~ Cataloguing ~ Sound Recordings: ~ Cataloguing ~ Sound Recordings Danielle Russell Paul Washington


Slide2: The University of British Columbia School of Library, Archival & Information Studies ~ December 1, 2003


Slide3: This PowerPoint presentation was created by Danielle Russell and Paul Washington, second-year students in the MLIS degree program (Masters of Library and Information Studies) at the University of British Columbia. It was completed in partial fulfillment of requirements for the course Library Studies 513, with Dr. Martin Dowding. Contact Information: Danielle Russell dbrussel@telus.net Paul Washington washpaul@telus.net


Learning Objectives:: Learning Objectives: Identify major issues in cataloguing sound recordings Supply background, including: history of cataloguing standards for sound recordings Identify rules in AACR2R that apply to sound recordings, and describe how they are applied Create and analyze an original MARC bibliographic record for a sound recording Give an overview of music sound recording issues, including important notes fields and access points


Sound Recordings—An Overview of the Format/Topic: Sound Recordings—An Overview of the Format/Topic A discussion of cataloguing sound recordings requires that we straddle two arenas in bibliographic description; that of music and of non-book or audio-visual cataloguing. The literature tends to reflect this dual nature of sound recordings. Rarely, apart from in the Anglo-American Cataloguing Rules (AACR2R) are sound recordings discussed as a single format category. They are either discussed in the context of music cataloguing as a whole or in the context of audio-visual cataloguing and other non-book materials. Even in AACR2R, which includes Chapter 6 (Sound Recordings), one must also refer to Chapter 5 (Music) for music sound recordings. The music component is what makes cataloguing sound recordings particularly complex. Music cataloguing has evolved into a sub-specialty of cataloguing similar to serials cataloguing.


Sound Recordings: An Overview of the Format/Topic—Cont.: Sound Recordings: An Overview of the Format/Topic—Cont. Non-music sound recordings can present similar challenges to the cataloguer. Non-music sound recordings continue to be popular, especially in school and public libraries. They include: novels on tape or CD talking books for the visually impaired non-fiction: spoken word materials (language and other instructional tapes and CDs) Children’s and Young Adult CD or audio-tape materials


Scope:: Scope: AACR2R defines the scope of the medium in 6.0A to include: “sound recordings in all media, i.e., discs, tapes (open reel-to-reel, cartridges, cassettes), piano rolls (and other rolls), and sound recordings on film (other than those intended to accompany visual images)… (2003)


History of Bibliographic Control-Music & Music Sound Recordings: History of Bibliographic Control-Music & Music Sound Recordings The lack of standardized cataloguing rules for music and records was a persistent issue in the early years of cataloguing sound recordings and music. Without a standard, recognized set of rules for the bibliographic description of sound recordings, individual libraries were forced to develop their own in-house standards of bibliographic control for these materials (Bradley 2003)


History of Music Cataloguing: the quest for a unified standard: History of Music Cataloguing: the quest for a unified standard 1904 A set of rules for cataloguing music published by Oscar G. T. Sonneck in the fourth edition of Cutter’s Rules for a Dictionary Catalog (1904). 1917 ALA publishes Pamphlets and Minor Library Material: Clippings, Broadsides, Prints, Pictures, Music, Bookplates, Maps. 1927 ALA The Care and Treatment of Music in a Library 1931 Music Library Association (MLA) is formed A key objective of the fledgling organization was the development of a standard code for printed and recorded music. 1939 MLA publishes a set of rules in the ALA Code-Appendix VIII called Music; Entry and Heading 1941-42 MLA Code for Cataloging Phonograph Records 1958 ALA/MLA revised MLA Code for Cataloging Music and Phonorecords 1967- AACR;AACR2 and revisions (Bradley 2003)


History of Bibliographic Control-Non-Music Sound Recordings: History of Bibliographic Control-Non-Music Sound Recordings The needs of public and school libraries and other media centres were largely ignored in the early development of recognized standards for bibliographic control. In addition to addressing mainly print materials, the official rules were intended for professional cataloguers and were often difficult for cataloguers in school and public libraries to interpret. As with music cataloguing, guidelines were often developed at the local level to handle the sound recordings and other non-book materials that were prevalent in school library collections. (Frost 1983)


Standards for Public & School Libraries: History & Development: Standards for Public & School Libraries: History & Development 1949, 1955—Manual for Use in the Cataloging and Classification of Audiovisual Materials for a High School Library 1949—ALA Cataloging Rules for Author and Title Entries (ALACR); Rules for Descriptive Cataloging in the Library of Congress (RDC) 1952—Phonorecords. One of three supplements to the ALACR and the RDC 1960’s and 1970’s— numerous cataloguing codes are developed by individual school libraries 1967– Anglo-American Cataloging Rules (AACR) (Frost 1983)


Slide12: Cont. 1968—Standards for Cataloging, Coding, and Scheduling Educational Media (DAVI). Revised in 1971, 1972, 1976 The Standards were developed independently of, and were not intended to augment, the AACR Late 1960’s-early 1970’s-A proliferation of standards developed by individual school libraries 1970—Non-book Materials: The Organization of Integrated Collections, Preliminary Edition (NBM/PE) The only code that attempted to build on the principles established by the AACR. It also opted for an integrative approach to cataloguing non-book materials 1973—NBM, 1st ed. 1976—AACR, revised chapter 14, Sound Recordings 1978—AACR2 1980—NBM 2 By the time the NBM 2 was published in 1980, it was viewed as a complement to AACR rather than an alternative (Frost 1983)


History of Bibliographic Control-MARC Music Format: History of Bibliographic Control- MARC Music Format 1969-MARC Format-Harvard Music Library Mary Lou Little, the music librarian at Harvard and her staff adapted the MARC II format for books to use with sound recordings and scores 1971-First Draft of Sound Recordings: A MARC Format Consisted of 42 pages and was confined to the handling of sound recordings 1972-2nd Draft- Music: A MARC Format covered scores, musical and non-musical sound recordings 1973, 1975-3rd and 4th Drafts completed 1976- Music: A MARC Format was finally published (Seibert 1982)


History of Bibliographic Control-Music-OCLC & other Cooperative Efforts: History of Bibliographic Control-Music-OCLC & other Cooperative Efforts 1977 Music OCLC Users Group (MOUG) established http://www.musicoclcusers.org/ 1978 OCLC implements the MARC Music Format 1980 Research Libraries Group (RLG) and Library of Congress (1985)— other online cataloguing initiatives Current and ongoing efforts include: Music Cataloging Decisions—Library of Congress http://www.loc.gov/catdir/pcc/naco/music/mcdupd0102.pdf OCLC-NACO-Music Project (Name/title authority work) http://www.musicoclcusers.org/nmp.html There are still variations in the implementation of standards, and classification practices have tended to remain more localized (Papakhian 2000)


Digitization and Metadata Initiatives: Current & Future: Digitization and Metadata Initiatives: Current & Future Canadian Music Centre—index of scores, sound clips, and news about Canadian composers http://www.musiccentre.ca/home.cfm National Gallery of the Spoken Word—Historical Voices.org a fully searchable online database of spoken word collections spanning the 20th century http://www.historicalvoices.org/ Sounds (ENHS Sound Recording Preservation Project) compilation of sound files from the Edison National Historic Site archives http://www.nps.gov/edis/sounds.htm “Napster” type databases of music for libraries raises issues of copyright and select distribution by commercial aggregators. Will libraries retain control of the music available to them in digitized format? (Walker 2002)


Creating a MARC record for:: Creating a MARC record for: Chi Kung Meditations with Ken Cohen


Control Fields—007 & 008: Control Fields—007 & 008 007 Physical description fixed field: 00—category of material—s (sound recording) 01—specific material designation—s (sound cassette) 02—undefined—| (no attempt to code) 03—playback speed—l (1 7/8 ips) 04—configuration of playback channels—u (unknown unless explicit) 05—groove width/groove pitch—n (not applicable) 06—dimensions (of cassette)—j (3 7/8 x 2 1/2 in.) 07—tape width—l (1/8 inch)


007 Physical description field, cont.: 007 Physical description field, cont. 08—tape configuration—c (Quarter (4) track) 09—kind of disc, cylinder or tape—m (mass produced) 10—kind of material—| (no attempt to code) 11—kind of cutting—n (not applicable) 12—special playback characteristics—u (unknown) 13—capture and storage technique—u (unknown)


008—Fixed Length Data Elements: 008—Fixed Length Data Elements 00-05—date entered on file—031101 (date created) 06-14—type of date, publication status—s1990#### (single copyright date) 15-17—place of publication, production or execution—cou (Boulder, Colorado) 18-19—form of composition—|| (no attempt to code) 20—format of music—n (not applicable) 21—music parts—n (not applicable) 22—target audience—# (unknown or not specified) 23—form of item—# (none of the following)


008—Fixed length data elements, cont.: 008—Fixed length data elements, cont. 24-29—accompanying matter—###### (no accompanying matter) 30-31—literary text for sound recordings—#i (instruction) 32—undefined—# 33—transposition and arrangement—n (not applicable) 34—undefined--# 35-37—language—eng (english) 38—modified record—# (not modified) 39—cataloguing source—d (other)


Slide21: Complete MARC record 007 ss|1unj1cm|nuu 008 031101s1990####cou||nn######### 020 ## $a 1564552721 028 00 $a W088 $b Sounds True 028 00 $a A088 $b Sounds True 100 1# $a Cohen, Ken $d 1952- 245 10 $a Chi kung meditations $h [sound recording] $c with Ken Cohen 246 33 $i Title on container $a Chi kung meditations: Taoist inner healing exercises with Ken Cohen. 260 ## $a Boulder, CO : $b Sounds True, $c 1993, p1990. 300 ## $a 1 sound cassette (75 min.) : $b analog 306 ## $a 011500 500 ## $a Sounds True: W088, A088 508 ## $a Music, Beth Quist. 520 ## $a “Chi Kung meditation is the ancient Chinese art of using your mind to direct the flow of energy within your body. Controlling this energy flow is one key to good health and happiness. Presents three exercise forms, to heal the body, for the mind, and the spirit. Includes ancient Taoist chant” –Container notes 650 #0 $a Meditation $x Taoism. 650 #0 $a Chi Kung. 650 #0 $a Taoist meditations. 700 10 $a Quist, Beth.


Slide22: ~ Cataloguing ~ Music Recordings


Music sound recordings: important cataloging rules and MARC fields: Music sound recordings: important cataloging rules and MARC fields There are a number of rules and MARC fields that deserve particular attention when cataloguing music sound recordings. The notes fields play a very important role, because of the information they can convey to the user, which would not otherwise appear in the bibliographic record. This discussion will focus on some important notes, especially: Performers (the MARC 511 tag) Creation and/or Production Credits (the 508 tag) Contents (the 505 tag) These need to be viewed in conjunction with the Statement of Responsibility (tag 245). One continually comes back to the all-important issue of “creativity” or “authorship.” Let’s take a look at these responsibility issues first.


AACR2R rule 6.1F1 and MARC field 245: AACR2R rule 6.1F1 and MARC field 245 In cataloguing music sound recordings, we are instructed to transcribe statements of responsibility according to general instructions, but also, we must note the very important way in which music is a special case. This uniqueness has evolved according to Library of Congress Rule Interpretations and music cataloguing decisions and traditions. Perhaps most important are AACR2R rule 6.1F1, and the Library of Congress Rule Interpretation, LCRI 6.1F1 (the latter issued in 1989). For the statement of responsibility in tag 245, the cataloger transcribes the names of persons or bodies who are “credited with a major role in creating the intellectual content of the sound recording.” Note, however, the rules mean that AACR2R makes an important distinction between “serious” or classical music (and recorded speech) and “popular music” such as rock and jazz.


Slide25: For classical music, composers, primarily, will go into the statement of responsibility area. There may also be others, such as song text writers and opera librettists, if they are named in the chief source of information. Normally, classical music performers (singers, instrumental soloists, orchestras, conductors) will not be considered here. They are not considered responsible for the intellectual content and entered under tag 245, unless the primary focus of the recording is on the performer rather than the works being performed (Miller 2002). In other words, in classical music, performers are said to “perform,” “execute” or “interpret,” and their responsibility is recorded in a note area -- in tag 511 -- of the MARC record. In the following MARC record, the intellectual content is that of Handel, and responsibility for the performance -- by the Consort of London, conducted by Robert Haydon Clark -- is recorded in the 511 field.


but … in “popular music” … : but … in “popular music” … Unlike the situation with Classical music, in pop, rock, and jazz, performers will be found in the 245 field. Why the difference? Popular music involves a different kind of creative process. Compositions often are completed in the recording process, improvisation is the order of the day, and the main performer tends to have responsibility for the creation of his own recording. In effect, according to AACR2R, the participation of popular musicians in the recording of music, tends to go “beyond that of performance, execution or interpretation…” Note then, in the next two slides, the performing group Asleep At The Wheel, and the duo, The Louvin Brothers, are found in subfield c of the 245 tag:


Pop Music Producers & Creative Control … : Pop Music Producers & Creative Control … In 1993 another amendment appeared, which stated that producers of recordings who have artistic and/or intellectual responsibility for the recording may now be named in the statement of responsibility (Olson 1998, 100). Apparently this was another evolutionary change in bibliographic thinking, in response to the higher profile of producers in popular music. It shows recognition of how much influence and responsibility producers often have over the whole creation of a recording. In point of fact: since the 1960s, some producers have become known as famous “artists” in their own right: including Phil Spector, George Martin (sometimes called the “Fifth Beatle”) and Quincy Jones. Note that an example given in AACR2R is: Thriller [GMD] / produced by Quincy Jones ; co-produced by Michael Jackson.


MARC tag 508 ~ Creation/Production Credits Note: MARC tag 508 ~ Creation/Production Credits Note Though the new amendment allows for entering a producer in the statement of responsibility field, it still appears to be much more common to see the producer in the 508 tag – the Creation/Production Credits note -- than in the 245 tag. The cataloger is to enter in this 508 tag the name of the person who participated in the technical production of the work; this will likely be the producer. The cataloguer should not include names of people who have made only minor contributions. Generally, name(s) in the 508 tag are not traced in added entries. Whether a name(s) is entered into the statement of responsibility (245 tag) or the 508 tag may depend on how prominently displayed the name(s) is on the chief source of information.


MARC tag 511 - Participant or Performer NoteAACR2 Rule 6.7B6: MARC tag 511 - Participant or Performer Note AACR2 Rule 6.7B6 To return to the Performer Note (MARC 511) -- which we referred to for classical music -- in popular music, there are other musicians in important supporting roles who will be noted in tag 511. The note is used to identify key people associated with the item. We are instructed to not include names of people who make only minor contributions. Only one subfield is used. The AACR2R rule reads: “Give the names of performers and the medium in which they perform if they have not been named in the statements of responsibility and if they are judged necessary” (AACR2R page 6-16). The tag may contain the name or group of names with their function, the role played, or a short phrase describing their participation. Quite often, catalogers seem to leave out (sometimes they may not know) the performer’s instrument or other type of “medium.” In the following 511 tag, instrumentation is detailed:


MARC 511 - Participant or Performer Note(continued): MARC 511 - Participant or Performer Note (continued) Whether a name is entered in the 245 statement of responsibility field, or the 511 note, depends on how prominently displayed the name is. If the name is part of the chief source of information, it can be entered as part of the 245 field; if the name is not part of the chief source of information, it can be entered in the 511 field. In the following example, the “corporate” name of the band appears in 245, and the individual band members are named in 511:


Other uses of MARC tags 245 and 511 … : Other uses of MARC tags 245 and 511 … AACR2R also instructs us to add a word or short phrase to the statement of responsibility if the relationship between the title and the person named in the statement of responsibility is not clear. They give the following example: Born to run [GMD] / [written and performed by] Bruce Springsteen However, it is more common to see added details about the main musician in tag 511. See the example below, where Jimmy Buffett -- named in the 245 field -- is named again with more detail in the 511 tag: 511 0_ |a Jimmy Buffett, principal composer, guitar and vocals ; with the Coral Reefers and assisting vocal ensemble


MARC tag 505 – Formatted Contents Note: MARC tag 505 – Formatted Contents Note In the Formatted Contents Note (tag 505) one typically sees individual song titles. Also, beyond just the title, it can be used for much more detail, making it extremely valuable to the library-user. This value, of course, is based on the fact that the field is usually keyword searchable. For each separate piece on the recording, a Contents Notes may include: Song title Composer (songwriter) Song timing Performer Medium of performance


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) The Contents Note/505 tag will be “basic” or “enhanced.” The second indicator is a “level of content designation,” and will indicate whether a basic note or an enhanced note is involved. In other words, it will tell how much detail and how many subfields will exist in the 505 tag. A blank or # indicates a basic level, and 0 indicates an enhanced level. If there is a basic level of content, there will only be a subfield a in a bibliographic record. But with the enhanced level, numerous subfields may appear, all of which are repeatable: $t - Title $g - Miscellaneous information $r - Statement of responsibility


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) The following two records show examples of individual songs in a 505 tag. Note that songs should always be separated by a space, dash (two hyphens) space. In the first example, songs only are included; in the second example, duration or running times of the song are added in parenthesis:


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) The MARC record on the following PowerPoint slide shows an example of an enhanced 505 tag. Each song on the CD is listed with three subfields: title (subfield |t) duration or song running time under miscellaneous information (subfield |g) Composer of each song in the statement of responsibility (subfield |r ) As this is a collection where each song is performed by a different “star performer,” the MARC record would have been even more complete if the performer of each song was included. This raises the issue of how to best include all such details, including title, running time, composer and performer.


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) In the last example, the MARC record has each songwriter in the Statement of Responsibility subfield, and no performer. The next CD is another example of different “star performers” on each song, but in this case, the performer is entered in the Statement of Responsibility subfield, and the song composer is left out:


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) The use of the 505 tag may still be evolving. As this process carries on, perhaps more standardized practices will emerge. As an example of the kinds of atypical usages of the 505 tag that sometimes appear, witness the following case, where a cataloger has created a separate 505 field for each song:


Different solutions?: Different solutions? As this last example shows, it appears use of the 505 tag may need to be “ironed out.” One future issue is: are there varying acceptable ways, or one best way, to include all information, especially since fields and subfields are repeatable? In the following case, from a Library of Congress record, the cataloger solves the problem of organizing the information by including both composer and performer in the |r subfield, with one element in parenthesis, and the other outside the parenthesis. The original record follows on the next slide: 505 00 |t Jesu bleibet meine Freude from Cantata BWV 147 / |r Bach (Stuttgart Chamber Orchestra ; Karl Munchinger) -- |t Sleepers awake / |r Bach (New Symphony Orchestra of London ; Raymond Agoult) -- |t


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) In another example of how details can be included and organized, in this record below, from the OCLC instructional page, the cataloger has been helpful in including Rachleff’s role as conductor … 505 00 |t Snap! |r (Oberlin Contemporary Music Ensemble ; Larry Rachleff, conductor ) |g (6:55) –


MARC tag 505 – Formatted Contents Note(continued): MARC tag 505 – Formatted Contents Note (continued) In summary, an |r subfield in a 505 tag could be designed as in the following example. The statement of responsibility flows in a logical descending order, from songwriter to arranger to performer: 505 00 |t Maiden's Prayer / SONG TITLE / |r Bob Wills ; T. Alexander, arranger (Squirrel Nut Zippers) SONGWRITER; ARRANGER (PERFORMER(S) |g (2:41) –


740 Added Entry - Uncontrolled Related/Analytical Title (R): 740 Added Entry - Uncontrolled Related/Analytical Title (R) The Follett website indicates an important change that occurred in 1995 regarding the use of two MARC tags, the 246 and the 740 variant/different/additional title tags. According to the Follet website: “Prior to January 1995 if there was a variation in the title of a work, or titles needed to be added from the contents notes, the information was placed in the 740 Added Entry title area. The 246 tag was used only for serial records. Now both tags are sharing the work of making titles available within the MARC record with the 246 tag definition much broader and the 740 tag definition more restricted.” Follett continues: “The 740 tag now contains titles related to the work but not directly related to the 245 title proper. The titles are generally found in the 505 Contents Note. The addition of this information in the 740 tag will make the titles within a collection title searchable, thus enhancing the library user's access to this information. The titles are only key-word searchable in the 505 tag” (Follett 2003).


MARC tag 740 (continued): MARC tag 740 (continued) In effect, some catalogers put each song on a recording in its own 740 added entry field, making rather long MARC records, but making each song “title searchable” in an OPAC. The decision to make an added entry for each song is made by catalogers who believe they are enhancing the library user's access to this information. It also appears to be a local decision which cataloguers will follow according to their own local policy. See examples on the following two PowerPoint slides:


Subfield 4 ~ relator code: Subfield 4 ~ relator code Note also the importance of the subfield 4 relator code. It appears in personal and corporate name entry fields -- the 100, 110, 700, and 710 tags. You’ll see subfield 4 appear as in the following … |4 prf [prf is the code for performer] |4 cnd [for conductor] |4 voc [for vocalist] |4 cmp [composer] They would appear as in the following examples: 100 1_ |a Dylan, Bob, |d 1941- |4 cmp 710 20 |a Smetanovo kvarteto.|4prf


MARC tag 518 - Date/Time and Place of an Event Note (Repeatable): MARC tag 518 - Date/Time and Place of an Event Note (Repeatable) The 518 tag of the MARC bibliographic record contains valuable details, usually about the recording session. Facts that can be included are date, time, and place of recording or broadcast. Subfield |a contains the entire contents of the note. The information in tag 518 co-ordinates with that of tag 033. See the following example of a 518 tag:


Slide59: Access Points: choice of main entry & added entry headings


Slide60: The rules for cataloging sound recordings in Chapter 6 of AACR2R do not address the choice of main entry or added entries; these issues are left to Chapter 21. As is the case with other library materials, a key principle in cataloging music sound recordings concerns “authorship.” The main entry is under the person chiefly responsible for intellectual or artistic content. This will often be the composer of a musical work or works, or the original writer of a talking book, for example. However, popular music creates special circumstances. Most notably, a popular music performer is usually considered “the author” of a sound recording and thus is given the main entry. In this PowerPoint presentation, let’s examine the major relevant AACR2R rules for determining main and added entries. Categorization by “First rule,” “Second rule,” etc., is that of the present authors. The examples are from AACR2R in Part II, Chapter 21, pages 37 to 41.


First Rule - Rule 21.23A – One work: First Rule - Rule 21.23A – One work This first rule is a simple case of a recording of one work, with the main entry going to the composer (in the MARC tag 100), and added entries under the headings for the principal performers (in 700 tags). According to AACR2R, principal performers are “those given prominence (by wording or layout) in the chief source of information of the item being catalogued.” (AACR2R p.21-37) In the example on the following PowerPoint slide, the composer Schubert appears in the 100 tag, and the performing quartet appears in the 710 tag:


Slide62: 100 1 Schubert, Franz,|d1797-1828 240 10 Quintets,|mpiano, violin, viola, violoncello, double bass, |nD. 667,|rA major 245 10 Quintet in A major, op. 114 :|b(Trout) ; Quartet no. 12 in C minor : (Quartettsatz)|h[sound recording] /|cSchubert 260 [New York] :|bCrossroads,|c[1966?] 300 1 sound disc :|b33 1/3 rpm, stereo. ;|c12 in 500 Program notes by Paul Myers on container 511 0 Members of the Smetana Quartet, with Jan Panenka, piano, and Frantisek Posta, double bass 700 10 Panenka, Jan.|4itr 700 10 Posta, Frantisek.|4itr 710 20 Smetanovo kvarteto.|4prf


Second Rule - 21.23BTwo or more works by the same composer: Second Rule - 21.23B Two or more works by the same composer In a sound recording where there is still only one composer or songwriter, but two or more works, the main entry should be that of the composer or songwriter. Added entries are made under the headings for the principal performers, unless more than three. If more than three, we are instructed to make an added entry under the one named first. See the following AACR2R example:


Slide64: Any day now : songs of Bob Dylan (performed by Joan Baez) Main entry under the heading for Bob Dylan Added entry under the heading for Joan Baez A tribute to Woody Guthrie (songs and prose of Woody Guthrie, performed by Arlo Guthrie and others) Main entry under the heading for Woody Guthrie Added entry under the heading for Arlo Guthrie [from AACR2R, p. 21-38]


Second rule -- 21.23B – (Continued): Second rule -- 21.23B – (Continued) When dealing with the second rule, and with the library user, it is important perhaps to remember that this rule will seem somewhat “counterintuitive” to a layperson. For example, the recording Any day now : songs of Bob Dylan by Joan Baez, is commonly considered “a Joan Baez recording,” and in the recording and retail industries it would be filed that way. Similarly, the status of Tony Rice as a leading “artist” in bluegrass music would make many consider all his recordings as his artistic creations, regardless of who wrote the songs. But Gordon Lightfoot is the main entry for the recording “Tony Rice sings Gordon Lightfoot.” The two following PowerPoint slides indicate, however, that cataloging can be inconsistent:


Third Rule -- 21.23C1 - Works by different persons or bodies. Collective title.: Third Rule -- 21.23C1 - Works by different persons or bodies. Collective title. This rule in AACR2R is very important in popular music. It reads: if a sound recording containing works by different persons has a collective title, enter it under the principal performer. A collective title is defined in the AACR2R glossary as: a title proper that is an inclusive title for an item containing several works. It is the unifying title of an anthology that represents it as a unique bibliographic item. The following are typical examples of the third rule. There is a collective title, two or more composers, and a single principal performer:


Slide69: Pieces of the sky [songs by various composers performed by Emmylou Harris] ~Main entry is under the heading for Harris Adrian Ruiz plays Niels Gade and Christian Sinding [two works by Gade and six by Sinding performed by Ruiz] ~Main entry is under the heading for Ruiz


Fourth Rule - 21.23C1: Fourth Rule - 21.23C1 In this case, there is a collective title, two or more composers, but also two or three principal performers. If there are two or three persons represented as principal performers, the first named will be the main entry, and the other(s) will become added entries. Irish rebel songs (sung by Mike Barrett and Joe Kiernan) Main entry under the heading for Barrett Added entry under the heading for Kiernan


Fifth Rule -- 21.23C1: Fifth Rule -- 21.23C1 In this case, there is a collective title, two or more composers, and either four or more principal performers or no principal performer. We are instructed to make this a title main entry: Music of nineteenth century England (several musical pieces performed by various persons and bodies) Main entry under title


Rules for No Collective Title: Rules for No Collective Title AACR2R also gives rules for cases where there is no collective title, though this would appear to be a more rare occurrence. Two main rules, one affecting popular music, and the other affecting classical, are given. In the case of popular music, the main entry is under the principal performer. This would occur if all the following conditions were present: there is no collective title; there are present works by different composers; it is to be cataloged as a unit; and the participation of the performer goes beyond that of performance or interpretation -- which is considered to be the case typically in popular music. In the case of a classical sound recording without a collective title, AACR2R gives an example of a record which includes works by Bach, Haydn and Mozart. It instructs that the main entry will be the composer of the “first work,” with added entries for the other two composers and for the performing orchestra and conductor. It is not entirely clear, but presumably “first work” means that which appears to be listed first or most prominently on the source of information.


Finis: Finis


References: References Anglo-American Cataloguing Rules, 2nd ed, 2002 revision. 2003. Chicago; Ottawa; London, England: American Library Association; Canadian Library Association; Chartered Institute of Library and Information Specialists. Bradley, Carol June. 2003. “Classifying and Cataloguing Music In American Libraries: A Historical Overview.” Cataloging & Classification Quarterly 35, no. 3/4: 467-481. Follett Software Company. 2003. Website. Available from: http://www.fsc.follett.com/index.cfm; accessed 29 November 2003. Frost, Carolyn O. 1983. Cataloguing Nonbook Materials: Problems in Theory and Practice. Littleton, Colorado: Libraries Unlimited. Maxwell, Robert L. and Margaret F. Maxwell. 1997. Maxwell's handbook for AACR2R: explaining and illustrating the Anglo-American cataloguing rules and the 1993 amendments. Chicago: American Library Association.


References, continued: References, continued MARC 21 Concise Format for Bibliographic Data, 2002, concise ed. Washington, D.C.: Library of Congress, Network Development and MARC Standards Office. Website. Available from: http://www.loc.gov/marc/bibliographic/; accessed 17 November 2003. Miller, Steven J. Sound Recordings Cataloging Highlights. 2002. University of Wisconsin-Milwaukee. Website. Available from: http://www.uwm.edu/~mll/soundcat.html; accessed 29 November 2003. Olson, Nancy B. 1998. Cataloging of Audiovisual Materials and other Special Materials: A Manual Based on AACR 2. 4th ed. Sheila S. Intner and Edward Swanson, eds. DeKalb, Ill: Minnesota Scholarly Press. Papakhian, A. Ralph. 2000. “Cataloging.” Notes 56, no. 3: 581-590. Seibert, Donald. 1982. The MARC Music Format: From Inception to Publication. Music Library Association Technical Reports, no.13. Philadelphia: Music Library Association. Walker, Diane Parr. 2003. “Music in the Academic Library of Tomorrow.” Notes 59, no. 4: 817-827.


Recommended Resources: Recommended Resources Books Olson, Nancy B. Cataloging of Audiovisual Materials and other Special Materials: A Manual Based on AACR 2, 4th ed. Sheila S. Intner and Edward Swanson, eds. DeKalb, Ill: Minnesota Scholarly Press, 1998. Smiraglia, Richard P. Music Cataloging: The Bibliographic Control of Printed and Recorded Music in Libraries. Englewood, CO: Libraries Unlimited, 1989. Articles Freeborn, Robert B. “Cataloging Non-Music Sound Recordings.” Cataloging & Classification Quarterly 31, no. 2 (2001): 37-51. Papakhian, A. Ralph. “Cataloging.” Notes 56, no. 3 (2000): 581-590. Simpkins, Terry. “Cataloging Popular Music Recordings.” Cataloging and Classification Quarterly 31, no. 2 (2001): 1-35


Recommended Resources, continued: Recommended Resources, continued Websites Authority Tools for Audiovisual & Music Catalogers http://ublib.buffalo.edu/libraries/units/cts/olac/capc/authtools.html Cataloging Non-music Sound Recordings (Audiobooks) http://www.lcls.lib.il.us/content/cataloging/specialformats/cataloging_audiobooks.pdf Music Cataloging http://www.library.umass.edu/catalog/mus.html#MUSICCAT Music Cataloging Resources http://www.westga.edu/%7Ebkooy/muscat.html The Virtual Gramophone: Canadian Historical Sound Recordings http://www.nlc-bnc.ca/gramophone/src/home.htm Sound Recording Cataloging Highlights: AACR2 Chapter 6 http://www.uwm.edu/~mll/soundcat.html