5xx

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 [1].

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 [2] 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 [3].
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 [4].
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].