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Introduction to Tagging: Scores and Sound Recordings

Introduction to Tagging: Scores and Sound Recordings

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Published by Steve Wright

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Published by: Steve Wright on Nov 03, 2011
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05/24/2012

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Introduction to Tagging: Scores and Sound RecordingsPage 2
Introduction
 
What this workshop is:
 This is an introduction to tagging scores and sound recordings. We will review the mostimportant tags that apply to scores and sound recordings, either the tags unique to suchmaterials (028, 033, etc.) or having a unique application to such items (245, 300, etc.). As wediscuss these tags, we will also discuss the relevant aspects of AACR2. We will do a numberof exercises involving application of the tags, working from actual items or from printedcatalog copy.At the conclusion of this workshop, you will have sufficient familiarity with the scores andsound recordings MARC formats to enable you to work comfortably with OCLC catalogingcopy or tag printed cataloging copy.
What this workshop is not:
This is not an original music cataloging workshop. You will not be prepared to do originalcataloging of scores or sound recordings.
What is in this handout:
 This handout is a summary of all of the information that will be presented in today’sworkshop; I am distributing it so that you can avoid taking detailed notes and simply listen.Much of this information can also be found in OCLC’s
 Bibliographic Formats and Standards
 (2nd ed.). However, the OCLC document is quite complex, as it must cover everyconceivable situation, and it presents all information with the same amount of emphasis. Inthis workshop, as well as in this handout, I emphasize only the tags that have specialapplications to scores and sound recordings, and show how they are typically used in mostcataloging situations.
How you can learn more:
 The book 
 Music Coding and Tagging
by Jay Weitz (Lake Crystal, Minn.: Soldier Creek Press, 1990) is the authoritative work on MARC tagging of music materials. It containsmuch information that is not in the OCLC format documents.
 
Introduction to Tagging: Scores and Sound RecordingsPage 3
What are scores and sound recordings?
 
Scores
 The AACR2 Glossary defines a
score
as "a series of staves on which all the differentinstrumental and/or vocal parts of a musical work are written, one under the other in verticalalignment, so that the parts may be read simultaneously." This rather restrictive definitionapplies primarily to the use of the word "score" in the physical description area of the catalogrecord. Not everything cataloged in the scores format is a "score" in the literal AACR2 sense.In a more generic, everyday sense, the word "score" is generally interpreted to mean "printedmusic," though manuscript music should also be cataloged in the scores format. A "methodbook" (i.e., how to play an instrument) should also be cataloged in the scores format, unless itis primarily text.The chief source of information for a score is the title page, though information from thecaption (the first page of music) and cover may also be used. (A "cover" must be made of different or thicker material; otherwise it is a title page.)
Sound Recordings
 The AACR2 Glossary defines
sound recording
as "a recording on which sound vibrationshave been registered by mechanical or electrical means so that the sound may be reproduced."Sound recordings can be
analog
(in which the sound waves are recorded in a medium that is
analogous
to the pattern of the original sound waves, such as a groove on an LP or themagnetic field of a tape) or
digital
(in which sound waves are recorded as a sequence of individual
digits
).CDs (compact discs), LPs (analog discs), and audiocassettes are the predominant formats;some libraries may have open-reel tapes. 8-track tapes, Edison cylinders, wire recordings,and player piano rolls also qualify as sound recordings, though they are now rare.The chief source of information for a recording is the item itself--the label of an LP, theprinted information on a cassette, or the "label" side of a compact disc.

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