Introduction To Tagging: Scores and Sound Recordings

Introduction to Tagging: Scores and Sound Recordings
H. Stephen Wright Music Librarian Northern Illinois University

Revised September 1996
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Introduction
What this workshop is: This is an introduction to tagging scores and sound recordings. We will review the most important tags that apply to scores and sound recordings, either the tags unique to such materials (028, 033, etc.) or having a unique application to such items (245, 300, etc.). As we discuss these tags, we will also discuss the relevant aspects of AACR2. We will do a number of exercises involving application of the tags, working from actual items or from printed catalog copy. At the conclusion of this workshop, you will have sufficient familiarity with the scores and sound recordings MARC formats to enable you to work comfortably with OCLC cataloging copy 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 original cataloging 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 todays workshop; I am distributing it so that you can avoid taking detailed notes and simply listen. Much of this information can also be found in OCLCs Bibliographic Formats and Standards (2nd ed.). However, the OCLC document is quite complex, as it must cover every conceivable situation, and it presents all information with the same amount of emphasis. In this workshop, as well as in this handout, I emphasize only the tags that have special applications to scores and sound recordings, and show how they are typically used in most cataloging 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 contains much information that is not in the OCLC format documents.
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What are scores and sound recordings?

Scores The AACR2 Glossary defines a score as "a series of staves on which all the different instrumental and/or vocal parts of a musical work are written, one under the other in vertical alignment, so that the parts may be read simultaneously." This rather restrictive definition applies primarily to the use of the word "score" in the physical description area of the catalog record. 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 "printed music," though manuscript music should also be cataloged in the scores format. A "method book" (i.e., how to play an instrument) should also be cataloged in the scores format, unless it is primarily text. The chief source of information for a score is the title page, though information from the caption (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 vibrations have 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 the magnetic 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, the printed information on a cassette, or the "label" side of a compact disc.
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Hints on finding cataloging copy on OCLC

Music number search mn: with 1-2 letters and 1-10 digits. Example: Warner Bros. BSK 3208 -- search as mn:bs3208^ This should be the first search attempted, and its always a good idea to use the circumflex. For recordings, remember to try first the number from the item itself (the LP label, the cassette label or housing, or the "label" side of the CD), as it may be different from the number on the container. For scores, look for a number on the front or back cover, title page, the bottom of the first page or music, or at the bottom of every page. Author and author/title search keys Always use the date and format (sco and rec) qualifiers. For recordings of very common works (such as Beethoven symphonies), try searching performer names in conjunction with titles or composer names, or just search performers. For example, if you are searching a recording of Brahmss Symphony no. 4 conducted by Leonard Bernstein and published in 1965, try the following search: bern,symp/rec/1965 There are innumerable recordings of Brahms symphonies, but it is unlikely that more than one or two such recordings published in 1965 were conducted by Bernstein. Scan title browse This is most helpful when searching scores of "standard" musical works published in many different editions, as you can distinguish between minor variations in title page wording. For example, there are countless editions of Beethovens piano sonatas, but there are usually subtle differences in the transcribed (title-page) titles that will show up in the scan title index.
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Fixed Fields
This handout only mentions the fixed field tags that have a particular application to scores and sound recordings. The other fixed field tags are applied in the same way as other kinds of material. Type (c, j, i) c printed music (this code is used even if the printed music being cataloged is not really a "score" by the AACR2 definition) musical sound recordings non-musical sound recordings (speeches, books on tape, sound effects, etc.)
j i Lang
For instrumental music, use N/A regardless of languages on the cover, title page, or container. A language should be named here only if the music or recording contains sung or spoken words. FMus (Format of music) Scores (See Appendix 4 for examples of each of these) a b Full score Miniature or study size full score These are typically 18-23 centimeters; they are sometimes called "pocket scores" by publishers. c Reduced accompaniment This includes vocal scores (sometimes called "piano-vocal scores) of operas or musicals, or arrangements (reductions) for solo instrument and piano of works originally for solo instrument and orchestra, such as concertos.
Page 6 d Voice score
A score in which only the voices are notated, with accompanying instruments omitted. This is not the same as a cappella vocal works which have no instrumental accompaniment. Voice scores are rather rare in library situations. e Condensed score These are usually 2 or 3 staves, with instrumental cues (verbal indications of what instruments are doing what). They are most common in band music, and do not appear often in libraries. g Close score Hymnals are close scores. m Multiple formats This would be used if the "package" contains two or more alternative formats of the work, each of which could be used without the other--for example, band music sets will often contain both full and condensed scores. Scores found in libraries are rarely in multiple formats. A score issued with one or more parts is not a multiple format; use only the code that applies to the score. u z Unknown Music in other than score form Music for a solo, unaccompanied instrument is always coded as z. Avant-garde contemporary works with graphic notation, or works consisting only of performance instructions (such as John Cages 433") are also coded z. Sound Recordings n Not applicable (not printed music); the code is system-supplied.
AccM (Accompanying matter) Accompanying matter must be something "substantial or unique [which] could not be found in a standard reference work."
Page 7 Scores
This is most typically coded "blank" for scores. The major exception is contemporary scores that include performance instructions (such as explanations of unusual symbols). Sound Recordings Be conservative in applying these codes to sound recordings. The program notes found on the containers or accompanying booklets of commonly known classical works are usually not "substantial or unique." The most typical codes used are "d" (libretto, included with most opera recordings), "e" (composer/author biography), "f" (performer biography), "h" (technical or analytical information), and "i" (historical information). Use "s" only if a score is included (for example, a Music Minus One recording). Comp (Form of composition) This code represents the genre (such as folk music or popular music) or musical form (such as symphonies or concertos). You can often determine the correct code by examining the uniform titles, description, or subject headings. If more than one type of composition is present on a recording, and at least two of the listed codes besides "uu" and "zz" could apply, code this fixed field "mu" and use 047. Do not use "mu" if there is only one type of composition present with a listed code; in such cases, put the one known code in the "Comp" fixed field, and do not use 047. LTxt (Literary text for sound recordings) Scores: always n Sound recordings: always "blank" for music; use other codes as needed for spoken recordings. DtSt and Dates It is often difficult to determine the exact date of a sound recording (especially older, undated LPs and CD reissues of LP recordings). Keep in mind that compact discs were not available in the United States prior to 1983, so a pre-1983 date found on a CD should never be used alone. Use code "r" in the "DtSt" field
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Introduction to Tagging: Scores and Sound Recordings and put the CDs actual issue date in Date 1, and the date of the original issue in Date 2. If the reissue date is unknown, supply a conjectural date: DtSt: r 260 Dates: 1992,1967 New York : =b CBS, =c [1992], p1967. | |
If one or more digits are missing from your conjectural date, use "u" as necessary. DtSt: r 260 Dates: 199u,1972 London : =b EMI, =c [199-?], p1972. | |
See Appendix 1 for a reprint of an article from the MOUG Newsletter containing guidance from Jay Weitz. Scores of standard classical works often lack publication dates, and extremely vague conjectural dates must be used, such as [19--?]. Use code "s" in "DtSt" and "u" in the "Dates" field for the missing digits.
Field 006
This field, which is optional, can be used to code the characteristics of accompanying material. Some possible applications in score and sound recording cataloging include: ! ! ! ! A sound recording with an accompanying score (Music Minus One recordings or karaoke recordings) A music recording on compact disc that can also be used in a computer with a CDROM drive (such as the soundtrack album for Nixon) A sound recording issued serially (such as the compact discs issued by the Society of Composers or other organizations) A book with an accompanying compact disc (such as Planet Drum by Mickey Hart)
Catalog the item using the format for whatever the predominant format is (you may have to use your own judgement in deciding what format predominates), and code the 006 for the accompanying material.
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Field 007 Physical Description Fixed Field (Sound recordings only)

This field appears to be very complicated; however, there are only a few combinations that are typically used. Stereo LPs (Analog discs) s |b d |d b |e s |f m |g e |h n |i n |n e = = = = = = = = If recording is not stereo, |e will be m (mono) or u (unknown). = You cannot designate a recording "stereo" or "mono" unless the appropriate word appears somewhere on the item; if no indication can be found, use code u in =e. | The last subfield, |n, will be coded "e" (analog electrical storage) for most LPs. Some LPs = issued in the 1980s bear the word "Digital," indicating that digital technology was used in the original recording session (though the item in hand is not actually digital); such items should be coded "d" in |n. = Stereo Cassette s |b s |d l |e s |f n |g j |h l |i c |m c |n e = = = = = = = = = If the cassette is not stereo, |e will be m (mono) or u (unknown). = If it is not Dolby processed (indicated on the item by the word "Dolby" or the Dolby symbol, which looks like a sideways hourglass), do not include |m at all. = Stereo Compact Discs s |b d |d f |e s |f n |g g |h n |i n |k m |m e |n d = = = = = = = = = = If the CD is not stereo, |e will be m (mono) or u (unknown). =
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If the CD was not originally recorded digitally =n will be e. This can be determined by | examining the first value in the "SPARS code," which appears on many CDs and looks something like this: A D D
The first box of the SPARS code indicates whether analog (A) or digital (D) equipment was used at the original session. (The second box indicates whether analog or digital equipment was used for mixing and editing, and the third box indicates the format of the item in hand.) OCLC's Bibliographic Formats and Standards says that subfield =k is "archival use only," | but all of their CD examples (and Jay Weitz's book, Music Coding and Tagging) include it. An additional note: LC MARC records for sound recordings often have codes in the 007 field that are not consistent with the examples in OCLC's Bibliographic Formats and Standards. This is because LC has not yet implemented all of the available codes in their own system. When using LC MARC records for copy cataloging, you can change the codes to the preferred values, or you can leave them alone (which will probably have no harmful effect on your local online system).
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Field 024 Standard Recording Number (Sound recordings only)

Use this field for the numbers that appear as part of the UPC (Universal Product Code), the same barcode that appears on virtually all retail goods packaging. Use first indicator "1" and omit all hyphens and spaces, as well as the smaller digits at the beginning and end. For example, the following UPC code --
--would be input as: 024 1b 1234567890 / European recordings have similar codes with more than ten digits; do not input such numbers here. Field 024 should also be used for the International Standard Music Number, which is sometimes found on recently published scores. Use the first indicator 2 and omit all hyphens and spaces from the ISMN.
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Field 028 Publishers Number for Music

Scores These are generally either plate numbers (which appear at the bottom of each page of music) or publishers numbers, which may be almost anywhere on the item (typically on the front or back cover). The first indicator value for scores can be either "2" for a plate number or "3" for a publishers number. The second indicator can be set to print notes or added entries as necessary. The most common approach is to use second indicator "2" to generate the note required by AACR2, while suppressing an added entry. For example, a score published by Schott with the plate number 1137 would be input as: 028 22 1137 |b Schott =
and would generate the following as the last note: Pl. no.: 1137. If a score has both plate and publisher numbers, transcribe the plate number first in the first 028 field, then transcribe the publishers number in the second 028. Use second indicator 0 to suppress generation of notes, and make two explicit 500 notes: 028 20 028 30 500 // bb 500 // bb 2833 |b G. Schirmer = 355 |b G. Schirmer = Pl. no.: 2833. Publishers no.: 355.
If the score and part have different numbers, make two 028 fields and a single 500 note. For other kinds of multiple numbers (i.e., multivolume sets with different and/or consecutive numbers), apply the guidelines given below for sound recordings. ILLINET Online produces only an added entry, and no note, from this field regardless of indicator value. The primary purpose of 028 is retrieval; generating a note is secondary. You will sometimes see RLIN tapeload records in OCLC that have subfield |b before |a. Do = = not worry about this; it is indexed and generates notes in the same way.
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Sound Recordings These may be issue numbers (the manufacturers catalog number, found on the label and/or container) or matrix numbers (found inscribed on discs themselves and used to identify the master disc for the recording). A matrix number is generally ignored unless it is the only number available. The possible first indicator values are 0 (recording issue number) or 1 (recording matrix number). As with scores, the second indicator generates notes and added entries. Many libraries refrain from producing added entries for sound recording issue numbers, though some do it as an acquisitions aid. There are essentially five different numbering situations encountered in sound recording cataloging; these are described below. OCLCs Bibliographic Formats and Standards has excellent examples of each situation. Single number Example: An Angel recording bearing the issue number S 22890 would be input as 028 02 S 22890 |b Angel =
and would generate the following as the first note: Angel: S 22890. Variant number (i.e., one number on the item, a different number on the container) Make two 028 fields, with second indicator set to suppress note printing; then make a 500 note: 028 00 028 00 500 // bb 7-35422 |b EMI = 35422 |b EMI = EMI: 7-35422 (on container: 35422).
Consecutive multiple numbers (i.e., increments of one in the last position) Use a single 028 field, with first and last numbers separated by two hyphens: 028 02 ML 23461--ML 23462 =b Columbia |
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Introduction to Tagging: Scores and Sound Recordings If numbers are consecutive by increments of ten or more, use separate 028 fields. Note that the second indicator should be set to suppress note printing. Make a 500 note (with two hyphens to show the "consecutive-ness"). 028 00 028 00 500 bb // MS 6050 =b Columbia | MS 6060 =b Columbia | Columbia: MS 6050--MS6060.
Nonconsecutive multiple numbers Make separate 028 fields; set the second indicator to suppress note printing. Also make a 500 note done with commas: 028 00 028 00 500 bb // S 63672 =b Angel | S 63675 =b Angel | Angel: S 63672, S 63675.
Alternatively, make one 028 with commas (this method is not preferred): 028 02 S 63672, S 63675 =b Angel |
Set number with consecutive component numbers Make one 028 field: 028 02 CDZ 7 48402 2 (CD 51455--CD 51456) =b EMI |
You can also make separate 028s for the individual component numbers. Set number with nonconsecutive component numbers Make a single 028 field covering all the numbers; you can also add additional 028 fields for the individual component numbers: 028 02 028 00 028 00 028 00 M3 31267 (MS 6712, MS 6872, MS 7124) =b | Columbia MS 6712 =b Columbia | MS 6872 =b Columbia | MS 7124 =b Columbia |
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Field 033 Date and place of capture (Sound recordings only)

If the recording contains some information about the recording sessions (i.e. "Recorded Jan. 21, 1977 at Abbey Road Studios, London") that information should be coded here. The |b and |c = = subfields are taken from the Library of Congress G schedule. This field can be difficult to code; refer to Appendix 2 for a list of some of the typical places where classical recordings are made and their corresponding codes. If you have a 033 field, there should also be a 518 note (giving the same information verbally), and vice versa. For example: 033 20 518 bb // 19910503 =a 19910504 =b 3804 =c N4 | | | Recorded May 3-4, 1991 in New York.
Field 041 Languages

Use this only when more than one language is present somewhere in the item: (1) the sung or spoken text is multilingual or a translation, and/or (2) there is a libretto, summary or accompanying material in a different language or with a translation. This field has a subfield |g for indicating language of accompanying material other than libretti, but = this is typically not used with instrumental music unless the accompanying material is in more than one language. For example, if a recording of a Beethoven symphony has program notes only in German without translations, the Fixed Field code Lang would be N/A and there would be no 041 field.
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Field 043 Geographic Area Codes

This field is used only for folk or ethnic music, or for spoken recordings that have some geographic emphasis.
Field 045 Time Period of Content

This field is used to code the dates of composition of the works included in the item. This can be done two ways: in subfield a as a rather nonspecific code covering a minimum of one decade: 045 x6x7
[indicates 1960-1979] . . . or as a more specific formatted code: 045 2 | =b d1845 =b d1851 |
[indicates 1845-1851] The first approach is usually the easiest (especially for recordings with more than one work). If the program notes on the recording provide the date or approximate date of composition, code using whichever method seems most appropriate. You can base this on the composers birth and death dates, but that produces a code that is extrememly vague; and many catalogers avoid this. Reference sources can also be used, though experienced music catalogers do not spend much time researching such information. In other words, if the information is not readily available, you can omit the field. It is optional, and the Library of Congress does not code it anymore.
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Field 047 Form of Composition

Use this field only when the fixed field "Comp" is "mu". The same codes apply (except "zz" and "uu," which should not be used here). The Library of Congress no longer uses this field.
Field 048 Number of Instruments or Voices

Put codes in consecutive |a subfields, in the order in which they are given in the item. Each code is = followed by the number of performers on that instrument or voice. A work for solo piano: 048 bb // ka01
A work for two clarinets: 048 bb // wc02
This field is repeatable and each combination of instruments/voices goes is a separate 048: A string quartet (two violins, one viola, and one violoncello): 048 bb // sa02 =a sb01 =a sc01 | |
However, the numerals are not used for large ensembles: A work for orchestra (such as a symphony): 048 bb // oa
Use |b when soloists are present: = A work for solo piano and orchestra (i.e., a piano concerto): 048 bb // | =b ka01 =a oa |
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Do not use this field for operas, folk music, hymnals or school songbooks. Do not use it for spoken word recordings. The Library of Congress no longer codes this field.
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Field 240 Uniform Title

The indicators should always be 10. You want the uniform title to print on your cards and/or display (theres no point in having a uniform title if you dont) and you cant get a title added entry out if it in any case. Most libraries get it printed on cards regardless of indicator value (due to their OCLC card profile). The uniform title should never have an initial article (such as "The" or "Die"), so the nonfiling indicator will always be 0. The subfields used for music are: a n title number(s), i.e. "no. 5"; serial and opus numbers are almost always subfielded together part of work (i.e., an excerpt from a longer work) language (if the item is a translation) date of edition (rarely used) form subheading, i.e. "Selections" version, i.e. "Vocal score" medium of performance, i.e. "piano," "clarinet, piano," "tubas (4)," etc. arrangement statement, i.e. "arr." (with no space before preceding semicolon) key, i.e. "C major" GMD (usually this goes in 245, but does appear here in pre-AACR2 sound recording cataloging)
p l f k s m o r h
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Field 245 Title Statement

For music materials, the first indicator should generally be 0 if the title of the work is the name of a musical form or type of composition (Symphony, Sonata, Prelude, etc.). Most libraries do not want to trace titles like this in their catalogs because they are virtually meaningless alone. However, some catalogers disagree and trace them anyway; this is essentially a local decision. If you arent sure if something is a generic title, consult a reference source such as New Harvard Dictionary of Music. The Music Library Association publishes a list of terms used as the names of types of compositions; see the Bibliography for details. 245 is keyword-accessible in ILLINET Online regardless of indicator value. If the item has a generic title, such as Symphony no. 5 in C minor, op. 57, then all of it goes in a single subfield |a: = 245 00 Symphony no. 5 in C minor, op. 57 / =c | Beethoven.
If the title is distinctive (such as The Magic Flute), then additional elements (such as opus numbers, etc.), go in subfield =b: | 245 14 The magic flute : =b an opera in two acts / =c | | Wolfgang Amadeus Mozart.
If the item being tagged contains more than one work and has no collective title, the first title goes in = |a and subsequent titles go in =b. (This is a change from previous coding practice, in which all titles | went into a single =a.) | 245 10 Images ; =b Jeux ; and, The martyrdom of St. | Sebastian / =c Claude Debussy. |
GMD placement (sound recordings only): Prior to the 1993 amendments to AACR2, the rules for placement of the GMD were rather complicated in cases where a sound recording contained more than one work and did not have a collective title; thus you will see what appear to be inconsistencies in GMD placement in existing OCLC copy for sound recordings. The current rule is very simple: the GMD always goes after the first title proper. If there are several works listed (separated by semicolons), the GMD goes after the first title in the series.
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Field 246 Varying Form of Title

Appying field 246 to music materials can be very confusing. The most important thing to remember is that 246 should be used only for variant titles that apply to the entire item, not to parts of the item. If a title being traced applies to only one work in an item containing more than one work, use 740 instead of 246. As with field 245, you should avoid generating added entries from 246 titles that are generic in nature (i.e., "Symphony," "Sonata," etc.). The most common applications of field 246 are container, cover, or caption titles, parallel titles, and titles beginning with numerals. 245 10 246 3b / 246 3b / 245 10 246 30 245 10 246 31 245 02 246 1b / 245 10 246 14 Five episodes : |b for string quintet / |c Tom = = Svatos. 5 episodes Episodes Citizen Kane =h [sound recording] : =b the | | classic film scores of Bernard Herrmann. Classic film scores of Bernard Herrmann Musik fr Blechblser =h [sound recording] = =b | | Music for brass. Music for brass A Treasury of the classical organ =h [sound | recording] | =i Title on container: =a Treasury of organ | classics Clarinet duets / =c Mozart ; arr. by William | Tobias. Duets for clarinet
[note prints as: Cover title: Duets for clarinet.]
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When an item contains several works and lacks a collective title, and the title consists of a string of titles proper with no intervening information between them (i.e., other title information or statements of reponsibility), the Library of Congress creates a traced 246 for the "strung-together" version of the title: 245 14 246 3b / 740 02 740 42 Images =h [sound recording] ; =b Jeux ; and, | | The martyrdom of St. Sebastian / =c Claude | Debussy. Images ; Jeux ; and, The martyrdom of St. Sebastian Jeux. The martyrdom of St. Sebastian.
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Field 250 Edition Statement

The only musical peculiarity to this area is that statements giving the range of a vocal edition (i.e., "High voice") go here.
Field 254 Musical Presentation Area (Scores only)

This area is for statements relating to the "packaging" of the score you have; in other words, the format of the edition in hand in contrast to the format of other available or possible editions. Some examples are: Score Full score Score and parts Miniature score Parts and their foreign language equivalents: Partitur (German) Partitura (Italian) Partition de poche (French) Stimmen (German) The major exception is any term or phrase implying an arrangement, i.e. "Vocal score," "Piano-vocal score," "Piano score," "Reduction for violin and piano," etc. These go in the 245 statement of responsibility area, even if there is no named arranger.
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Field 300 Physical Description

Scores Remember that not all items cataloged in the scores format are literally "scores"--music for a solo instrument, or items in graphic or other unconventional notation are described simply as "music" (i.e., "6 p. of music" would be used for a six-page work for solo piano). Sound Recordings For sound recordings, remember that "analog" or "digital" must always be included, and that "stereo." is an abbreviation. You do not need to indicate playing speed for CDs or cassettes. The examples in Bibliographic Formats and Standards all have durations, but many libraries follow LC practice, which is to not indicate a total duration unless there is one provided on the item. You can, of course, add up the separate durations yourself (some CD players will do this for you); however, using "ca." or timing the recording yourself are usually avoided. The booklets that are inserted in CD jewel boxes are usually not mentioned in field 300; if they are mentioned in the description at all, it is usually in a 500 note.
Field 306 Durations

This includes durations of entire works (not individual movements of works), in successive |a = subfields, in the format HHMMSS: 306 bb // 014123
[for a work lasting 1 hour, 41 minutes, and 23 seconds] If there are more than six durations, field 306 is usually omitted.
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Note Fields
Most notes will go in 500 fields. The major exceptions are: 511 (Participant or Performer) Performers are listed in this field (unless combined with a contents note); be sure to code first indicator "0" for music. 518 (Date/Time and Place of an Event) Detals on the recording session are included here. If you use this note field, there should also be an 033 field containing the same information in coded form. 505 (Contents) First indicator will be 0 in virtually all cases. The note should be "formatted," i.e., with spacing and punctuation somewhat analogous to that used in field 245. 505 0b / Festive overture / Shostakovich ; arr. Hunsberger -- The seventh seal / McBeth -Chorale and alleluia / Hanson.
Notes giving a more general idea of contents go in field 500: 500 bb // Includes works by Beethoven and Schubert.
It is common to also include performer names (for recordings of various works performed by various people) and durations: 505 0b / The sea hawk. Main title / Erich Wolfgang Korngold (Utah Symphony Orchestra ; Varujan Kojian, conductor) (1:55) -- Peyton Place. Suite / Franz Waxman (Queensland Symphony Orchestra ; Richard Mills, conductor) (9:37) -Ben Hur. Overture / Miklos Rozsa (Nuremberg Symphony Orchestra ; Elmer Bernstein, conductor) (8:45).
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You can also create an "enhanced contents note" using subfields =t (title), =r (statement of | | responsibility), and =g (miscellaneous information, such as timings). Use the second indicator | 0. 505 00 | =t The sea hawk. Main title / =r Erich | Wolfgang Korngold (Utah Symphony Orchestra ; Varujan Kojian, conductor) =g (1:55) -- =t | | Peyton Place. Suite / =r Franz Waxman | (Queensland Symphony Orchestra ; Richard Mills, conductor) =g (9:37) -- =t Ben Hur. Overture / | | | =r Miklos Rozsa (Nuremberg Symphony Orchestra ; Elmer Bernstein, conductor) =g (8:45). |
501 ("With" note) This should only be used if you follow the old procedure of making a separate bibliographic record for each work on a recording. ILLINET Online allows such record structure, but many systems do not, and thus many older items are represented in OCLC both ways. LC no longer follows this procedure and virtually all libraries have done likewise. Some catalogers mistakenly use this as a contents note; if you have a 501 field, there must be at least one other bibliographic record.
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Added Entry Fields

650 (LC Subject Headings) There is a separate compilation of music subject headings available, Music Subject Headings by Bratcher and Smith, published by Soldier Creek Press. This is very convenient to use, but is already quite a bit out of date; there have been some major changes in music headings, especially for jazz and musical comedy, and many hyphenated headings have been changed. It is wise to verify your headings in OCLC or a current copy of the "red books." The subdivision "--To 1800" seen on much old music cataloging copy is now obsolete. 700 (Personal Name Added Entry) Name-only added entries (for performers, editors, and the like) go first; then name-title analytic entries. Be sure to use second indicator 2 for name-title analytic entries. The subfield tags for the title portions of analytics are essentially the same as in field 240 (uniform title). Use |4 (relator codes) for performers on sound recordings. The most common codes are = prf cnd lbt arr performer conductor librettist (used for scores and recordings of operas) arranger
The codes "itr" (instrumentalist), "cmp" (composer), and "voc" (vocalist) are not used by LC and should be avoided. In sound recording cataloging, many catalogers include the date (|f) at the end of each = name-title analytic entry. This is used primarily as a filing device and is optional. You may want to avoid them, as they can wreak havoc with online catalog authority files. GMDs are generally omitted from analytics; some libraries include them, though they too can cause problems with some authority files.
Page 28 710 (Corporate added entry)
Added entries for performing organizations (such as orchestras) go here; use the "|4 prf" = relator code. 740 (Uncontrolled related/analytical title) Many music catalogers do not make title added entries for musical works mentioned only in contents notes and name-title analytic entries; however, it is perfectly allowable (except in cases where the title is a generic one such as "Symphony no. 5" or "Sonata, op. 32"). Remember that 740 should be used instead of 246 to trace analytic titles (titles that only apply to part of the item, such as a work on a recording containing several works): 245 14 246 3b / 740 02 740 42 Images =h [sound recording] ; =b Jeux ; and, | | The martyrdom of St. Sebastian / =c Claude | Debussy. Images ; Jeux ; and, The martyrdom of St. Sebastian Jeux. The martyrdom of St. Sebastian.
Page 29
Appendix 1 Problems Coding the "DtSt" and "Dates" Fields for Sound Recordings: Some Excerpts from Jay Weitzs "Questions and Answers" Column in the Music OCLC Users Group Newsletter
Question: I often find Date Type/Dates Fixed Field errors in the OLUC. Is there any way to encourage people to code them correctly, especially since incorrect dates can hinder access to items? Answer: These fixed field elements are among the most confusing in the MARC format. The situation is not helped by compact discs that carry only the date of their original recording release while giving no hint of the date of release in CD format. I wish there were some rule of thumb that could apply to every situation, but I havent found one yet. Since CDs seem to cause the most trouble these days, you might want to try and see if this helps. Consider all the dates found on the item, whether on the CD itself, the container, or the accompanying material, keeping in mind that the disc and label are the chief source of information. Remember also that CDs became commercially available in Japan in October 1982, in Europe in February 1983, and in the U.S. in March 1983. Use AACR2R 1.4F and 6.4F and their rule interpretations to determine the most reasonable date or set of dates. For CDs, its useful to recall that "c" copyright dates will usually refer to the printed material or artwork accompanying the disc; this date may be used to help estimate a publication or release date. A phonogram or "p" date is the copyright date of the recorded sound; if it predates the commercial availability of CDs, it obviously cannot be the publication or release date of the CD. In such cases, an approximate release date must be formulated using one of the various options outlined in 1.4F. -- from No. 47 (April 1991), page 7 Question: how would you describe, in field 260 $c, a compact disc that has: 1) A "p1962" copyright date on the disc itself, 2) a "c1982" copyright date on the back of the container, and 3) "Consists of previously released material" on the back of the container? Bearing in mind that no compact discs were published in the U.S. prior to 1983, my answer would be: "[between 1983 and 1990], p1962." I considered "[1983?], p1962" but was reluctant to infer a publication date from the "c1982." Using "[1982]" would clearly be incorrect. I am inclined to use something that is obviously not wrong rather than something that might or might not be exactly right. Answer: Your solution of "[between 1983 and 1990], p1962" (Date type: q; Dates: 1983, 1990) seems reasonable, assuming that the CD in question was published in the U.S. (CDs were available in Japan in October 1982, if my information is correct). The "[1983?], p1962" (Date type r; Dates: 1983,1962) idea is also acceptable, given what we know of CD history. Both that AACR2 question mark and the "between x and y" construction indicate uncertainty; choosing between the two is choosing the degree of uncertainty you feel comfortable with. But lets not turn AACR2 into a pop psychology book. Either is OK, though you may want to include some kind of note that details the available dates and their sources (6.7B9) to prevent confusion. Plus, "Consists of previously released material" makes for a dandy quoted note. -- from No. 48 (August 1991), pages 6-7 Question: The compact disc in question has no date on the label; on the back cover, it has the dates "p1986", as well as "c1979" and "c1987". Im pretty sure the "c1979" has to do with the recording date (February 26, 1979) and perhaps a release at that time. I also know that the "c1987" refers to the printed material. What Im not sure of are the dates for the fixed field and the imprint. Would an imprint of "[1987?], p1986" be correct? Answer: "[1987?, p1986]" is a possibility (with both dates in brackets, as neither is from the label), but Id opt for simply "[1987?" in the 260 $c since there is no date on the label itself and a multiplicity of other dates of uncertain meaning on the container. With 1979 identified as the date of capture, what the "p1986" actually represents is something of a mystery. Any or all of the dates on the item not mentioned in the 260 $c can always be cited in notes. Barring any explicit evidence of a previous release, Id give it a Date Type "p" with "1987,1979" in the FF Dates, "[1987?]" in 260 $c, and a 518 note on the capture date. -- from No. 49 (November 1991), page 8
Page 30
Appendix 2 Table for Field 033, Subfields =b and =c | |

1. To code for a country, state of the U.S. or province of Canada: enter in subfield =b the | digits preceding the slash. To code for a city or town: enter in subfield =b the first three digit plus the digit after the | slash; then cutter for the city or town in subfield =c. | Do not: a) use a cutter in subfield =c with a number in subfield =b that ends in 0 or 5; b) use | | a number in subfield =b that ends in 4 or 9 unless you also use subfield =c; c) attempt to | | subdivide by county, region, or other political or geographical subdivision than city or town on the basis of this table; d) code for an island from this table, unless its name appears here (for the last two cases go directly to the Class G tables).
East Germany 6060/4 ** Ecuador 5300/4 Egypt 8300/4 England 5750/4 (L7, London) Europe 5700 * Finland 6960/4 France 5830/4 Germany 6080 * ** Germany, East 6090/4 (B3, E. Berlin) ** Germany, West 6090/4 (B3, W. Berlin) ** Great Britain 5740 * Greece 6810/4 Holland 6000/4 Hungary 6500/4 Iceland 6930/4 India 7650/4 Ireland 5780/4 (D7, Dublin) Ireland, Northern 5790/4 Israel 7500/4 Italy 6710/4 (R7, Rome) Japan 7960/4 Mexico 4410/4 (M6, Mexico City) Northern Ireland 5790/4 Norway 6940/4
2.
3.
Albania 6830/4 Argentina 5350/4 Australia 8960/4 Austria 6490/4 (V4, Vienna) Belgium 6010/4 Bolivia 5320/4 Brazil 5400/4 Britain 5740 * Bulgaria 6890/4 Canada 3400 * Alberta 3500/4 British Columbia 3510/4 Manitoba 3480/4 New Brunswick 3430/4 Nova Scotia 3420/4 Ontario 3460/4 Pr. Edward Island 3440/4 Quebec 3450/4 Saskatchewan 3490/4 Chile 5330/4 China 5330/4 Columbia 5290/4 Cuba 4920/4 Czechoslovakia 6510/4 Denmark 6920/4 Netherlands 6000/4 New Zealand 9080/4
Page 31
Paraguay 5380/4 Peru 5310/4 Poland 6520/4 Portugal 6690/4 Puerto Rico 4970/4 Romania 6880/4 Russia 7000/4 (L4, Leningrad) Scotland 5770/4 Spain 6560/4 Sweden 6950/4 Switzerland 6040/4 Taiwan 7910/4 USSR 7000/4 (L4, Leningrad) United Kingdom 5740 * United States 3700 * Alabama 3970/4 Alaska 4370/4 Arizona 4330/4 Arkansas 4000/4 California 5360/4 (S5, San Francisco) Colorado 4310/4 (D4, Denver) Connecticut 3780/4 Delaware 3830/4 District of Columbia 3850/4 Florida 3930/4 Georgia 3920/4

Louisiana 4010/4 (N5, New Orleans) Maine 3730/4 Maryland 3840/4 Massachusetts 3760/4 Michigan 4110/4 Minnesota 4140/4 Mississippi 3980/4 Missouri 4160/4 Montana 4250/4 Nebraska 4190/4 Nevada 4350/4 New Hampshire 3740/4 New Jersey 3810/4 New Mexico 4320/4 New York 3800/4 (N4, New York City) North Carolina 3900/4 North Dakota 4170/4 Ohio 4080/4 Oklahoma 4020/4 Oregon 4290/4 Pennsylvania 3820/4 (P5, Philadelphia) Rhode Island 3770/4 South Carolina 3910/4 South Dakota 4180/4 Tennessee 3960/4 Texas 4030/4 Utah 4340/4
Hawaii 4380/4 Idaho 4270/4 Illinois 4100/4 Indiana 4090/4 Iowa 4150/4 Kansas 4200/4 Kentucky 3950/4 Vermont 3750/4 Virginia 3880/4 Washington 4280/4 West Virginia 3890/4 Wisconsin 4120/4 Wyoming 4260/4
Page 32
Uruguay 5370/4 Virgin Islands (U.S.) 5010/4 Wales 5760/4 West Germany 6295/9 ** Yugoslavia 6840/4
This number may not be subdivided by city; use the number for the province (e.g. Ontario), country (e.g. England) or state (e.g. New York) to subdivide. ** Germany: use 6080 for pre-partition Germany, or if E or W is unknown; for Berlin use 6299 B3 unless East Berlin is specifically intended. WORK NUMBER TABLES TABLE 1 - WORK NUMBERS AFTER INITIAL VOWELS for the second letter: b use number: 2 d 3 l,m 4 n 5 p 6 r 7 s,t 8 u-y 9
TABLE 2 - WORK NUMBERS AFTER INITIAL LETTER S for the second letter: a use number: 2 ch 3 e 4 h,i 5 m-p 6 t 7-8 u 9
TABLE 3 - WORK NUMBERS AFTER INITIAL LETTERS QU for the third letter: a use number: 3 e 4 i 5 o 6 r 7 y 9
TABLE 4 - WORK NUMBERS AFTER INITIAL CONSONANTS for the second letter: a use number: 3 e 4 i 5 o 6 r 7 u 8 y 9
TABLE 5 - WORK NUMBERS WHEN AN ADDITIONAL DIGIT IS PREFERRED for the third letter: a-d use number: 2* e-h 3 i-l 4 m n-q 5 6 r-t 7 u-w 8 x-z 9
(*optional for third letter a or b)
Page 33
Appendix 3 Reference Tools for Music Cataloging

In addition to AACR2 (1988 revision) and the Library of Congress Rule Interpretations, the following sources are helpful in music cataloging: Gamble, Betsy. Music Cataloging Decisions. Canton, Mass.: Music Library Association, 1992. ($24.00; Music Library Association, P.O. Box 487, Canton MA 02021) A compilation of policy decision from the Music Section of the Library of Congress Special Materials Cataloging Division. Music Cataloging Bulletin. (Monthly, $20.00/year; Music Library Association, P.O. Box 487, Canton MA 02021) Music Library Association Working Group on Types of Compositions. Report of the Working Group on Types of Compositions. [Bloomington, Ind.]: Music Library Association, [1992]. ($5.00; MLA Clearinghouse, c/o A. Ralph Papakhian, Music Library, Indiana University, Bloomington IN 47405) A list of form and genre terms used by composers, with guidance as to how to use them in uniform titles. Music OCLC Users Group. Newsletter. ($10.00/year for personal membership; $15.00/year for institutional membership; Chris Grandy, Treasurer, Music OCLC Users Group, Knight Library, University of Oregon, Eugene OR 97403-1299) Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge, Mass.: Harvard University Press, 1986. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan, 1980. Weidow, Judy. The Best of MOUG. 5th ed., rev. and expanded. Austin, Tex.: Music OCLC Users Group, 1994. ($10.00 [must be prepaid]; Judy Weidow, Cataloging S5453, The General Libraries, The University of Texas at Austin, P.O. Box P, Austin TX 78713-8916) A compilation of uniform titles from the Library of Congress name-authority file for ten prolific composers. It also includes English cross-references for the works of ten Slavic composers and special lists for Vivaldi. Weitz, Jay. Music Coding and Tagging: MARC Content Designation for Scores and Sound Recordings. Lake Crystal, Minn.: Soldier Creek Press, 1990. The authoritative work on tagging music materials.
Page 34
Appendix 4 Coding and Describing Different Types of Scores

FMus: a Full score; voices and/or instruments plus piano, if accompaniment was originally for piano 1 score
Field 300:
FMus: b Field 300:
Miniature or "pocket" scores 1 miniature score
FMus: c Field 300:
Orchestral accompaniment reduced for piano 1 score (for concertos and other works for solo instrument and orchestra) 1 vocal score (for operas and other choral/vocal works with orchestra)
FMus: d Field 300:
Voice score; instrumental accompaniment omitted 1 chorus score (or 1 score)
FMus: e Field 300:
Condensed score; reduced score; piano-conductor score 1 condensed score
FMus: g Field 300:
Hymnals 1 close score
FMus: z
Solo instrumental music (1 performer) without accompaniment; includes solo piano music ___ p. of music
Field 300:
Page 35 Full score (FMus: a)
Page 36 Full score (FMus: a)
Page 37 Miniature score (FMus: b)
Page 38
Reduction of orchestral (or other ensemble) accompaniment (FMus: c)
Page 39
Reduction of orchestral (or other ensemble) accompaniment (FMus: c)
Page 40 Voice score (FMus: d)
Page 41 Condensed score (FMus: e)
Page 42 Close score (FMus: g)
Page 43 Music in other than score form (FMus: z)
Page 44 Music in other than score form (FMus: z)

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Introduction to Tagging: Scores and Sound Recordings

H. Stephen Wright Music Librarian Northern Illinois University