Moriah Miller

LS 552: W1

Cataloging Manual Project

Cataloging Music CDs

There are many non-book forms in cataloging; the music CD is one of them. The main interest in cataloging music CDs is that they are usually not cataloged within a library system. Most libraries only have labels showing the item that is a CD, the artist, the title, and the year. It is more common to see music CDs cataloged in a music library or the Library of Congress. Music is constantly growing and it is important to have music CDs as they show the world’s diverse music cultures (Schroeder 2003, 1937). As for libraries, more patrons are asking for music CDs, especially young adults as discussed in a talk by Jeff Swope who is a young adult librarian (26 September 2003). This shows why it is still important that music CDs are cataloged.

Methodology

This paper was based on selected print and electronic English-language resources published since 1988, the publication date of the 2002 revision of the Anglo-American Cataloguing Rules second edition (AACR2r). Controlled vocabulary searches within these limits was conducted using Library Literature & Information Science (for journal articles, theses, and some monographs), WorldCat (for monographs), and the Resources in Education (RIE) file of ERIC (for unpublished material). Library Literature & Information Science was chosen primarily for its relevance to the subject matter of this paper; WorldCat and RIE/ERIC were chosen partly for their subject relevance and partly for the unique types of material they index. All three sources index literature published since 1988. A search of Library Literature & Information Science using its controlled vocabulary “Compact discs—Cataloging” retrieved three items, two of which are relevant. WorldCat was searched using the Library of Congress subject heading “Cataloging of sound recordings” retrieving sixteen items, eight of which are relevant. ERIC was searched using the ERIC descriptors “Music” and “Cataloging” in a Boolean was searched retrieving thirteen items, three of which are relevant. Another search was done using the ERIC descriptors “Optical Discs” and “Cataloging” retrieving forty-nine items, nine of which are relevant.

Abstracts of the Issues and Trends

Schroeder, Eunice. 2003. Music databases. In Encyclopedia of library and information science, ed. Miriam A. Drake, 1931-1941. 2d ed. New York: Marcel Dekker.

This article is about music databases; however it is the only one within the Encyclopedia of library and information science that supplies good information about sound recordings under discographies. Under this section it notes that sound recordings “document the world’s diverse musical cultures” (1937). It is the Library of Congress and British Library mainly that provides this access to recorded sound. Sound Online Inventory and Catalog (SONIC) (lcweb.loc.gov/rr/record/Sonicintro.html) and the British Library National Sound Archive (www.bl.uk/collections/sound-archive/cat.html) seems to hold a lot of cataloging records. Electronic access is given from Schwann Online (www.schwannonline.com) or Recordings in Print (www.andante.com/reference/REDmedia/index.cfm) from the United Kingdom. Reference tools can be accessed from GRAMMY Search (www.grammy.com/awards/sear/index.html) from the Recording Academy and Gold and Platinum Database Search (www.riaa.org/Gold-Intro-2.cfm) from the Recording Industry Association of America. There are also several sound recording websites devoted to individual artists. Overall this notes good sources that catalogers can use when needed to find information on sound recordings such as music CDs.

Swope, Jeffery D. 26 September 2003. Hook ‘em and reel them in! (programming for children/and young adults). Presentation made at the Pennsylvania Library Association Northwest Chapter Fall Meeting and Workshop. Carlson Library, Clarion University of Pennsylvania, Clarion.

This was a presentation made by Jeff Swope at a conference that discusses to use any methods possible to hook and reel children and young adults into the library. In part of his discussion it was noted that what young adults come to the library for are to check out music CDs to look for and that the library has to keep up with the music trends by looking at websites such as Billboard.com so these young adults will come to library even if it is a music CD. The problem with most young adult libraries is they are just getting started so libraries either do not care about making a space as most libraries center more on children than young adults, do not have enough space, or do not have the money to even start a young adult library. It is becoming more important to have a young adult library as more and more people this age do not use the library and should therefore the library should look as attractive as it can to reel them in such as supplying the up to date music CDs that are easy to find such as putting them in a place that young adults will see and having them arranged by artist. It is also important to have them cataloged in case a young adult looks up an artist in the catalog easily as most young adults do not like to talk to others and be left alone. Overall it is seen from this that the movement of cataloging things such as music CDs is becoming important as libraries form young adult libraries to try to reel young adults in.

McKnight, Mark. 2002. Music classification systems. Music Library Association Basic Manual Series, no. 1. Lanham, Mryld.: Scarecrow Press:

Music classification systems can be challenging for librarians as most have little expertise in knowing music. It is said, “the most commonly used classification systems in the United States are the Dewey Decimal Classification (DDC), Library of Congress Classification (LCC) and The Alpha-Numeric System for Classification of Recordings (ANSCR)” (1). To organize these materials is not hard, but classifying and cataloging them is. Libraries usually organize sound recordings by accession number, call number, subject area, color code, or arrangement in alphabetical order by composer, author, or title. An issue after deciding what format to use is whether they will be shelved in the open or closed stacks which need to be marked in the record. The difference between a music library and regular library is the wide variety of physical formats it has, so librarians should have some kind of expertise in this field. In a regular library music items are usually grouped in one big category, whereas in a music library these items are separated by topic. It is good to have a musician who already knows how music works, but it is more important to have those who can catalog the items. Overall this is a good source to note how to classify the music formats such as music CDs.

Mack, Linda. 1997. Maximizing student assistants’ contributions to the library system: Student workers use slow times to make a small branch music library possible. EDRS ED 411 785: 1-36. Database online. Available from WebSPIRS, ERIC. Retrieved from http://www.edrs.com/Webstore/Download2.cfm?ID=427200 [20 March 2004].

This article is not within the five year limit however, it reflect well a music library that shows that the staff that work within it do have their problems with cataloging and classifying music, especially those who are student assistants. This particular music library within the James White Library has things separated by sections that provide music reference books, compact discs, LP recordings, scores, and cassettes. It notes slow time tasks such as completing physical processing of scores, copy cataloging of sound recordings and scores, assigning sound recording call numbers, and assign name-title authority. It notes authority, what a music librarian job entails, current and future projects, training, and policies. The policy notes who can use the collection and that it is marked uses the dot system for processing material when it comes into the library especially for the reference collection. When shelving music material it is noted again on the dot system and then classification system that are used with cutter numbers and dates. Overall it is seen from this the system a music library might use to catalog material including music CDs.

Ross, Rosemary. 1991. Cataloging, accessing CDs at the Edmonton Public Library. In PNLA Quarterly 56, no. 1 (Fall): 3-4.

This article is not within the five year limit however, it is a good article that notes concerns about cataloging and processing compact discs made by the Edmonton Public Library staff. When the library started a music CD collection in 1988 it only contained 500 items but by 1991 it went up to about 10, 800 because a lot of music CDs were being circulated and patrons wanted more. The compact discs circulate in their own jewel boxes and security tape is put in box only with a disc engraver along with everything else, the library at the time bought music CDs at twelve dollars with a 3.5 percent loss. The library classifies music CDs by a local classification scheme trying being cataloged four to six weeks for popular music CDs, sometimes this process can be long as eighty to ninety percent of the CDs require original cataloging. An audio-visual committee was formed to discuss the cataloging of the music CDs to discuss what added entries should be put in and has made up copies of subject, author, title lists to help users, even bookmarks are made available to be helpful by noting the area of music.. The audio-visual committee decided on three levels such as level one is the popular music that has less detailed information, here main entry is given under the performer and only three added entries can be given and subject headings are not repeated; level two is used for juvenile sound tracks and jazz by using AACR2, only three added entries can be given, titles can be cut down and subject headings are to be used by motion picture, television music, etc.; level three is cataloged by AACR2, only six performers and authors can be given, and contents note only for twelve or fewer pieces. Overall this article can help future catalogers note how they can set up their own music CD collection in their library.

Annotated bibliography of cataloging tools

Anglo-American Cataloguing Rules, 2d ed., 2002 revision. Chicago: American Library Association, 2002.

This is the most important tool ever to any cataloger as it notes the rules that one must apply to any item. For music items chapter 5 of music and chapter 6 of sound recordings is most helpful along with regular chapters 1, 21, 22, and others if needed. It is like the catalogers Bible to look up anything that needs to be cataloged.

Simpkins, Terry. 2001. Cataloging popular music recordings. In The audiovisual cataloging current. Roe, Sandra K., ed. Binghamton, NY: Haworth Information Press.

This is a tool to catalog popular music recordings as these items can present challenges to catalogers as new styles of music are always evolving which creates for having to make new Library of Congress Subject Headings. The article talks about the tools that are needed and goes over the rules explicitly. It notes problems of description within each category of AACR2r such as the tile can get the chief source of information from the item itself or label which can create problems in formulating a title, but fortunately rules 6.0B1 and 6.7B3 are good rules for catalogers can follow, especially with compact discs. In making the statement of responsibility 6.1F1 can be looked at for the division between different kinds of music. For publication information6.5D2 can be helpful and for physical description can be gotten off of 6.5A-E for terminology. It seems that the notes of sound recordings are the hardest to make as access points are hard to determine but 6.7B1 for the medium of performance and 6.7B18 for the contents notes can be good to look at. For access points main entry can be found under 21.23 while added entries can be found under 21.29-21.30. Overall these rules from AACR2r can be good guidelines for catalogers to follow when cataloging things such as music CDs but the process can still be found to be difficult at times.

Hsieh-Yee, Ingrid. 2000. Organizing audiovisual and electronic resources for access: A cataloging guide. Englewood, Colo.: Libraries Unlimited.

This book is a tool for all audiovisual items including sound recordings, it mentions that chapter 6 of AACR2r is the one to cover this topic and can present several challenges for catalogers. These challenges include the presentation of information on the item and the label are deemed as the chief source of information by AACR2r which can pose a problem when trying to catalog the item, details about all people can be hard to determine if it should be included in the record, more elements are involved so more attention and time is needed, and often the publication place is missing so it has to be researched. It can also be difficult to assign access points because of all the people who are involved with the making of a sound recording, but thankfully chapter 21 of AACR2r can be helpful. To create MARC records MARC21 Concise Bibliographic Format and OCLC’s Bibliographic Formats and Standards can be very helpful.

Smiraglia, Richard P. 1997. Describing music materials: A manual for descriptive cataloging of printed and recorded music, music videos, and archival music collections: For use with AACR2 and APPM. 3d ed. Lake Crystal, Minn.: Soldier Creek Press

This book for all music materials as well, it notes relevant rules and examples that can be used to be able to catalog a music CD properly. It takes a cataloger through all the categories that are within AACR2r.It notes the process such as what should be described from the object such as the disc and container should be read for the chief source of information. It notes when going over a sound recording it must be carefully examined, most likely the true title will be found on the disc or pamphlets along with other areas that must be checked. It then goes on to note relevant rules to look at when cataloging sound recordings which are much like what Simpkins talked about, but Smiraglia gives actual examples to look at.

Chan, Lois Mai. 1994. Cataloging and classification: An introduction. 2d ed. New York: McGraw-Hill.

This is a good tool for cataloging in general as it goes right along with AACR2r, helps with Library of Congress Subject Headings, Dewey Decimal Classification, Library of Congress Classification, other library classification systems, USMARC formats, and provides examples of what a cataloging record might look like along with an index to look things up quickly.

Hartsock, Ralph. 1994. Notes for music catalogers: Examples illustrating AACR 2 in the online bibliographic record. Lake Crystal, Minn.: Solider Creek Press.

This is a tool that arranges things according to AACR 2 for music catalogers, even though it was used for AACR 2 it could still be relevant for AACR2r. It is sectioned off by form of composition or medium of performance, language, source of title proper, parallel titles, statements of responsibility, edition, notation, publication and distribution, performance and physical description, accompanying material, audience, other formats, content notes, numbers, and more.

Gamble, Betsy, ed. 1992. Music cataloging decisions. Ithaca, NY: Music Library Association.

This is a tool that is similar to the Library of Congress Rule Interpretations for music cataloging that give guidance according to AACR2r to catalog music material. It follows the rules according to AACR2r and relates it to the music items. There is even an index in the back on where to find things within this tool.

Weitz, Jay. 1990. Music coding and tagging: MARC content designation for scores and sound recordings. Lake Crystal, Minn.: Soldier Creek Press.

This is a tool to help catalogers know which MARC fields along with the lettering used are commonly assigned to sound recordings which appear in OCLC format and reflect AACR2r practices. It lists many examples by accompanying matter, form of composition, format of music, literary text, physical description, Library of Congress control number, standard recording number, publisher number, date and place, language code, time period, number of instruments or voices, personal name headings, corporate name headings, meeting name headings, uniform title headings, topical and geographical headings, and regular AACR2r categories to name a few.

Smiraglia, Richard P. 1989. Music cataloging: The bibliographic control of printed and recorded music in libraries. Englewood, Colo.: Libraries Unlimited.

This book notes tools that help to catalog include Library of Congress Rule Interpretations (LCRI), LC Music Cataloging Decisions (MCD), Library of Congress Subject Headings (LCSH), and MARC formats. These are helpful but the most important resource is using AACR2r along with its updates for 2003 chapters five of music and six of sound recordings. Rules of Descriptive Cataloging helped to create notes for the medium of performance, notation, duration of performance and other such things. The International Conference on Cataloging Principles (ICCP) and the International Standard Bibliographic Description (ISBD) documents are used for bibliographic description along with AACR2r.

Brachter, Perry and Jennifer Smith. 1988. Music subject headings: Complied from Library of Congress Subject Headings. Richard P. Smiraglia, ed.. Lake Crystal, Minn.: Solider Creek Press.

This is a tool that can be most helpful to any cataloger in assigning subject headings to music items as it combined the Library of Congress Subject Headings into categories of compositions, instrumental music, vocal music, topical headings, arranged pieces, pattern headings, with categories, subdivisions with categories, help in cataloging special items, and then a subject index so it can help catalogers search less and get help for what subject heading is needed.

Unique technical aspects

Music CD cataloging can get quite lengthy as all the songs on the CD have to be included, this list could be rather long (Smiraglia 1989 37). Concerns are that the information will be too detail oriented and more attention will have to be given to items such as music CDs and other sound recordings. Appointing access numbers can also be equally as difficult since there can be many people involved with the work of a music CD (Hsieh-Yee 2000, 31). The lengthy titles to search for relevant rules and access numbers can be frustrating to catalogers, but as seen there are a lot of tools that they can go to when cataloging an item such as a music CD.

Unique cataloging aspects

Sound recordings are different than items such as books, maps, serials, etc., as the music CD disc and container have to be read to get the chief source of information (Smiragila 1997, 43). Concerns about cataloging music CDs are that it can be difficult to make a title proper being that the chief source could be found differently from either the disc or container (Hsieh-Yee 2000, 31). Overall problems in doing original cataloging for the music CDs was the making of the DDC and LC numbers as they might be too general and need to be more specific. It was also difficult with the OCLC formats trying to get them correct. This item might also include too much information.

Original Cataloging Examples

1. Piper, Susan. 2001. God songs. [New Jersey]: Susan Piper, compact disc.

Type: j Elvl: Srce: d Audn: Ctrl: Lang: eng

BLvl: a Form: Comp: sg AccM: Mrec: Ctry: nju

Desc: a FMus: n LTxt: DtSt: s Dates: 2001,

007 ## s $b d $d f $e m $g b $h n $i n

040 ## CSI $c CSI

049 ## CSIS

090 ## ML102.S67 $b R47 2001

092 0# 780.266 $2 22

100 1# Piper, Susan.

245 00 God songs $h [sound recording] / $c Susan Piper.

260 ## [New Jersey] : $b Susan Piper, $c c2001.

300 ## 1 sound disc (42 min.) : $b CD; $c 4.8 in.

500 ## Title from container.

500 ## For More Information: [email protected]

508 ## Music, Susan Piper.

511 0# Susan Piper, performer.

505 0# Not when it matters to you - Love came down - Save the children - Calling God - Wings - Sad people - In New Jersey - The one my heart loves (from Song of Songs) - From falling - Dorothy wakes up - Big night out - I will sing to the Lord.

650 #0 Religious music $z United States.

Key problems this item presented were in trying to assign the 007 field, deciding whether or not it needed a 533 which was found out later it did not and dealing with the 500 note field for the email.

2. Calvin College Oratorio Society. 1997. Messiah. (December, 11 & 12). [Calvin, Mich.]: Calvin College Oratorio Society, compact disc.

Type: j Elvl: Srce: d Audn: Ctrl: Lang: eng

BLvl: a Form: Comp: sg AccM: Mrec: Ctry: miu

Desc: a Fmus: LTxt: DtSt: s Dates: 2001,

007 ## s $b d $d f $e m $g b $h n $i n $j r $n d

040 ## CSI $c CSI

049 ## CSIS

090 ## ML102.S67 $b R43 1997

092 0# 780.266 $2 22

110 1# Calvin College Oratorio Society.

245 00 Messiah $h [sound recording] / $c Calvin College Oratorio Society.

260 ## [Michigan] : $b Oratorio Society, $c 1997.

300 ## 2 sound discs (129 min.) : $b CD; $c 4.8 in.

500 ## Title from container.

508 ## Composer, George Fredric Handel.

511 0# Calvin College Oratorio Society, performers.

505 0# 1. Overture -- Comfort my people -- Every valley shall be exalted -- And the glory of the Lord -- Thus saith the Lord -- But who may abide the day of His coming? -- And He shall purify -- Behold, a virgin shall conceive -- O thou that tellest good things to Zion -- For, behold, a darkness shall cover the Earth -- For unto us a child is born -- Pastoral symphony -- There were shepherds abiding in the field -- And the angel said unto them -- And suddenly there was with the angel -- glory to God -- Rejoice greatly, o daughter of Zion - Then shall the eyes of the blind be opened -- He shall feed his flock like a Shepard -- His yoke is easy, and his burthen is light -- Behold the lamb of God -- He was despised 2. Surely He hath borne our griefs -- And with His stripes we are healed - All we like sheep have gone astray -- All they that see Him, Laugh Him to scorn -- He trusted in God that he would deliver Him -- They rebuke hath broken His heart -- Behold, and see if there be any sorrow -- He was cut off out of the land of the living -- But thou dist not leave His soul in hell -- Lift up your heads, O ye gates -- How beautiful are the feet of them -- Their sound is gone out into all lands -- Why do the nations so furiously rage -- Let us break their bonds asunder -- He that dwelleth in heaven -- Thou shalt break them -- Hallelujah! -- I know that my redeemer liveth -- Since by man came death -- Behold, I tell you a mystery -- The trumpet shall sound -- Then shall be brought to a pass -- O death, where is thy sting? -- But thanks be to God -- If God be for us, who can be against us? -- Worthy is Lamb / Handel.

650 #0 Religious music $z United States.

700 1# Handel, George Frederic, $d 1685-1759.

Key problems with this was trying to decide how Handel fit in to all this since he wrote the Messiah but another group performed it.

3. The New Sound Choir. 1996. He Lives Today! Haddonfield, N.J.: Haddonfield United Methodist Church, compact disc.

Type: j Elvl: Srce: d Audn: Ctrl: Lang: eng

BLvl: a Form: Comp: sg AccM: Mrec: Ctry: nju

Desc: a Fmus: LTxt: DtSt: s Dates: 1996,

007 ## s $b d $d f $e m $g b $h n $i n $n d

040 ## CSI $c CSI

049 ## CSIS

090 ## ML102.S67 $b R47 1996

092 0# 780.266 $2 22

110 ## Haddonfield United Methodist Church.

245 00 He lives today! $h [sound recording] / $c The New Sound Choir.

260 ## Haddonfield, N.J. : $b Haddonfield United Methodist Church, $c c1996.

300 ## 1 sound disc (74 min.) : $b CD; $c 4.8 in.

500 ## Title from container.

500 ## For further information contact: Music Office: Haddonfield United Methodist Church. 29 Warwick Road. Haddonfield, New Jersey 08033.

508 ## Accompaniment, Lisa Wilson.

511 0# The New Sound Choir, performers -- John Wilson, Director -- Lisa Wilson, Assistant Director.

505 0# He lives today! / Larry Allen -- Sing to the Lord / Antonio Vivaldi ; arr. Hal Hopson -- Shut de do / Randy Stonehill ; arr. Mark Hayes –- God is our refuge / Allen Pote –- Love will be our home / Steven Curtis Chapman ; arr. Don Marsh –- When the trumpet sounds / André Thomas –- Praise the Lord / G.F. [(George Fredric)] Handel ; arr. Hal Hopsen –- Shine down / Billy Smiley ; arr. Mark Brymer – I will call upon the Lord / Michael O’Sheilds ; arr. Mark Hayes –- I will rejoice / Michael W. Smith ; arr. Mark Hayes –- Great is the Lord / Michael W. Smith and Deborah Smith ; arr. Jack Schrader –- Go ye into all the world / Eugene Butler –- El-shaddai / Michael Card & John Thompson ; arr. Carolee Curtright –- Don’t listen to the hammer ring / Douglas E. Wagner –- Gloria / F.J. Haydn -– Many gifts, one spirit / Allen Pote –- Awesome God / Rich Mullins ; arr. Steven Taylor –- More than a song / Dan Whittemore ; arr. Tom Fettke -– If I have my ticket / arr. Donald Moore –- Be still / Hank Beebe –- Let there Be praise / Dick & Melodie Tunney ; arr. Ed Lojeski -– Let us serve Him / Don Besig and Nancy Price –- How majestic is your name / Michael W. Smith ; arr. Fred Bock -– All things bright and beautiful / John Rutter – What a friend we have in Jesus / Joseph Scriven –- For the beauty of the earth / John Rutter –- How excellent is thy name / Dick & Melodie Tunney ; arr. Mark Brymer.

650 #0 Religious music $z United States.

700 #1 Allen, Larry, et. al.

Key issues with this item were the fact that it had so many different songs and composers, so I did not quite know how to deal with that for the 700 field so I put an et. al.. Also it was difficult to make a note for the telephone number as it has changed.

4. No Show Ponies. 2001. Blueprint. [Harrisburg, Penn.]: No Show Music, compact disc.

Type: j Elvl: Srce: d Audn: Ctrl: Lang: eng

BLvl: a Form: Comp: sg AccM: Mrec: Ctry: pau

Desc: a Fmus: LTxt: DtSt: s Dates: 2001,

007 ## s $b d $d f $e m $g b $h n $i n $n d

040 ## CSI $c CSI

049 ## CSIS

090 ## ML102.S67 $b R66 2001

092 0# 780.266 $2 22

100 1# No Show Ponies.

245 00 Blueprint $h [sound recording] / $c No Show Ponies.

260 ## [Harrisburg, Penn.] : $b No Show Music, $c c2001.

300 ## 1 sound disc (42 min.) : $b CD; $c 4.8 in.

500 ## Title from container.

500 ## Contact: [email protected]

505 0# Girl from another town –- For Lisa and those northern girls –- Days like these –- I dont mind -– Worth the wait –- One more night –- I hope you know -– I treated love –- Throwing it all away.

508 ## Cover and artwork, Joseph Mulvihill.

511 0# Ben Brown, vocals and guitar -- Jeff Brown, guitar and vocals -- Jason Shover, bass guitar -- Jordan Shover, drums.

650 #0 Rock music $z United States.

Key problems with this were assigning the 511 category as I was not sure how to list the performers correctly.

5. Salty the Pocketknife. 2003. [Milwaukee, Wisc.]: Sonance Records, compact disc.

Type: j Elvl: Srce: d Audn: Ctrl: Lang: eng

BLvl: a Form: Comp: sg AccM: Mrec: Ctry: wiu

Desc: a Fmus: LTxt: DtSt: s Dates: 2003,

007 ## s $b d $d f $e m $g b $h n $i n $n d

036 ## www.saltythepocketknife.com

040 ## CSI $c CSI

049 ## CSIS

090 ## ML102.S67 $b N47 2003

092 0# 780.266 $2 22

100 1# Salty the Pocketknife.

245 00 No title $h [sound recording] / $c Salty the Pocketknife.

260 ## Milwaukee, Wisc. : $b Sonance Records, $c c2003.

300 ## 1 sound disc (46 min.) : $b CD; $c 4.8 in.

500 ## Title from container.

505 0# Shiny lies –- Sever –- Señor gonzo –- Deus ex machine –- Snack break –- Red panties 145 –- Butterfly feat –- Rim goblin –- Buck the quo –- Pour no gasoline –- Magic garbage ride –- Pissn” outside.

508 ## Cover art, Eric Oates – Graphic design and layout, John Warner.

511 0# Dustin Diamond, bass - Evan Stone, guitar - rosebud, vocals and guitar - Scott Ireland, vocals and guitar.

650 #0 New wave music $z United States.

Key problems again were assigning the 511 category.

Reference List