SCORES – DESCRIPTIVE ELEMENTSHermine Vermeij, UCLA April 13, 2012

Scope

Notated music Published music – AACR2 Chapter 5 + LCRIs Manuscript and unpublished music – AACR2 Chapter 4 Some of Chapter 21 – Choice of Access Points + LCRIs “Printed music,” “Scores,” “Sheet music”—common

ways to talk about notated music. Basically, notes on a page.

Focus on aspects of music cataloging that are different from standard monographic cataloging.

Description in MARC

Fixed Fields

Fixed fields for scores workform:

Special music fields: Comp (Form of Composition) AccM (Accompanying Matter) Part (Music Parts) TrAr (Transposition and Arrangement) Fmus (Form of Music)

Notable Fixed Fields

Type (Type of Record) c – Notated music d – Manuscript music

Only used for unique manuscripts, score theses, and microforms of unique manuscripts or theses.

a – Language material (Books format) Used for song texts and libretti without music. Used for some methods (cataloger’s judgment)

Notable Fixed Fields

Lang (Language Code) Code for the language of sung or spoken text only. Music without sung or spoken music (such as

instrumental music) is coded “zxx.” Comp (Form of Composition)

Code if known. Use “mu” for multiple forms if more than one code

is appropriate; then elaborate in the 047 (not required by LC).

Use “uu” for unknown if form is unclear or if the music isn’t in any particular genre or form.

Notable Fixed Fields

AccM (Accompanying Material) Only code if a significant part of the

accompanying matter is of a particular type.

Common codes: d – Libretto or text e – Biography of composer or author i – Historical information

Notable Fixed Fields

Part (Music Parts) Code if parts are present. Most common: # (no parts) and e (Instrumental

parts). Not required by LC.

TrAr (Transposition and Arrangement) Code if the item is known to be a transposed or

arranged version of another work. Most common: # (not an arrangement) and b

(Arrangement). Not required by LC.

Notable Fixed Fields

FMus (Format of Music) Corresponds somewhat to the term used in

the 300 $a (will be covered later). Common values:

a – Full score b – Minature or study score c – Accompaniment reduced for keyboard

(vocal score) z – Music in other than score form (solo

instrumental music, graphic notation, etc.)

Chief Source of Information (5.0B1) If there is a title page, it is the chief source. If there is no title page, the preference order is:

Caption (first page of music) Cover

Music is often published without a cover. Colophon, etc.

Some music (especially older music) has a list title page – a list of titles, with the title of the item inside indicated with a mark. If you have a list t.p., you may choose among it,

the cover, or the caption to be the chief source.

Publisher’s Numbers and Plate Numbers (5.7B19 + LCRI, 028) Publisher’s number – Usually on the t.p.,

cover, and/or first page of music. Plate number – Usually at the bottom of

each page of music; sometimes also on the t.p. or elsewhere.

Examples: 028 32 $a 6139 $b Schott

Publisher’s number: 1st indicator 3 028 22 $a B. & H. 8797 $b Boosey & Hawkes

Plate number: 1st indicator 2

Standard Numbers (5.8B)

Give ISBN if found. The ISMN (International Standard Music

Number) is the printed music equivalent to the ISBN. Older 10-digit ISMNs (beginning with “M”) go in

the 024 1st indicator 2. Newer 13-digit ISMNs (beginning with “979”)

go in the 024 1st indicator 3. Examples:

024 2# $a M001121966 024 3# $a 9790260000438

Title (5.1 + LCRIs)

Transcribe medium of performance, key, date of composition, and numbering as other title information (245 $b), EXCEPT

When the title proper consists of one or more type(s) of composition (Sonata, Symphony, etc.). List of types of composition:

http://www.library.yale.edu/cataloging/music/types.htm

Examples: 245 10 $a Traces : $b pour violoncello seul 245 10 $a Sonata for viola and piano, op. 146

Statement of Responsibility (5.1F) Transcribe composers, lyricists, arrangers, editors,

etc. The term “vocal score” (or its equivalent in other

languages) is actually a statement of responsibility, since a vocal score is an arrangement.

(From LCRI 5.1F1): For popular music folios: When the performer’s name is featured on the chief source, it can be considered a statement of responsibility.

Examples: 245 10 $a Nixon in China / $c John Adams ; libretto,

Alice Goldman ; piano/vocal score. 245 10 $a 40 hour week / $c Alabama.

Edition (5.2 + LCRIs)

Traditional edition statements (1st ed., etc.) are not extremely common in notated music.

Statements designating the voice range of a solo vocal piece (when the statement is not grammatically linked to the title) are considered edition statements.

Example: 250 ## $a High voice.

Musical Presentation Statement (5.3 + LCRI) MARC field 254 A transcription of a statement indicating the

physical presentation of the music (found on the chief source of information).

Does not include terms that suggest an arrangement (such as “vocal score” or “piano reduction”)—these go on the statement of responsibility.

Examples: 254 ## $a Orchester-Partitur. 254 ## $a Score and parts.

Dates (5.4F)

Straightforward publication dates are uncommon in printed music.

Often a copyright date is present, and can be used in lieu of a publication date. Commonly the copyright date will clearly be

significantly earlier than the apparent date of publication.

Many records in WorldCat have bracketed dates of publication before the copyright date. Example: 260 … $c [2011?], c1925.

Dates (5.4F)

Be careful when deciding whether to add a new record if a record with the early copyright date already exists. Examine OCLC’s “When to Create a New Record

” to determine if a new record is warranted. You may just have a reprinting of an older

edition. Differences that do not require a new record:

Addition of an ISMN or ISBN Minor differences in format of publisher name Printing date

Extent of Item (5.5B + LCRIs) Record the number of physical units using

one of the following terms (see AACR2 Appendix D for all definitions): Score – Must be a series of staves on which

different instrumental or vocal parts are written, in vertical alignment.

Condensed score – Not terribly common. Close score – Typical for hymns. Miniature score – Must be reduced in size but

not necessarily very small. Includes most “study scores.”

Extent of Item (5.5B + LCRIs)

Piano [violin, etc.] conductor part – Not terribly common.

Vocal score – Shows all vocal parts, with accompaniment (if any) arranged for a keyboard instrument. Common for large vocal works, including operas and musicals. Generally not used for popular music folios (when the original instrumentation is not orchestra).

Piano score – Orchestral reduction for piano. Chorus score – Shows only choral (not solo) vocal parts,

with accompaniment (if any) arranged for keyboard. Part – The music for one or more (but not all) of the

participating voices or instruments.

Extent of Item (5.5B + LCRIs) If none of these apply, use “p. of music”

(or v. or leaves of music). This includes most music for a solo

instrument (including piano), two-piano music when the parts are printed on different pages, popular music with interlinear words, and music using graphical notation.

If the item is a manuscript, precede the term by “ms.”

Extent of Item (5.5B + LCRIs) Give the number of scores and parts

issued by the publisher. If the item consists of different types of

scores, or a score and parts, give the details of each, separated from each other by “+”

Add pagination or numbers of volumes in parentheses.

Extent of Item (5.5B + LCRIs) Examples:

260 ## $a 1 miniature score (57 p.) 260 ## $a 67 p. of music 260 ## $a 1 score (vii, 150 p.) + 4 parts 260 ## $a 7 parts (2 p. each) 260 ## $a 1 score (3 v.) 260 ## $a 2 v. of music 260 ## $a xxv p., 55 p. of music

Only p. 1-55 are music

Dimensions (5.5D)

If the dimensions of the score(s) and part(s) differ, give the dimensions of each.

Examples: 260 ## $a 43 p. of music : $b ill. ; $c 40

cm. 260 ## $a 1 miniature score ; $c 18 cm. +

$a 2 parts ; $c 32 cm.

Notes (5.7)

Form of composition and medium of performance (5.7B1 + LCRI) If the musical form is not apparent from the rest of the

description, make a brief 500 note. Name the medium of performance unless it is readily

understood from the rest of the description. Examples:

500 ## $a Opera in two acts. 500 ## $a For voice and piano. 500 ## $a Arr. for guitar. 500 ## $a For solo voices (SATB), chorus (SSATB), and orchestra.

You may also record the medium of performance in coded form in the 048.

Notes (5.7)

You

Notes (5.7)

Language (5.7B2) Give the language of the textual content

(sung or spoken only; not accompanying historical or critical text) of the work in a 546 note (if not apparent from the rest of the description).

Language of accompanying material goes in a 500 note.

Record language details in an 041.

Notes (5.7)

Examples: 041 0# $a fre $a eng

546 ## $a French and English words. 041 1# $a lat $e eng $h lat $g eng $g ger $g

fre546 ## $a Latin words, English translation on p. v-xxii.500 ## $a Includes pref. in English, German, and French.

Notes (5.7)

Notation (5.7B8) Give the notation used if it is not the

notation normally found in that type of item.

Examples: 500 ## $a Graphic notation. 500 ## $a Modern staff notation.

(For a work that would normally be in plainsong notation)

500 ## $a Includes guitar chord diagrams.

Notes (5.7)

Duration (5.7B10 + LCRI) Give the duration of performance (if stated

on the item) in a 500 note (English) and a 306 field (coded).

Examples: 306 ## $a 001800

500 ## $a Duration: 18:00. 306 ## $a 011000

500 ## $a Duration: ca. 1:10:00.

Notes (5.7)

Contents (5.7B18 + LCRI) For musical anthologies, having (at least) keyword

access to the titles is very important. If the works in a collection are all in the same form

(named in the title proper), do not repeat the form in the contents.

Examples: 505 0# $a Komm Heiliger Geist, Herre Gott = Come, O Holy

Ghost, God and Lord / by Lucas Osiander ; text by Lucas Osiander – Psalm 121 / by Heinrich Schütz ; freely translated by Cornelius Becker.

505 0# $a v. 1. No. 1 (op. 1, no. 1b) E minor. No. 2 (op. 1, no. 2) G minor. No. 3 (op. 1, no. 5) G major. No. 4 (op. 1, no. 7) C major – v. 2. No. 5 (op. 1, no. 11) F major. No. 6 (op. 1, no. 9) B minor. No. 7 (op. 1, no. 4) A minor. No. 8, A minor.

Choice of Access Points (21)

Arrangements, transcriptions, etc. (21.18B + LCRI) Usually entered under the composer of the original. Added entry for the arranger or transcriber.

Adaptations (21.18C + LCRI) These types of adaptations are entered under the

composer for the adaptation: A distinct alteration of another work (e.g., a free

transcription) A paraphrase of various works or the general style of

another composer A work merely based on other music (e.g., variations on a

theme)

Choice of Access Points (21)

Make either a name-title added entry for the related work or a name added entry under the related composer.

Musical Works That Include Words (21.19) Enter a musical work that includes words

under the heading for the composer. Make added entries for the writers of the

words. If the words are based on another text, make

name-title added entries for the original.

Choice of Access Points (21)

Titles (21.30J + LCRI, 246) When a title begins with a cardinal number

that is not an integral part of the title, make an added entry under the title with the number omitted. Example: 245 10 $a 3 romances sans paroles : $b pour

piano, op. 17 / $c par Gabriel Fauré. 246 3# $a Trois romances sans paroles 246 30 $a Romances sans paroles

Choice of Access Points (21)

When a title begins with an ordinal number that is not an integral part of the title, make only an added entry under the title with the number omitted. Example: 245 10 $a 3a suite brasileira : $b sobre têmas

originais, para piano = 3rd Brazilian suite : about originals [sic] themes / $c Lorenzo Fernandez

246 30 $a Suite brasileira 246 31 $a Brazilian suite

Choice of Access Points (21)

Analytical entries (21.30M + LCRI) To the extent that it is feasible, add

analytical uniform title entries when you have a collection or anthology.

Follow the rules for creating uniform titles for music (to be covered later).