Description of Sound Recordings

AACR2 Chapter 6 Chapter 6 covers sound recordings in all media –Discs - compact discs, vinyl, etc. –Tapes - cassettes, reel-to-reel, cartridge –Rolls – piano, organ, etc. –Sound recordings on film –Wires, cylinders Chief source: physical item and any label(s) on the item

Chief source of information Two or more chief sources of information (e.g. two labels on a disc) –Treat as a single chief source Collective title on accompanying textual material or container Treat as chief source Make note indicating source of title 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) Differences that do not justify a new record –Absence or presence of multiple publishers, distributors, etc. as long as one on the item matches one on the record or vice versa.

245: Title Chief source: Physical item and any label(s) on the item Transcribed from item in hand. May have one title or more than one title in the 245. May have subtitle. Must have a title—can be a person’s name, or a group’s name. If single title with no subtitle, title goes in $a –Titles for classical works: –$a is that part of title that identifies the work $b is remainder – $aSymphony no. 39 in E-flat, K. 543 $h [sound recording]

245 General material designation GMD is [sound recording] Follows title in $a Goes in $h No punctuation precedes left bracket

245 |b Subtitle Follows GMD Goes in $b Preceded by space : $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 $a Riders to the sea $h [sound recording] ; $b Household music ; Flos campi / $c Vaughan Williams

245 |c Statement of Responsibility Transcribed, if present on disc 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 $a Return of the bumpasaurus $h [sound recording] / $c Sir Mixalot.

245 |c Statement of Responsibility 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.

245 |c Statement of Responsibility If multiple titles with multiple composers, statement of responsibility follows title to which it applies. Next title and statement of responsibility go in $c $a Missa brevis|h[sound recording] ; $b Laudes organi / $c Kodály. Mass in E flat / Janácek.

246 field Use for titles that apply to item as a whole, e.g. –Portion of title –Subtitle –Parallel title –Title on the container – $a Imaginary landscapes Sh[sound recording] : $b new electronic music. – $a New electronic music

740 … Analytical Title For 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 740s for the titles in the 245 field subsequent to the first title $a Household music $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. 6.4D2 says to give this name as the publisher If hard to distinguish which is the trade name should consult Phonolog or Schwann to see how the publisher is listed there. Should 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. Should 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. Use the smaller label name, rather than a larger corporation. Hint: look for a logo. On item: Rhino p1992 Atlantic Recording Corp. Use Rhino in 260 |b

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., c2002) for a CD.

Example On disc: Wes bound / Lee Ritenour (p) & (c) $a Ritenour, Lee $a Wes bound $h [sound recording] / $c Lee Ritenour. 260 $a New York, NY : $b GRP Records, $c p1993.

Dates 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 A date on a compact disc earlier than 1982 could not be considered a publication date. A later date from a container or accompanying material may be more important.

Dates 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. 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 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 (see 1.4F5.) 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 On disc: The Oscar Peterson Big 6 at Montreux p1975 On insert: p1975 and c1997 Recorded July 16, 1975 … Remastering, 1997 ….

260 $c[1997], p1975. 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 (p1975) is allowed under optional addition.

Example 2 On disc: A sign of the times / Ted Farlow p1977 No other date anywhere (disc, container, insert).

Possible Cataloging 260 $c [1992?], p1977. –1992 surmised from date record was input on OCLC. In brackets, because supplied by cataloger. 260 $c [1992], p1977. –After finding 1992 on web, I removed the ?

300 Physical Description Compact disc: $a 1 sound disc (67 min., 30 sec.) : $b digital, stereo. ; $c 4 ¾ in. $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 Physical Description Cassette tape: $a 1 sound cassette (29 min.) : $b analog, Dolby processed. $a 2 sound cassettes : $b analog. If standard size, size is not included. Accompanying material May appear in 300 and/or in a 500 note. + $e 1 booklet. + $e 1 booklet (8 p.).

300 Physical Description 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) 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 For individual works without a collective title, durations are given in a 500 note. –500 $a Durations: 22 min. ; 25 min. ; 11 min. For individual works with a collective title, durations are given in the contents note (505) Statement of physical details of the recording Give the following, as appropriate, in this order –Type of recording –Playing speed –Groove characteristic (analog discs) 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) 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

Playing time Use MARC tag 306 to enter the duration of a sound recording. Use six character positions in $a. The six positions represent the duration of a work in hours, minutes, and seconds. Use field 500 to enter duration information as a note. A record may have a 306 and a 500 duration note. First and second positions are for number of hours. The third and fourth positions are for the number of minutes. The fifth and sixth positions are for the number of seconds.

Playing time 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. If a sound recording or score has two or more pieces, enter the duration for each piece in a separate $a. One hour306 $a minutes306 $a min., 16 sec.306 $a two works306 $a $a

5XX Notes Notes follow the order given in AACR2; they are not in numerical order by MARC tag. Most important notes for cataloging sound recordings are included here. For a complete list, see AACR2 (6.7).

500 Nature/Form/Medium –You don’t need to use this note if nature/medium is apparent from other parts of the description. Gospel music (instrumental and vocal). Native American music from Maine. For instrumental ensemble (1st-2nd works), violin and orchestra (3rd work), and orchestra (4th work).

546 Language –May omit if apparent from other parts of the description. –Sung in Portuguese.

500 Source of Title Proper Must use if 245 title did not come from the chief source (disc or cassette). Title from container. Title from container spine. In this note, the insert showing through the jewel case is the container.

Statements of Responsibility 500 note if other than performers (e.g. writer of text) 500 Texts by Heinrich Heine. –511 0 for performers. –511 0 $a Irene Kral, vocals ; Alan Broadbent, piano. –511 0 $a Etta James, vocals ; with additional musicians Various performers. Can be incorporated into the contents note.

Edition and History 518 for date/place of recording. 518 $a Recorded Nov. 29-Dec. 2, 1999 at St. Peter's Episcopal Church, New York City. –500 for reissue information. –500 $a Selections previously released. –500 $a Originally issued in 1964 as analog disc on Folkways Records: FAS 2377.

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 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.

520 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 Contents $a Title – Title $a Title / Composer – Title / Composer $a Title (Performer) – Title (Performer) $a Title (Durations) – Title (Duration) $a Title / Composer (Performer) (Duration) -- Title / Composer (Performer) (Duration).

Type of Date/Publication Status (DtSt) 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 0 Publisher Number Use this. It is as important for sound recordings as an ISBN is for books. Second indicator depends on your system. Subfield a is the number (include letter prefixes if present). It comes first. Subfield b is the label name (260 |b). It comes second. Some libraries incorrectly reverse this order in their OCLC records.

033 []0 Date/Time Codes information from 518. –$a (can be repeated) 4 digit year, 2 digit month, 2 digit date –$b country –Class number from LC G schedule

033 []0 Date/Time –$c –Cutter for city. Last digit of $b changes, depending on whether $c is present or not. –First indicator –Blank = no date info (i.e., no |a). –1 = multiple single dates; two consecutive dates. 2 = range of dates.

033 Examples $a $b4282 $cS4 518 $a Recorded Jan. 23, 1993 at Meany Theater, University of Washington, Seattle $a $a $a $b5754 $cL7 518 Recorded Feb. 25, 2001 (2nd work) and June 13-14, 2001 (1st work) at Air Studios, Lyndhurst Hall, Hampstead, London