Cataloging level

Creation of full-level records typically requires reading knowledge of music notation, and may require additional knowledge of music history and performance practice.  When appropriate, consult a music cataloger for assistance with reading music notation or with descriptive issues such as identifying types of composition, notation formats, and preferred work titles.

Sources of information

Preferred work titles: search name/title records in the Library of Congress National Authority File (LCNAF).  If not found, consult works list appended to biographical articles in Oxford Music Online [10], or other authoritative works lists (see Appendix F. Reference Sources [11]).

Additional research

Biographical notes: prefer Oxford Music Online [10] or other authoritative sources (see Appendix F. Reference Sources [11]).

Manuscript notated music dated 1600-1800: some materials held by the Beinecke Library have been described in detail in Répertoire International des Sources Musicales (RISM)’s online catalog [12].  Consult these descriptions for supplied composer identification, preferred work titles, and dates.

Creating templates

A template for General Collection cataloging is located in: J/ mssunit/voyager templates/cataloging/bib templates/dcrmm. File name: bibgen_dcrmm.tem.  This template may be edited for use in other curatorial areas.

Creating and editing bibliographic records

In addition to fields required for all single manuscript records, the following are required for manuscript notated music. See field definitions for more information.

Required for all records:

• 264 [13]
• 348 [14]
• 500 [15], for title source
• 546 [16], for form of notation
• 655 [17], for form of composition
• 655 [17], for format of notated music

Required when applicable:

• 028 [18]
• 240 [19]
• 254 [20]
• 382 [21]
• 546 [16], for language of vocal text
• 500 [15], for supplied date source
• 650 [22] Composers ‡z
• 650 [22], for type of composition
• 656 [23] Composers ‡z ‡y
• 700 [24], for author of vocal text
• 856 [25], for RISM link

Exporting records

Be sure records are complete before exporting to Backstage for authority control, which automatically queues records for subsequent export to Oclc. After initial export, re-exported type d records do not overlay existing description in Oclc. If necessary, contact the Cataloging Coordinator about deletion of obsolete records from Oclc.

Subfield ‡x

Items formerly listed in General Manuscript Music Miscellany by group number have the following nonpublic note:

‡x Formerly GEN MSS MUSIC MISC Group [number] [name] [folder or volume] [number]; bein, ms [m]/[yy].

Gathering information

Name/title authority records: prefer works list appended to biographical articles in Oxford Music Online [10], or other authoritative works lists (see Appendix F. Reference Sources [26]).

Leader:

Record type

008:

Composition

Format of music

Audience

Accompanying matter

Literary text for sound recording 1 and 2

Language

Leader

Record type

d manuscript notated music

008

Composition

• Choose a code identifying the type or predominant type of compositional form
• Or choose one of the following codes:
  • mu  multiple types
  • uu unidentified type

Format of music

• Scores: choose a code identifying the score format.
• Or choose one of the following:
  • z notated music other than scores, such as an ensemble part or music for unaccompanied solo instrument or voice
  • m multiple formats of scores or other music (do not use for score and parts)
  • u unidentified format

Audience

[blank] unknown or not specified

Accompanying matter

[blank] no accompanying matter

Also describe accompanying material in 520 [27] or 500 [15].

Literary text for sound recording 1 and 2

n not applicable [for both fields]

Language

• Choose a code for the language or predominant language of vocal text.
• Or choose zxx no linguistic content (for nonvocal music)
• Enter additional codes in 041 [28] for translations or parallel vocal texts, or performance instructions or other text in additional languages.

028 (Publisher number)

040 (Cataloging source)

041 (Language code)

028 (Publisher number)

• Repeatable: yes
• Use only for notated music
• Indexed: Keyword
• Additional Staff Indexes: Publisher Number
• Orbis public display constant (first indicator 2): Plate number
• Use for publisher or plate numbers present on manuscript music such as printers’ manuscripts, printed proofs, or printed music with manuscript annotations.  Plate numbers and publisher numbers may consist of numbers or a combination of numbers and letters or words.
• If possible, differentiate a plate number, usually appearing on each page of music, from a publisher number, which usually appears only on a cover, title page, or first page of music.
• If multiple numbers or a span of numbers are present, record each in a separate 028 field.
• While all 028 fields are keyword searchable in Orbis, only a first indicator 2 generates a “Plate Number” note in the OPAC display.  For publisher numbers (first indicator 3), manually enter a 500 [29] note starting with “Publisher number:”.

Indicators

1st:
2 plate number (Orbis displays 028)
3 publisher number (Orbis does not display 028)

2^nd:

0 No note; no added entry

2 Note; no added entry

However, regardless of indicator 2 value, Orbis display is mapped to first indicator.

Subfields

‡a Number

‡b Source
 

Example:

028 20  ‡a E.M.S. 8819 ‡b Editions Maurice Senart

100 1_ ‡‡a Honegger, Arthur,  ‡d 1892-1955.

240 10  ‡a Jeanne d’Arc au bûcher. ‡s Vocal score

245 10  ‡a Jeanne d’Arc au bûcher / ‡c Arthur Honegger ; poème de Paul Claudel.

520 __ ‡a Printed vocal score (Paris: Editions Maurice Senart, c1939), with manuscript annotations, possibly by Ida Rubinstein.

OPAC display:

Plate number: E.M.S. 8819 Editions Maurice Senart

040 (Cataloging source)

Required field.

Use the following codes: 

040 __ ‡a CtY-BR ‡b eng ‡c CtY-BR ‡e dcrmm ‡e rda 

041 (Language code)

• Record language codes to indicate the presence of more than one language in vocal text and/or accompanying material, or a translation of a vocal text or accompanying material.

Subfields

Repeat subfields for each language code.

• a  language code of sung or spoken text
• e  language code of libretto
• g  language code of accompanying material other than libretto
• h  language code of original language for translations of sung or spoken text (first indicator 1) or accompanying material (1st indicator is 0).  Subfield ‡h (single or repeated) applies to all preceding subfields of the same type.

Examples:

041 1  ‡a eng ‡a ger

Vocal text in English and German..

041 1  ‡a eng ‡a fre ‡a ger ‡h ita

Vocal texts in English, French, and German, all translated from Italian.

041 0  ‡g eng ‡h ger ‡g ger    

Accompanying material in English and German; English material is translated from German.

100/110 (Creator)

• Required when the creator is known.

Subfields

• e  relator term (required)
• Record the term “composer,” or another term in ‡e.  Use standard terms in LC MARC Code List for Relators [30]. Use terms, not codes.
• ‡e is repeatable when applicable
• For best practices in determining relationships between creators, works, and expressions see Music Cataloging at Yale/RDA/Names/Persons/Identifying, choosing, and recording [31] preferred and variants names for persons.

Examples:

100 1_ ‡a Walton, William, ‡d 1902-1983, ‡e composer.

100 1_ ‡a Walton, William, ‡d 1902-1983, ‡e composer, ‡e arranger of music.

240 (Preferred title)

245 (Title)

246 (Varying form of title)

250 (Edition statement)

254 (Musical presentation statement)

264 (Place and date of production)

240 (Preferred title)

• Preferred titles collocate title access for a work appearing in multiple manifestations, such as editions, arrangements, translations of vocal text, or excerpts. Use this field to index a preferred title unless the same title or name/title is already indexed in 100 and/or 245 ‡a.
• Use a preferred title established in a title or name/title authority record in the Library of Congress National Authority File (LCNAF).  If no authority record exists, devise a preferred title in conformance with RDA.  RDA provides rules for identifying a distinctive title or constructing a distinctive title from elements such as type of composition, instrumentation, vocal range, work number, and key.  To identify title elements, use works list appended to biographical articles in Oxford Music Online [10], other authoritative works lists, other reference sources, published editions, or the manuscript itself.  For additional guidance, see Music Cataloging at Yale/Preferred titles [32] and the MLA Cataloging and Metadata Committee list of standard types of composition [33].

Examples:

240 __ ‡a Sinfonia concertante, ‡m piano, orchestra

240 __ ‡a Rantzau. ‡p Sol che il sole risplenda

[opera excerpt; title from first line of text]                   
 

240 __ ‡a Roma. ‡p Tout homme dans Rome nous fuit et la ville servile toujours ob eit
[opera excerpt; title from first line of text]

245 (Title)

All titles

• Subfields ‡a and ‡b: enter nondistinctive title elements, such as type of composition, instrumentation, vocal range, work number, and key, in subfield ‡a only if the main title element is a type of composition. Otherwise, enter these elements in subfield ‡b.
• Excerpts: enter a title for the excerpt only in 245.  Enter a title for the complete work as a preferred title in 240.
• Title source note: make a 500 note recording the source of the title.  For devised titles, use a standard note: “Title devised by cataloger.”
• Other notes: optionally, make 520 or 500 notes to clarify incomplete statements of responsibility, to record altered titles or other altered information, annotations, or translations. Especially consider making these notes if the information noted concerns the creative process or performance history of the work.

Formal titles

• Transcribe a formal title from a source within the manuscript.  Generally, use sources in this order of preference:
  • title page
  • caption
  • cover
  • preliminary pages

• However, prefer a source that is part of the original manuscript to sources that have been supplied later.
• Optionally, prefer instead a source that gives the most complete information. 
• Transcribe parallel titles, other title information, and statements of responsibility, if present, in conformance with DCRM(M).
• Optionally include formal title variants as access points in 246.

Supplied and devised titles

• If no title is present, if possible identify a preferred title and supply in square brackets.  See guidelines in 240.

• If no preferred title is found, devise a title consisting of one of the following, enclosed in square brackets:
  • First line of a vocal text
  • A type of composition and other elements, as applicable, in this order: medium of performance, numeric designation, key.

• Manuscripts consisting of one or more fragments of a work:
  • Devise a title beginning “Fragment of…” or “Fragments of …”
  • Enter the title of the complete work, if this can be determined, as a preferred title

Examples:

240 10 ‡a Rantzau. ‡p Sol che il sole risplenda

245 10 ‡a [Sol che il sole risplenda].

500 __ ‡a Title from first line of text.

(opera excerpt)

245 10 ‡a Luisa Miller : ‡b melodramma tragico in tre atti / ‡c sinfonia musica del Sigr. Mo. Guiseppe Verdi.

245 10 ‡a Sinfonia concertante for orchestra with pianoforte (quasi obbligato) / ‡c by William Walton.

245 10 ‡a Coups de roulis / ‡c Albert Willemetz ; Andre Messager.

245 00 ‡a Raccolta di canzoni ed arie nazionali napolitane e balli popolari : ‡b per pianoforte.

245 10 ‡a Marina : ‡b melodramma in un atto  / ‡c di Umberto Giordano.
 

246 (Varying form of title)

• Optionally use to index alternative titles, such as variant spellings, access to both arabic and spelled-out numbers, or variant cover or spine titles.  
• For more information on use of indicators or cataloger-supplied labels for specific types of alternative titles, see Music Cataloging at Yale/MARC Tagging/246 [34].

250 (Edition statement)

• Transcribe a statement relating to a version or revision, such as a draft, revision, or proof.

• Treat the following as edition statements:
  • Type of score or other format of notated music
  • Version for specified voice

• If a statement is not present, record any identifiable information in a 520 or 500 note.

254 (Musical presentation statement)

• Use only for notated music.

• Repeatable: no

• Indexed: Keyword

• Orbis public display constant: Edition

• Punctuation: ends with a period.

• Transcribe a statement of the physical presentation of notated music such as “Miniature score” or “Score and set of parts.” Do not use this field for a statement that implies an arrangement of the work, such as “Piano score” or “Vocal score.” Consider these statements of responsibility (245 ‡c), even if no arranger is identified by name.

Indicators:

First: none

Second: none.

Subfields:

‡a  Musical presentation statement

264 (Place and date of production)

Required:

‡a  Place of production

‡c  Date of production

Subfield ‡a:

• Record a city and/or country, or other place of production, in a standard form, preferably conforming to LCSH, but without abbreviations or parentheses. Record supplied standard terms in square brackets. 
• For multiple places, record either all places, some places with omissions indicated, or a geographic term encompassing all places. 
• For unidentified places, use standard language, in square brackets: ‡a [Place not identified] 
• Note the source of a supplied place, using standard language: 
  Example:
• 500 __ ‡a Place of creation supplied by cataloger. 
• Optionally, note places in transcribed form 
  Example: 
  500 __ ‡a Place of creation on verso: NYC. 

 Subfield ‡c:

• Record date or date span of production in a standard form. Record a date supplied in standard from in square brackets.  
• Supplied dates: 

• If undated, estimate at least a century. 
• Use hyphens for year spans. 
• Spell out “circa.” 

• Optionally include a bulk span. 
• Use square brackets. 
• If a copyright date is present, transcribe it following the date of creation
• Optionally, instead of a single date, supply a span of dates encompassing:
  • Creation, revisions, and other annotations
  • A group of fragments
  • A collection of manuscripts bound together, or printed and manuscript music bound together
• Note the source of a supplied date, using standard language: 
  500 __ ‡a Date of creation supplied by cataloger. 
• Optionally, note dates in transcribed from: 
  Example: 
  500 __ ‡a Date of creation in caption: Sept 12-16, 75. 

Optionally make 520 or 500 notes to record:

• Imprint information for a publication prepared from the manuscript.
• Dates of revisions or other annotations not included in subfield ‡c.
• Copyright dates in a hand other than the creator.

300 (Physical description)

33x (Content, media, and carrier type)

348 (Format of notated music)

382 (Medium of performance)

300 (Physical description)

Extent (subfield ‡a)

• Record a count and a standard term for format of notated music, such as score or part, preceded by “manuscript.”  For a list of terms and definitions, see Music Cataloging at Yale/RDA/Extent of notated music [35]. 
• Optionally, describe music for solo instrument as “volume [or sheet] of manuscript music.”
• Optionally include a page or leaf count.

Dimensions (subfield ‡c)

• Optionally enter a measurement in centimeters.

Examples:

300 __ ‡a 1 manuscript vocal score ([126] p.) ; ‡c 31 cm.

300 __ ‡a 1 manuscript score (33 p.) + 1 ms. part (8 p.) ; ‡c 35 cm.

300 __ ‡a 1 volume of manuscript music ([52] pages)

300 __ ‡a 1 volume of manuscript music (circa 20 leaves) ; ‡c 11 x 16 cm

336, 337, 338 (Content, media, and carrier type)

Use the following standard terms:

336 __ ‡a notated music ‡2 rdacontent   

337 __ ‡a unmediated ‡2 rdamedia

338 __ ‡a volume ‡2 rdacarrier   

Or:

338 __ ‡a sheet ‡2 rdacarrier   

348 (Format of notated music)

• Use only for notated music.
• Repeatable: no
• Indexed: Keyword
• Orbis public display constant: not displayed
• Punctuation: no ending punctuation

Indicators:

First: none

Second: none.

Subfields:

‡a  Format of notated music (repeatable)
‡2  Source of term in ‡a

Format of notated music (subfield ‡a)

• Use standard terms in RDA Format of Notated Music (RDAFNM) [36].  See list and definitions in Music Cataloging at Yale/MARC tagging/348 [37].  Terms used in 348, 300, and 655 fields should match.
• For drafts in short score use “score.”
• If no specific term is applicable, use “score” for any notated music.

Source of term (subfield ‡2)

• Use standard code: rdafnm

Examples:

348 __ ‡a score ‡2 rdafnm
348 __ ‡a part ‡2 rdafnm
348 __ ‡a score ‡a part ‡2 rdafnm
348 __ ‡a vocal score ‡2 rdafnm

382 (Medium of performance)

• Use only for notated music.
• Repeatable: yes
• Indexed: Keyword
• Orbis public display constant: not displayed
• Punctuation: no ending punctuation

• Record a separate 382 field for each work present.
• Optionally record partial media (first indicator 1).
• For medium of performance terms (‡a), use Library of Congress Medium of Performance Thesaurus for Music [38].  Note differences from terms used in LCSH.
• Record all terms in singular form.
• Per LC best practice, do not use for operas.
• For detailed best practices and examples, see Music Cataloging at Yale/MARC tagging/382 [39]. And the Music Library’s Best Practices for Using LCMPT, version 1.41 (March 31, 2020) [40].

Indicators:

1st

_  no information provided

0  medium of performance

1  partial medium of performance

2nd

0  not intended for access

1  intended for access [field is intended to be indexed]

Subfields:

‡a  medium of performance

‡b  soloist

‡d  doubling instrument

‡e  number of ensembles of the same type named in the preceding subfield.

‡n  number of performers of the same medium named in the preceding subfield.

‡p  alternative medium of performance

‡r  total number of soloists (when performing with ensembles).

‡s  total number of performers.

‡t  total number of ensembles.

‡v  optional free-text note

‡2  source of term in ‡a. Use lcmpt

Terms (subfields ‡a-‡v)

Field order:

• ‡a and ‡b, generally in score order or as listed in the manuscript
• ‡d, ‡ e, ‡n, ‡p, ‡r, ‡v each following the related ‡a or ‡b
• ‡s and ‡t
• ‡2

Omit:

• ‡n if the medium includes an uncertain, unknown, or variable number of performers.
• ‡s if 382 is partial (1st indicator 1), if an ensemble term is used, or the number of performers is unknown or variable.

Source of term (subfield ‡2)

• Use standard code: ‡2 lcmpt

Examples:

382 _1 ‡a lute ‡n 1 ‡s 1 ‡2 lcmpt

382 _1 ‡a high voice ‡n 1 ‡a tenor voice ‡n 1 ‡s 2 ‡2 lcmpt

382 _1 ‡a medium voice ‡n 1 ‡a piano ‡n 1 ‡s 2 ‡2 lcmpt

382 _1 ‡a cello ‡n 1 ‡a piano ‡n 1 ‡s 2 ‡2 lcmpt

382 _1 ‡a orchestra ‡e 1 ‡t 1 ‡2 lcmpt

382 _1 ‡b piano ‡n 1 ‡a orchestra ‡e 1 ‡r 1 ‡t 1 ‡2 lcmpt

500 (General note)

520 (Scope and content)

545 (Biographical or historical note)

546 (Language)

500 (General note)

Required for:

• Source of the title.  For devised titles, use a standard note: “Title devised by cataloger.”
• Source of a supplied place. 
• Source of a supplied date. 

Examples:  

500 __ ‡a Title devised by cataloger. 

500 __ ‡a Title from [source]. 

500 __ ‡a Place of creation supplied by cataloger. 

500 __ ‡a Date of creation supplied by cataloger.  

Required when applicable:

Publisher number recorded in 028 [18].

Example:

028 30 ‡a 11500  ‡b Edition Peters

500 __ ‡a Publisher number: Edition Peters 11500.

Materials housed in two or more containers: include a count of containers in parentheses at the end of 300 ‡c [41] or in a 500 note. 

Example:

500 __ ‡a Stored in 2 containers. 

Optional for:

Place in transcribed form. 

Date in transcribed form. 

Examples:  

500 __ ‡a Places of creation on versos: “San Fran, Calif” and “Las Veg, Nev”. 

500 __ ‡a Date of creation in caption: Sept 12-16, 75. 

Composer’s signature.

Date and/or place of composition in standard form.

Examples:

500 __ ‡a Signed at end, 1820, Paris.

500 __ ‡a Dated at end, 1900, New York City.

520 (Scope and content)

Required when applicable and known:

Generally record in the following order.

If not already clear from the title:

• Preferred title of the work
• Extent of work, if not complete
• Form of composition, medium of performance, and language of vocal text

Always include, when applicable:

• Type of score or other format of notated music.
• Music notation, if other than staff notation.
• Type of handwriting or other method of production, identifying composer’s holograph, copyist’s manuscript, or manuscript in an unidentified hand.
• Composer’s signature and dates and place of composition, unless recorded in 500 [15].
• Method of reproduction, such as ozalid, photocopy, or computer printout.
• Identification of reproductions produced for rental by performers.
• Drafts, proofs, and other evidence of the creative process or publication history.
• Printer’s annotations, publication imprint information, and copyright dates.
• Other annotations, identifying source and type handwriting, and purpose, such as revisions or use in  performance.
• Accompanying material.

Optional:

• Describe evidence of other research value such as evidence of concert life, music education, or music publishing of a specific place or time, the development of a cultural period or musical style, or the relationship between music and political or other historical events.

Examples:

Score, holograph, with corrections and conductor’s annotations.  The score varies from the first published edition and is apparently an earlier version of the work.  Accompanied by a fragment of score paper with Walton’s name and the Sitwells’ London address, written by Walton in holograph.

Score of Satie’s nine recitatives, holograph, with corrections by Satie and brief annotations written by dancer Serge Lifar and in unidentified hands.  Appended are a transposition of Gounod’s quintet from act three, written in holograph by Georges Auric, and a vocal score of the final octet, written in an unidentified hand, possibly that of Edouard Flament.  Laid in are a text of the quintet, typescript, and an excerpt in vocal score showing the transition to the final scene, written in holograph by Satie.

Vocal score, holograph, with corrections by Messager and printer’s annotations for publication by Editions Salabert.  Sections are numbered and paged separately; number twelve is not present.  Accompanied by two documents identifying the score as Messager’s holograph, signed by his granddaughter Jacqueline Dumore-Messager, 1971 May 23 and undated.

Volume of untitled pieces for piano, written in manuscript by an unidentified composer or copyist, most with song texts included.

Score of the final scene of I Rantzau, holograph with corrections, signed and dated at Milan, 1894 Nov 1.  The score varies from the version published in 1892 and apparently is a revision of the scene.  Appended is an inscription to Arturo Pirani, Milan, 1894 Nov 2.

Vocal score, holograph, with corrections and revisions.

Score in two volumes, written in manuscript in the hands of several copyists, with text in Italian and German translation.  Annotations on the title page of each act list performances in Italian cities, including Alba, 1882; Alessandria, 1851; Bari, 1877-1878; Bergamo, 1851 and 1885-1886; Brescia, 1887; Verdi’s Busseto estate, 1890; Casale Monferrato, 1878; Fabriano, n.d.; Faenza, n.d.; Fano, 1877-1878; Fiume, n.d.; Genoa, 1850 and 1889; Gorizia, 1889;Ê Mantua, 1878 and 1887; Milan, 1881; Padua, 1879-1880; Parma, n.d.; Pistoia, 1890; Reggio, 1851 and 1883; Riva, 1878; Rome, 1885 and n.d.; Rovigo, 1850; San Remo, 1880-1881; Turin, n.d.; Vercelli, 1851-1852; Vicenza, 1888; and Zara, 1852 and n.d. Stamps on title pages and throughout each act indicate that the score was rented through the Leipzig office of Verdi’s publisher Ricordi, apparently during a German revival of the opera in the 1920s.Ê Blank pages following each act are stamped 1929.Ê Part of act two and missing fragments of a few other pages have been replaced by later copyists.  Metronome markings, cuts, and other performance annotations appear thoughout the score.  The title page of act one is signed by conductor Leopoldo Mugnone.

Song, holograph, with dedication to Adeline Palianti.

Songs, holograph, dated 1862 Aug 25 and 26, with a fragment of an unidentified song on the recto of the first page, dated [1862] Aug 23.

Incidental music, holograph, with printer’s annotations, inscribed to Paul Ginisty, Theatre de lÕOdeon, 1904.

Song, version for soprano or tenor, published by Heugel (Paris, c1892).  The cover is inscribed by Massenet to “Mademoiselle Van Hoot,” Festival de Namur, 1894.
 

Song cycle, holograph, with corrections, and revisions by Massent and printer’s annotations for publication by Georges Hartmann.  Songs are dated 1881 Jul-Sep, with revisions, 1881 Sep, and an inscription to Madame Joseph Michel, 1883 Feb.

Song, holograph, with dedication to Frank [Tirot?].

Fragment from Massenet’s opera Roma, holograph.  The fragment is signed by his daughter Juliette Massenet, 1913 May, and accompanied by an ALS from her to “Monsieur,” enclosing the music in response to a request for her father’s holograph, Paris, May 10, 1913.

545 (Biographical or Historical Note)

Optional:

• Include contextual information about the history of works, such as creation, performance, and publication, and date and place of first performance, publication, broadcast, or recording.

546 (Language)

Enter separate 546 fields for form of notation and language, in that order.

Required:

• Form of notation (subfield ‡b).  For standard staff notation, use the following standard note:
  • 546 __ ‡b Staff notation.

• For standard terms for other systems of notation, see Music Cataloging at Yale/RDA/Form of notation [42].
• List multiple terms in separate subfield, separated by semicolons. 

Example:

546 __ ‡b Staff notation; ‡b Tablature.

Required when applicable:

• Text language (subfield ‡a).  Required for vocal music; optional for annotations, accompanying material, or other text. 

• Generally start notes by identifying text as vocal or as another type of text.  For vocal text, use the following standard note:
  • 546 __ ‡a Vocal text in [Language].

600/610 (Subject added entry - personal and corporate name)

65x (Subject headings)

650 (Subject added entry - topical term)

655 (Index term - genre/form)

656 (Index term - occupation)

600/610

Required when applicable:

• Composer
• Author of vocal text, with ‡v Musical settings, if author did not collaborate with composer.  For a collaborating author, use 700 [24] instead.

Optional:

• Annotator
• Publisher associated with proof or printers’ manuscript.
• Subject of vocal text or dedicatee of work, with ‡v Songs and music. 

Examples:

600 10 ‡a Hugo, Victor, ‡d 1802-1885 ‡v Musical settings.
(song with poem by Hugo as text)

600 10 ‡a Sitwell, Edith, ‡c Dame, ‡d 1887-1964 ‡v Songs and music.
(work dedicated to Sitwell)

600 10 ‡a Diaghilev, Serge, ‡d 1872-1929.

(annotations by Diaghilev)

610 20 ‡a Editions Salabert.

(publisher of printed proof)

610 20 ‡a Ricordi (Firm)

(publisher of printer’s manuscript)

65x (Subject headings)

• For usage of 348 [14], 382 [21], 655 [17], and 650 [22], follow Music Library Association and Yale Music Library best practices.  As of 2020 December, pending full implementation of Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT), best practices require the following:
  • 650 [22]: use for form of composition and media of performance, using Library of Congress Subject Headings.  When appropriate, include medium of performance and ‡v for format of notated music. 
  • 655 [17]: for form of composition, using Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT).  Do not include media of performance.  Enter media of performance in 382 [21].
  • 655 [17]: for format of notated music, using Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT).  Also enter format of notated music in 348 [14].
  • For more guidance, see “Use with LCMPT and LCSH” in the Music Library Association’s Best Practices for Using LCGFT for Music Resources, version 1.2 (July 8, 2019) [43] and Music Cataloging at Yale/Subject Cataloging [44].

650  (Topical subject headings)

• Use Library of Congress Subject Headings (LCSH).  For lists of terms commonly used for music, see Music Cataloging at Yale/Subject Cataloging [44].

Required when applicable:

• Type of composition.  When appropriate, include medium of performance and ‡v for format of notated music. Do not use ‡v for solo works.

• Composers ‡z [place of nationality]

Optional:

• Historical event or other subject term, with ‡v Songs and music.

• Type of composition, with ‡z [geographic location] and ‡y [century].

Examples:

650 _0 ‡a Piano with orchestra ‡v Scores.

650 _0 ‡a Operas ‡v Excerpts ‡v Scores.

650 _0 ‡a Operas ‡v Vocal scores with piano.

650 _0 ‡a Dance music ‡z Italy.

650 _0 ‡a Piano music.

650 _0 ‡a Songs, Italian.

650 _0 ‡a Songbooks, English ‡z United States.

650 _0 ‡a Songs, English ‡z Scotland.

650 _0 ‡a Hymns, English ‡z England.

655 (Form/genre subject heading)

• Use Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT).  For more guidance and lists of terms see Music Cataloging at Yale/MARC tagging/655 [45] and Music Cataloging at Yale/Commonly Used Music Terms in LCGFT [46].

• Enter a single term in each 655.

Required:

• Format of notated music, with ‡2 lcgft.  Also enter format of notated music in 348 [14]. If no specific term is applicable, use “scores” for any notated music.
• Form of composition, with ‡2 lcgft.  Do not include media of performance.  Enter media of performance in 382 [21].  If there is no specific form, use Art music (for solo instrument or voice, or large ensemble with two or more performers per part) or Chamber music (for small ensemble of solo performers).

 

Optional:

• Other form/genre terms, not specific to music, with ‡2 aat.

Examples:

655 _7 ‡a Arrangements (Music) ‡2 lcgft

655 _7 ‡a Art music. ‡2 lcgft

655 _7 ‡a Sonatas. ‡2 lcgft

655 _7 ‡a Songs. ‡2 lcgft

655 _7 ‡a Chamber music. ‡2 lcgft
655 _7 ‡a Scores. ‡2 lcgft

655 _7 ‡a Vocal scores. ‡2 lcgft
655 _7 ‡a Parts (Music) ‡2 lcgft

655 _7 ‡a Proofs (printed matter) ‡2 aat

656 (Index term – occupation)

• Use Library of Congress Subject Headings (LCSH). 

Required when applicable:

• Composers ‡z [place of nationality] ‡y [century]. ‡2 lcsh

• For all 700s and 710s without ‡t, use ‡e with relator term.  Use terms, not codes.  Record the term “composer,” or another term in ‡e from the LC MARC Code List for Relators [30].
• For best practices in determining relationships between creators, works, and expressions see Music Cataloging at Yale/RDA/Names/Persons/Identifying, choosing, and recording [31] preferred and variants names for persons.
• For more guidance in determining appropriate terms, see Music Cataloging at Yale/RDA/relationship designators [47].

Required:

• Collaborators recorded in statement of responsibility, scope and content, or other notes, such as:
• Author of vocal text, if author collaborated with composer.  Use ‡t if literary source title differs from work title of musical setting.  For non-collaborating authors, use 600 [48] with ‡v Musical settings instead.
• Editor
• Copyist

Optional:

• Multiple works present in single manuscript, with ‡t for title of work.
• Use ‡i to clarify a relationship between creators and works in 1xx/245 and 7xx.

 

Examples:

700 12 ‡i Libretto based on Le medecin malgre lui: ‡a Moliere, ‡d 1622-1673 ‡t Medecin malgre lui.

(opera with libretto based on a work by Moliere)

700 12 ‡a Coppée, François, ‡d 1842-1908. ‡t Passant.

(opera with libretto by Coppée; title of opera different than title of novel)

700 12 ‡a Menasci, Guido.

(opera with libretto by Manasci)

700 12 ‡a Gounod, Charles, ‡d 1818-1893. ‡t Medecin malgre lui; ‡o arranged.

(recitatives added to Gounod’s opera by Satie)

856 (Electronic Location and Access)

• Required when applicable.
• Use for early modern music manuscripts held by Beinecke that are described in the Répertoire International des Sources Musicales (RISM) [49] online catalog. 
• When an item already cataloged in Orbis is added to RISM, consider enhancing the Orbis record based on the RISM description.  Especially review verify or revise: 1xx, 240, 245, 6xx, and 7xx.
• For more information, see RISM documentation: Searching RISM [50] and Adding RISM links to catalog records [51].

Call number with one RISM description:

856 42 ‡3 View a description in RISM (Repertoire international des sources musicales) ‡u https:// opac.rism.info/search?id=[rismnumber]&View=rism

Example:

856 42 ‡3 View a description in RISM (Repertoire international des sources musicales) ‡u https://opac.rism.info/search?id=900007923&View=rism [52]

RISM record: https://opac.rism.info/search?id=900007923&View=rism [52]

Call number with multiple RISM descriptions:

• 856 42 ‡3 View a description in RISM (Repertoire international des sources musicales) ‡u https:// opac.rism.info/search?View=rism&callno=[callnumbercomponent]+[callnumbercomponent]
• Repeat [call number component] for each component separated by spaces in the Mfhd.

Example:

856 42 ‡3 View a description in RISM (Repertoire international des sources musicales) ‡u https://opac.rism.info/search?View=rism&callno=gen+mss+23 [53]

RISM record: https://opac.rism.info/search?View=rism&callno=gen+mss+23 [53]

Appendices A-C, E, G, and I-J:

No additional procedures.

Appendix D: Obsolete fields

• 047: as of 2021, use 655               
• 048: as of 2021, use 382
• 260: as of 2021, use 264
• 306: as of 2021, no longer used, per local decision.

Appendix F: Reference sources

Music cataloging:

• ALA Rare Books and Manuscripts Section (RBMS). Descriptive Cataloging of Rare Materials (Music) (DCRMM) [4]
• Koth, Michelle. Music Cataloging at Yale [3]
• Music Library Association.  Archives and Special Collections Committee [54]
• Music Library Association.  Cataloging and Metadata Committee [55]
• Music Library Association and Society of American Archivists. Guidelines for Archival Description of Notated Music, A Supplement to Describing Archives: A Content Standard [8] (Humanities Commons)
• Répertoire International des Sources Musicales (RISM). Online catalog [12]

Music and musicians:

• Prefer authoritative sources, such as those listed below.  Prefer these sources to Wikipedia, which generally is not an authoritative source for composer biographies, works lists, or work titles.

Composer biographies and works lists:

• Oxford Music Online [10] (database access requires VPN)
• Musik in Geschichte und Gegenwart (MGG) [56]
• Bakers Biographical Dictionary of Musicians [57] (database access requires VPN)
• Koth, Michelle. Music Cataloging at Yale/Musical Biographical Resources on the Web [58]

Browse LC call numbers:

• Composer biographies: ML410 [cutter by composer name A-Z]
• Composers’ complete works editions: M3 [cutter by composer name A-Z]
• Thematic indexes of composers’ works: ML134 [cutter by composer name A-Z]

Preferred work titles:

• Library of Congress Authorities [59] (search by name/title)
• Library of Congress Linked Data Service [60] (search by name for name/title authorities)
• If no LC authority record is found, see the biographical and works lists sources above, and record a work title in conformance with Resource Description and Access (RDA).  For guidance in recording work titles, see Music Cataloging at Yale/Preferred titles [32].

General music topics:

• Oxford Music Online [10] (database access requires VPN)
• The Harvard Dictionary of Music [61] (database access requires VPN)

Appendix H: Sample Records

245 00 ‡a [Lute music].

264 _0 ‡a [Switzerland?], ‡c [circa 1550-1575]

Full record: http://hdl.handle.net/10079/bibid/14604660 [62]

---

245 00 ‡a Dunque a l’eccelse imprese di Leopoldo inuitto solo s’impugnerá uirile il brando?

264 _0 ‡a Vienna, Austria?, ‡c circa 1688-1690.

Full record: http://hdl.handle.net/10079/bibid/15587159 [63]

---

100 1_ ‡a Miles, Susanna, ‡d active 1759, ‡e compiler.

245 10 ‡a Susanna Miles her singing book.

Full record: http://hdl.handle.net/10079/bibid/13883417 [64]

---

100 1_ ‡a Fauré, Gabriel, ‡d 1845-1924, ‡e composer.

240 10 ‡a Sonatas, ‡m cello, piano, ‡n no. 1, op. 109, ‡r D minor

245 10 ‡a Sonate pour piano et violoncelle, op. 109 / ‡c Gabriel Faure.

264_0 ‡a [Paris, France], ‡c [1917 October 25]

Full record: http://hdl.handle.net/10079/bibid/6747916 [65]

---

100 1_ ‡a Giordano, Umberto, ‡d 1867-1948, ‡e composer.

240 10 ‡a Marina. ‡s Vocal score

245 10 ‡a Marina : ‡b melodramma in un atto / ‡c di Umberto Giordano.

264_0 ‡a [Place not identified], ‡c [circa 1889]

Full record: http://hdl.handle.net/10079/bibid/4746720 [66]

---

100 1_ ‡a Massenet, Jules, ‡d 1842-1912, ‡e composer.

245 10 ‡a Ecoute-moi Madeleine! : ‡b ballade de Victor Hugo : pour contralto / ‡c par Jules Massenet.

264_0 ‡a [Place not identified], ‡c [1860s?]         

Full record: http://hdl.handle.net/10079/bibid/7076733 [67]

---

100 1_ ‡a Massenet, Jules, ‡d 1842-1912, ‡e composer.

245 10 ‡a Poëme d’un soir / ‡c George Vanor ; J. Massenet.

264_0 ‡a [Place not identified], ‡c [1895 March]

Full record: http://hdl.handle.net/10079/bibid/7077079 [68]

---

100 1_ ‡a Pierné, Gabriel, ‡d 1863-1937, ‡e composer. Satie

240 10 ‡a Intermezzo, ‡m orchestra, ‡r A major

245 10 ‡a Intermezzo  / ‡c Gabriel Pierné.

264_0 ‡a [Place not identified], ‡c [1883].

Full record: http://hdl.handle.net/10079/bibid/9330670 [69]

---

100 1_ ‡a Satie, Erik, ‡d 1866-1925, ‡e composer.

245 10 ‡a Scènes nouvelles for Le médecin malgré lui by Charles Gounod.

264_0 ‡a [Place not identified], ‡c [1923]

Full record: http://hdl.handle.net/10079/bibid/4722612 [70]

---

100 1_ ‡a Walton, William, ‡d 1902-1983, ‡e composer.

240 10 ‡a Sinfonia concertante, ‡m piano, orchestra

245 10 ‡a Sinfonia concertante for orchestra with pianoforte (quasi obbligato) / ‡c by William Walton.

264_0 ‡a [London, England?], ‡c [circa 1927]

Full record: http://hdl.handle.net/10079/bibid/4642559 [71]

---

100 1_ ‡a Wolf-Ferrari, Ermanno, ‡d 1876-1948, ‡e composer.

240 10 ‡a Chiese di Venezia

245 10 ‡a [Fragments and drafts for Chiese di Venezia].

264_0 ‡a [Place not identified], ‡c 1947-[circa 1948].

Full record: http://hdl.handle.net/10079/bibid/9726000 [72]