These guidelines address description and selection of access points for manuscript
material consisting of music notation. The fields defined in this document
are used by Manuscript Unit catalogers in creating records using record type
d (manuscript music) for single items and collections of music materials in
the Yale University Library OPAC (Orbis). These instructions are intended
to interpret and supplement general cataloging rules in Anglo-American
Cataloging Rules, 2nd ed. (AACR2), and Beinecke manuscript cataloging
practice documented in the Manuscript Unit's Orbis
Cataloging Manual: Mixed Materials Format.
Fields pertaining to published music are included for use in cases when printed
items are cataloged as manuscripts, such as published music annotated in manuscript,
annotated or otherwise altered photocopies of published music, or proofs.
Collections which include music materials but consist mostly of textual or
other types of manuscripts are cataloged using record type p (Mixed Materials),
according to guidelines in the Mixed Materials Manual.
Variable Control Fields
Fields or codes specific to music are defined below. All other fields are
defined in variable
control fields in the Mixed Materials Manual. See USMARC Format for Bibliographic
Data on Cataloger's Desktop for further information about codes.
If manuscript music is present in a collection, an Additional Materials Characteristics
(006d) field may be included in a mixed materials record. Use of an 006d field
must correspond to at least one subject heading identifying a type of composition
(650). A record may or may not also include a genre heading pertaining to
music (655).
Indexed: Limit search by Item Type
Codes: d Manuscript music
General Description (008)
The following fields are not indexed.
Composition
Use a two-character code to identify
type of compositional form. A list of codes
is available on the Music Cataloging at Yale website.
Format of Music
Use one of the following codes
to identify the type of score format or other format of music.
a = full score
b = full score, miniature or study size
c = accompaniment reduced for keyboard
d = voice score
e = condensed score or piano-conductor score
g = close score
m = multiple score formats
u = unknown
z = other than score format (e.g., pages of music for solo instrument or voice)
Audience
Enter a blank, for "unknown
or not specified".
Form of Item
For single items, use a one-character
code to identify microform or print reproduction technique. If the item is
not a reproduction, enter a blank. For collections, enter a blank and describe
any reproductions present in a scope and content note (520).
Accompanying Matter
For single items, use up to six
of the following codes to identify genre or subject content of accompanying
non-music material. Enter blanks for any unused positions. For collections,
and optionally for single items, enter blanks and describe accompanying material
in a scope and content note (520).
a = discography
b = bibliography
c = thematic index
d = libretto or text
e = biography of composer or author
f = biography of performer or history of ensemble
g = technical and/or historical information on instruments
h = technical information on music
i = historical information
k = ethnological information
r = instructional materials
s = music
z = other accompanying matter
Literary Text for Sound Recording
1 and 2
For written music, enter code
n for "not applicable" in each field.
Additional Materials Characteristics (006)
If a genre heading is included for accompanying items such as text, photographs,
or artwork, a corresponding 006 field must also be included. See instructions
for 006
fields in the Mixed Materials Manual.
INDEXED: Keyword
Additional Staff Indexes: Publisher Number
ORBIS PUBLIC DISPLAY CONSTANT: Publisher's number
INDICATORS:
1st
2 plate number
3 publisher number
2nd
0 No note; no added entry
2 Note; no added entry
SUBFIELDS:
|a Number
|b Source
NOTES:
Use for publisher or plate numbers appearing on published music or proof
sheets, using multiple fields if more than one number is present. These may
consist of numbers or a combination of numbers and letters or words. Use indicators
to differentiate between plate numbers, which if present will appear identically
on each page of music, and publisher numbers, which may be similar in form
but do not appear identically on every page.
For each publisher or plate number also include a note. Use of a second indicator
"2" will cause the system to generate a note with the default field
label. Optionally, use a second indicator "0" and enter a more detailed
note in a 500 or 520 field. This note will display with a "Notes"
or "Summary" field label.
For annotated printed music, use if a plate or publisher number is visible
or otherwise known. Include notes (520 or 500) regarding the reproduction
and identifying the original publication, stating at least the original imprint.
Examples:
028:20: |a E.A.S.4583 |b Editions
Salabert
520: : Vocal score, holograph, with corrections by Messager
and printer's annotations for publication by Editions Salabert. …
500:: Pl. no.: E.A.S.4583 (manuscript printer's
annotation).
MUSIC TAG: (041) Language Code
REPEATABLE: no
INDEXED: Keyword
INDICATORS:
1st
0 Item is not a translation/does not include a translation
1 Item is or includes a translation
2nd
none
SUBFIELDS:
|a Languages of text
|h Language code of original and/or intermediate translations of text
NOTES:
Use to indicate the presence of more than one language, a translation of
a vocal text, or the presence of textual material accompanying nonvocal works.
For collections including both music and textual manuscripts, use for languages
or translations present in the collection as a whole.
Use standard codes given in USMARC Code List for Languages on Cataloger's
Desktop.
Examples:
041:0 : |a gerita |h ita
MUSIC
TAG: (047) Form of Musical CompositionCode
REPEATABLE: no
INDEXED: Keyword
INDICATORS:
1st
none
2nd
none
SUBFIELDS:
|a Form of musical composition code
NOTES:
Use only when multiple compositional form codes are indicated by use of "mu"
(multiple forms) in Compositionin the 008 field. Codes are entered in separate
|a subfields.
A list
of codes is available on the Music Cataloging at Yale website.
Examples:
047:: |a
sg |a df
MUSIC
TAG: (048) Number of Musical Instruments or Voices Code
REPEATABLE: no
INDEXED: Keyword
INDICATORS:
1st
none
2nd
none
SUBFIELDS:
|a performer or ensemble
|b soloist
NOTES:
See codes in USMARC Format for Bibliographic Data on Catalogers Desktop.
INDEXED: Keyword
Additional Public Indexes: Title, Author Sorted by Title
Additional Staff Indexes: Title
ORBIS PUBLIC DISPLAY CONSTANT: Title
PUNCTUATION: Ends with a period, even when another mark of punctuation or
closing parenthesis is present unless the last word in the field is an abbreviation,
initial, etc.
INDICATORS:
1st
0 No title added entry
1 Title added entry
2nd
0-9 Number of nonfiling characters present
SUBFIELDS:
|a Title
|b Remainder of title
|c Remainder of title page transcription/statement of responsibility
|f Inclusive dates
|g Bulk dates
NOTES:
For single items, transcribe from the title page according to AACR2. If no
title page is present, transcribe from the caption, cover, colophon, other
preliminary pages, or content of the item, and make a note of the source.
Prefer the title page and other sources in the order stated above, but prefer
a source giving more complete information.Prefer information included in the original
manuscript over later annotations.Consider
describing later annotations in a note, especially if they concern the creative
process or performance history of the work.If no title information is present, determine
the title of the published version or construct a title according to AACR2
rules for uniform titles, and enter in brackets.When constucting a title for an excerpt from
a larger work, enter only the title for the part in hand, and enter the title
for the complete work as a uniform title. Treat statements of medium of performance, key, date of composition,
and opus or other number as part of the title proper (subfield |a) only if
the main title element is a type of composition. Otherwise, consider these
elements other title information (subfield |b) (see AACR2 5.1B1).
For collections, assign a title according to the Mixed Materials Manual.
If a collection concerns a single work or group of works, include the work
title in the assigned title, e.g. "Scores relating to ..." and also
trace it as a uniform title (600 |t) or as an uncontrolled title (740).
For annotated printed music or photocopies, give original title information
in a note, if known. Optionally, make notes (520 or 500) 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.
Enter a date, or date span encompassing any dated annotations, for creation
of the material in subfield |f.Date(s) in subfield |f and in fixed fields
DT/1 and DT/2 must be the same. For collections, enter a bulk date span in
subfield |g, if appropriate. Subfields |f and |g, in that order, follow subfields
|a and |b and precede subfield |c.
Examples:
240:10: Rantzau.
|p Sol che il sole risplenda
245:10: [Sol
che il sole risplenda], |f 18--.
500: : Title from first line of text.
(opera excerpt)
245:10: |a
[Recitatives for Medecin malgre lui by Charles Gounod], |f [1922?-1923].
500: : "Medecin
malgre lui: opera comique de Gounod" -- caption title, written in an
unidentified hand.
(No title page; assigned title
should identify Satie's work rather than Gounod's; 245 |a will be used as
a citation for this item)
245:10:
|a Luisa Miller : |b melodramma tragico in tre atti, |f [ca. 1850-1929] /
|c sinfonia musica del Sigr. Mo. Guiseppe Verdi.
(music dated ca. 1850, with conductors annotations dated ca. 1850-1929).
245:10: |a Sinfonia concertante : |b for orchestra with pianoforte (quasi
obbligato), |f [ca. 1927] / |c by William Walton.
245:10: |a Coups de roulis, |f [ca. 1928] / |c Albert Willemetz ; Andre
Messager.
245:00: |a Raccolta di canzoni ed arie nazionali napolitane e balli popolari
per pianoforte, |f [17--?].
245:10: |a Marina : |b melodramma in un atto, |f [ca. 1889] / |c di Umberto
Giordano.
MUSIC TAG: (246) Varying
Form of Title
REPEATABLE: yes
INDEXED: Keyword
Additional Public Indexes: Title,
Author Sorted by Title
Additional Staff Indexes: Title
ORBIS PUBLIC DISPLAY CONSTANT: Variant and related titles
PUNCTUATION: Doesn't end with a mark of punctuation unless the last word
in the field is an abbreviation, initial, etc.
INDICATORS:
1st
0 No note; no added entry
2 Note; no added entry
2nd
b/ No type specified
0 Portion of title
1 Parallel title
2 Distinctive title
3 Other title
4 Cover title
5 Added title page title
6 Caption title
7 Running title
8 Spine title
SUBFIELDS:
|a Title proper/short title
|b Remainder of title
NOTES:
Use for single items when indexing is desired for alternative titles, such
as variant spellings, access to both arabic and spelled-out numbers, or variant
cover or spine titles. Use only for titles which apply to the item as a whole.
Use a 740 field for a title which applies to part of an item.
For information on use of indicators or cataloger-supplied labels for specific
types of titles, see guidelines
on the Music Cataloging at Yale website.
MUSIC TAG: (250) Edition Statement
REPEATABLE: no
INDEXED: Keyword
ORBIS PUBLIC DISPLAY CONSTANT: Edition
PUNCTUATION: Ends with a period.
INDICATORS:
1st
none
2nd
none
SUBFIELDS:
|a Edition statement
|b Remainder of edition statement
NOTES:
Use for single scores to transcribe a statement of voice range which is not
grammatically linked to the title (see LC Music Cataloging Decisions 5.2B2)
or "publication" by reproduction, e.g. Composers Facsimile Edition
(American Composers Alliance).
Make a note (520 or 500) for manuscript annotations indicating preparation
for a new edition.
MUSIC TAG: (254) Musical Presentation Statement
REPEATABLE: no
INDEXED: Keyword
ORBIS PUBLIC DISPLAY CONSTANT: Edition
PUNCTUATION: Ends with a period.
INDICATORS:
1st
none
2nd
none
SUBFIELDS:
|a Musical presentation statement
NOTES:
If present on the item in hand, transcribe any statement of the physical
presentation of the work, such as "Miniature score" or "Score
and set of parts." Do not use this field for any statement that implies
an arrangement of the work, such as "Piano score" or "Vocal
score." Consider these statements of responsibility, even if the name
of the arranger is not given.
MUSIC TAG: (260) Imprint
Do not use for manuscripts. A date or date span for creation of the material
is entered in the 245 field, subfield |f. For single published or proof scores
with manuscript annotations, or, optionally, for a published or proof score
in a collection, record imprint information in a note (520 or 500).
PUNCTUATION: Ends with a period unless another mark of punctuation or closing
parenthesis is present.
INDICATORS:
1st
none
2nd
none
SUBFIELDS:
|a Extent
|b Other physical details
|c Dimensions
|e Accompanying material
|f Type of unit
|g Size of unit
|3 Materials specified
NOTES:
For single items, use terminology given in AACR2, chapter 5, section 5, to
identify physical units such as scores, multi-volume scores, specific types
of scores (such as vocal score or chorus score), score with parts, parts only,
or pages of music for solo instrument. For manuscripts,
precede terms with "ms." Identify manuscript notation as holograph,
copyist's manuscript, manuscript in an unidentified hand,or photocopy in a note (500 or 520). Clarify
combination of print, manuscript, or photocopied sections, separate works
bound together, or other physical characteristics in a note (520 or 500).
Record pagination and height of single items according to instructions
in the Mixed Materials Manual.
For collections, enter extent according to instructions
in the Mixed Material Manual. Optionally, use multiple 300 fields to describe
multiple single scores.
Do not use subfield f. Include both extent and type of unit in subfield a.
Use to state the duration of performance of the work, if given on the item
in hand. State hours, minutes, and seconds using six digits in the following
form: hhmmss. Exactly one minute is coded as 60 seconds, and exactly one hour
is coded as 60 minutes.
Also enter a note (500 or 520) stating the duration in the following form:
hh:mm:ss.
MUSIC TAG: (351) Organization and Arrangement
of Materials
MUSIC TAG: (440) Series Statement/Added
Entry-Title
REPEATABLE: yes
INDEXED: Keyword
Additional Public Indexes: Author
Sorted by Title, Journal/Newspaper/Magazine Title, Title
Additional Staff Indexes: Title, Series Title, Staff Title Headings,
ORBIS PUBLIC DISPLAY CONSTANT: Series
PUNCTUATION: Does not end with a mark of punctuation, unless the field ends
with an abbreviation, an initial/letter, or other data that ends with a mark
of punctuation.
INDICATORS:
1st
none
2nd
0-9 Number of nonfiling characters
SUBFIELDS:
|a Title
|n Number of part/section of a work
|p Name of part/section of a work
|v Volume/sequential designation
NOTES:
For published or proof items, enter according to AACR2.
Make a note (520 or 500) for manuscript annotations relating to preparation
for publication in a series, and consider tracing the series title (4XX).
MUSIC TAG: (490) Series Statement/Added
Entry-Title
REPEATABLE: yes
INDEXED: Keyword
Additional Public Indexes: Title
Additional Staff Indexes: Series: Not Traced
ORBIS PUBLIC DISPLAY CONSTANT: Series
PUNCTUATION: Does not end with a mark of punctuation, unless the field ends
with an abbreviation, an initial/letter, or other data that ends with a mark
of punctuation.
INDICATORS:
1st
0 Series not traced
1 Series traced differently
2nd
none
SUBFIELDS:
|a Series statement
|v Volume/sequential designation
NOTES:
For published or proof items, enter according to AACR2.
Make a note (520 or 500) for manuscript annotations relating to preparation
for publication in a series, and consider tracing the series title (4XX).
PUNCTUATION: Ends with a period unless another mark of punctuation or closing
parenthesis is present.
INDICATORS:
1st
none
2nd
none
SUBFIELDS:
|a General note
|3 Materials specified
NOTES:
For single items, make notes clarifying the following points when necessary.
Notes are made in separate 500 fields, in order of the descriptive areas that
they address. For collections, or optionally for single items, include this
information in a scope and content note (520).
Form of Composition and Medium
of Performance. State if not clear from uniform title or title statement,
including type of composition, type of ensemble, instrumentation, and type
and voicing of chorus or solo voice. If an arrangement, including arranged
accompaniments for solo works, clarify this if necessary and also state original
instrumentation.
Source of Title Proper.
State source, such as title page, caption, cover, annotations, or accompanying
document, and clarify if date or handwriting, etc., of this information is
different from the body of the item.
Examples:
500:: Title from first line of text. 500:: Title from cover.
500:: Title from caption.
Other Title Information.
Optionally, state additional title information or statements of responsibility
not included in the 245 field. Include any known statements of responsibility
not transcribed, sources, dedications, or other personal or corporate names
if tracing is desirable. Also describe manuscript changes made to title information
or related annotations.
Examples:
500: : "Medecin malgre lui:
opera comique de Gounod" -- caption title, written in an unidentified
hand.
Source of Vocal Text. State
title, author, original language, and translations of text if not clear from
uniform title or title statement. Also state presence of separate text and
accompanying matter relating to text.
Examples:
500:: The libretto from Roma was written by Henri
Cain, based Romas vaincue by Alexandre Parodi.
(opera excerpt)
500:: Voice part includes separate text for second
and third verses.
(song)
Source of Edition. Describe
sources used for preparation of the present edition, if known, e.g. that the
present edition is a photocopy of an earlier edition or was based on a known
holograph or copyist’s manuscript. Also see LCRI 2.7B7 regarding description
of republications and MCD 5.7B7 regarding republication by photocopy.
Notation. Describe characteristics
such as holograph, manuscript, printed reproduction, or photocopy of holograph
or manuscript. Include further information such as date, place, signature,
dedication, and name of copyist, if known. Information may be found with title
information, in the caption, at the end of music notation, or in accompanying
material. Also state any copyright date found on the item.
Physical Characteristics.Specify characteristics such as page numbering, measurement, or
binding, if not clear from the physical description.
Examples:
500:: Sections
are numbered and paged separately.
500:: Bound by a former owner.
500: : Bound by a former owner."D. Walter" stamped on each spine.
500:: Bound by a fomer owner, with
some loss of annotations in margins.
Accompanying Material.
State presence of information such as performance instructions, information
about instruments or ensembles, text translations, or biographical or historical
information.
Publisher and Plate Numbers.
State publisher or plate numbers given in 028 fields for which a second indicator
0 has been used.
Examples:
028:20: |a E.A.S.4583 |b Editions
Salabert
500:: Pl. no.: E.A.S.4583 (manuscript printer's
annotation).
Publisher or Distributor Label.
Describe if different from imprint information stated elsewhere.
Annotations. Briefly describe
or discuss in more detail in a scope and content note (see 520
below).
Rental Material. Describe
stamps, labels, annotations, or other information identifying the score as
rental material.
MUSIC
TAG: (505) Formatted Contents Note
REPEATABLE: yes
INDEXED: Keyword
Additional Staff Indexes: Title
ORBIS PUBLIC DISPLAY CONSTANT: Contents
PUNCTUATION: Ends with a period unless another mark of punctuation or closing
parenthesis is present.
Optionally, include a list of contents if this will facilitate keyword access
to distinctive titles within a work, such as individual songs within a song
cycle, or to titles within a collection of distinct pieces.
Examples:
Contents: “C’est au temps de la
chrysantheme” ; “Mon coeur est plein de toi comme une coupe d’or” ; “Noel!
En voyant dans ses langes l’enfant radieux” ; “Tu l’as bein dit: je ne sais
pas t’aimer!” ; “Ah! Du moins, pour toi je veuxetre l’ami que cherchera ta main.”
MUSIC TAG: (520) Scope and Content
REPEATABLE: yes
INDEXED: Keyword
ORBIS PUBLIC DISPLAY CONSTANT: Summary
PUNCTUATION: Ends with a period unless another mark of punctuation or closing
parenthesis is present.
INDICATORS:
1st
b/ No information provided
2nd
none
SUBFIELDS:
a Summary, etc. note
|3 Materials specified
NOTES:
Use to describe content of collections, or optionally for detailed
description of single items, according to instructions
in the Mixed Materials Manual. State presence of holographs, copyist’s manuscripts,
giving name and date if known, or manuscripts in an unidentified hand. Include
description of drafts, proofs, and other evidence of the creative process
or publication history.
Describe holograph, manuscript, typescript, or photocopied annotations. If
known, give a date for annotations and a source, such as composer, conductor,
performer, translator, or editor. Also describe evidence of ownership and
relationship to an identified performance, sound recording, use as a master
for reproduction for performers, or preparation of an edition or translation.
Consider describing 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:
520/2:: |a 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.
520:: 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.
520/2:: |a 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.
520/1:: |a Volume of untitled pieces
for piano, written in manuscript by an unidentified composer or copyist, most
with song texts included.
520/2:: |a 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.
520/2:: |a Vocal score, holograph,
with corrections and revisions.
520/2:: |a 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;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 thescore was rented through the Leipzig office of Verdi's publisher Ricordi,
apparently during a German revival of the opera in the 1920s.Blank pages following each act are stamped
1929.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.
520:: Song, holograph, with dedication
to Adeline Palianti.
520:: 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.
520:: Incidental music, holograph,
with printer’s annotations, inscribed to Paul Ginisty, Theatre de l’Odeon,
1904.
520:: 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.
520:: 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.
520:: Song, holograph, with dedication
to Frank [Tirot?].
520:: 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.
MUSIC
TAG: (524) Preferred Citation Note Required
REPEATABLE: yes
INDEXED: Keyword
ORBIS PUBLIC DISPLAY CONSTANT: Cite as
PUNCTUATION: Ends with a period unless another mark of punctuation or closing
parenthesis is present.
INDICATORS:
1st
b/ No information provided
2nd
none
SUBFIELDS:
|a Preferred citation of described materials note
NOTES:
Used to identify item by curatorial area and specify other information desired
for scholarly citations.Use according to instructions
in the Mixed Materials Manual.
Examples:
524:: |a William Walton, Sinfonia
Concertante.General Collection, Beinecke
Rare Book and Manuscript Library, Yale University.
524:: |a Erik Satie, Recitatives
for Le medecin malgre lui by Charles Gounod.General Collection, Beinecke Rare Book and Manuscript Library, Yale
University.
524:: |a Raccolta di canzoni ed
arie nazionale napolitane e balli popolari per pianoforte.General Collection, Beinecke Rare Book and
Manuscript Library, Yale University.
524:: |a Pietro Mascagni, Sol che
il sole risplenda.General Collection,
Beinecke Rare Book and Manuscript Library, Yale University.
524:: |a Giuseppe Verdi, Luisa
Miller.General Collection, Beinecke
Rare Book and Manuscript Library, Yale University.
Other Formats Notes (53X)
Use according to instructions
in the Mixed Materials Manual.
For full tag definitions, see instructions in Mixed Materials
Manual for 100,
600,
and 700.
Use AACR2, chapter 21, sections 18-22, to determine main entry
for arrangements, transcriptions, adaptations, etc. Also see Music Cataloging
Decisions (MCD) 25.35C regarding revisions by the original composer, added
accompaniments, alternative instruments, and song transpositions.
Include a subject added entry (600) for the composer and for any writer of
annotations. For librettists and text authors who did not collaborate with
the composer, also include a 600 field with |v Musical settings. Optionally,
also make added subject entries for dedicatees or performers associated with
the work or item in hand.
Examples:
100:1 : |a Walton, William, |d 1902-
100:1 : |a Satie, Erik, |d 1866-1925.
600/1:10: |a Sitwell, Edith, |c Dame, |d 1887-1964 |v Songs and music.
(work was dedicated to Sitwell)
(opera with libretto based on novel
by Coupee; title of opera different than title of novel)
700:1 : Menasci, Guido.
(opera librettist)
MUSIC TAG: (610, 710) Corporate Body
For full tag definitions, see instructions in Mixed Materials Manual for
610
and 710.
Optionally, make subject added entries for dedicatees, ensembles, or publishers
associated with the work or item in hand.
Examples:
610/2:20: |a Editions Salabert.
610/2:20: |a Casa musicale Sonzogno.
610/4:20: |a Ricordi (Firm)
MUSIC TAG: (240, 600 |t) Uniform
Title
For full tag definitions, see instructions in Mixed Materials Manual for
240
and 600.
Uniform titles collocate title entries for a work which may appear in various
manifestations, such as arrangements, editions, translations, parts, or excerpts.
Use this field for a single item or for collections pertaining to a single
work, unless the uniform title already appears as the 245 |a.
Search LCAF for an authoritative form of the composer’s name and for a name/title
authority record establishing a uniform title for the work. If a uniform title
is not found in LCAF, construct one according to instructions in AACR2, chapter
25, section 25. AACR2 provides guidance in isolating an initial title element
and adding elements to construct a unique name/title heading. This may require
determination of elements of a work such as type of composition, instrumentation
or voicing, opus or other number, key, or year of composition. A list
of standard terms for types of compositions, developed by the Music Library
Association, may be found on the Music Cataloging at Yale website.
If any necessary title elements cannot be identified from the item in hand,
use reference sources to determine them. For works not appearing in standard
reference sources, use published editions of the work. If unpublished, use
sources such as related music manuscripts, concert programs, concert reviews,
or correspondence to determine a title used in performance, a final title,
or a most commonly used title. When the item in hand is the only identified
source of information about the work, use the title page, caption, annotations,
or any other information present. Prefer information written at the same time
as the music if this information conflicts with later annotations.
Examples:
240:10: Rantzau. |p Sol che il sole
risplenda
(opera aria; title of aria from
first line of text)
240:10: Roma. |p Tout homme dans Rome nous fuit et la ville servile toujours
ob eit (opera aria; title of aria from first line of text)
For full tag definitions, see instructions in Mixed Materials Manual for
650.
Enter a subject heading for type of composition, using the most specific
heading which applies to the work. Use only headings established in LCSH;
new topical headings must be officially established before use. However, media
of performance may be added to an established type of composition, using prescribed
names of instruments or voices.
Guidelines
for prescribed terms and order of listing are available on the Music Cataloging
at Yale website. When appropriate, use a subfield to identify the physical
format of the music, such as |v Scores, |v Scores and parts, or |v Excerpts.
As music for solo keyboard or other solo instruments is described as "music"
rather than "score," a subfield |v is not used for solo works.
Optionally, enter a topical subject heading for a person, historical event,
or other "subject" of a work, with subfield |v Songs and music.
Examples:
650/5: 0: |a Piano with orchestra |v Scores.
650/6: 0: |a Operas |v Excerpts |v Scores.
650/3: 0: |a Operas |v Vocal scores with piano.
650/1: 0: |a Dance music |z Italy.
650/2: 0: |a Piano music.
650/3: 0: |a Songs, Italian.
650/5: 0: |a Conducting.
650/6: 0: |a Opera |z Italy |y 19th century.
(extensive annotations by several 19th century Italian opera conductors)
When appropriate, use Beinecke Library local headings to trace physical evidence
of provenance, binding information, and other physical characteristics. Use
local headings, with second delimiter 4, for bindings (690), personal name
(692), and corporate name (693) according to
instructions in the Mixed Materials Manual.
Appendices
Appraisal of Duplicates
Consider retaining duplicate items which may facilitate reproduction for
performers. If an item is to be reproduced for study or performance by musicians,
the following characteristics should be considered:
Completeness, including presence of separate parts
for all members of an ensemble.
Clarity, including legibility at a distance and
absence of annotations or other obscuring factors.
Physical format, including ease of use on a music
desk and page turning.
(See Knowing the Score: Preserving Collections
of Music. Mark Roosa and Jane Gottlieb, compilers (Canton, Mass.: Music
Library Association, 1994))
Soldier Creek Press (Soldier Creek
Music Series)
Sharon Olson, General Manager
P.O. Box 10
Belle Plaine, MN 56011-0010
(952) 873-66620
email: abb@ic.mankato.mn.us
Music Cataloging
General
Anglo-American Cataloging
Rules (AACR2)
On Cataloger's Desktop.
Upcoming revision.
See especially Chapter 5 (Music), Chapter 21 (Choice of Access Points, sections
18-22, Musical Works), and Chapter 25 (Uniform Titles, sections 25-35, Musical
Works).
Archives, Personal Papers,
and Manuscripts (APPM)
On Cataloger's Desktop.
Descriptive Cataloging of
Rare Books (DCRB)
On Cataloger's Desktop.
Under revision. New edition will include separate documentation for printed
music (DCRM(PM)), as well as general information, books, serials, manuscripts,
and cartographic materials.
Library of Congress. Music
Cataloging Decisions (serial)
On Cataloger's Desktop.
Music Library Association. Music
Cataloging Bulletin (monthly serial).
USMARC Format for Bibliographic
Data
On Cataloger's Desktop.
Descriptive Cataloging
Hartsock, Ralph. Notes for
Music Catalogers : Examples Illustrating AACR2 in the Online Bibliographic
Record Soldier Creek Press (1994)
Examples of notes (500 fields) shown within records for published scores and
sound recordings.
Music Library Association. "Sheet
Music Cataloging Guidelines" (website)
For published sheet music. Website contains 1996 draft; Publication as a Music
Library Association Technical Report (Scarecrow Press) projected for summer
2003.
Smiraglia, Richard P. Describing
Music Materials : A Manual for Descriptive Cataloging of Printed and Recorded
Music, Music Videos, and Archival Music Collections : For Use with AACR2 and
APPM 3rd ed. Soldier Creek Press (1997)
For published scores, sound recordings, and videos, with a small section on
archival collections.
Weitz, Jay. Music Coding
and Tagging : MARC21 Content Designation for Scores and Sound Recordings.
2nd. ed. Soldier Creek Press (2001)
For published scores and recordings, including changes resulting from format
integration.
Access Points
The Best of MOUG. 5th
ed. Music OCLC Users Group (1994)
6th edition is projected. List of uniform titles compiled from
Library of Congress Authority File.
Hemmasi, Harriette, comp. Music
Subject Headings : Compiled from Library of Congress Subject Headings
2nd ed. Soldier Creek Press (1998)
Includes prefatory material on how to construct 650 headings for types of
compositions and application of subdivision rules. Is the basis for a projected
music thesaurus of form and genre terms.
Biography Resource Center World Biographical Index
(microfiche in SML Reference Reading Room)
Encyclopedias by country or ethnicity
National biographical dictionaries
Also see BRBL Manuscript Unit reference webpage (available in the Manuscript
Unit)
Yale Music Library Song index (access through Music Library Reference)
Examples
000 01774ndma 2200313 a 450
001 4642559
005 20020514154012.0
008 001020s1927 ctuzza n eng d
035 __ |9 FNJ0359YL
040 __ |a CtY-BR |c CtY-BR |e appm
048 __ |b ka01 |a oa
100 1_ |a Walton, William, |d 1902-
240 10 |a Sinfonia concertante, |m piano, orchestra
245 00 |a Sinfonia concertante : |b for orchestra with pianoforte (quasi obbligato),
|f [ca. 1927] / |c by William Walton.
300 __ |a 1 ms. score (3 v.) ; |c 45 cm.
545 __ |a William Walton composed the Sinfonia Concertante while living in
London with the Sitwell family. Walton dedicated the three movements of the
work to Edith, Osbert, and Sacheverell Sitwell. The Sinfonia Concertante was
first published in 1928 and revised in 1943.
520 __ |a Score, holograph, with corrections and conductor's markings. 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.
561 __ |a Purchased at Sotheby's, London, on the Edwin J. Beinecke Book Fund,
2000.
500 __ |a Title from cover.
524 __ |a William Walton, Sinfonia Concertante. General Collection, Beinecke
Rare Book and Manuscript Library, Yale University.
600 10 |a Sitwell, Edith, |c Dame, |d 1887-1964 |v Songs and music.
600 10 |a Sitwell, Osbert, |d 1892-1969 |v Songs and music.
600 10 |a Sitwell, Sacheverell, |d 1897- |v Songs and music.
600 10 |a Walton, William, |d 1902-
650 _0 |a Piano with orchestra |v Scores.
852 __ |a Beinecke Rare Book and Manuscript Library, Yale University, New
Haven, CT
927 __ |a 20020506RO
928 __ |a AC05092001
948 __ |a ks
000 02613ndma 2200337 a 450
001 4776374
005 20020514154012.0
008 010629i18501929ctuopa n ita d
035 __ |9 FNX6718YL
040 __ |a CtY-BR |c CtY-BR |e appm
041 0_ |a gerita |h ita
100 1_ |a Verdi, Giuseppe, |d 1813-1901.
245 10 |a Luisa Miller : |b melodramma tragico in tre atti, |f [ca. 1850-1929]
/ |c sinfonia musica del Sigr. Mo. Guiseppe Verdi.
300 __ |a 1 ms. score (2 v.) ; |c 34 cm.
545 __ |a Opera with a libretto by Salvadore Cammarano, based on Friedrich
von Schiller's play Kabale und Liebe, premiered at the Teatro di San Carlo,
Naples, on December 8, 1849.
520 __ |a 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; 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.
520 __ |a 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. Blank pages
following each act are stamped 1929. Part of act two and missing fragments
of a few other pages have been replaced by later copyists. Metronome markings,
cuts, and other performance markings appear thoughout the score. The title
page of act one is signed by conductor Leopoldo Mugnone.
561 __ |a Purchased from Lisa Cox on the Edwin J. Beinecke Book Fund, 2001.
500 __ |a Bound by a former owner. "D. Walter" stamped on each spine.
524 __ |a Giuseppe Verdi, Luisa Miller. General Collection, Beinecke Rare
Book and Manuscript Library, Yale University.
600 10 |a Mugnone, Leopoldo, |d 1858-1941.
600 10 |a Schiller, Friedrich, |d 1759-1805 |v Musical settings.
600 10 |a Verdi, Giuseppe, |d 1813-1901.
610 20 |a Ricordi (Firm)
650 _0 |a Conducting.
650 _0 |a Opera |z Italy |y 19th century.
650 _0 |a Operas |v Scores.
852 __ |a Beinecke Rare Book and Manuscript Library, Yale University, New
Haven, CT
927 __ |a 20020506RO
928 __ |a AC04082002
948 __ |a ks
000 02410cdma 2200337 a 450
001 4722612
005 20021106102739.0
008 010328i19221923ctuopa d n fre d
035 __ |9 FNS1721YL
040 __ |a CtY-BR |c CtY-BR |e appm
100 1_ |a Satie, Erik, |d 1866-1925.
245 10 |a Scènes nouvelles for Le médecin malgré lui
by Charles Gounod, |f [1922?-1923].
300 __ |a 1 ms. score (94, [13], [22] p.) ; |c 36 cm.
545 __ |a Charles Gounod's opéra-comique Le médecin malgré
lui, with a libretto based on Molière's play, was first performed in
1858. For a revival at the Festival Français in Monte Carlo, Serge
Diaghilev commissioned recitatives by Satie to replace original spoken dialogue.
A final vocal octet was adapted by Georges Auric from Gounod's quintet in
act three. Le médecin malgré lui, with nine "scènes
nouvelles" by Satie and the final scene by Auric, was conducted by Edouard
Flament at the Casino Theater, Monte Carlo, on January 5, 1924.
520 __ |a Score of Satie's nine sc~enes nouvelles, 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.
561 __ |a Purchased at Sotheby's, London, on the Edwin J. Beinecke Book Fund,
2001.
500 __ |a "Médecin malgré lui: opéra comique de
Gounod" -- caption title, written in an unidentified hand.
524 __ |a Erik Satie, Scènes nouvelles for Le médecin malgré
lui by Charles Gounod. General Collection, Beinecke Rare Book and Manuscript
Library, Yale University.
600 10 |a Auric, Georges, |d 1899-
600 10 |a Diaghilev, Serge, |d 1872-1929.
600 10 |a Lifar, Serge, |d 1905-
600 10 |a Molière, |d 1622-1673 |v Musical settings.
600 10 |a Satie, Erik, |d 1866-1925.
650 _0 |a Operas |v Excerpts |v Scores.
700 1_ |a Auric, Georges, |d 1899-
700 1_ |a Flament, Edouard.
700 1_ |a Gounod, Charles, |d 1818-1893. |t Médecin malgré lui;
|o arr.
852 __ |a Beinecke Rare Book and Manuscript Library, Yale University, New
Haven, CT
927 __ |a 20020506RO
928 __ |a AC04082002
948 __ |a ks
000 01075ndma 2200229 a 450
001 4942313
005 20020514200231.0
008 020506s1876 ctucta d n fre d
035 __ |9 FPQ8625YL
040 __ |a CtY-BR |c CtY-BR |e appm
100 1_ |a Champommier |c (Composer)
245 10 |a Fureur de Saül : |b cantate, |f 1876 / |c paroles de E. M.
T. ; musique de Champommier.
300 __ |a 1 ms. score (118 p.) ; |c 36 cm.
520 __ |a Score, including parts for orchestra and piano reduction, written
in manuscript in an unidentified hand. Laid in are a manuscript vocal score
of the final scene and a printed libretto with corrections in manuscript.
561 __ |a Purchased from Librairie Musicale Ancienne on the Edwin J. Beinecke
Book Fund, 2002.
524 __ |a Champommier, Fureur de Saül. General Collection, Beinecke Rare
Book and Manuscript Library, Yale University.
600 10 |a Champommier |c (Composer)
650 _0 |a Cantatas |v Scores.
852 __ |a Beinecke Rare Book and Manuscript Library, Yale University, New
Haven, CT
927 __ |a tape
928 __ |a actape
948 __ |a ks
000 01399cdma 2200241 a 450
001 5895859
005 20020717133042.0
008 020610s1910 ctuopc n| fre d
040 __ |a CtY-BR |c CtY-BR |e appm
100 1_ |a Giordano, Umberto, |d 1867-1948.
245 10 |a Mese Mariano, |f [ca. 1910].
300 __ |a 1 ms. vocal score ([159] p.) (in a case) ; |c 35 cm.
545 __ |a Opera, with a libretto by Salvatore Di Giacomo, first performed
in Palermo in 1910.
520 __ |a Vocal score, holograph draft with revisions. Parts of the libretto,
in Di Giacomo's holograph and typescript, are affixed to some facing pages.
Includes annotations by a former owner concerning comparison to a published
version and identifying the score as part of the estate of Giordano's widow,
Olga Spatz-Wurms.
561 __ |a Purchased at Christie's, London, lot 96, on the Edwin J. Beinecke
Book Fund, 2001 Nov 28.
500 __ |a Sections are paged separately; continuous page numbers added by
a former owner.
500 __ |a Bound by a former owner.
524 __ |a Umberto Giordano, Mese Mariano. General Collection, Beinecke Rare
Book and Manuscript Library, Yale University.
600 10 |a Giordano, Umberto, |d 1867-1948.
600 10 |a Spatz-Wurms, Olga.
700 1_ |a Di Giacomo, Salvatore, |d 1860-1934.
650 _0 |a Operas |v Vocal scores with piano.
852 __ |a Beinecke Rare Book and Manuscript Library, Yale University, New
Haven, CT
