1. A BRIEF INTRODUCTION TO RDA FOR SCORES & SOUND RECORDINGS Nancy Lorimer, Stanford University

2. Scope  What is happening currently in RDA implementation  A very brief introduction to RDA  Highlights of changes to score & sound recording cataloging in RDA in the MARC21 & ISBD environment

3. RDA Implementation  Library of Congress Day 1 for RDA is March 31, 2013  On this day: All new authority records added to the name authority file must be RDA records All PCC bibliographic records must have RDA access points LC catalogers will catalog in RDA  Note that this does NOT mean that all bibliographic records (PCC or not) must be created in RDA by this date; there is no set date for this

4. RDA Implementation  Preparations (Music Library Association)  RDA Music Revisions Facilitation Task Force Joint task force with Library of Congress & Canadian Committee on Cataloging (CCC) Charged with compiling known music issues in RDA, prioritizing & recommendations on how to address the issue  RDA Music Implementation Task Force Create music best practices documentation to supplement RDA & develop official MLA workflows to be shared in the RDA Toolkit

5. RDA: Brief Overview  RDA = Resource Description & Access  Based on Functional Requirements for Bibliographic Records (FRBR) & Functional Requirements for Authority Data (FRAD)  A content standard—what information you provide and how to provide it  It is not a display standard (ISBD) or a record format (MARC 21)

6. RDA: Brief Overview

7. RDA additions in the Toolkit  Library of Congress Policy Statements (LCPS)  Library of Congress Core Plus  RDA mappings  RDA to MARC/MARC to RDA bibliographic mapping  RDA to MARC/MARC to RDA authority mapping  RDA to MODS mapping  Shared workflows & mapping created by individuals

8. 008 & 040  Desc field = I (for ISBD)  040 $a LIB $b eng $c LIB $e rda

9. Transcription  Transcribe text & punctuation as given (and do not use [sic]) 245 10 …ne l’aura che trema NOT 245 10 --ne l’aura che trema  Do not abbreviate (unless on the resource) 300 1 score (30 pages) NOT 300 1 score (30 p.)  Square brackets are only used for information not on the resource 245 10 … /$c Egon Wellesz ; herausgegeben von Hannes Heher. NOT 245 10 … /$c Egon Wellesz ; [herausgegeben von Hannes Heher]

10. Preferred Source for Title: Scores (2.2.2.2)  Caption  Cover  Colophon  Other preliminaries  Other sources  Cover  Caption  Masthead  Colophon AACR2 Ch.5—Chief SourceRDA—Preferred Source

11. Preferred source for title: Sound recordings (2.2.2.4)  “a label bearing a title that is permanently printed on or affixed to the resource, excluding accompanying textual material or a container (e.g., a label on an audio CD, or a model) OR embedded metadata in textual form that contains a title (e.g., metadata embedded in an MP3 audio file)”  No preference for collective over non-collective titles

12. Statement of Responsibility (2.4.2.2)  “Take statements of responsibility relating to the title proper from the following sources (in order of preference): a) the same source as the title proper b) another source within the resource itself c) one of the other sources specified in 2.2.4” 245 10 … /$c Egon Wellesz ; herausgegeben von Hannes Heher. [editor taken from caption]

13. Edition Statement (2.5)  RDA does not have a separate music presentation statement; defined as part of the edition statement AACR2 250 First edition. 254 Score & parts. RDA 250 First edition, Score & parts. 250 Study score. 250 Piano/vocal score.

14. Publication statement (2.8)  Publication statement is a core element  Publication statement is a separate element from distribution or manufacturer statements; these can no longer replace the publication statement  If no publication statement: [Place of publication not identified] : $b [Publisher not identified] OR [Los Angeles?] : $b [John Redford]

15. Publication date/Copyright date  2 different elements in RDA; copyright date may not replace the publication date  If publication date not known:  [Publication date not known] OR [2010?]  Copyright/phonogram date is not required if a publication date is given BUT for music, we strongly suggest you add it, even when it is the same as the publication date.

16. Examples so far: scores 24510Havana rhubarb rumba : $b for 4-7 recorders / $c Keith Terrett. 260St. Louis, MO : $b American Recorder Society, $c [2010], ©2010. 24510From generation to generation : $b celebration for organ solo / $c Samuel Adler. 260[King of Prussia, Pa.] : $b Theodore Presser Company, $c [2011], ©2011. 24510Ghost ranch : $b for orchestra (2006) / $c Michael Daugherty. 250Full score, Second printing with revisions. 260New York, NY : $b Boosey & Hawkes ; $a Milwaukee, WI : $b Distributed by Hal Leonard Corporation, $c [2011], ©2006.

17. Changes to MARC: the 264 field  Production, Publication, Distribution, Manufacture and Copyright Notice  Provides individual coding through 2 nd indicators 0 = Production 1 = Publication 2 = Distribution 3 = Manufacture 4 = Copyright Notice  The 260 field will continue to be valid

18. Examples so far: recordings 24510Carmen : $b Stockholm 1954 / $c Georges Bizet ; text by Henri Meilhac & Ludovic Halévy ; original version translated and revised by Axel Strindberg. 260 [Sweden] : $b Bluebell, $c [2008], ℗ 2008. 24510The rough guide to Ravi Shankar. 260 [London] : $b World Music Network ; $b Rough Guides, $c [2004], ℗ 2004.

19. Where did the GMD go?  No more GMD  Replaced by 3 new fields:  Content Type (RDA 6.9; MARC21 336)  Media Type (RDA 3.2; MARC21 337)  Carrier Type (RAD 3.3; MARC21 338)  Controlled vocabularies listed in RDA

20. 33X Fields  Printed score: 336 notated music $2 rdacontent 337 unmediated $2 rdamedia 338 volume $2 rdacarrier  CD, SACD, LP, 78, etc.: 336 performed music $2 rdacontent 337 audio $2 rdamedia 338 audio disc $2 rdacarrier

21. 33X: Sound recordings (mixed content)  Mixed content: 336 performed music $2 rdacontent 336 spoken word $2 rdacontent 336 sounds $2 rdacontent 337 unmediated $2 rdamedia 338 audio disc $2 rdacarrier

22. Extent: Score (3.4.3)  Rule is specifically for extent of notated music & looks very much like AACR2:  1 score  1 vocal score  Terms are listed in RDA 7.20.1.3

23. Changes to score types  Definition of score:  Graphical, symbolic, or word-based musical notation representing the sounds of all the parts of an ensemble or a work for solo performer or electronic media. Do not confuse with Part.  No more “p. of music”, “v. of music” 8 p. of music becomes 1 score (8 pages)  Miniature score (AACR2) = Study score (RDA)

24. Examples so far: Scores 24510Havana rhubarb rumba : $b for 4-7 recorders / $c Keith Terrett. 260St. Louis, MO : $b American Recorder Society, $c [2010], ©2010. 3001 score (4 unnumbered pages) ; $c 28 cm 336notated music $2 rdacontent 337unmediated $2 rdamedia 338volume $2 rda carrier

25. Examples so far: Scores 24510From generation to generation : $b celebration for organ solo / $c Samuel Adler. 260[King of Prussia, Pa.] : $b Theodore Presser Company, $c [2011], ©2011. 3001 score (8 pages) ; $c 28 cm 336notated music $2 rdacontent 337unmediated $2 rdamedia 338volume $2 rda carrier

26. Examples so far: Scores 24514The entertainer / $c Scott Joplin ; orchestration by Richard W. Sargeant, Jr. 250Study score = Partitur. 260[Edwardsville, IL] : $b Serenissima Music, Inc., [2011], ©2009. 3001 study score (30 pages) ; $c 25 cm 336notated music $2 rdacontent 337unmediated $2 rdamedia 338volume $2 rda carrier

27. Examples so far: Scores 24510Buzz : $b for clarinet in B-flat, violin, violoncello, and piano (2001) / $c James Matheson. 260[King of Prussia] : $b Theodore Presser Company, [2010], ©2010. 3001 score (21 pages) + 3 parts ; $c 25 cm 336notated music $2 rdacontent 337unmediated $2 rdamedia 338volume $2 rda carrier

28. Extent: Sound recordings  No specific rules for extent for sound recording, so follow 3.4.1.3 (Recording extent)  Number of units + carrier term from 3.3.1.3 (Carrier type) 1 audio disc  May also use a term in common usage per 3.41.5 (Other terms used to designate the type of unit) 1 CD

29. Other physical characteristics  Type of recording (3.16.2.3)  analog  digital  Encoding format (3.19.3.3)  CD audio  SACD  Configuration of Playback channels (3.16.8)  mono  stereo  Dimensions (3.5)  4 3/4 in. OR 12 cm

30. In MARC... 300 1 audio disc : $b digital, CD audio, stereo ; $c 4 3/4 in. 300 1 CD : $b CD audio, mono ; $c 12 cm 300 1 audio disc : $b SACD ; $c 4 3/4 in. Future changes: The new 334 field (Sound characteristics) will enable more granular coding of the $b. Watch for developments.

31. Examples so far: Recordings 24510The rough guide to Ravi Shankar. 260[London] : $b World Music Network ; $b Rough Guides, $c [2004], ©2004. 3001 audio disc : $b CD audio ; $c 4 3/4 in. 336performed music $2 rdacontent 337audio $2 rdamedia 338audio disc $2 rda carrier

32. Examples so far: Recordings 24510Carmen : $b Stockholm 1954 / $c Georges Bizet ; text by Henri Meilhac & Ludovic Halévy ; original version translated and revised by Axel Strindberg. 260 [Sweden] : $b Bluebell, $c [2008], ℗ 2008. 3002 audio discs : $b CD audio ; $c 4 3/4 in. 336performed music $2 rdacontent 337audio $2 rdamedia 338audio disc $2 rda carrier

33. Notation (RDA 7.13)  Required in LC Core Plus  graphic notation  letter notation  mensural notation  neumatic notation  number notation  solmization  staff notation  tablature  tonic sol-fa

34. Notation (MARC21 546)  MARC21 546 $b: The name of the alphabet, script or information code that is used to record the language. This includes specialized codes, scripts or typefaces (e.g., Arabic alphabet, Arabic numerals, ASCII, bar code, BCD, braille, ciphers, Cyrillic alphabet, EBCDIC, Fraktur, Greek alphabet, Hebrew alphabet, hieroglyphics, musical notation systems, … 546 $b Staff notation. 546 $b Staff notation with chord symbols. 546 $b Graphic notation.

35. Access Points  Main/added entry concept replaced by the concept of the Authorized Access Point  Can be for people, corporations, families, work  Consist of preferred name and/or title and any additions required for differentiation purposes (many of these are required)

36. Access Points: changes for music  No longer a rule of 3—either provide an access point for the 1 st work of a collection or all the works  May also provide a collective access point together with or instead of individual access points for two or more works by the same composer.

37. Access points: Changes for music 1001Mozart, Wolfgang Amadeus, $d 1756-1791. 24010Concertos. $k Selections 245Bassoon concerto ; $b Horn concerto no. 2 / Mozart. 3001 audio disc : $b CD audio ; $c 4 3/4 in. 70012Mozart, Wolfgang Amadeus, $d 1756-1791. $t Concertos, $m bassoon, orchestra, $n K. 191, $r B ♭ major. 70012Mozart, Wolfgang Amadeus, $d 1756-1791. $t Concertos, $m horn, orchestra, $n K. 417, $r E ♭ major.

38. Access points: Changes for music  “Selections” becomes “Works. Selections” Lloyd Webber, Andrew, $d 1948- $t Selections becomes: Lloyd Webber, Andrew, $d 1948- $t Works. $k Selections  “Violoncello” becomes “Cello” per LCPS 6.15.1.6 Elgar, Edward, $d 1857-1934. $t Concertos, $m violoncello, orchestra, $n op. 85, $r E minor becomes: Elgar, Edward, $d 1857-1934. $t Concertos, $m cello, orchestra, $n op. 85, $r E minor

39. Access points: Changes for music  “arr.” becomes “arranged” Corigliano, John, $d 1938- $t Voyage, $m flute, string orchestra; $o arr. becomes: Corigliano, John, $d 1938- $t Voyage, $m flute, string orchestra; $o arranged

40. No more performer main entry?  In AACR2, recordings that emphasized a performer/performing group over the works were given “performer main entry”  In RDA (as in FRBR), a performer is a “contributor” not a “creator”, and so cannot be a preferred access point in a record if that is their only role

41. Relationships  RDA extends the web of relationships

42. Relationships  Creators/Contributors  Relator codes found in Appendix I  Encoded with the $e, not the $4 (code)  Music related ones include: Composer (Creator) Librettist (Creator) Lyricist (Creator) Singer (Contributor) Instrumentalist (Contributor) Performer (Contributor)

43. Relationships  Between works:  Vocabulary given in Appendix J  “Contains” = 700 12 (analytic entries)  Other relationships can be specified in a $i Libretto based on (work) Musical setting of (work) Musical variations based on (work) Cadenza for (work) 700 1# $i Libretto based on (work): $a