lis 512 sound recordings origin and purpose I

lis 512 sound recordings

origin and purpose • I have taken some slides from arguably the finest cataloging teacher of the early 21 st century, Rick J. Block. • I have taken out aspects that don’t apply to classical music much, since this is what we are dealing here.

in koha • koha knows about cataloging frameworks. These a basic sets of the most useful fields that apply to an item type. • Unfortunately, the one for audio leaves out the performer field. I tried to change that but at this time it is not ready. • We use the general framework.

one important thing • Do not panic. • There are various ways to do it. • Even if you look at records from the same catalog, you see varying practices.

AACR 2 Chapter 6 • Chapter 6 covers sound recordings in all media – discs, i. e. compact discs, vinyl, etc. – tapes , i. e. cassettes, reel-to-reel, cartridge – rolls, i. e. for player piano, player organ, etc. – sound recordings on film – wires, cylinders • Chief source: physical item and any label(s) on the item

Chief source of information • If there are two or more chief sources of information (e. g. two labels on a disc) treat as a single chief source • If there is a collective title on accompanying textual material or container, treat as chief source, but make note indicating source of title. • [I don’t see the point of the note. ]

chief source of information, 2 • If information is not available from the chief source, take it from the following sources (in this order of preference) – accompanying textual material – container (sleeve, box, jewel case, etc. ) – other sources (publisher catalogs, etc. ) • Prefer textual data to sound data.

New Record? • Differences that justify a new record – Different format, size, speed (e. g. disc vs. cassette) – Significant difference in playing time – Stereo. vs. mono. – Different edition – If in a completely different series – Difference in Music publisher number (028)

245$a Title • There must be a title. It can be a person’s name, or a group’s name, e. g. eponymous album. • Transcribe the title from the item in hand. • If single title with no subtitle, title goes in $a. • For classical works: $a is that part of title that identifies the work, $b is remainder • May have one title or more than one title in the 245. May have subtitle.

245$h General material designation • • GMD is [sound recording] Follows title in $a No punctuation precedes left bracket Example: 245 00 $a Symphony no. 39 in E-flat, K. 543 $h [sound recording]

245 $b Subtitle • Follows GMD • Preceded by ‘ : ’ as in 245$a Imaginary landscapes $h [sound recording] : $b new electronic music. • If multiple titles are in 245 and there is only one composer, put remaining titles in $b. Precede each title with a space ; space. • 245 10 $a Riders to the sea $h [sound recording] ; $b Household music ; Flos campi / $c Vaughan Williams

245$c statement of responsibility, 1 • If the participation of the person(s) or body (bodies) named in a statement found in the chief source of information goes beyond that of performance, execution, or interpretation of a work (as is commonly the case with “popular, ” rock, and jazz music), give such a statement as a statement of responsibility.

245$c statement of responsibility, 2 • If the participation is confined to performance, execution, or interpretation, as is usually the case with serious or classical music and recorded speech, give the statement in the note area. • If multiple there are titles with multiple composers, statement of responsibility follows title to which it applies. Next title and statement of responsibility go in $c.

245$c statement of responsibility, 3 • This is most appropriate if there is one piece that can be considered the main piece. It often (but not always) comes first. • 245 10 $a Missa brevis|h[sound recording] ; $b Laudes organi / $c Kodály. Mass in E flat / Janácek. • You can also use a 501$a “with note” in the same format, omitting the GMD.

740 analytical title • This can titles that are contained within the unit, as opposed to those that refer to unit as a whole. • So, for a collection lacking a collective title, use 740 s for the titles in the 245 field subsequent to the first title. • 740 02 $a Household music • 740 02 $a Flos campi

260$a Place of Publication • Sound recordings often lack a place of publication. If the place of publication is not indicated the cataloger should supply it with square brackets, adding a question mark to indicate uncertainty. If the actual place is unknown the county of publication can be supplied in square brackets. As a last resort, the abbreviation [S. l. ] (for sine loco) should be used.

260$b publisher • Sound recordings often list several similar names. These names could be a publisher, a trade name or a series. • If a name appears in conjunction with the serial number it is a trade name, give this name as the publisher • Use the smaller label name, rather than a larger corporation. Hint: look for a logo. • Example: – On item: “Rhino p 1992 Atlantic Recording Corp. ” – 260$b Rhino

recording series • Be very careful with series for sound recordings. Often they are used for sales gimmicks and only appear on the container and usually in smaller typeface from that used for other information. Consult a series authority file for decisions on these. If it is not an established series the information can be given in a quoted note.

Dates on Compact Discs • You rarely find a date of publication. – Copyright date (since 1971): – P is copyright of sound • C is copyright of printed material • If you have a c date, use it to surmise a publication date. Never use a c date (e. g. , c 2002) for a CD.

date detection, 1 • Dates from the chief source (recording and label) are usually the most important • Dates to keep in mind – LPs first available in 1948 – Pre-recorded reel-to-reel first available in 1954 – Pre-recorded audio cassettes first available in 1965 – Audio compact discs first available in 1982

dates detection, 2 • Since 1971 the symbol P has been used to indicate the copyright date of recorded sound. Various dates might also be present indicating copyright protection for the work performed or for accompanying material, etc. • When a single P date is present it should be transcribed as the date of copyright of the recorded sound.

dates detection, 3 • When various P dates appear on a single recording, the cataloger must determine if they represent a reissue. If that is the case, the latest P date should be transcribed. • If various P dates represent different parts of the recording, no P date should be transcribed, because none applies to the recording as a whole.

dates detection, 4 • For items lacking a P date, a before 1971 should be transcribed as the copyright date. • For items lacking a P date, a after 1970 should be transcribed as an inferred date of publication. • For digitally remastered analog recordings that have been released on compact disc, the date for textual material on the container may be used to infer the date of publication, but the P date should also be transcribed.

date detective work • For items lacking a P date and a date the cataloger may estimate a date of release. Usually a recent recording is released within one year of the date it is recorded, but this is not always accurate.

Example 1 • item in hand – On disc: The Oscar Peterson Big 6 at Montreux p 1975 – On insert: p 1975 and c 1997, Recorded July 16, 1975 … Remastering, 1997 …. • In catalog: 260$c[1997], p 1975

explanation of example 1 • You have come up a publication date for the CD, surmised from the copyright date of the printed material accompanying the disc. • Because the publication date is cataloger supplied (i. e. , not stated on the item as a publication date), it appears in brackets. • Date of copyright (p 1975) is allowed under optional addition.

Example 2 • On disc: A sign of the times / Ted Farlow p 1977, an nothing else. • At first 260$c [1992? ], p 1977, where 1992 surmised from date record was input on OCLC. In brackets, because supplied by cataloger. • Later, after finding a description on the web, change to 260$c [1992], p 1977.

246 variant title • Use 246 for titles that apply to item as a whole, e. g. , portion of title, subtitle, parallel title, title on the container • Example – 245$a Imaginary landscapes Sh[sound recording] : $b new electronic music. – 246$a New electronic music

300 Physical Description rules, 1 • Record the number of physical units of a sound recording by giving the number of parts in arabic numbers and one of the following terms as appropriate – sound cartridge – sound cassette – sound disc – sound tape reel – sound track film – sound disc cartridge (added per CSB no. 92, spring 2001)

physical description rules, 2 • For individual works with a collective title, durations are given in the contents note 505$a. • For individual works without a collective title, durations are given in a 500 note. – 500 $a Durations: 22 min. ; 25 min. ; 11 min.

physical description rules, 3 • As a statement of physical details of the recording give the following, as appropriate, in this order – type of recording – playing speed – groove characteristic (analog discs) • The latter can be omitted if they are obvious.

physical description rules, 4 • Give the duration in parentheses after the specific material designation only when the recording contains a single work (composition that is a single unit intended for performance as a whole). • In 300 use form xx min. , xx sec. • Precede duration by ca. only when the item itself gives an approximation. • If the duration is not stated do not approximate.

300 Physical Description Compact disc: • – – • • 300$a 1 sound disc (67 min. , 30 sec. ) : $b digital, stereo. ; $c 4 ¾ in. 300$a 4 sound discs : $b digital ; $c 4 ¾ in. Use stereo. (or mono. ) only if indicated on item. Lo. C uses duration here only if there is one work on the CD (e. g. , an opera) and the duration is given.

300 Physical Description • Do not give the playing speed if it is standard for the type of item (e. g. 1 7/8 in. per second for an analog tape cassette) • As for dimensions, give the diameter of a disc in inches – 300$a 1 sound disc : $b analog, 33 1/3 rpm, stereo. ; $c 12 in. – 300$a 1 sound disc (33 min. ) : $b digital, stereo. ; $c 4 ¾ in. – 300$a 1 sound cassette (85 min. ) : $b analog

physical description of compact disk • • 300$a 1 sound disc (67 min. , 30 sec. ) : $b digital, stereo. ; $c 4 ¾ in. 300$a 4 sound discs : $b digital ; $c 4 ¾ in. Use stereo. (or mono. ) only if indicated on item. LC uses duration here only if there is one work on the CD (e. g. , an opera) and the duration is given.

300 of cassette tapes • Examples – – $a 1 sound cassette (29 min. ) : $b analog, Dolby processed. $a 2 sound cassettes : $b analog. • If standard size, size is not included.

300$e accompanying material • Here you can describe accompanying material that comes with the sound records – 300$e with liner notes in English, French and German. – 300$a with a comment by Derek Cook.

306 playing time • Use 306$a to enter the duration of a sound recording. • Use six character positions in $a, of the form hhmmss, where hh is the number of hours, mm the number of minutes and ss the number of seconds.

More on durations • Enter one hour (exactly) as 60 minutes. • Enter one minute exactly as 60 seconds. • Enter any duration more than an hour in terms of hours, minutes, and seconds. • Enter any duration more than one minute and less than one hour in terms of minutes and seconds.

duration of several works • If a sound recording or score has two or more pieces, enter the duration for each piece in a separate $a. • Thus an example with two works would be – 306$a 003700 306$a 001050

Example • On disc: – Wes bound / Lee Ritenour (p) & (c) 1993 • In catalog: – 100 1 $a Ritenour, Lee. – 245 10 $a Wes bound $h [sound recording] / $c Lee Ritenour. – 260 $a New York, NY : $b GRP Records, $c p 1993.

5? ? Notes • Notes follow the order given in AACR 2; they are not in numerical order by MARC tag. • Most important notes for cataloging sound recordings are included here. The complete list is in AACR 2 (6. 7). I don’t have it myself.

500 for durations • You can use field 500 to enter duration information as a note. • A record may have a 306 and a 500 duration note.

500 note for re-issuing information • You can make a general 500 for reissue information. • 500 $a Selections previously released. • 500 $a Originally issued in 1964 as analog disc on Folkways Records: FAS 2377.

500$a note an accompanying Material • Use instead of 300 $e, or in addition to 300 $e to convey more information. • 500 $a Lyrics (8 p. : ports. ) inserted in container. – When counting pages of an un-numbered booklet, count “cover” pages as pages, since they are made from the same material as the pages themselves. Put number in square brackets to show it is supplied by the cataloger. – 500 $a Program notes ([16] p. ) inserted in container.

500 Physical Description • 500 $a Compact disc. • 500 $a Durations: 17: 00; 23: 35; 9: 00. Compact disc note is tag 500, not tag 538. Durations go in this note if multiple titles are listed in 245 and no contents note is used.

500 origin of title • Make a 500 note if you take the title from somewhere else than the chief source of information. • 500$a title from container spine.

511 performers • This is critical for classical music. • Use the form name, function unless the function is evident from the name. Separate performers by ; – 511$a Roy Hart, vocals ; with additional musicians. – 511$a London Symphony Orchestra ; Sir Thomas Beecham, conductor. – 511$a Various performers. – 511$a Maria Callas, soprano ; Thomas Krichel, flushing toilet.

$518 event note • Use this note to write down information about the recording – 518 $a Recorded Jan 2, March 23, 23 and 25, April 26 1961 at Kingsway Hall, London.

546$a language • You can make a note about the language if it is not obvious, e. g. Beehoven’s 9 th symphony sung in Chinese – 546$a libretto in French and Italian

520$a summary • Use for spoken-word recordings; not used for music recordings. • 520 $a Receiving the Melcher Book Award, Toni Morrison talks about her novel, Beloved.

505$a contents • Here are some forms of contents notes – 505 0 $a title – title. – 505 0 $a title / composer – title / pomposer. – 505 0 $a title (performer) – title (performer). – 505 0 $a title (duration) – Title (duration). – 505 0 $a title / composer (performer) (duration) -- Title / Composer (performer) (duration). • This is fabulous since you are spoilt for choice!

Type of Date/Publication Status (Dt. St) Most likely one of these: s = Single date. p = Date of publication and date of recording. r = Reissue date and original date (only if all works were previously issued). • t = Publication date and copyright date. • •

028 publisher number • It is as important for sound recordings as an ISBN is for books. • Subfield $a is the number (include letter prefixes if present). It comes first. • Subfield $b is the label name. It comes second.

033 Date/Time • If you are a coding fetishist, you can codes information from 518 in 033. This field can be repeated. • $a has a time yymmddhhss+-hhmm, where the +- is an indicator of the difference from UTC. Always use 24 hour clock • $b gives the county, with a number from Lo. C G schedule

033 date time • $c has Cutter for the city. • Last digit of $b changes, depending on whether $c is present or not. • If he first indicator ‘ ‘ no date info (i. e. , no $a). 1 “multiple single dates; two consecutive dates”, 2 “range of dates”. • Only for the serious coding fetishist.

033 Examples • 033 00 $a 19930123 $b 4282 $c. S 4 • 518 $a Recorded Jan. 23, 1993 at Meany Theater, University of Washington, Seattle • 033 10 $a 20010225 $a 20010613 $a 20010614 $b 5754 $c. L 7 • 518 Recorded Feb. 25, 2001 (2 nd work) and June 13 -14, 2001 (1 st work) at Air Studios, Lyndhurst Hall, Hampstead, London