Presentation on theme: "Cataloging Digital Sound Files: AACR2 Chapters 6 and 9"— Presentation transcript:
1 Cataloging Digital Sound Files: AACR2 Chapters 6 and 9 Robert B. FreebornPennsylvania State University10th Biennial OLAC Conference, St. Paul, Minnesota, 2002
2 Workshop Outline Brief introduction to digital sound files Collection developmentExamination of the rules and their corresponding MARC tagsExamplesResources
3 Brief Introduction to Digital Sound Files Common types of digital sound filesMP3 (.mp3) – "MPEG [Motion Picture Entertainment Group] 1, Layer III." Codec (encoding algorithm that compresses and decompresses digital information) created by Fraunhofer Gesellschaft in the late 1980s.AAC (.aac) – "MPEG-2 AAC [Advanced Audio Coding]." Codec created jointly by AT&T, Dolby, Fraunhofer, Sony and others.RealAudio (.ra) – Codec created by RealNetworks for their RealOne Media Player.WMA (.wma) – "Windows Media Audio." Codec created by Microsoft for their Window Media Player.
4 Brief Introduction to Digital Sound Files (Cont.) CompressionMost digital sound files are compressed to save space and to allow for easier transmission (often to 1/10th the size of the original CD audio file). Using a knowledge of psychoacoustics, most codecs remove those signals present in standard audio that the brain can't distinguish and compress the rest. Because they remove or "lose" some information during the compression stage, these types of codecs are labeled "lossy." Sound quality and file size are all dependent on the encoding level (high encoding level = high sound quality but large file size, and vice versa).ID3 tags"Sound file's catalog record." A small identification file attached to the digital sound file which can contain information such as composer, title, artist, location, publisher, year, genre, etc. ID3v2 (ID3 version 2) tags can hold up to 256 MB of data (including images).
5 Brief Introduction to Digital Sound Files (Cont.) SourcesDirect-access1. DIRECTMEDIA Publishing's Digitale Bibliothek<http://www.digitale-bibliothek.de>2. ISIS Publishing <www.isis-publishing.co.uk>3. Simon & Schuster Audio <http://www.simonsays.com>4. Tantor Media <http://www.tantor.com>Remote-access1. Audible.com <http://www.audible.com>2. eMusic.com <http://www.emusic.com>3. mp3.com <http://www.mp3.com>ReadingHacker, Scott. MP3: the Definitive Guide. Sebastopol, CA: O'Reilly, 2002.
6 Collection Development Establish and maintain a collection development policy for handling the acquisition of sound files (for both firm orders and gifts). Make sure to utilize your institution's legal counsel (if present).MLA's Copyright for Music Librarians <http://www.lib.jmu.edu/org/mla/>
7 6.0/9.0 – General Rules 6.0A – Scope 6.0B – Sources of information Covers the description of sound recordings in all media, and sound recordings on film (except for those accompanying visual images). Doesn't cover specifically recordings in other forms (e.g., wires, cylinders) or in various experimental media.6.0B – Sources of information6.0B1 – Chief sourceThe physical item itself plus any labels affixed to it. If there happens to be two or more chief sources (e.g., double-sided disc with labels on each side), then treat them as a single chief source. Treat accompanying textual material or container as the chief source if it provides a collective title and the items themselves and their labels don't (add a note indicating source). If the information is not present on the chief source, take it form these sources in this order:1. accompanying textual material2. container3. other sourcesFor cataloging, prefer textual data over the actual sound data.
8 6.0/9.0 – General Rules (Cont.) 6.0B2 – Prescribed sourcesTitle/Statement of Responsibility Chief sourceEdition Chief source, accompanying text, containerPublication, Distribution, etc. Chief source, accompanying text, containerPhysical Description Any sourceSeries Chief source, accompanying text, containerNote Any sourceStandard Number/Availability Any source9.0A – ScopeCovers the description of electronic resources, which are comprised of data (text, graphics, sound, etc.), programs (instructions, etc. that process the data for use), or a combination of data and programs.Electronic resources can be either direct access (has a physical carrier [e.g., CD-ROM]) or remote access (has no physical carrier [e.g., web site])
9 6.0/9.0 – General Rules (Cont.) 9.0B – Sources of information9.0B1 – Chief sourceThe resource itself. Take the information from any "formally presented evidence." This can include, but not limited to, title screens, main menus, program statements, initial displays of information, home pages, file headers, encoded metadata (e.g., ID3v2 meta tags), physical carriers and their labels. Always prefer the source which provides the fullest information for the entire resource. If the information isn't present on the chief source, take it from these sources in this order:1. printed or online documentation, or other accompanying material2. information printed on container by publisher, distributor, etc.If resource consists of two or more separate parts, treat the container or its label as the chief source if it provides a collective title and the formally presented information doesn't.9.0B2 – Prescribed sourcesTitle/Statement of Responsibility Chief sourceEdition Chief source, accompanying text, containerPublication, Distribution, etc. Chief source, accompanying text, containerPhysical Description Any sourceSeries Chief source, accompanying text, containerNote Any sourceStandard Number/Availability Any source
10 6.1/9.1 – Title and Statement of Responsibility Area 6.1B – Title proper [245 $a]Enter the title as stated in rule 1.1B (e.g., exactly as to wording, order and spelling, but not necessarily to punctuation or capitalization. Include any accent or diacritic marks that appear on the chief source).LCRI (Library of Congress Rule Interpretation) 6.1B1 adds that if the chief source has the name of an author or performer listed before the titles of individual works and one isn't sure if the publisher, distributor, etc. intended the name to be a collective title proper or a statement of responsibility, treat it as the former. The exception is if the titles are musical works and the name is the composer of the works. In this instance, treat the name as a statement of responsibility.
11 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1B – Title proper (Cont.)For musical works, consult rule 5.1B. This states that if the title is created using a type or types of composition and/or any of the following (see below), then include all of this information in the title proper.1. performance medium2. musical key3. composition date4. numberIf the title consists of a distinctive title rather than a type(s) of composition, then enter the information previously listed by numbers 1-4 as other title information (245 $b).Examples:Concerto for violin, with chamber music ensemble, op. 36 (1966)Harvest moon : $b for flute and piano
12 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1B – Title proper (Cont.)MCD (Music Cataloging Decision) 5.1B1 adds the following:1. If two or more types of composition are linked together by a conjunction or similar connection term, then include any information concerning medium, key, etc. in the title proper.Preludes and fugues for organ, op. 12Two sonatas and partitas for solo violin, BWV2. If the title consists of two words which would normally represent types of composition on their own but combined create a distinctive title, treat any information concerning medium, key, etc. as other title information. The only exceptions to this are "trio sonata" and "chorale prelude" because each are one specific type of composition.Fantaisie-improptu : $b in G minor, op. 22Humoresque-bagatelles : $b op. 1
13 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1B – Title proper (Cont.)If the title proper for a musical work is being supplied by the cataloger as instructed in rule 1.1B7 (e.g., create a brief descriptive title and enclose in brackets), then give all the prescribed elements for music uniform titles as listed in rulesUniform Titles [240 (700)]Formulate uniform titles along these lines:$a ($t) initial title element, $m medium of performance, $n serial number, opus number, $r key. $p part nameOther elements can include:$k form subheading (e.g., Selections)$l language$o arrangement (arr.)$s version (e.g., Vocal score)
14 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1B – Title proper (Cont.)If the title proper doesn't come from the chief source of information, or if it is taken from a container which is acting as a unifying element, add a note stating the source of the title.6.1C – General material designation [245 $h]6.1C1 instructs one to add the gmd (general material designation) immediately after the title proper and enclosed in brackets.1. sound recording use for standard compact discs and enhanced CDs2. electronic resource use for CD-ROMS and remote access sound files6.1C2 states that one should use "multimedia" or "kit" for multipart items where no one part is predominant.
15 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1D – Parallel titles [245 $b]Enter parallel titles as instructed by rules 1.1D (enter them in the same order as they appear on the chief source) and 5.1D (enter statements of medium, key, etc. that are included in the title proper and appear in multiple languages on the chief source in the same order as they appear).Separate each parallel title with an equals sign.Parallel titles that don't appear on the chief source should be entered in a note.ExampleConcerto, D-Dur, für Horn und Orchester $h [gmd] = $b Concerto, D major, for horn andorchestra = Concerto, ré majeur, pour cor et orchestre
16 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1E – Other title information [245 $b]Enter all other title information that appears on the chief source as instructed in 1.1B (see earlier instructions).ExamplesStar wars $h [gmd] : $b original motion picture soundtrackWar of the worlds $h [gmd] : $b a play for radio
17 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1F – Statements of responsibility [245 $c]6.1F1 states that one should enter those individuals or groups that are directly responsible for the creation of a sound recording's intellectual content as main entries (1XX). This includes those persons whose contribution goes beyond the performance, execution or interpretation of a work (as with popular musicians). Enter those persons responsible only for work's performance, execution, etc. in a note (and as added entries (7XX)).6.1F2 instructs one to enter the individual names of a performing group that are listed on the chief source in a note (added entry) if they're considered important. Otherwise one can omit them.6.1F3 allows for the addition of a word or short phrase to the statement of responsibility if the relationship between the title and the aforementioned persons isn't clear. Enclose this added word or phrase in brackets.
18 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 6.1G – Items without a collective title6.1G1 allows one to describe a sound recording without a collective title either as a single unit, or make individual entries for each title. LCRI 6.1G1 advises catalogers to describe the item as a unit.6.1G2 instructs one to consult 1.1G3 when describing the item as a single unit.Two or more works by one composerSymphony no. 5 $h [gmd] ; $b Saga drøm / $c Carl Nielsen.Works by two or more composersSymphony in C $h [gmd] / $c Bizet. Ma mere l'oye / Ravel.6.1G3 states that one can add a word or short phrase to the statement of responsibility as noted in 6.1F3.
19 6.1/9.1 – Title and Statement of Responsibility Area (Cont.) 9.1B – Title proper9.1B1 => Refer to instructions in 6.1B.9.1B2 states that the source of title proper is always given in a note.9.1B3 instructs not to enter a file name or data set name as the title proper unless it is the only name given in the chief source.9.1C – 9.1GRefer to instructions given in 6.1C through 6.1G.
20 6.2/9.2 – Edition Area 6.2B – Edition statement  6.2B1 instructs one to enter an edition statement according to rule 1.2B (transcribe the statement as it appears on the item, and utilize abbreviations and numerals according to AACR2 Appendices B and C respectively).Rev. ed.Version 10.1rd ed.6.2B2 states that if there is doubt about an edition statement, look for the presence of such words as "edition," "issue" or "version" as positive proof.9.2B – Edition statementConsult the instructions given above.
21 6.3/9.3 – Material (or Type of Publication) Specific Details Area 6.3 => This area is not used for standard sound recordings
22 6.3/9.3 – Material Specific Details Area (Cont.) 9.3 – Type and extent of resource 9.3B1 says that one should indicate what type of electronic resource is being described by using one of the following terms:1. electronic data2. electronic programs3. electronic data and programs9.3B2 instructs to include the extent of the resource (if readily available) after the term used. Include the number of files present and size of each in either full or abbreviated form.Electronic data (1 file : 5.2 MB)Electronic programs (3 files : 4.5, 6, 5.6 megabytes)LCRI 9.3B1 states that it's not LC practice to include this information in their original cataloging, but they do accept it on copy cataloging records.
23 6.4/9.4 – Publication, Distribution, Etc. Area 6.4C – Place of publication, distribution, etc. [260 $a]6.4C1 instructs one to give the place of publication, distribution, etc. according to 1.4C (enter the place in the form and grammatical case as it appears; add the name of the country, state, etc. after the place if considered important or needed to break a conflict; if two or more places for a publisher, distributor, etc. are given on item, use the first one listed; if the place is uncertain, enter either a probable location or "S.l." (both enclosed by brackets)).6.4C2 states that one shouldn't enter any place information, not even "S.l.," for nonprocessed sound recordings (noncommercial recording that usually exists as a unique copy).
24 6.4/9.4 – Publication, Distribution, Etc. Area (Cont.) 6.4D – Name of publisher, distributor, etc. [260 $b]6.4D1 says to enter the name of the publisher, an optionally the distributor, according to 1.4D (give the name following the place(s) to which it relates; enter the name in the shortest form in which it can be understood and identified internationally; retain any words or phrases that either indicate the function of the publisher, etc. (other than just publishing) or break conflicts between publishers; if the item has two or more publishers, use the first one named and its corresponding place; optionally give the place and name of the distributor when the first named entity is the publisher; if name is unknown, enter "s.n.").LCRIs 6.4D1 and 1.4D6 recommends to accept both options mentioned above.
25 6.4/9.4 – Publication, Distribution, Etc. Area (Cont.) 6.4D – Name of publisher, distributor, etc. (Cont.)6.4D2 states that if a sound recording contains both the name of a publishing company and the name of a subdivision of that company (or a trade name/brand name for that company), then use the subdivision (trade name/brand name).6.4D3 cautions that if the trade name appears to be a series subdivision rather than a publishing one, then add it as a series title.6.4D4 instructs one not to enter any publisher, distributor, etc. name, including "s.n.," for nonprocessed sound recordings.
26 6.4/9.4 – Publication, Distribution, Etc. Area (Cont.) 6.4E – Statement of function of publisher, distributor, etc. [optional]Add a statement of function (enclosed in brackets) to the name of a publisher, distributor, etc. according to 1.4E (add statement unless the phrase naming the publisher, etc. clearly indicates their function, or if their function is clearly evident from the context).New York : $b Sunflower ; $a [London] : $b Virgin Records [distributor]Stockholm : $b Grammofon AB BIS ; $a New York : $b Distributed by Qualiton Imports
28 6.4/9.4 – Publication, Distribution, Etc. Area (Cont.) 6.4F – Date of publication, distribution, etc. (Cont.)6.4F2 instructs one to enter the date of recording in a note if known.6.4F3 says that one should enter the date of recording for a nonprocessed sound recording.Examples:[S.l.] : $b Concord (Concerto) : $b eMusic.com [distributor], $c Hayes, Middlesex, England : $b EMI Classics, $c p1989.[New York] : $b Simon & Schuster Audio ; $a Wayne, NJ : $b Distributed by Audible, $c2000.
29 6.4/9.4 – Publication, Distribution, Etc. Area (Cont.) 9.4 => Refer to instructions in 6.49.4B2 states all remote access electronic resources to be published.9.4F4 instructs that if there isn't a date that applies to the item as a whole, and the item has multiple copyright dates applying to various aspects of the production (e.g., programming, documentation, etc.), enter the latest copyright date only. The other copyright dates can optionally be included a note or contents note.LCRI 9.4F4 says that their practice is to apply the above option on a case-by-case basis.
30 6.5/9.5 – Physical Description Area 6.5B – Extent of item (including specific material designation) [300 $a]6.5B1 instructs one to record the number of physical parts by giving the number of parts in Arabic numerals followed "sound disc(s)."6.5B2 says to add the playing time according to 1.5B4 (give time in hours, minutes and seconds as it appears on the item; use abbreviations for hours [hr.], minutes [min.] and seconds [sec.]; if not stated one can give an approximate time preceded by "ca."; if the parts of a multipart item have a uniform playing time, give the time for each part followed by "each")LCRI 6.5B2 advises that if the total playing time isn't stated, but the times of all individual parts are stated, one can add all the times together and record the total (round up to the next minute if total exceeds 5 minutes).
31 6.5/9.5 – Physical Description Area (Cont.) 6.5B – Extent of item (Cont.)MCD 6.5B2, however, states that one should add the playing time only if the sound recording contains one work. If it contains multiple works, put their playing times in a note or contents note.6.5C – Other physical details [300 $b]6.5C2 (Type of recording) instructs one to enter the manner that the sound was encoded on the item (e.g., digital)6.5C7 (Number of sound channels) allows one to give the number of sound channels (mono., stereo., or quad.) if the information is readily available.MCD 6.5C7 says that one should only add this sound channel information if it is explicitly stated on the item.
32 6.5/9.5 – Physical Description Area (Cont.) 6.5C – Other physical details (Cont.)6.5C8 (Recording and reproduction characteristics) gives one the option to input the recording and reproduction characteristics (e.g., Dolby processed) if known.Both LCRI and MCD 6.5C8 recommend entering this option if it would be needed in selecting playback equipment.6.5D – Dimensions [300 $c]6.5D2 instructs one to give the diameter of a sound disc in inches (i.e. compact disc = 4 3/4 in.)
33 6.5/9.5 – Physical Description Area (Cont.) 6.5E – Accompanying material [300 $e]6.5E1 states that one should enter the details according to 1.5E (do one of the following: 1.) make a separate entry; 2.) make a multilevel description; 3.) make a note; or 4.) add the information to the end of the physical description area).9.5B – Extent of item [300 $a]9.5B1 instructs one to record the number of physical parts by giving the number of parts in Arabic numerals followed "computer optical disc(s)." When new physical carriers are created for which none of the SMDs are appropriate, give the name of the physical carrier as concisely as possible and preferably preceded by "computer." Optionally, one can utilize conventional terminology.LCRI 9.5B1 says that LC will use the conventional terminology option.
34 6.5/9.5 – Physical Description Area (Cont.) 9.5C – Other physical details [300 $b]9.5C1 states that one should add "sd." and/or "col." if the item contains sound and/or color images respectively.9.5C2 allows one to optionally add other physical characteristics (e.g., recording density, sectoring) if considered important.LCRI 9.5C2 recommends using this option on a case-by-case basis.9.5D – Dimensions [300 $c]9.5D1 instructs one to enter the dimensions as follows:1. Discs => inches (in.)2. New carriers => inches (in.) or centimeters (cm.)
35 6.5/9.5 – Physical Description Area (Cont.) 9.5E – Accompanying material [300 $e]9.5E1 => Refer to instructions in 6.5E1.9.5E2 says that if no physical description given (e.g., remote access materials), enter the accompanying material in a note.Examples:sound disc (40 min., 35 sec.) : $b digital ; $c 4 3/4 in.computer optical disc : $b sd. ; $c 4 3/4 in.CD-ROM : $b sd. ; $c 4 3/4 in. + $e 1 user guide (22 p. : ill. ; 20 cm.)
36 6.6/9.6 – Series AreaBoth 6.6B1 and 9.6B1 instruct one to record series statements according to 1.6:Enter the series statement's title proper exactly as to wording, order, and spelling, not always to capitalization and punctuation; include accents and diacritics.If the series' title proper includes numbering as an integral part, include this numbering as part of the title proper.If there are different forms of the series title, choose the title in the first of the prescribed sources for the series area as the title proper and add the others in notes.Enter parallel titles in the order that they appear on the item, and separated by equals signs.
37 6.6/9.6 – Series Area (Cont.) Examples: Enter other title information and statements of responsibility for series if considered important for the identification of the series.Enter the numbering of an item within a series using the terms given on the item. Use abbreviations as instructed in AACR2 Appendices B and C.If the parts of a multipart item have separate series numbers, give the first and last numbers if they are contiguous. Otherwise, list all the numbers.Examples:Souvenir seriesAudio library for librarians ; $v L-522-L-530Digital music series ; $v 22, 45, 67
38 6.7/9.7 – Note Area Preferred order of notes Note Label MARC Tag AACR2 RuleNature of artistic form and medium or performanceNature and scopeSystem requirements5005386.7B19.7B1Language5466.7B2, 9.7B2Source of title proper6.7B3, 9.7B3Variations in title6.7B4, 9.7B4Parallel titles and other title information6.7B5, 9.7B5Statements of responsibility (Participant or Performer)500 (511)6.7B6, 9.7B6Edition and history (Date/Time and Place of Event)500 (518)6.7B7, 9.7B7Type and extent of resource5169.7B8Publication, distribution, etc.6.7B9, 9.7B9Physical description6.7B10, 9.7B10Accompanying material6.7B11, 9.7B11Series6.7B12, 9.7B12
39 6.7/9.7 – Note Area (Cont.) Preferred order of notes (Cont.) Note LabelMARC TagAACR2 RuleDissertations5026.7B13, 9.7B13Audience5216.7B14, 9.7B14Other formats5306.7B16, 9.7B16Summary5206.7B17, 9.7B17Contents5056.7B18, 9.7B18Publishers' numbers5006.7B19, 9.7B19Copy being described, library's holdings, and restrictions on use (Local note)500 (59X)6.7B20, 9.7B20"With" notes5016.7B21, 9.7B21Item described9.7B22
40 6.7/9.7 – Note Area (Cont.)6.7B1 – Nature or artistic form and medium of performance Include a note on the form of a literary or musical work unless it is apparent from the rest of the description.Name the performance medium when necessary.For soprano, baritone, chorus and orchestra.The 1st work is a ballet, and the second work is a symphonic poem.6.7B2 – Language Give the language(s) of the sung or spoken text unless it is apparent from the rest of the description.Sung in French.In German, introduced in Spanish.
41 6.7/9.7 – Note Area (Cont.) 6.7B3 – Source of title proper  Give the source of the title proper if it is other than the chief source (or if it comes from the container or accompanying textual material as referred to in 6.0B1).Title from container.6.7B4 – Variations in title Make entries for titles from the item of than the title proper.Title on container: The four seasons.6.7B5 – Parallel titles and other title information Enter titles in other languages and other title information that aren't covered in the title and statement of responsibility area if they are considered important.
42 6.7/9.7 – Note Area (Cont.)6.7B5 – Parallel titles and other title information (Cont.)Subtitle: Songs of faith and love.6.7B6 – Statements of responsibility [500 (511)]Make entries on variant names or persons/bodies named in statements of responsibility. Give the names of performers and their performance mediums if not named in the statements of responsibility and considered necessary. Enter notes on persons/bodies connected with the work that aren't named in the statements of responsibility.Rembrandt Trio (Valerie Tryon, piano ; Gerard Kantarjian, violin ; Coenraad Bloemendal,cello).Based on music by Franz Schubert.
43 6.7/9.7 – Note Area (Cont.) 6.7B7 – Edition and history [500 (518)] Make entries pertaining to the edition being described, to the edition of the work being performed, or to the history of the recording. For nonprocessed recordings, give the available details of the event.Reissue of EMI 224 (1963).Recorded in Philadelphia in 1972.6.7B9 – Publication distribution, etc. Enter notes on publication, distribution, etc. information that don't appear in the publication, distribution, etc. area but are considered important.Distributed in the US by Century Media.
44 6.7/9.7 – Note Area (Cont.) 6.7B10 – Physical description  Enter notes on important physical details that don't appear in the physical description area, especially those that effect the item's use.Compact disc.Give the duration of each part in an item without a collective title and described as a unit.LCRI 6.7B10 says to list the durations of individual items identified in the title and statement of responsibility in a note. If the individual items are listed in a contents note, enter their durations there. Enter durations as they appear on the item. If only the durations of the parts of an item are given, one can add the durations together and record the total in minutes (round off to the next minute). Precede a duration statement with "ca." only if the statement is approximated on the item itself.
45 6.7/9.7 – Note Area (Cont.) 6.7B11 – Accompanying material  MCD 6.7B10 advises not to give more than six durations in a note unless the cataloger considers them important. It also recommends that a duration's digits for hours, minutes and seconds should be separated by colons. If the duration is in seconds only, precede them by a colon.Duration: 10 min. ; 5 min. ; 8 min.Duration: 1:25:00; :47; 14:12.6.7B11 – Accompanying material Make entries on the location of accompanying material if appropriate. Add details for accompanying material that is neither mentioned in the physical description area nor in a separate description.MCD 6.7B11 recommends to make notes on accompanying material such as program notes only if they're considered important because of their content or because they can be physically separated from the item.
46 6.7/9.7 – Note Area (Cont.) 6.7B11 – Accompanying material (Cont.) Lyrics on sheets in container.6.7B12 – Series Enter notes on series information that cannot be given in the series area.Originally issued in the series: Current trends.6.7B13 – Dissertations If the item is a dissertation, make a note as instructed by 1.7B13.Thesis (Ph.D.)—Pennsylvania State University, 2002.
47 6.7/9.7 – Note Area (Cont.) 6.7B14 – Audience  Add a note on the intended audience for, or intellectual level of, a sound recording if the information is stated on the item, container, or accompanying material.Graduate students.6.7B16 – Other formats Provide the details of other formats in which the content of the item has been issued.Also issued on cassette and vinyl disc.6.7B17 – Summary Give a brief objective summary of the content of a nonmusic sound recording if necessary.A brief historical account of 1940's Pennsylvania.
48 6.7/9.7 – Note Area (Cont.) 6.7B18 – Contents  List the titles of individual works on a sound recording. Add to each title statements of responsibility that aren't included in the title and statement of responsibility area and the duration of each piece.LCRI6.7B18 states that one should consult LCRI6.7B10 when entering durations in a formal contents note.MCD 6.7B18 instructs one to transcribe titles in a contents note from the section of the item that provides the best information. If the musical works in an item are all of the same musical form, and that form is named in the item's title proper, don't repeat the form in the contents note. Add opus numbers or thematic index numbers to individual musical titles if necessary for their identificationPiano trio no. 1 in B major, op. 8 / Brahms (30:00) – Piano trio in E minor, op. 90 / Dvořák(31:00).
49 6.7/9.7 – Note Area (Cont.) 6.7B19 – Publishers' numbers  Enter the publisher's stock number as found on the item. Precede the number with the publisher's trade or brand name and a colon.LCRI 6.7B19 advises making this note the first one if utilized. When the item bears both a set number and the numbers of the individual items, input only the set number unless this number doesn't appear on every item. In this case add the set number followed by the individual numbers in parentheses.MCD6.7B19 states that when the publisher's number appears in variant forms on a sound recording, enter only the one appearing on the recording itself. When two or more distinct publisher's number appear on a recording, enter each in a separate note followed by an indication of the number's location in parentheses.Hungaroton: LPX LPXIsland: ILPS 921.
50 6.7/9.7 – Note Area (Cont.)6.7B20 – Copy being described, library's holdings, and restrictions on use [500, 59X]Make these notes as instructed by 1.7B20.Library's copy contains limited quantities of background noise.6.7B21 – "With notes" If the title and statement of responsibility contains a title applying to only part of an item without a collective title and for which more than one entry is made, enter a note beginning with "With:" followed by the separately titled works in the order that they appear.With: Two nocturnes, op. 32, no.1 in B major / Chopin -- Sonata in E flat, op. 18 / Strauss.
51 6.7/9.7 – Note Area (Cont.)9.7B1 – Nature and scope and system requirements [500 (538)]Enter notes on the nature or scope of the resource unless it is obvious from the rest of the description.Spoken audio file.Enter notes on the system requirements for the resource if the information is readily available. Begin note with "System requirements:" and enter the information (if known) in this order:1. make and model of computer needed to run the resource2. amount of memory required3. name of operating system4. software requirements (including programming language)5. kind and characteristics of any required or recommended peripherals6. type of any required or recommended hardware modificationsSystem requirements: IBM PC or 100% compatible; 32MB RAM; Windows 95; CD-ROMdrive.
52 6.7/9.7 – Note Area (Cont.)9.7B1 – Nature and scope and system requirements (Cont.)For remote-access resources, specify the mode of access. Always begin note with "Mode of access:".Mode of access: World Wide Web.9.7B2 – Language Give the languages and/or scripts of the resource's spoken or written content unless it is apparent from the description.In German and Russian.9.7B3 – Source of title proper Always give the source of the title proper.Title from Web page.
53 6.7/9.7 – Note Area (Cont.) 9.7B4 – Variations in title  Enter notes on titles from the item other than the title proper. Optionally one can either enter the romanization of the title proper, or transcribe a file name or data set name if different from the title proper.LCRI 9.7B4 accepts the second option, but advises against the first.Title in HTML header: Penn State University Libraries home page.9.7B5 – Parallel titles and other title information Refer to instructions in 6.7B5.Subtitle on container: Life and work of archaeologist Howard Carter.
54 6.7/9.7 – Note Area (Cont.) 9.7B6 – Statements of responsibility  Refer to instructions in 6.7B6 (except for those referring to performers and participants).Systems designer, Sam Smith ; sound, Tadcaster Acoustics.9.7B7 – Edition and history Give the source of the edition statement if it is different from that of the title proper. Make notes pertaining to the edition being described or to the history of the item. One can also cite other works on which the item is dependent on for its content. Finally, one can enter the date(s) covered by a resources content, the date(s) when data was collected, or the date(s) of accompanying material not described separately if they are considered important to understanding a resource's content, use or nature.Includes supplementary file dated 1997.
55 6.7/9.7 – Note Area (Cont.) 9.7B8 – Type and extent of resource  Enter information on the type and extent of the resource if considered important and not described elsewhere.Available in multiple electronic file formats.9.7B9 – Publication, distribution, etc. Refer to instructions in 6.7B9.Solely distributed by Vivendi Universal.
56 6.7/9.7 – Note Area (Cont.) 9.7B10 – Physical description  Make notes on important physical details that are not listed in the physical description area, especially if they effect the item's use. For remote-access resources, give physical details (e.g., sound) if readily available and considered important.Stereo. sd.9.7B11 – Accompanying material Refer to instructions in 6.7B11.Accompanied by user's guide and quick-reference template.9.7B12 – Series Refer to instructions in 6.7B12.Originally issued in series: European Community study series.
57 6.7/9.7 – Note Area (Cont.) 9.7B13 – Dissertations  Refer to instructions in 6.7B13.Thesis (M.M.)—Kansas State University, 1991.9.7B14 – Audience Refer to instructions in 6.7B14.For ages 7-12.9.7B16 – Other formats Refer to instructions in 6.7B16.Issued also as digital sound discs and sound cassettes.Issued also for Macintosh computers using OS X.
58 6.7/9.7 – Note Area (Cont.) 9.7B17 – Summary  Give a brief objective summary of the purpose and content of an item unless it is obvious from the description.Summary: Role-playing computer game for 1+ players. Create a character from one ofseven classes and do battle with animals, demons and the undead in order to face and defeat thethree prime evils.9.7B18 – Contents List the parts of a resource. Make notes on additional or partial contents as appropriate.Contents: Raven -- Tell-tale heart -- Pit and the pendulum -- Fall of the house of Usher.9.7B19 – Numbers Enter important numbers on the item aside from ISBNs and ISSNs.ABC
59 6.7/9.7 – Note Area (Cont.)9.7B20 – Copy being described, library's holdings, and restrictions on use [500, 59X]Refer to instructions in 6.7B20.Library's copy is lacking CD-ROM four.9.7B21 – "With" notes Refer to instruction in 6.7B21.With: US states and capitals -- European nations and capitals.9.7B22 – Item described For remote-access resources, give date on which it was viewed.Description based on contents viewed Sept. 13, 2002.
60 6.8/9.8 – Standard Number and Terms of Availability Area 6.8B – Standard number [020 $a, 022 $a, 500]6.8B1 states that one should enter the International Standard Book Number [ISBN] or International Standard Serial Number [ISSN] for the item as instructed in 1.8B.6.8B2 says to give any other numbers in a note according to 6.7B19.6.8C – Key-title Give the key-title of a serial as instructed in 1.8C6.8D – Terms of availability [020 $c, 022 $c]Give the terms on which the item is available according to 1.8D.
61 6.8/9.8 – Standard Number and Terms of Availability (Cont.) 6.8E – Qualification [020 $c, 022 $c]Add qualifications to the standard number and terms of availability according to 1.8E (enter a brief qualification in parentheses after the standard number or the terms of availability if present).9.8B-9.8E => Refer to instructions in 6.8B-6.8E.Examples:(guide) $c $12.95(set)BAC-14953
62 6.9/9.9 – Supplementary Items Both 6.9 and 9.9 refer to the instructions in 1.9.Supplementary items being described independently should be entered as separate items according to 1.1B9.Supplementary items being described dependently can be entered as follows:1. as accompanying material (see 1.5E1d)2. in a note (see 1.7B11)3. as a multilevel description (see 13.6)
63 6.10/9.10 – Items Made Up of Several Types of Material Both 6.10 and 9.10 refer to the instructions in 126.96.36.199B states that if an item as a predominant component, describe the item according to that component and describe the other components either as accompanying material or in a note.1.10C instructs that if the item has no predominant component, then consult 10.C1-10.C3 plus the relevant rules from the appropriate chapters.
64 Fixed Fields Type (Leader/06) – Type of Record Code m = Includes the following classes of electronic resources: computer software (including programs, games, fonts), numeric data, computer-oriented multimedia, online systems or services. For these classes of materials, if there is a significant aspect that causes it to fall into another Leader/06 category, the code for that significant aspect is used instead of code m (e.g., vector data that is cartographic is not coded as numeric but cartographic). Other classes of electronic resources are coded for their most significant aspect (e.g., language material, graphic, cartographic material, sound, music, moving image). In case of doubt or if the most significant aspect cannot be determined, consider the item a computer file. (MARC 21 Concise Bibliographic: Leader and Directory)Code digital sound files as you would sound recordings.i nonmusical sound recordingj musical sound recording
65 Fixed Fields (Cont.) DtSt (008/06) – Type of Date Code as “s” (single date) if there is a just one date present, or if the date of recording and the date of distribution are the same. Enter the date in the “Date 1” area, and leave the “Date 2” area blank.Code as “p” (Distribution date/production date) if the dates of recording and distribution differ. The distribution date goes in the “Date 1” area, while the earliest recording date goes in “Date 2.” The distribution date also goes in the 260 $c, and the recording date(s) go in a note.
66 Fixed Fields (Cont.) DtSt (008/06) – Type of Date (Cont.) Code as “r” (Reprint/original date) of reissues of sound recordings when:Issued with a new manufacturer numberIssued on a new label or in a new formatConsists of a collection of previously released material from numerous sourcesEnter the reproduction date in “Date 1” and the original date in “Date 2.”Other date codes include:m multiple datesn unknown dateq questionable datet publication date/copyright date
67 Fixed Fields (Cont.) Comp (008/18-19) – Form of Composition Enter the appropriate two-digit code from the list reproduced on the following page (also available from both LC’s MARC Standards and OCLC’s Bibliographic Formats and Standards web sites.)If the code “mu” is used, then one must enter a 047 field and add the multiple composition codes.
68 Fixed Fields (Cont.) Comp (008/18-19) (Cont.) an Anthems, antiphons, and magnificatsbd Balladsbt Balletsbg Bluegrass musicbl Bluescn Canons and roundsct Cantatascz Canzonascr Carolsca Chaconnescs Chance compositionscp Chansons, polyphoniccc Chant, Christiancb Chant, relgiions other than Christiancl Chorale preludesch Choralescg Concerti grossico Concertoscy Country musicdf Dance forms (except Mazurkas, Minuets,Pavane, Polonaise, and Waltzes)dv Divertimentos, serenades, cassations, divertissements,and notturni.ft Fantaisias, fancies, fantasies, etc.fm Folk music (incl. folk songs)fg Fuguesgm Gospel musichy Hymnsjz Jazzmd Madrigalsmr Marchesms Massesmz Mazurkasmi Minuetsmo Motetsmp Moving picture musicnc Nocturnesnn Not a musical sound recordingop Operasor Oratoriosov Overturespt Part-songsps Passcagliaspm Passion musicpv Pavannepo Polonaisepp Popular musicpr Preludes
69 Fixed Fields (Cont.) Comp (008/18-19) (Cont.) pg Program music rg Ragtime musicrq Requiemsrp Rhapsodiesri Ricercarsrc Rock musicrd Rondos and instrumental rondeauxsn Sonatassg Songssd Square dance musicst Studies, exercises, and etudessu Suitessp Symphonic poemssy Symphoniestc Toccatasts Trio-sonatasuu Unknownvr Variationswz Waltzeszz Other specified genres or forms that don't appear on the list.
70 Fixed Fields (Cont.) FMus (008/20) – Format of Music Refers to the format of printed and manuscript music only. Code as "n" (not applicable)Form (008/23) – Form of ItemUse code “s” (electronic) if the item requires a computer. Don’t apply this to items that can be utilized by a computer, but don’t require one (e.g., compact discs). For the latter, leave the field blank.
71 Fixed Fields (Cont.) AccM (008/24-29) – Accompanying Matter Enter up to six codes from the following list to describe the contents of any accompanying material:[blank] No accompanying mattera Discographyb Bibliographyc Thematic indexd Libretto or texte Biography of composer or authorf Biography of performer or history of ensembleg Technical and/or historical information on instrumentsh Technical information on musici Historical informationk Ethnological informationr Instructional materialss Musicz Other accompanying matter
72 Fixed Fields (Cont.)LTxt (008/30-31) – Literary Text for Sound RecordingsEnter up to two codes form the following list to best describe the material on a nonmusical sound recording. If only one code is used, leave the second position blank.[blank] Item is a musical sound recording r Rehearsals of any nonmusical productionsa Autobiography s Sounds (Nonmusical utterances and vocalizations)b Biography t Interviewsc Conference proceedings z Other types of literary textd Dramae Essaysf Fictiong Reportingh Historyi Instruction (How to...)j Instruction, languagek Comedy, comedy routinesl Lectures, speechesm Memoirso Folktalesp Poetry
73 Fixed Fields (Cont.) Lang (008/35-37) – Language In terms of sound recordings, this refers to the language of the sung or spoken text.Enter the three-digit code for the single or predominant language from the MARC Code List for Languages. If there are multiple languages or if the item includes a translation, enter this additional information in a 041 field.Code “N/A” if there is no text sung or spoken (e.g., instrumental works)Code “und” for vocalises, humming, or texts comprised of nonsense syllables.
74 Variable Control Fields (006 and 007) 006 – Additional characteristicsComputer filesT006 (006/00) m (Computer file)Audn (006/05) [variable]File (006/09) h (Sound)GPub (006/11) [variable]Sound recordingsT006 (006/00) i (Nonmusical sound recording)j (Musical sound recording)Comp (006/01-02) [variable; consult Comp 008/18-19)]FMus (006/03) n (Not applicable)Form (006/06) s (Electronic)AccM (006/07-12) [variable; consult AccM (008/24-29)]LTxt (006/13-14) [variable; consult LTxt (008/30-31)]
75 Variable Control Fields (Cont.) 007 – Physical Description Fixed FieldComputer files$a (007/00) [Category of material] c (Computer file)$b (007/01) [Specific material designation] o (Optical disc)r (Remote)$d (007/03) [Color] n (Not applicable)$e (007/04) [Dimensions] g (4 3/4 in.)n (Not applicable)$f (007/05) [Sound] a (Sound)$g (007/06-08) [Image bit depth] nnn (Not applicable)$h (007/09) [File formats] a (One file format)m (Multiple file formats)$k (007/12) [Compression level] a (Uncompressed)d (Lossy)m (Mixed)
76 Variable Control Fields (Cont.) 007 – Physical Description (Cont.)Sound recordings$a (007/00) [Category of material] s (Sound recording)$b (007/01) [Specific material designation] d (Sound disc)z (Other)$d (007/03) [Speed] f (1.4 m per sec.)$e (007/04) [Config. of playback channels] m (Mono.)s (Stereo.)u (Unknown)$f (007/05) [Groove width & pitch] n (Not applicable)$g (007/06) [Dimensions] g (4 3/4 in.)n (Not applicable)$h (007/07) [Tape width] n (Not applicable)$i (007/08) [Tape configuration] n (Not a tape)$m (007/12) [Special playback char.] e (Digital recording)$n (007/13) [Capture/storage technique] d (Digital storage)e (Analog electrical storage)
77 Variable Data Fields (020-048) 020 – International Std. Book NumberEnter the ten-digit number without any spaces or hyphens. If the last digit is an “x”, enter it as an uppercase “X”.X024 – Other Standard IdentifierFor Universal Product Codes (UPC), enter the number (usually 12-digits in length) without any spaces or hyphens. Set the first indicator to “1”.
78 Variable Data Fields (Cont.) 028 – Publisher NumberCode the first indicator “0” for a sound recording issue number. The second indicator is coded from the following list according to one’s local cataloging practices:0 no note, no added entry1 note, added entry2 note, no added entry3 no note, added entryEnter the number as it appears on the item in the $a. The publisher’s name is entered into the $b.zm2621 $b Blackstone Audiobooks
79 Variable Data Fields (Cont.) 028 – Publisher Number (Cont.)Consecutive publisher numbers can be entered together through the use of hyphens.SC202--SC206 $b State College RecordingsFor direct access sound recordings, if the disc itself has one publisher number, and the container or insert has either a variant form or a completely different number, one can list each number in separate 028 fields.SC204 $b State College Recordings$b State College Recordings$b State College Recordings
80 Variable Data Fields (Cont.) 033 – Date/Time and Place of EventEnter the date, time and place of a recording session if stated on the item, the container, or the accompanying material.The first indicator corresponds to the date:[blank] no date information0 single date1 multiple single dates2 range of datesThe second indicator corresponds to the type of event:[blank] no information provided0 capture information1 broadcast information2 finding information
81 Variable Data Fields (Cont.) 033 – Date/Time and Place (Cont.)Enter the date of capture in the subfield $a. This date can contain up to eight numbers (year = 4 digits; month = 2 digits; day = 2 digits). Enter hyphens for any part of the date that is unknown.Enter the geographic classification area code in the subfield $b. This code contains 4 digits, and can be found in the LC Class G (Geography) schedule.Enter the geographic classification subarea code in the subfield $c. This two-digit code corresponds to a geographic region, natural feature of political subdivision found within the area represented in subfield $b. This code is also found in the G schedule.All three subfields are repeatable.
82 Variable Data Fields (Cont.) 033 – Date/Time and Place (Cont.)The information contained in a 033 must also be present in a 518 field.$b 3824 $c P5Recorded in Philadelphia on Feb. 13, 2001.$a $b 3824 $c P5 $b 3804 $c N4$b 3804 $c N4:2C3Recorded in Philadelphia and New York on January 15 and February 10, 1977 and duringthe week of June 7, 1971 in New York at Carnegie Hall.
83 Variable Data Fields (Cont.) 041 – LanguageThe first indicator represents the presence of a translation:0 item is not a translation or does not include a translation1 item is a translationThe second indicator represents the source of the language code:[blank] MARC Code List for Languages7 source specified in subfield $2If the language for the sung/spoken text and any accompanying text are the same, and there isn’t any translation, then the code given in the Lang fixed field is all that is needed and don’t add a 041.Don’t utilize the subfield $a for sound recordings.
84 Variable Data Fields (Cont.) 041 – Language (Cont.)All of the following subfields (except for $2) are now repeatable:$d language of recording’s sung/spoken text$e language of the text or libretto as it appears on the container or in the program notes$g language of the program notes$h original language of any sung/spoken text that has been translated$2 source of codeExample: A work is sung in German; the words are printed in German and English; the original language is German.Lang: ger AccM: d$d ger $e ger $e eng $h ger
85 Variable Data Fields (Cont.) 043 – Geographical AreaCode represents countries that appear as subject headings or as geographic subdivisions to subject headings, or if a specific area or country is emphasized (e.g., Scottish fiddle tunes).Each code is made up of seven digits (Unused digits receive hyphens):1st digit continent3rd-4th “ country6th-7th “ state, province or other subdivision (Canada, United Kingdom, and United States only)n-us-pa [North America-United States-Pennsylvania]e-gx--- [Europe-Germany]Codes are taken from the MARC Code List for Geographic Areas.
86 Variable Data Fields (Cont.) 045 – Date Period of ContentFor sound recordings, this pertains to the date of composition and not to either the date of performance or the date of encoding.First indicator represents the date (Second indicator is blank):[blank] no specific date0 one work with one composition date1 more than one work with a composition date for each work2 one work with a range of compositions datesSubfields $a-$c represent different date code formats. Sound recordings will use subfield $b (9999 B.C. through C.E. time period). The date is recorded in the style of yyyymmdd and preceded by either a "c" for B.C. or a "d" for C.E.$b d [One composition, one date of composition, ]
87 Variable Data Fields (Cont.) 047 – Form of Musical CompositionIf the Comp (008/19-19; 006/10-12) has been coded "mu," then use the 047 to list the multiple composition forms.Codes are taken from the Comp fixed field list. Each code is proceeded by a subfield $a.co $a ov $a sn [Contains a concerto, an overture, and a sonata]
88 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or VoicesUse to note a composition's instrumentation except in the following instances:1. operas or other large vocal works with unspecified instrumentation2. collections with miscellaneous instrumentation3. folk song and folk music4. hymns and liturgical musicBoth indicators are blank. Subfield $a is used for the following:1. solo instrument without accompaniment2. individual instruments/voices of a chamber group3. ensemblesSubfield $b represents a solo instrument with accompaniment (the accompaniment goes in a subfield $a).
89 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or Voices (Cont.)Each instrument/voice is comprised of a two-digit code representing a type of instrument, voice or ensemble (see following pages, or consult either OCLC's Bibliographic Formats and Standards or LC's MARC Standards web sites), and a two-digit number representing the number of instruments, voices, etc. present except in the following instances:1. keyboard instruments are coded for the number of players per instrument2. percussion instruments are coded for the number of players required3. large ensemble codes are not followed by a number unless there is more than one of a specific ensemble present4. choruses are coded for the number of vocal partska01 [for solo piano]pc05 [for 5 marimba players]$b sa01 $a oa [for solo violin and orchestra]
92 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or Voices (Cont.)VoicesWoodwinds??????va – Sopranowa – Flutezn – Unspecified instrumentsvb – Mezzo Sopranowb – Oboeszu - Unknownvc – Altowc – Clarinetvd – Tenorwd – Bassoonve – Baritonewe – Piccolovf – Basswf – English hornvg – Counter tenorwg – Bass clarinetvh – High voicewh – Recordervi – Medium voicewi – Saxophonevj – Low voicewn – Unspecifiedvn – Unspecifiedwu – Unknownvu – Unknownwy – Ethnicvy – Ethnicwz – Other
93 Examples 1. Direct-access non-music sound recording Type: i ELvl: I Srce: d Audn: Ctrl: Lang: engBLvl: m Form: s Comp: nn AccM: MRec: Ctry: oruDesc: a FMus: n LTxt: f DtSt: s Dates: 2000,040 XXX $c XXX006 [m h ]007 s $b d $d u $e u $f n $g g $h n $i n $m e $n u007 c $b o $d n $e g $f a $g nnn $h a $i u $j a $k d $l uzm2621 $b Blackstone Audiobooks090049 UPMM100 1 Austen, Jane, $dSense and sensibility $h [electronic resource] / $c by Jane Austen.260 Ashland, Or. : $b Blackstone Audiobooks, $c p2000.300 1 computer optical disc : $b sd. ; $c 4 3/4 in.500 Spoken audio file. Indexed by chapter.538 MP3 format.538 System requirements: CD/MP3 player or PC with MP3-capable software.511 0 Read by Nadia May.
94 1. Direct-access non-music sound recording (Cont.) 500 Unabridged.500 Duration: ca. 12 hrs.520 Two sisters, the discreet Elinor, representing sense, and the reckless Marianne, representing sensibility, pursue love and happiness around the pillars of genteel society.Young women $v Fiction.England $v Fiction.Audiobooks.Domestic fiction. $2 lcshLove stories. $2 gsafd700 1 May, Nadia.
95 2. Remote-access non-music sound recording Type: i ELvl: I Srce: d Audn: g Ctrl: Lang: engBLvl: m Form: s Comp: nn AccM: MRec: Ctry: nyuDesc: a FMus: n LTxt: f DtSt: s Dates: 2000,040 XXX $c XXX006 [m g h ]007 s $b z $d z $e u $f n $g n $h n $i n $m e $n u007 c $b r $d n $e n $f a $g nnn090049 UPMM100 1 King, Stephen, $d 1947-Blood and smoke $h [electronic resource] / $c [written and narrated by] Stephen King.256 Electronic data.260 [New York, NY] : $b Simon & Schuster Audio ; $a Wayne, NJ : $b Distributed by Audible, $c p2000.500 Spoken audio file that can be streamed from the Audible.com website or downloaded and listened to from a desktop computer or portable audio device.538 System requirements for PC: Pentium processor or higher; 32MB RAM; 25MB hard disk space for full installation and content files; Windows 95 or later, or Windows NT 4.0 Workstation or Server with Service Pack 3; audio card and speakers; VGA graphics card or compatible at 256 color or higher; Windows Media Player and the WMP Filter for Audible, or RealPlayer or AudiblePlayer 3.0; AudibleManager (for transfer to portable devices); RioPort Audio Manager software (for transfer to Rio player); 28.8 kbps or higher modem (56 kbps or alternate method of Internet connection recommended); free serial, parallel or USB (1.0 compliant) port (for transfer to portable devices); Internet and access.538 System requirements for Macintosh: Real Player.538 System requirements for pocket PC: 500KB of free storage space for application files; at least 4MB of extra storage space for audio content files; Windows CE 2.0; AudiblePlayer; for synchronization between the Ps/PC and the desktop computer, ActiveSync 3.0+; stereo headphone jack and headphones.538 Mode of access: World Wide Web.
96 2. Remote-access non-music sound recording (Cont.) 500 Title from Audible.com website.511 0 Read by the author.500 Unabridged.516 Available in multiple electronic file formats.500 Duration: 3:00:00.530 Issued also as digital sound discs and sound cassettes.520 "Stephen King takes us inside a world of yearning and paranoia, isolation and addiction. It is the world of the smoker. In this audio-only collection, the now politically incorrect habit plays a key role in the fates of three different men in three unabridged stories of unfiltered suspense." --from web page.505 0 Lunch at the Gotham Cafe In the deathroom.500 Description based on contents viewed Mar. 12, 2001.Horror tales, American.Audiobooks.710 2 Simon & Schuster Audio (Firm) $4 pbl710 2 Audible, Inc. $4 dst$3 audible.com homepage $u $z Click for homepage, then search for title to obtain access options.
97 3. Direct-access music sound recording Type: j ELvl: I Srce: d Audn: Ctrl: Lang: N/ABLvl: m Form: Comp: zz AccM: f MRec: Ctry: cauDesc: a FMus: n LTxt: DtSt: s Dates: 200u,040 XXX $c XXX006 [m i ]007 s $b d $d f $e s $f n $g g $h n $i n $n d007 c $b o $d n $e g $f a $g nnn $h a $k d$b mp3.com090049 UPMM100 1 McKinley, William Thomas, $d 1938-Selected works. $n volume II $h [sound recording] / $c William Thomas McKinley.260 San Diego, CA : $b mp3.com, $c 300 1 sound disc : $b digital ; $c 4 3/4 in.538 System requirements: MP3 player.511 0 The Seattle Symphony Orchestra ; the New York Chamber Symphony ; Gerard Schwarz, conductor ; Andrew Kohji Taylor, violin (2nd work) ; Richard Stoltzman, clarinet ; William Thomas McKinley, piano (3rd work).500 Compact disc.500 Includes multimedia section containing photos, artists info., lyrics and MP3s.500 Biographical notes inserted in container.505 0 Flyin' home -- Tango for violin and orchestra -- Intermezzo for violin and orchestra -- Dance for violin and orchestra -- Goin' home on a theme of A. Dvorak.Violin with orchestra.Orchestral music.700 1 Schwarz, Gerard, $d $4 cnd700 1 Kohji Taylor, Andrew. $4 prf700 1 Stoltzman, Richard. $4 prfMcKinley, William Thomas, $d $t Works. $k Selections.710 2 Seattle Symphony Orchestra. $4 prf710 2 New York Chamber Symphony. $4 prf
98 4. Remote-access music sound recording (Multiple files) Type: j ELvl: I Srce: d Audn: Ctrl: Lang: N/ABLvl: m Form: s Comp: mu AccM: MRec: Ctry: xxuDesc: a FMus: n LTxt: DtSt: s Dates: 2000,040 XXX $c XXX006 [m i ]007 s $b z $d z $e u $f n $g n $h n $i n $j n $m e $n d007 c $b r $d n $e n $f a $g nnn $h a $k d047 df $a pr $a su090049 UPMMThe art of the guitar $h [electronic resource] / $c Andrés Segovia and John Williams.256 Electronic data (19 files)260 [S. l.] : $b Bescol Records : $b eMusic.com, Inc. [distributor], $c 538 Mode of access: World Wide Web.538 System requirements: personal computer ; MP3 player.500 Title from eMusic.com web site.500 All works originally composed by Johann Sebastian Bach, and arr. for guitar by Andrés Segovia and John Williams.511 0 Andrés Segovia, John Williams, guitars.505 0 Suite no. 1 in G major (2.3, 3.5, 2.9, 3.2, 3, 1.8 MB) -- Suite no. 3 in C major (3.8, 3.9, 3.3, 3.9, 4, 3.5 MB) – Partita no. 3 in E major, BWV Gavotte on rondeau (2.7 MB) -- Partita no. 2 in D major, BWV Chaconne (11.3 MB) -- Suite no. 6 in D major, BWV Gavottes I & II (3.5 MB) -- Lute suite in E minor, BWV 996. Sarabande (3.1 MB) ; Bourree (1.4 MB) -- Prelude in C minor, BWV 999 (1.1 MB) -- Suite no. 6 in C major, BWV Courante (2.5 MB).500 Description based on contents viewed Feb. 9, 2001.
99 4. Remote-access music sound recording (Multiple files – Cont.) 650 0 Guitar music, Arranged.650 0 Suites (Guitar), Arranged.650 0 Suites (Lute)Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1007, $r G major; $o arr.Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1009, $r C major; $o arr.Bach, Johann Sebastian, $d $t Sonaten und Partiten, $m violin, $n BWV $p Partita, $n no. 3.$p Gavotte en rondeau; $o arr.Bach, Johann Sebastian, $d $t Sonaten und Partiten, $m violin, $n BWV $p Partita, $n no. 2.$p Chaconne; $o arr.Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1012, $r D major. $p Gavotte, $n no. 1; $o arr.Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1012, $r D major. $p Gavotte, $n no. 2; $o arr.Bach, Johann Sebastian, $d $t Suites, $m lute, $n BWV 996, $r E minor. $p Sarabande; $o arr.Bach, Johann Sebastian, $d $t Suites, $m lute, $n BWV 996, $r E minor. $p Bourrée; $o arr.Bach, Johann Sebastian, $d $t Preludes, $m lute, $n BWV 999, $r C minor; $o arr.Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1009, $r C major. $p Courante; $o arr.700 1 Segovia, Andrés, $d 1893-700 1 Williams, John, $d 1941-$u
100 5. Remote-access music sound recording (Single file) Type: j ELvl: I Srce: d Audn: Ctrl: Lang: N/ABLvl: m Form: s Comp: zz AccM: MRec: Ctry: xxuDesc: a FMus: n LTxt: DtSt: s Dates: 2000,040 XXX $c XXX006 [m i ]007 s $b z $d z $e u $f n $g n $h n $i n $j n $m e $n d007 c $b r $d n $e n $f a $g nnn $h a $k d090049 UPMM100 1 Schoenberg, Arnold, $dStücke, $m piano, $n op. 33aKlavierstuck, op.33a (1928) $h [electronic resource] / $c Schonberg.256 Electronic data (1 file, 5.2 MB)260 [S.l.] $b Concord (Concerto) : $b eMusic.com, Inc. [distributor], $c 538 Mode of access: World Wide Web.538 System requirements: personal computer ; MP3 player.500 Title from ID3v2 tag.511 0 Grete Sultan, piano.590 With: Two nocturnes, op.32, no.1 in B major ; Four mazurkas, op.6, no.2 in C-sharp minor / Chopin -- Sonata in E flat, op. 18. Allegro, ma non troppo / Richard Strauss -- Romantic pieces, op. 75. Allegro maestoso / Antonin Dvorak -- Polka from the age of gold / Shostakovich -- Marche Hongroise from the damnation of Faust / Berlioz -- Hora staccato / Dinicu ; Heifetz -- William Tell overture / Rossini -- October from the seasons op.37b, no.10 / Tchaikovsky.500 Description based on contents viewed Jan. 17, 2001.650 0 Piano music.700 1 Sultan, Grete. $4 prf$u schonberg%5Fklavierstuck%5Fop%5F33a%5F(1928).mp3
101 ResourcesArchives of <http://listserv.indiana.edu/archives/mla-l.html> [Accessed September 1, 2002].<http://listserv.acsu.buffalo.edu/archives/autocat.html> [Accessed September 1, 2002].Gorman, Michael and Winkler, Paul W., eds., Anglo-American Cataloguing Rules, 2nd ed., 1998 revision with Amendments 1999 & Chicago: American Library Association, 2001.Koth, Michelle, and Margaret Kaus. Sound recording cataloging [handout], 1998 <http://ublib.buffalo.edu/libraries/units/cts/olac/conferences/1998/kaus-koth.pdf>Library of Congress Network Development and MARC Standards Office. MARC Standards, <http://www.loc.gov/marc/marc.html> [Accessed September 1, 2002].OCLC. Bibliographic Formats and Standards, 3rd ed., <http://www.oclc.org/bibformats/> [Accessed: September 1, 2002].<http://listserv.acsu.buffalo.edu/archives/olac-list.html> [Accessed: September 1, 2002].Olson, Nancy B. Cataloging of Audiovisual Materials and Other Special Materials: A Manual Based on AACR2, 4th ed. Dekalb, Ill.: Minnesota Scholarly Press, 1998.Roe, Sandra K., ed. The Audiovisual Cataloging Current. Binghamton, N.Y.: Haworth Press, 2001.Smiraglia, Richard P. Describing Music Materials: A Manual for Descriptive Cataloging of Printed and Recorded Music, Music Videos, and Archival Music Collections, 3rd ed. Lake Crystal, Minn.: Soldier Creek Press, 1997.Weitz, Jay. Music Coding and Tagging: MARC Content Designation for Scores and Sound Recordings. Lake Crystal, Minn.: Soldier Creek Press, 1990.