1. SCORES – DESCRIPTIVE ELEMENTS Hermine Vermeij, UCLAApril 13, 2012

2. Scope  Notated music  Published music – AACR2 Chapter 5 + LCRIs  Manuscript and unpublished music – AACR2 Chapter 4  Some of Chapter 21 – Choice of Access Points + LCRIs  “Printed music,” “Scores,” “Sheet music”—common ways to talk about notated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

3. 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)

4. 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)

5. 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.

6. 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

7. 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.

8. 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.)

9. 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.

10. 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: 1 st indicator 3  028 22 $a B. & H. 8797 $b Boosey & Hawkes Plate number: 1 st indicator 2

11. 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 1 st indicator 2.  Newer 13-digit ISMNs (beginning with “979”) go in the 024 1 st indicator 3.  Examples: 024 2# $a M001121966 024 3# $a 9790260000438

12. 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 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

13. 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.

14. Edition (5.2 + LCRIs)  Traditional edition statements (1 st 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.

15. 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.

16. 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.

17. 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.When to Create a New Record  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

18. 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.”

19. 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.

20. 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.”

21. 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.

22. 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

23. 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.

24. 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.

25. Notes (5.7)  You

26. 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.

27. 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 fre 546 ## $a Latin words, English translation on p. v-xxii. 500 ## $a Includes pref. in English, German, and French.

28. 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.

29. 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.

30. 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.

31. 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)

32. 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.

33. 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

34. 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

35. 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).