEFINITION CODE (LP) CODE (CD)  $b will vary *b type of disc d = sound disc same *d speed b = 33 1/3 r.p.m. f = 1.4 m. per sec. *e playback channel m = mono same q = quad same s = stereo same Example: u = unknown same *f groove width m = microgroove n = not applicable 1 sound disc : $b digital, stereo. ; $c 4 3/4 in. *g dimensions e = 12 in. g = 4 ¾ in. *j kind of disc m = mass produced same *k kind of material p = plastic p = metal & plastic *l kind of cutting l = lateral n = not applicable *m playback characteristics u = unknown e = digital *n capture & storage e = electric storage e = electric storage techniques d = digital

Multiple 007s Example: Multiple 007s 007 s ǂb d ǂd f ǂe s ǂf n ǂg g ǂh n ǂi n ǂm e ǂn e 007 s ǂb d ǂd f ǂe m ǂf n ǂg g ǂh n ǂi n ǂm e ǂn e When 300 |b lists multiple configurations of playback 040 ZMS ǂc ZMS ǂd ZMS ǂd OCLCQ channels (“mono., stereo.”), use multiple 007 fields 024 1 749677133320 028 01 SBT 1333 ǂb Testament 029 1 NZ1 ǂb 10499355 033 10 19751120 ǂa 19820823 ǂa 19561212 ǂa 19841201 ǂa 19850901 041 0 ǂg eng 047 ca ǂa vr ǂa sn 048 tb01 048 tb02 090 ǂb 049 NGUU 100 1 Bream, Julian. ǂ4 itr 245 10 Julian Bream plays Bach, Sor, Turina, Schubert ǂh [sound recording]. 246 1 ǂi Additional title on disc: ǂa Guitar recital 260 Bromley, Kent, England : ǂb Testament, ǂc p2005. 300 1 sound disc (76 min., 03 sec.) ; ǂb digital, stereo., mono. ; ǂc 4 3/4 in. 306 001428 ǂa 000823 ǂa 000947 ǂa 001723 ǂa 002530

10 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Durations Durations  Give total duration in physical description field (300)  If individual works in a collection are identified in 245, only when recording contains a single work durations go in 500  In 300 field, use form “(xx min., xx sec.)”  If individual works in a collection are listed in contents  Precede duration by “ca.” only when the item itself note (505), include durations there gives approximation  In both cases, separate hours, minutes, seconds with  If no stated durations, do not approximate colons (XX:XX:XX)  If seconds only, precede by colon (:XX)  Use “ca.” only if item itself gives approximation

Durations Numbers: 028  May also be in coded form in field 306 Manufacturer Number for Sound Recordings:  HHMMSS  004732 – 47 minutes, 32 sec. “…for sound recordings, consider that different editions  006000 – 60 minutes (i.e. 1 hour) exist whenever two items have different [issue or  000044 – 44 seconds matrix] numbers.”  023422 – 2 hours, 34 minutes, 22 seconds

Numbers: 028 Numbers: 028 2nd indicator: 1st indicator: 0 no note, no added entry 0 Issue number(s), that appear on label, container, or 1 note, added entry insert 2 note, no added entry 3 no note, added entry 1 Matrix number (LPs)

11 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Numbers: 028 Numbers: 024 Two final points: Universal Product Code (UPC):  subfield “b” contains the name of the recording company as found in subfield “b” of the 260 field  12-digit number  LCRI 6.7B19 states that the manufacturer’s number  Appears underneath a barcode should be the first note in the bibliographic record  Digits 1 & 12 are smaller and located on ends  Digits 2-11 appear in two groups of five

Numbers: 024 Numbers: 024 Be careful not to confuse the UPC code for sound  Enter all 12 digits recordings with the 13-digit International Article  1st indicator is “1” Number (EAN)

024 1_ 039154294349  Enter the EAN with the first indicator “3”:

024 3_ 4487562309846

Titles Titles  This section covers 246, 740, and how to transcribe the  Title transcriptions are found in a variety of MARC 245. It also covers contents notes. fields:  These are all transcribed fields. After discussing these  245 transcribed fields, Mac will cover controlled  246 vocabulary titles – “uniform titles.”  505  740

12 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Titles - 245 Titles - 245  GMD always enclosed in brackets  245 10 First title $h [GMD] ; $b Second title ; Third title / $c Statement of responsibility.  GMD used only in 245 field ($h)

 GMD follows:  245 10 Title proper $h [GMD] = $b Parallel title / $c  Title proper (245 $a, $n, $p) Statement of responsibility.  First title when a collective title is lacking  GMD precedes:  245 10 First title $h [GMD] / $c First statement of  Remainder of title ($b) responsibility. Second title / Second statement of  Subsequent titles when a collective title is lacking ($b) responsibility.  Statement of responsibility ($c)  245 10 Title proper $h [GMD] : $b remainder of title / $c Statement of responsibility.

Titles - 245 Titles - 245  For recording of two works of same type by one  Treat name as title proper (LCRI 6.1B1) composer, with no collective title on label (LCRI 6.0B1)  When chief source has name before titles of individual  Do not consider as collective title one that consists of works and there is doubt whether name was intended as the type plus one or more of these elements identifying collective title the two works  Except when works are musical compositions and name  Serial number is composer  Opus number  Then, treat name as statement of responsibility  Thematic index number

 Key  Ex.: Do not transcribe as collective title:  Piano concertos no. 25, K. 503, no. 26, K. 537

Titles - 245 Titles - RDA  “Popular” idiom, where participation goes beyond  GMD eliminated – replaced with 33x fields, info is also performance, execution, interpretation present in 007 $a=s, LDR/06=i/j, and maybe  Performer(s) can go in 245 subfield $c (6.1F1) (depending on local system) item information.  “Serious” idiom, where participation does not go  Title taken from the label (so long as that title beyond performance, execution, interpretation identifies the resource as a whole), even if container  Performer(s) should go in note area (6.1F1) has the only collective title, per RDA 2.3.2.2 “Take the title proper from the preferred source of information…”  Collective title recorded elsewhere in the record  Always make a note as to the source of title for SR (per RDA 2.20.2.3)

13 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Titles Titles - 246  Your turn!  Use for uncontrolled variants of the title for the entire  245 Title worksheet item  Also for variants of first title when collective title is lacking  Other variants go in 740  First indicator: whether there is note/added entry.  Second indicator: The type of title

Titles - 740 Uniform Titles and Music:  740: “uncontrolled related/analytical title” Fields 240 & 700  Use for uncontrolled analytical titles of independent Uniform titles exist in order to bring all editions of the works contained within the item and for uncontrolled work together. titles of related works external to the item What often complicates the process of music cataloging is the wide variety of forms and names that appear on marketed manifestations of musical works.

Example: Handel’s “Largo” 240 & 245: Uniform Title & Ombra mai fù Fronde tenere Transcribed Title Frondi tenere Welch schattig Grün Tender foliage Never was the shade 100 1 Handel, George Frideric, ǂd 1685-1759. No sylvan shade Tender beautiful leaves 240 10 Serse. ǂp Ombra mai fù; ǂo arr. Celebrated largo Alles Laubgezweig 245 10 Largo : ǂb Begleitung zur Duo-und Trio- Famous largo Schattige Ruh‘ Ausgabe, auch für Quintett-und Quartett- Célèbre largo Largo from Xerxes Besetzung / ǂc von G.F. Händel ; übertragen von Aug. Reinhard.

14 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Uniform Title: Selections Uniform Titles: 700 12 100 1 Handel, George Frideric, ǂd 1685-1759. 240 10 Vocal music. ǂk Selections 650 0 Operas ǂv Excerpts. 245 10 Handel ǂh [sound recording]. 650 0 Oratorios ǂv Excerpts. 700 1 Fleming, Renée. ǂ4 prf 260 New York, NY : ǂb Decca, ǂc p2004. 700 1 Bicket, Harry. ǂ4 cnd 300 1 sound disc : ǂb digital, stereo. ; ǂc 4 3/4 in. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Semele. ǂp Oh sleep, oh sleep, why dost thou leave me? 546 Sung in Italian or English. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Semele. ǂp Endless pleasure, endless love (Air) 511 0 Renée Fleming, soprano ; Orchestra of the Age of Enlightenment ; Harry Bicket, 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Scipione. ǂp Scoglio d'immota fronte. conductor. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Orlando. ǂp Quando spieghi i tuoi tormenti. 518 Recorded Nov. 15-24, 2003 at the Colosseum, Watford. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Serse. ǂp Ombra mai fù. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Samson. ǂp To fleeting pleasures make your court. 500 Compact disc. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Rinaldo. ǂp Lascia ch'io pianga mia cruda sorte. 500 Texts with English translations and program notes in container. 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Rinaldo. ǂp Ah! crudel. 505 0 Semele. Oh sleep, why dost thou leave me? ; Endless pleasure -- Scipione. Scoglio 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Samson. ǂp Let the bright seraphim. d'immota fronte -- Orlando. Quando spieghi i tuoi tormenti -- Serse. Ombra mai fù– 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Giulio Cesare. ǂp V'adoro, pupille. Samson. To fleeting pleasures make your court -- Rinaldo. Lascia ch'io pianga ; 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Giulio Cesare. ǂp Da tempeste il legno infranto. Dunque, i lacci d'un volto ... Ah! crudel -- Samson. Let the bright Seraphim – Giulio 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Rodelinda. ǂp Ritorna, oh caro e dolce mio tesoro! 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Lotario. ǂp D'una torbida sorgente. Cesare. V'adoro, pupille ; Da tempeste il legno infranto -- Rodelinda. Ritorna, oh caro e 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Agrippina. ǂp Pensieri, voi mi tormentate. dolce mio tesoro -- Lotario. Sommo rettor del cielo ... D'una torbida sorgente – 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Agrippina. ǂp Bel piacere è godere fido amor! Agrippina. Pensieri, voi mi tormentate ; Bel piacere ègodere fido amor! -- Alexander 700 12 Handel, George Frideric, ǂd 1685-1759. ǂt Alexander Balus. ǂp Convey me to some peaceful shore. Balus. Calm thou my soul ... Convey me to some peaceful shore. 710 2 Orchestra of the Age of Enlightenment. ǂ4 prf

Statements of Responsibility Statements of Responsibility

6.1F1 When participation extends beyond performance or Concerns the persons or bodies responsible for the interpretation (“popular”) music: 6.1.F1 states that intellectual content of the sound recording: performers may be included in field 245, subfield “c”  Composers of performed music When participation does not go beyond performance or  Writers of spoken words execution (“serious” or “art” music): 6.1.F1 states that performers should be named in note area  Producers playing a significant role

 Collectors of field material

Statements of Responsibility Statements of Responsibility

007 s ǂb d ǂd f ǂe u ǂf n ǂg g ǂh n ǂi n ǂm u ǂn u 007 s ǂb d ǂd f ǂe s ǂf n ǂg g ǂh n ǂi n ǂm e ǂn d 040 ZJS ǂc ZJS ǂd DIV ǂd UMC ǂd OCLCG ǂd SINLB 040 TXN ǂc TXN ǂd OCLCQ 028 02 289 462 903-2 ǂb Philips 024 1 074649120122 047 sn ǂa rd 028 02 CK 91201 ǂb Columbia/Sony 050 4 M23.M66 ǂb P53 2000 0410 ǂd spa 082 04 786.2/183 ǂ2 21 090 ǂb 090 ǂb 049 NGUU 049 NGUU 110 2 Gipsy Kings (Musical group) ǂ4 prf 100 1 Mozart, Wolfgang Amadeus, ǂd 1756-1791. 245 10 Love songs ǂh [sound recording] / ǂc Gypsy Kings. 240 10 Piano music. ǂk Selections 260 [New York?] : ǂb Columbia/Sony, ǂc p1996. 245 00 Piano sonatas K330, 331 & 570 ǂh [sound recording] ; ǂb Rondo in A minor, K511 / ǂc Mozart. 300 1 sound disc : ǂb digital ; ǂc 4 3/4 in. 260 [Netherlands] : ǂb Philips, ǂc p2000. 546 Songs in Spanish. 300 1 sound disc (70 min.) : ǂb digital, stereo. ; ǂc 4 3/4 in. 511 0 Alfred Brendel, piano. 511 0 Gypsy Kings: Canut Reyes, Nicolas Reyes, Paul Reyes, Patchaï Reyes, Tonino Baliardo, Diego Baliardo, Paco 518 Recorded in performance in the Concertgebouw, Amsterdam (K 570) or at The Maltings, Snape (K 331, K 511), and at St Baliardo. George's, Bristol (K 330), 500 Compact disc. 1998-99. 505 0 Un amor (3:40) -- Gitano soy (4:27) -- A mi manera (3:52) -- No volvere (3:48) -- Love and liberte (3:52) – 500 Compact disc. Quiero saber (4:10) -- Mi corazon (4:29) -- Caminando por la calle (4:17) -- Madre mia (3:48) -- Passion (3:01) – 500 Program notes (6 p. : port.) in container. Habla me (4:06) -- Tu quieres volver (3:15) -- Mujer (4:;16) -- Trista pena (4:27) -- Inspiration (3:28) 650 0 Sonatas (Piano) 650 0 Songs, Spanish. 650 0 Rondos (Piano) 650 0 Popular music ǂy 1991-2000. 7001 Brendel, Alfred. ǂ4 itr 700 12 Mozart, Wolfgang Amadeus, ǂd 1756-1791. ǂt Sonatas, ǂm piano, ǂn K. 330, ǂr C major. 700 12 Mozart, Wolfgang Amadeus, ǂd 1756-1791. ǂt Sonatas, ǂm piano, ǂn K. 331, ǂr A major. 700 12 Mozart, Wolfgang Amadeus, ǂd 1756-1791. ǂt Sonatas, ǂm piano, ǂn K. 570, ǂr B♭ major. 700 12 Mozart, Wolfgang Amadeus, ǂd 1756-1791. ǂt Rondos, ǂm piano, ǂn K. 511, ǂr A minor.

15 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Statements of Responsibility, Statements of Responsibility: Performers, Contents Contents Notes                              19821950   Performers are included in 511 note   2 007  b   b   f    h      k           3 028 02  8838 b h b   Performers can also be incorporated into contents note   4 033 2 1950----  1959----    5 050 1 1630.18    8 245 00 k--b  h [ ].  505   9 260  H  b h b  [1982]    10 300 1    b  33 1/3  . ;  12 .    11 500 .   In parentheses following title or statement of   12 511 0  f.    13 518   h 1950       b.  responsibility   14 505 0 G  /  (   h hh ) (238) --    b /  (   h hh ) (229) -- k   /  (h Gb) (228) -- H   /  ( ) (221)  -- b I  k  / .  .  ( ) (153) -- z  b / .  ( ) (215) -- k   b /  (  h) (253) -- k h h /  ( h) (218) --   b /  H ( H  h ) (149) --   h /  (   h H) (232) -- h  k /   ( H h O.H.    H) (212) --    / H ( H) (248) --   b   /  ( .    h  f) (151) -- k  /  ( .   h  f) ( 204) --   k / k ( k  h  ) (212).    15 650 0 kb . 

(Example from Jay Weitz)

Subject Headings Medium of Performance Thesaurus  We’ll look at non-music and music  LC/MLA collaboration  Music subject headings have many rules for  2 bibliographic purposes: formulation – this is just an overview  to retrieve music by its medium of performance in library catalogs, as is now done by the controlled vocabulary, Library of Congress Subject Headings (LCSH);  to record the element “medium of performance” of musical works, as represented in individual music resources cataloged according to RDA: Resource Description and Access (RDA).  http://www.loc.gov/catdir/cpso/genremusic.html

Subject Headings – non-music Subject Headings – non-music  Non-music sound recordings (audiobooks, interviews,  Non-music sound recordings (audiobooks, interviews, etc.) etc.) • See SHM H 2230 • See H2230 in the SCM • (LC Practice) “If the contents of the printed edition and • (LC Practice) “If the contents of the printed edition and the sound recording … are the same, the subject the sound recording … are the same, the subject cataloging should match” (SHM H 2230 6.a) cataloging should match” (SCM H2230 6.a)

16 Sound Recordings Cataloging October 14, 2010 William “Mac” Nelson and Nara Newcomer

Subject Headings – Music Subject Headings - Music • Music subject headings often convey “is-ness” rather $v Subdivisions than “about-ness”  Heading for poet (600): • Book about tigers:  Dickinson, Emily, $d 1830-1886 $v Musical settings. • 650 _0 Tigers.  $v Musical settings is always an acceptable addition, if • Recording of a piano sonata: true • Sonatas (Piano)  Heading for music about a person/topic  May also reflect musical genre/style:  September 11 Terrorist Attacks, 2001 $v Songs and music.  Jazz.  $v Songs and music is always an acceptable addition, if  Rock music $y 1991-2000. true  Christmas music.  Folk music $z India.

Subject Headings – Music Subject Headings – Music form/genre vocal/choral  Order is established by SHM 1917.5 Section 2.  Choruses, secular (Mixed voices, 3 parts),  Not all headings are in the authority file. Unaccompanied.  Examples of form/genre headings:  Flute and violin music.  Choruses (Children’s voices) with piano.  Symphonies.  Songs (High voice) with band.  Trios (Piano, clarinet, flute)  [secular songs or mixed sacred/secular collections]  String quartets.  [not: String quartets (Violins (2), viola, violoncello)]  Sacred songs (Medium voice) with instrumental  Trumpet music. ensemble.  Violoncello music (Violoncellos (3))  Songs (Low voice) with continuo.  Choruses, Sacred (Mixed voices, 3 parts), Unaccompanied.  Choruses (Children’s voices) with piano.  Vocal duets with electronics.

6xx Subject Headings – Chronological Subdivisions  For jazz, popular, rock, country, blues.  By decade. Reflects recording date, not issue date. Let’s Put It All Together!  Examples  Jazz $y 1921-1930.  Popular music $y 1991-2000.  Blues (Music) $y 1961-1970.  Rock music $y To 1961.  NOT: Rock Music $y 1931-1940.