DOCSLIB.ORG

RDA: Resource Description and Access: Chapter: 6: Identifying

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RDA: Resource Description and Access: Chapter: 6: Identifying IDENTIFYING WORKS AND EXPRESSIONS 6.0 6 IDENTIFYING WORKS AND EXPRESSIONS 6.0 Purpose and Scope This chapter provides general guidelines and instructions on: a) choosing preferred titles for works (see 6.2.2) b) recording preferred and variant titles for works (see 6.2) c) recording other identifying attributes of the work or expression (see 6.3 – 6.13) d) constructing authorized access points representing the work or expression (see 6.27.1 – 6.27.3) e) constructing variant access points representing the work or expression (see 6.27.4). The chapter provides guidelines on recording titles and other identifying attributes as separate elements, as parts of access points, or as both. In addition to the general guidelines, the chapter provides instructions on recording preferred and variant titles and other identifying attributes for special types of works and their expressions: musical works (see 6.14 – 6.18) legal works (see 6.19 – 6.22) religious works (see 6.23 – 6.25) official communications (see 6.26). The preferred title for the work is used to construct the authorized access point. The variant title or titles for the work are used to construct variant access points. Other identifying attributes of the work and/or expression may also be included in the access point (see 6.27). Authorized access points representing works and expressions can be used for different purposes. They provide the means for: a) bringing together all descriptions of resources embodying a work when various manifestations have appeared under various titles b) identifying a work when the title by which it is known differs from the title proper of the resource being described c) differentiating between two or more works with the same title d) organizing hierarchical displays of descriptions for resources embodying different expressions of a work e) recording a relationship to a related work (see chapter 25) or a related expression (see chapter 26). In addition to the general guidelines, the chapter provides instructions on constructing authorized and variant access points for special types of works and expressions: musical works and expressions (see 6.28) legal works and expressions (see 6.29) religious works and expressions (see 6.30) official communications (see 6.31). RDA: Resource Description and Access 6-1 6.1 IDENTIFYING WORKS AND EXPRESSIONS 6.1 General Guidelines on Identifying Works and Expressions 6.1.1 Sources of Information Take the title or titles of the work from any source. For additional guidance on sources of information for the preferred title for the work, see 6.2.2.2. Take information on other identifying attributes of works and expressions from any source. 6.1.2 Using Access Points to Represent Works and Expressions An authorized access point is one of the techniques used to represent: a work or expression embodied in a manifestation (see 17.4.2) or a related work (see 25.1) or a related expression (see 26.1). When constructing authorized access points, apply the guidelines at 6.27.1 – 6.27.3. When constructing variant access points, apply the guidelines at 6.27.4. 6.1.3 Changes Affecting the Identification of a Work 6.1.3.1 Works Issued as Multipart Monographs For works issued as multipart monographs: If: a new description is created as the result of a change in mode of issuance or media type (see 1.6.1) and there is also a change in responsibility for the work then: construct the authorized access point for the work to reflect responsibility for the work as represented in the part used as the basis for the new description (see 2.1). Consider changes in responsibility requiring the construction of an authorized access point representing a new work to include the following: a) a change affecting the authorized access point representing a person, family, or corporate body that is used in constructing the authorized access point representing the work (see 6.27.1.1 – 6.27.1.8) b) a change affecting the name of a person, family, or corporate body used as an addition to the authorized access point representing the work (see 6.27.1.9). 6.1.3.2 Works Issued as Serials For works issued as serials: If: there is a change in responsibility (see 6.1.3.2.1) or there is a major change in title proper (6.1.3.2.2). then: construct the authorized access point to represent a new work. 6.1.3.2.1 Change in Responsibility for the Work If there is a change in responsibility, construct the authorized access point representing the work to reflect responsibility for the work as represented in the issue or part of the serial used as the basis for the new description (see 2.1). Consider changes in responsibility affecting the construction of the authorized access point for the work to include the following: 6-2 RDA: Resource Description and Access IDENTIFYING WORKS AND EXPRESSIONS 6.2.1.1 a) a change affecting the authorized access point representing a person, family, or corporate body that is used in constructing the authorized access point representing the work (see 6.27.1.1 – 6.27.1.8) b) a change affecting the name of a person, family, or corporate body used as an addition to the authorized access point representing the work (see 6.27.1.9). 6.1.3.2.2 Major Change in the Title Proper If there is a major change in the title proper (see 2.3.2.13.1), construct the authorized access point representing the work to reflect the title as represented in the issue or part of the serial used as the basis for the new description (see 2.1). 6.1.3.3 Works Issued as Integrating Resources For works issued as integrating resources: If: there is a change in responsibility (see 6.1.3.3.1) or there is a change in title proper (6.1.3.3.2). then: revise the authorized access point representing the work to reflect the latest iteration. 6.1.3.3.1 Change in Responsibility for the Work If there is a change in responsibility, revise the authorized access point representing the work to reflect responsibility for the work as represented in the later iteration (see 2.1). Use the former authorized access point as a variant access point representing the work. Consider changes in responsibility affecting the construction of the authorized access point representing the work to include the following: a) a change affecting the authorized access point representing a person, family, or corporate body that is used in constructing the authorized access point representing the work (see 6.27.1.1 – 6.27.1.8) b) a change affecting the name of a person, family, or corporate body used as an addition to the authorized access point representing the work (see 6.27.1.9). 6.1.3.3.2 Change in the Title Proper If there is any change in the title proper, revise the authorized access point representing the work to reflect the title as represented in the later iteration (see 2.1.2.4). Use the former authorized access point as a variant access point representing the work. 6.2 Title of the Work CORE ELEMENT Preferred title for the work is a core element. Variant titles for the work are optional. 6.2.1 Basic Instructions on Recording Titles of Works 6.2.1.1 Scope A title of the work is a word, character, or group of words and/or characters by which a work is known. When identifying works, there are two categories of titles: a) preferred title for the work (see 6.2.2) b) variant title for the work (see 6.2.3). RDA: Resource Description and Access 6-3 6.2.1.2 IDENTIFYING WORKS AND EXPRESSIONS 6.2.1.2 Sources of Information Take the title or titles of the work from any source. For additional guidance on sources of information for the preferred title for the work, see 6.2.2.2. 6.2.1.3 General Guidelines on Recording Titles of Works When recording a title of a work, apply the guidelines on capitalization, numbers, diacritical marks, initial articles, spacing of initials and acronyms, and abbreviations, at 6.2.1.4 – 6.2.1.9. When those guidelines refer to an appendix, apply the additional instructions in that appendix, as applicable. 6.2.1.4 Capitalization Apply the instructions in appendix A (A.3) on the capitalization of titles of works. 6.2.1.5 Numbers Expressed as Numerals or as Words When recording a title for a work, record numbers expressed as numerals or as words in the form in which they appear on the source of information. For instructions on recording numerals used to identify particular parts of a work, see 6.2.2.9. 10 things I hate about you Three threes and one make ten 3:10 to Yuma 6.2.1.6 Diacritical Marks Record diacritical marks such as accents appearing in a title for a work as they appear on the source of information. Optional Addition Add diacritical marks such as accents that are not present on the source of information. Follow the standard usage for the language of the data. Études juives Title of first two volumes of series appears without diacritical mark Sur l'état du système des timars des XVIIe–XVIIIe ss. Title appears in uppercase letters without diacritical marks 6.2.1.7 Initial Articles When recording the title, include an initial article, if present.
Load more

Recommended publications
  • Newsletter National Book Council of Malta - Provided Information on the 2017 AGM
    Anthi Agoropoulou, National Library of Greece Muhammad Syarif Bando, National Library of Indonesia Birgit Böcher, Deutscher Musik - verleger-Verband, Germany Alison Bullock, Library and Archives Canada Mark Camilleri, National Book Council, The participants of the ISMN meeting Malta Simona Cassano, National Book Alenka Kanič, National Library of Josie Qiu, ICIA Secretary / ISLI RA Council, Malta Slovenia COO, Hong Kong Valentina Chitoroagă, National Book Dewi Kartikasari, National Library of Dr. Bettina von Seyfried, International Chamber of Moldova Indonesia ISMN Agency, Germany Renata Cozonac, National Book Gaorere Kgotla, Botswana National Nino Simonishvili, National Parlia- Chamber of Moldova Library Service, National Reference mentary Library of Georgia Joseph Debattista, National Book Library Botswana Carolin Unger, International ISMN Council, Malta Majda Kotnik-Verčko, National Library Agency, Germany Lucya Dhamayanti, National Library of of Slovenia Mai Valtna, National Library of Estonia Indonesia Eckard Krajewski, DE-Parcon/Acamar, Stavroula Verveniotou, National Library Joanna Eliades, National Library of Germany of Greece Cyprus Wolfram Krajewski, DE-Parcon/ Jamshid Farahani, National Library of Dr. Hartmut Walravens, Inter natio nal Acamar, Germany Sweden ISMN Agency, Germany Coretta Lamptey, George Padmore Aiva Gailite, National Library of Latvia Nick Woods, International ISBN Research Library on African Affairs, Danijela Getliher, Nacionalna i Agency, United Kingdom Ghana sveučilišna knjižnica u Zagrebu, Alaxis Li, ICIA Secretary / ISLI RA Croatia COO, Hong Kong Maia Gomarteli, National Parlia mentary Library of Georgia Neo Mosweu, Botswana National Stella Griffiths, International ISBN Library Service, National Reference Library Botswana Agency, United Kingdom Opening 2 Katarzyna Nakonieczna, National Eva Holst, National Library of Norway Twelfth Annual General Meeting of Kyoko Iwamoto, National Gradual Library of Poland Iryna Pogorelovs’ka, Book Chamber of the “Internationale ISMN- Institute for Policy Studies, Mother Agen tur e.V.” 2 Earth Co.
    [Show full text]
  • The Malta International Choir Festival Composition Competition
    The Malta International Choir Festival Composition Competition The Malta International Choir Festival Composition Competition is dedicated to the memory of Girolamo Abos 1, one of Malta’s preeminent composers. Malta has regularly hosted international choir festivals and competitions since 1988. The islands of Malta and Gozo can boast of a very thriving choral scene and – with over 350 churches serving a population of about 400,000 – the choral tradition is, understandably, built around and mostly focused on sacred music. This year, the Ministry for Tourism and the Malta Tourism Authority will be holding another edition of the Malta International Choir Festival between October 29 and November 1. The organising committee of the Malta International Choir Festival is, for the first time, launching an International Composition Competition for young composers with the intention of providing an opportunity for aspiring composers to have their work premiered and recorded during the festival. Participating composers in this competition will also have the opportunity to attend a workshop during the festival. The workshop will be led by members of the adjudication panel and will focus on choral writing skills. There is no fee for participating in the workshop but international participants would be required to fund their own travel and accommodation. Competition Regulations 1. The competition is open to composers of any nationality who will be not older than 30 years of age. 2. The composition should be written for SATB choir a cappella with the possibility of some divisi (maximum two parts per voice). Whilst composers are encouraged to demonstrate their best abilities through the submitted works, one should also be as practical as possible and due attention will be given to the efficiency with which one’s musical ideas are communicated to the performers.
    [Show full text]
  • A Largely Unknown Chapter in Maltese History
    Eighteenth-Century Music and its Political Configurations: a largely unknown Chapter in Maltese History Simon MERCIECA University of Malta The period of the rule of the Knights of Saint John (1530-1798) is currently remembered and celebrated as Malta's golden age. The Knights are typically perceived as benign Christian and Catholic rulers, and the Grand Masters considered among Malta's most famous historical characters. The Order is rightly credited with having brought a cultural Renaissance to the Island. During its rule, a number of far-reaching historical events took place. Conveniently, only the victory of the Knights of Saint John at the Great Siege of 1565, when a large Ottoman force was repelled following fierce fighting, is commemorated on a national scale. The arrival of Napoleon's forces in 1798, by contrast, does not receive the same acknowledgement or coverage in popular history. Yet the Order's rule was not necessarily as golden as it is sometimes made out to be, and the Knights' administration is tarnished by various miscarriages of justice. They were despotic rulers following ancien regime principles. The artistic and architectural grandeur of the time and the cultural renaissance fostered by the Order interested the few. It has been suggested that only two per cent of a country's population was really concerned with cultural issues during the early modern period.1 The arrival in Malta of Michelangelo Merisi di Caravaggio (the year 2007 marked the 400th anniversary of that event) and the engagement of other important artists, such as Mattia Preti together with the employment of important military engineers, provide proof of the Order's contribution to Malta's cultural history.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Luca Antonio Predieri
    Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Iva Bittová Luca Antonio Predieri: Missa in C Sacratissimi Corporis Christi Magisterská diplomová práce Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. 2017 Prohlašuji, že jsem práci vypracovala samostatně a pouze s využitím uvedených pramenů a literatury. ...................................... OBSAH PŘEDMLUVA ....................................................................................................................................................... 4 ÚVOD ..................................................................................................................................................................... 5 1 STAV BÁDÁNÍ .............................................................................................................................................. 6 2 LUCA ANTONIO PREDIERI .................................................................................................................... 12 2.1 ŽIVOTOPIS .............................................................................................................................................. 12 2.2 PŘEHLED DÍLA ........................................................................................................................................ 16 3 EDICE PRAMENE MISSA IN C SACRATISSIMI CORPORIS CHRISTI ......................................... 19 3.1 POPIS PRAMENE .....................................................................................................................................
    [Show full text]
  • Goethe's Faust, Keller's Romeo Und Julia Auf Dem
    Modernity’s Pact with the Devil: Goethe’s Faust, Keller’s Romeo und Julia auf dem Dorfe, and Storm’s Der Schimmelreiter as Tales of Forgetting Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Dennis Schaefer, B.A. Graduate Program in Germanic Languages and Literatures The Ohio State University 2018 Thesis committee: Robert C. Holub, Adviser John E. Davidson Copyright by Dennis Schaefer 2018 Abstract In this MA thesis, I argue that the deal with the devil, as it manifests in 19th century German literary texts like Johann Wolfgang Goethe’s Faust: Eine Tragödie, Gottfried Keller’s Romeo und Julia auf dem Dorfe, and Theodor Storm’s Der Schimmelreiter, negotiates the experience of modernity and mediates the experience thereof through offering moments of forgetting. Upon approaching modernity with help from Jürgen Habermas, Friedrich Nietzsche and Karl Marx, the thesis explores the existential importance of Glück and forgetting according to Nietzsche’s second Untimely Meditation, Vom Nutzen und Nachteil der Historie fürs Leben. Subsequently, I posit that the deal with the devil, as an explicit component and, later on, implicit undercurrent of 19th century German texts, takes on the role of facilitator of moments of such forgetting. Goethe’s masterpiece Faust lays the foundation for this conflux of developments, motifs, and experiences in the wager its protagonists strikes with the devil Mephistopheles and in the various escapades that take Faust out of the Gothic halls of the university to the changing feudal world, where he encounters his lover Gretchen.
    [Show full text]
  • La Serva Padrona Set by Pergolesi
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
    [Show full text]
  • The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for the Order of Malta in the Late Eighteenth Century
    The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for The Order of Malta in the Late Eighteenth Century. By Richard Sydney Benedict Divall Doctor of Letters (Honoris Causa – Monash 1992) and Doctor of the University (Honoris Causa – Australian Catholic University 2004) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy MCD University of Divinity 2013 MCD University of Divinity To Whom it May Concern This is to certify that the thesis and music editions presented by me for the degree of Doctor of Philosophy comprises only my original work except where due acknowledgment is made in the text to all other material used. Signature: ____________________________________ Name in Full: ____________________________________ Date: ____________________________________ Abstract. Nicolò Isouard (1773-1818) is considered Malta’s national composer. After studies in France and Naples, he returned to his homeland, where from 1794 to 1798 he was an aspiring composer, and employee of the Order of Malta. In 1994 a collection of thirty-three autographs of hitherto unknown sacred music by Isouard appeared at the Bibliothèque Nationale, Paris, and I recognised the importance of these manuscripts. My intentions are to provide a précis on the Order, as the sovereign entity ruling Malta at the time, and the sacred music composed for them in their great Conventual Church in Valletta – now St John’s Co-Cathedral. The thesis will provide the background to Isouard’s early career and a complete edition and commentary of all of his sacred music, including additional works found during the research process, and a catalogue of his stage works.
    [Show full text]
  • Valletta International Baroque Festival 2015
    Valletta International Baroque Festival 2015 Performance Dates: Title of Production: Start Time: Programme: Performers: Saturday 10 th January 2015 Nine Lamentations 7.30pm Early baroque pieces for a Netherlands Kammer koor cappella choir Directed by Paul van Nevel Sunday 11th January 2015 Baroque Piano Transcriptions 11am Solo piano transcriptions by Dmytro Sukhovienko Lizst and Busoni and piano pieces by Scarlatti Bach and Handel Sunday 11th January 2015 Music for the Grand Tour . The 5pm Porpora Vivaldi Corelli, Concerto dei Cavalieri directed by Italian Concerto from Venice to Scarlatti Marcello di Lisa Naples Monday 12th January 2015 The Fruit of Love by Anthony 7.30pm A Concertino of Viols and L'Acheron Ensemble di rected by Holborne rare instruments Francois Joubert Caillet Tuesday 13th January 2015 South American Baroque Music 7.30pm A selection of Sacred and Ensemble Villancico Profane Baroque Music from Directed by Peter Pontvik the Americas Wednesday 14th January Handel Concert Arias 7.30pm Handel concert arias Robert King with King’s Consort 2015 and countertenor Iestyn Davies Valletta International Baroque Festival 2015 Thursday 15th January 2015 Commemorating the Tercentenary 7.30pm Arias by Abos, Arne, Handel Passacaglia Ensemble directed by of the birth of Maltese composer etc Girolamo Abos Friday 16th January 2015 Gabrieli and Monteverdi 7.30pm Music by Gabrieli and VIBE Monteverdi Saturday 17th January 2015 Bach Cello Suites 1 -3 12 noon Cello Suites 1 -3 Sigiswald Kuijken Saturday 17th January 2015 Ravel, Foss, Shostakovich, Strauss 7.30pm Ravel, Foss, Shostakovich, Malta Philharmonic Orchestra Strauss soloist Rebecca hall (flute) Directed by Peter Stark Sunday 18th January 2015 Bach Cello Suites 4 -6 12 noon Cello Suites 4 -6 Sigiswald Kuijken Sunday 18th January 2015 Bach’s Goldberg Variations 5pm piano performance with Joanne Camilleri lecture Monday 19th January 2015 Bach’s St.
    [Show full text]
  • Demonic History: from Goethe to the Present
    Demonic History Demonic History From Goethe to the Present Kirk Wetters northwestern university press evanston, illinois Northwestern University Press www.nupress.northwestern.edu Copyright © 2014 by Northwestern University Press. Published 2014. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Wetters, Kirk, author. Demonic history : from Goethe to the present / Kirk Wetters. pages cm Includes bibliographical references and index. ISBN 978-0-8101-2976-4 (cloth : alk. paper) 1. Demonology in literature. 2. German literature—19th century—History and criticism. 3. German literature—20th century—History and criticism. 4. Devil in literature. I. Goethe, Johann Wolfgang von, 1749–1832. Urworte orphisch. II. Goethe, Johann Wolfgang von, 1749–1832. Urworte orphisch. English. III. Title. [DNLM: 1. Goethe, Johann Wolfgang von, 1749–1832— Criticism and interpretation.] PT134.D456W48 2014 830.937—dc23 2014012468 Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Wetters, Kirk. Demonic History: From Goethe to the Present. Evanston: Northwestern University Press, 2015. For permissions beyond the scope of this license, visit http://www.nupress .northwestern.edu/. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Who Was Who in the Old Conservatories
    Who Was Who In The Old Conservatories Timelines of the Various Maestros Along with Brief Histories of their Institutions The Loreto The orphanage of Santa Maria di Loreto was founded in 1535 in the poor fishermen’s district of Naples. Both boys and girls were taken in until a separate school for girls opened in 1543. Children were taught various trades, which included music after the hiring of professional music teachers (between 1630 and 1640). From 1644 onward, boys able to pay tuition could also enroll. During the eighteenth century the conservatory be- came one of Europe’s finest schools of music. The unsettled times caused by the Napoleanic wars led to Ferdinand IV req- School Uniform uisitioning the conservatory’s building in 1797 for use as a mili- tary hospital. Teachers and students moved to the conservatory of Sant’Onofrio. Finally, in 1806, the remants of Sant’Onofrio and S. M. di Loreto combined with the Pietà dei Turchini to create the new Royal College of Music. Conservatorio di Santa Maria di Loreto First Masters Second Masters Don Pietro Bartilotti 1689 1690 Nicola Acerbo Gaetano Veneziano 1695 1705 Don Giuliano Perugino Don Giuliano Perugino 1716 Giovanni Veneziano Francesco Mancini 1720 1737 Giovanni Fischietti Nicola Porpora 1739 1741 Francesco Durante 1742 Pierantonio Gallo 1755 Gennaro Manna (with Gallo) 1756 1761 Antonio Sacchini 1762 Fedele Fenaroli Fedele Fenaroli 1777 Saverio Valente Giacomo Tritto 1797 Giovanni Paisiello 1806 Fedele Fenaroli S. M. di Loreto loses its building and moves to S. Onofrio. Niccolò Zingarelli 1813 S. M. di Loreto merges with the Pietá to form the Real Collegio di Musica.
    [Show full text]