International Standard Bibliographic Description (ISBD)
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Descripción Bibliográfica Internacional Normalizada (ISBD)
INTERNATIONAL FEDERATION OF LIBRARY ASSOCIATIONS AND INSTITUTIONS Descripción Bibliográfica Internacional Normalizada (ISBD) Edición Preliminar Consolidada Recomendada por el Grupo de Revisión ISBD Aprobada por el Comité Permanente de la Sección de Catalogación de IFLA Traducción al español realizada por la Comisión de Traducción de la Biblioteca Nacional de España integrada por: Elena Escolano Rodríguez Carmen García Calatayud Elena García-Puente Lillo Ana Herranz Fernández Eva Mínguez Isla Icíar Muguerza López María Teresa Ríos Reviejo María José Rucio Zamorano Pilar Tejero López Carmen Velázquez Domínguez Diciembre 2008 ii ÍNDICE Introducción.............................................................................................................................................ix Notas Preliminares................................................................................................................................... I 0.1 Alcance, objetivo y uso.................................................................................................I 0.2 Tratamiento de los recursos ...................................................................................... IV 0.3 Esquema de la ISBD y Puntuación .......................................................................... XV 0.4 Fuentes de información......................................................................................... XXIII 0.5 Lengua y escritura de la descripción .....................................................................XXXI 0.6 Omisiones -
Excerpt from Navidad Nuestra [Nah-Vee-THAD Nooayss-Trah]; Music by Ariel Ramírez [Ah-Reeell Rah-MEE-Rehth] and Text by F
La anunciacion C La anunciación C lah ah-noon-theeah-theeAWN C (excerpt from Navidad nuestra [nah-vee-THAD nooAYSS-trah]; music by Ariel Ramírez [ah-reeELL rah-MEE-rehth] and text by F. Luna [(F.) LOO-nah]) La barca C lah BAR-kah C (The Boat) C (excerpt from the suite Impresiones intimas [eem- prayss-YO-nayss een-TEE-mahss] — Intimate Impressions — by Federico Mompou [feh- theh-REE-ko mawm-POOO]) La barcheta C lah bar-KAY-tah C (The Little Boat) C (composition by Hahn [HAHN]) La bas dans le limousin C Là-bas dans le Limousin C lah-bah dah6 luh lee-môô-zeh6 C (excerpt from Chants d'Auvergne [shah6 doh-vehrny’] — Songs of the Auvergne [o-vehrny’], French folk songs collected by Joseph Canteloube [zho-zeff kah6-t’lôôb]) La bas vers leglise C Là-bas, vers l'église C lah-bah, vehr lay-gleez C (excerpt from Cinq mélodies populaires grecques [seh6k may-law-dee paw-pü-lehr greck] — Five Popular Greek Melodies — by Maurice Ravel [mo-reess rah-vell]) La belle helene C La belle Hélène C lah bell ay-lenn C (The Fair Helen) C (an opera, with music by Jacques Offenbach [ZHACK AWF-funn-bahk]; libretto by Henri Meilhac [ah6-ree meh-yack] and Ludovic Halévy [lü-daw-veek ah-lay-vee]) La belle isabeau conte pendant lorage C La belle Isabeau (Conte pendant l’orage) C lah bell ee- zah-bo (kaw6t pah6-dah6 law-rahzh) C (The Lovely Isabeau (Tale During a Storm)) C (poem by Alexandre Dumas [ah-leck-sah6-dr’ dü-mah] set to music by Hector Berlioz [eck-tawr behr-leeawz]) La belle se sied au pied de la tour C lah bell s’-seeeh o peeeh duh lah tôôr C (The Fair Maid -
KWE 2002 Music with Solo Violin Introduction
Kurt Weill Edition, Ser. II, Vol. 2 Music with Solo Violin: Concerto for Violin and Wind Orchestra op. 12 INTRODUCTION Der neue Orpheus Op. 16 by Andreas Eichhorn This volume presents two works in full score: the Concerto for Violin and Concerto’s first movement, with its interwoven allusions to the Dies irae, Wind Orchestra, op. 12, which Weill composed between April and June could be related to this context.) By July 1924, however, Weill had found 1924; and his cantata Der neue Orpheus, op. 16—based on a poem of the a new friend in Kaiser, who was to fill the gap that Busoni would leave: he same name by Iwan Goll—for soprano, solo violin, and orchestra, com- not only wrote the librettos for three of Weill’s stage works, but he also in- posed between July and September 1925. Only a piano reduction of the troduced Weill to his future wife, Lotte Lenya, and to the Alsatian poet Violin Concerto, which Weill himself prepared, appeared in print during Iwan Goll (1891–1950), who, in addition to Der neue Orpheus, would his lifetime; not until 1965 would his publisher, Universal Edition in provide the text for the one-act opera Royal Palace. In the first months of Vienna (hereafter UE), issue a full score, albeit with a layout quite different 1924, when Weill and Kaiser had started work on a ballet-pantomime, from Weill’s. Der neue Orpheus has been available in print only as a piano- Weill also toyed with the idea of composing a violin concerto. -
International Standard Bibliographic Description (ISBD)
IFLA Series on Bibliographic Control Vol 31 International Standard Bibliographic Description (ISBD) Consolidated Edition Recommended by the ISBD Review Group Approved by the Standing Committee of the IFLA Cataloguing Section Draft as of 2010-05-10 2010 Файл загружен с http://www.ifap.ru ISBD 2010 CONTENTS Introduction A General Chapter A.1 Scope, purpose and use A.2 Treatment of resources A.3 Outline of the ISBD and Punctuation A.4 Sources of information A.5 Language and script of the description A.6 Abridgements and abbreviations A.7 Capitalization A.8 Misprints A.9 Symbols, etc. A.10 Imperfections A.11 Examples SPECIFICATION OF ELEMENTS 0 Content form and media type area 0.1 Content form 0.2 Content qualification 0.3 Media type 1 Title and statement of responsibility area 1.1 Title proper 1.2 Parallel title 1.3 Other title information 1.4 Statement of responsibility 2 Edition area 2.1 Edition statement 2.2 Parallel edition statement 2.3 Statement of responsibility relating to the edition 2.4 Additional edition statement 2.5 Statement of responsibility following an additional edition statement 3 Material or type of resource specific area 3.1 Mathematical data (Cartographic resources) 3.2 Music format statement (Notated music) 3.3 Numbering (Serials) i ISBD 2010 4 Publication, production, distribution, etc., area 4.1 Place of publication, production and/or distribution 4.2 Name of publisher, producer and/or distributor 4.3 Date of publication, production and/or distribution 4.4 Place of printing or manufacture 4.5 Name of printer or manufacturer -
ISBD Consolidated Edition
ISBD International Standard Bibliographic Description Consolidated Edition 2011 ISBD 2011 CONTENTS Introduction ................................................................................................. vii A General Chapter ...................................................................... 1 A.1 Scope, purpose and use .................................................... 1 A.2 Treatment of resources ...................................................... 3 A.3 Outline of the ISBD and punctuation ............................... 13 A.4 Sources of information ..................................................... 23 A.5 Language and script of the description ............................ 30 A.6 Abridgements and abbreviations ..................................... 31 A.7 Capitalization ................................................................... 33 A.8 Misprints ........................................................................... 34 A.9 Symbols, etc. ................................................................... 37 A.10 Imperfections ................................................................... 37 A.11 Examples ......................................................................... 38 SPECIFICATION OF ELEMENTS ............................................................. 39 0 Content form and media type area .................................. 39 0.1 Content form ...................................................................... 41 0.2 Media type ........................................................................ -
CZECH-LIST a Selection of the Best in Czech Music
CZECH-LIST A selection of the best in Czech music Czechoslovakia (now known as the Czech Republic) may have experienced bumps in its development as a nation, but one aspect of its cultural soul has proved steadfast over the centuries: the quality of the music of its classical composers. You’ll find the works of established favourites – Antonín Dvořák, Bedřich Smetana, Bohuslav Martinů, Josef Suk – alongside less familiar names from the 18th, 19th and 20th centuries that invite you to explore unknown treasures from the country’s rich heritage – Johann Baptist Vaňhal, Jiří Antonín Benda, Zdeněk Fibich and Erwin Schulhoff, among many others. Label Cat. No. Composer Title Featured Artists UPC Naxos Ariane Pfister-Benda, Violin / Josef Suk, Viola / 1 Naxos 8.553994 BENDA, František (1709–1786) Violin Concerto (+BENDA, J.A.) Christian Benda, Cello / Prague CO / Suk CO / 0730099499422 Christian Benda Ariane Pfister-Benda, Josef Suk, Violin / Suk CO / 2 Naxos 8.553902 BENDA, František (1709–1786) Violin Concertos in D Major and D Minor (+BENDA, J.J.) 0730099490221 Christian Benda Hans-Joachim Berg, Violin / 3 Naxos 8.572307 BENDA, František (1709–1786) Violin Sonatas Nos. 10, 14, 23, 28 and 32 747313230778 Naoko Akutagawa, Harpsichord Ariane Pfister-Benda, Josef Suk, Violin / Suk CO / 4 Naxos 8.553902 BENDA, Jan Jirí (1713–1752) Violin Concertos in G Major (+BENDA, F.) 0730099490221 Christian Benda Brigitte Quadlbauer, Hertha Schell, Peter Uray, 5 Naxos 8.553345 BENDA, Jirí Antonín (1722–1795) Ariadne auf Naxos / Pygmalion [Digital Exclusive] 0730099434522 Narrator / Prague CO / Christian Benda Brigitte Quadlbauer, Hertha Schell, Peter Uray, 6 Naxos 8.553346 BENDA, Jirí Antonín (1722–1795) Medea [Digital Exclusive] 0730099434621 Narrator / Prague CO / Christian Benda 7 Naxos 8.553408 BENDA, Jirí Antonín (1722–1795) Sinfonias Nos. -
Schubert Edition Liner Notes, Sung Texts
Schubert Edition Liner notes, sung texts (p. 1 – p. 61), full tracklist (p.62) Liner notes SYMPHONIES (CD1-CD4) scherzo, small deviations from these forms in all the first six symphonies Franz Schubert, unlikely symphonist betray a new approach to concord and discord: the distinction between All seven of Schubert’s completed symphonies – plus the B minor fragment harmony in the tonic and the dominant becomes less clear-cut to allow for known as the ‘Unfinished’ (though there are several other such fragments) a much richer language, not only in the development section where by – are played fairly often nowadays, but this wasn’t always the case. During convention harmonic richness is stimulated, but also in the exposition and Schubert’s lifetime (1797–1828) some of them were performed, but only the recapitulation of many movements. The result is a certain loss of the occasionally and in small circles; his most famous pieces instead ranked concision that is so typical of Haydn’s and Mozart’s music, and of energy among his songs and a small group of piano compositions, mainly for four (since Schubert, unlike Beethoven, is very sparing with great dynamic hands. These works fitted perfectly into a bourgeois culture that greatly contrasts), but an increase in lyric expansion. Already in the earlier enjoyed domestic music-making and valued music with an essentially symphonies, one observes Schubert’s inclination towards long passages classical framework as well as a romantic and melancholic character. without great dramatic contrasts but with an essentially continuous sonority. Even in his Fourth Symphony, in the ‘tragic’ key of C minor (the The symphony was regarded as a public genre during Schubert’s day; its nickname ‘Tragic’ is the composer’s own), Schubert is more a lyric than a greatest master was Ludwig van Beethoven, whose offerings combined a tragic composer. -
Bartók (1881-1945)
EAST-CENTRAL EUROPEAN & BALKAN CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Béla Bartók (1881-1945) Born in Nagyszentmiklós, Banat, Austria-Hungary (now Sânnicolau Mare, Romania). A prodigy on the piano, he received his first lessons from his mother and gave his first public recital at age eleven, and also began to compose. László Erkel accepted him as a pupil and he also studied piano under István Thomán, a former student of Franz Liszt, and composition under János Koessler at the Royal Academy of Music in Budapest. He began a lifelong friendship with fellow-composer Zoltán Kodály and the two of them explored the countryside in search of authentic Magyar folk music. He began his musical career as a piano teacher at the Royal Academy and he went on to become one of his country's greatest composers. His anti-Fascism prompted his exile to the United States, where he continued to compose and teach until his death. His large output covered most genres from opera and ballet to works for solo instruments and voices. His sole attempt at a Symphony was left incomplete with only the Scherzo orchestrated. In 1961, the Belgian music scholar Denijs Dille (1904-2005) orchestrated the remaining movements. Piano Concerto No. 1 (1926) Géza Anda (piano)/Ernest Bour/Bavarian Radio Symphony Orchestra (rec. 1957) ( + Piano Concertos Nos. 2 and 3) COL LEGNO 20091 (2005) Géza Anda (piano)/Ferenc Fricsay/Berlin Radio Symphony Orchestra ( + Piano Concertos Nos. 2 and 3) DEUTSCHE GRAMMOPHON THE ORIGINALS 447399-2 (1996) (original LP release: DEUTSCHE GRAMMOPHON 138 708) (1961) Géza Anda (piano)/Michael Gielen/Cologne Radio Symphony Orchestra (rec. -
Mednarodni Standardni Bibliografski Opis
INTERNATIONAL FEDERATION OF LIBRARY ASSOCIATIONS AND INSTITUTIONS MEDNARODNA ZVEZA BIBLIOTEKARSKIH ZDRUŽENJ IN USTANOV ISBD MEDNARODNI STANDARDNI BIBLIOGRAFSKI OPIS Združena izdaja Po priporočilu Skupine za revizijo ISBD odobril Stalni odbor Sekcije za katalogizacijo pri I�li Ljubljana, 2017 Angleški izvirnik ISBD: Interna�onal Standard Bibliographic Descrip�on Consolidated edition © 2011 International Federation of Library Associations and Institutions (IFLA), The PrevedlaHague, The Netherlands Uvod prevedla: Irena Kavčič Pri pregledu prevoda: Suzana sodelovali Šulek : dr. Alenka Bagarič, Tadeja Brešar, mag. Petra Jager, Dunja Kalčič, Alenka Kanič, Branko Kurnjek, mag. Neja Mlakar, Marta Novak, Aljoša Pelhan, dr. Sonja Svoljšak, dr. Renata RedakcijaŠolar, Suzana Šulek, Marjeta Šušterčič, Valentina Velkavrh, Anica Zadnikar Lektorirala: Irena Kavčič in Suzana Šulek Oblikovanje: inSuzana računalni Šulekški prelom Izdala in založila : Matej Zorec : Narodna in univerzitetna knjižnica Ljubljana, 2017 Publikacija je brezplačna. © 2017 Narodna in univerzitetna knjižnica Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID=288462080 ISBN 978-961-6551-72-4 (PDF) Način dostopa: http://www.dlib.si/details/URN:NBN:SI:doc-TWMJIA00 ISBD 2011 VSEBINA Uvod .................................................................................................................................vii A Splošno .........................................................................................................1