American University Library
Cataloging
Classification
Foreign Languages
Standards
Misc.
Location Codes/Item types
CDs go to the Music Library at Katzen Arts Center, with a location code of auks and an item type of Music-CD.
Scores also go to Katzen; possible location codes are auks, aukso (oversize) or auks ref (reference). Their corresponding item types are Music, Music, and Noncirculating, respectively.
Monographs: The occasional monograph goes to Bender Library stacks, with a location code of auc and an item type of regular loan. Contact Sam or Nobue if you are uncertain of the location of these items.
Free electronic resources
Bib:
Holdings:
Item:
Labeling Scores
Write the call number on the title page, lower right portion of the page.
Barcoding Scores
The preferred location of the barcode is at the bottom of the back of the last page, opposite the inside of the back cover. If there is music on this page, place the barcode on the back cover at the bottom, or inside the back cover at the bottom. If the score has accompanying parts, tuck them inside the score and barcode only the score.
Labeling CDs
Place a University Library sticker on the booklet/insert, or if there is no booklet, on the front of the case, taking care not to obscure information that might be useful to the patron. I have been trying to place the sticker in the lower right as consistently as possible.
CDs are not classified; they only have an accession number. Place one accession number sticker on the booklet if there is one (I try for the upper right corner), or in the same place on the cover if there is no booklet. Place the second accession number sticker so that it covers the one underneath it on the booklet.
Barcoding CDs
Place a barcode on the case or cover—I have been placing it on the left side, vertically, trying not to obscure useful information.
Box-Sets
Where possible, the Music Library would like us to barcode CDs in box/multi sets separately (This helps patrons as there is a 5-disc check-out limit). Generally follow physical packaging when deciding how/whether to split up items.. a 2-CD set packaged in 1 case gets 1 barcode, in a box of four single CDs, all should have their own barcode. In cases where the items are barcoded individually and there is a box-set booklet, also barcode the booklet. Do not give the box its own barcode, but include a label with the box inventory. When in doubt, consult with Amanda/Nobue.
For each Box-set, there will be a single accession number (appearing on the box), and each component will have a label with that number and a part number in format line one CD line two [accessionnumber]/[part], e.g. CD 2348; CD 2348/1, CD 2348/2 etc., CD 2348/booklet. Add an 866 to the holdings record with the available parts and ensure that the contents of each are reflected in the 505 of the bib record. Add v.1, v.2 etc. or “booklet” to the enumeration in the item record. Note that the Item type for booklets should be “7 day loan” instead of “Music-CD”.
Box-set labels can be printed off using the Music Lib’s CD label template, available here. Amanda will deliver blank label sheets as needed.
Routing completed items
Place all completed scores and CDs on the wooden shelves labelled “Music Library: For Amanda/Nobue.” CDs do not receive further processing. Scores will be evaluated by the Music Librarian before being bound. Monographs remaining in Katzen are routed directly to processing.
History of Music Cataloging
Early cataloging — British Library — Antonio Panizzi
— Users needs were first taken into account
— Brought together editions of works
— Began standardization of cataloging
Created first rules of music cataloging in 4th edition of Cutter’s book. Established how to determine date of printed music.
1908 UK and US came together for AACR. Prussian rules which UK had been using were assimilated. Ultimately US and UK went their own way.
Per Jean: “The rules graduallybecame ridiculously complicated.”
Things then moved away from case based rules to rules based on general principles.
1960s MARC is created at LC. MARC for music came in 1973.
1961 Seymour Lubetzky‘s unfinished book, Code of Cataloging Rules… unfinished draft (1960), was the basis for modern cataloging adopted by the first International Conference on Cataloging Principles (1961) held in Paris, France, called the “Paris Principles.” The code which eventually emerged from the conference was a landmark in the history of universal bibliographic control. In 1967 it developed into the Anglo-American Cataloging Rules, which subsequently has been revised over the years. (from Wikipedia)
1967 AACR1
1978 AACR2 Radical departure from AACR1
FRBR was created to ask what in a record is really important — what can be let go. It was based on economic realities.
1997 Toronto Conference (International Conference on the Principles & Future Development of AACR) — call for a logical analysis of AACR2 — resulted in the decision to create AACR3
As work was beginning on AACR3, it was realized that it needed to be scrapped and they needed to start from scratch with RDA.
The primary distinction between RDA and AACR is structural. RDA is organised based on the Functional Requirements for Bibliographic Records (FRBR). These principles identify both the ‘user tasks’ which a library catalog should make possible and a hierarchy of relationships in bibliographic data.[4] Descriptions produced using the instructions of RDA are intended to be compatible with any coding schema, including the data environments used for existing records created under the AACR2 rules. (Wikipedia)
2005 Final version of AACR2
ISBD rules apply to everything, regardless of format.
2009 In Europe the Paris Principles were updated to the Statement of International Cataloging Principles. http://www.ifla.org/publications/statement-of-international-cataloguing-principles
BIBFRAME http://en.wikipedia.org/wiki/BIBFRAME http://en.wikipedia.org/wiki/BIBFRAME is intended to replace MARC. MARC is not flexible enough and acts merely as a display and less capable of retrieval.
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Music Cataloging Workflow
RDA 6.2.8 Access points for musical works
RDA Appendices I-J for Relationship Designators
3.4.3.2 Extent — Notated Music
2.2.2.2 Scores — sources of information
2.3.1.4 Recording titles
2.3.2.8.1 Key in title
1.3 Core elements
6.16.1.3 Recording numeric designation of musical works
6.28.1.1 Constructing authorized access points for musical works
(Add a distributor when there is a distributor # — often Hal Leonard.)
028 2nd indicator not important
RDA Chapter 3 — Describing Carriers
3.4.1.3 3.4.3.2 Extent of notated music (1 score (38 leaves)) and 7.20.1.3 format of notated music (i.e. score or miniature score, etc.)
Sound Recordings
RDA Chapter 2
245 |a 2.2.4.1
I. ] 0. General Guidelines on Notes ____
capitalization (see 1.10.21353)
quotations (see 1.10.3iaflJ)
references (see 1.10.41383)
applicability of the information recorded in a note (sec I.IO.MiigJ).
Notes on Manifestation
2.17.2.1 Note on Title-
2.17.3.1 Note on Statement of Responsibility
2.17.6.1 Note on Production Statement
2.17.7.1 Note on Publication Statement
2.17.8.1 Note on Distribution Statement
2.17.10.1 Note on Copyright Date
2.18.1 Custodial History of Item
2.21.1 Notes on Items
3.20. Equipment or System Requirements
3.21.2 Note on Extent of Manifestation (many apply to museums)
4.2.1.1. Terms of availability
4.4.1.1. Restrictions on access
4.5.1.1. Restrictions on use
5.9. Cataloguer’s Note for works or expressions
Notes on the Content
7.2.1.1 Nature of the Content
7.7.1.1 Intended Audience
7.9 Dissertation or Thesis Information
7.11 Place and Date of Capture
7.12 Language of the Content
7.13.3.1 Form of Musical Notation
7.13.3.4 Details of Form of Musical Notation
7.14.1 Accessibility Content
7.15.1.1 Illustrative Content
7.16.1 Supplementary Content
7.17.1 Color Content
7.20.1 Format of Notated Music
7.21.1 Medium of Performance of Musical Content
7.22 Duration
7.23 Performers, Narrators, and/or Presenters
7.24 Artistic and/or Technical Credits
024 1 x UPC
028 x x other music number
033 x x date, time, place of event — fairly comprehensive list of geographic codes here
http://www.library.yale.edu/cataloging/music/033code.htm#d/
041 language if applicable
046 special coded dates
047 musical composition code
048 number of instruments
240 uniform title
245 Title construction examples:
Klavierkonzert Nr. 2, f-moll, opus 21 = ‡b Piano concerto no. 2 in F minor, op. 21 / ‡c Frédéric Chopin ; Klavierauszug ; Herausgegeben von Ewald Zimmermann ; Fingersatz von Hans-Martin Theopold.
Two works on one CD:
St. Carolyn by the sea ǂh [sound recording] / ǂc Bryce Dessner. Suite from There will be blood / Jonny Greenwood.
306 playing time
344
347
382 0 1 medium of performance — controlled vocabulary from Medium of Performances Terms in the main menu of Class Web
http://classificationweb.net/min/minaret?app=Auth&mod=Search&table=4&menu=/Menu/
500 instrumentation note
500 editions note if applicable
500 insert note —
Examples:
‡a Program notes by Bill Sallak and Airi Yoshioka, and notes on the performers (16 unnumbered pages ; 12 cm) inserted in container.
‡a Includes program notes by Daniel Tacke, and notes on the performers (12 unnumbered pages ; 12 cm) inserted in container.
‡a Includes program notes in English by Malcolm MacDonald, and biographical information on the performers (12 unnumbered pages : portraits) inserted in container.
518 date, time, place of event —
Examples:
‡3 All pieces (except Elusive peace) ‡o originally recorded in ‡d 2013 January at ‡p Oktaven Audio in Yonkers, New York.
‡3 All pieces (except Elusive peace) ‡o originally recorded in ‡d 2013 January at ‡p Oktaven Audio in Yonkers, New York.
‡3 3rd work ‡d 1981 November 25 ‡p Neues Gewandhaus, Leipzig.
868636652
883245263
861647221
605127500