Music Cataloging at Yale Preferred titles

The preferred title for a musical work is the title or form of title chosen to identify the musical work. It is also the basis for the authorized access point representing that work. Sources of information || Choosing the preferred title Recording the preferred title for: a musical work | a part or parts of a musical work | compilations of musical works

(6.14.2.2) Sources of information

Works created after 1500: Determine the title to be used as the preferred title from resources embodying the work or from reference sources Works created before 1500: Determine the title to be used as the preferred title from modern reference sources. If the evidence of modern reference sources is inconclusive, use (in this order of preference):      ° modern editions      ° early editions      ° manuscript copies

(6.14.2.3) Choosing the preferred title for a musical work

Choose the composer's original title in the language in which it was presented.      ° If the work has become better known by another title in the same language, choose it as the preferred title.      ° If the title is very long, choose (in this order of preference)           » a brief title by which the work is commonly identified in reference sources           » a brief title devised by the cataloger.      ° Use the name of the type of composition as the preferred title if:           » all the titles of a composer's works include the name of a type of composition           and           » the works are also cited as a numbered sequence of compositions of that type.

(6.14.2.4) Recording the preferred title for a musical work

When recording the title chosen according to 6.14.2.3, omit from the title:      ° a statement of medium of performance (even if such a statement is part of a compound word, provided that the resulting word or words is the name of a type of composition)      ° key      ° serial, opus, and thematic index numbers      ° numbers (unless they are an integral part of the title)      ° date of composition      ° adjectives and epithets not part of the original title of the work See also general guidelines for on recording a title Example: The placement of the generic information ahead of the distinctive portion does not mean all of the title (statement of medium included) should be retained.      Quatuor à cordes "Ainsi la nuit"      remove medium of performance: Quatuor à cordes "Ainsi la nuit"      What remains is: Quatuor "Ainsi la nuit" Best practices for music cataloging, draft: For pre-twentieth century works, normally consider phrases such as "a due," "a cinque" to be statements of medium of performance and not part of the title as defined in this rule. For pre-twentieth century works with titles such as Duo concertant, Quartetto concertante (but not titles naming a form, such as Sinfonia concertante, Rondeau concertant, etc.), consider the word "concertant" or its equivalent to be an adjective or epithet not part of the original title of the work, and omit it from the preferred title.

(6.14.2.5) Preferred title consisting solely of the name of one type of composition

if the application of 6.14.2.3-6.14.2.4 results in a preferred title consisting solely of the name of one type of composition, record the accepted form of that name in a language preferred by the agency creating the data, in the plural unless the composer wrote only one work of the type.      ° For works intended for concert performance called étude, fantasia, or sinfonia concertante or their cognates, record the form of the name in the original language.      ° When a composer uses a word that is normally the name of a type of composition as the title of a work that is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition. Source: Best practices for music cataloging, draft      ° A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title. Source: Best practices for music cataloging, draft (6.14.2.6) Duets: Record Duets for works variously titled duos, duets, etc. LC-PCC PS: Language: LC practice is to record the accepted form of name in English. Singular vs. plural: The medium of performance is a separate element from the preferred title. If the composer wrote one piano sonata and one violin sonata, he or she wrote two sonatas, and therefore the plural form for the type of composition must be used as the preferred title. When cataloging the first occurrence of a work of a particular type of composition by a composer, choose the preferred title as follows: If the composer is deceased consult reference sources to ascertain whether the composer wrote more than one work of that type, and use the singular or plural form as the preferred title according to the information found If the composer is living choose the singular form of the type of composition as the preferred title unless the work being cataloged bears a serial number (including 1); in that case use the plural form on the assumption that the composer has written or intends to write more works of that type When cataloging the second occurrence of a work of a particular type by a composer, if the singular form has been used in the authorized access point for the first work of that type, revise the preferred title to the plural. Mélodie/Mélodies; Melody/Melodies When choosing the preferred title for a work for solo voice and keyboard stringed instrument having the French title "Mélodie" or "Mélodies," do not translate those titles into English as "Melody" or "Melodies" because the cognate words in English and other languages do not have the same meaning as the French words. Consider the medium of performance to be implied by the French title (see RDA 6.28.1.9) and do not add medium of performance in the authorized access point. When choosing the preferred title for a work for solo voice with accompaniment other than a keyboard stringed instrument alone or without accompaniment having the French title "Mélodie" or "Mélodies," do not translate the title into English. Apply RDA 6.28.1.9 and add the medium of performance of the accompaniment, or "unaccompanied," in the authorized access point. When the English word "Melody" or "Melodies," or their cognates in another language (including French), is the title of a work that is not for solo voice and keyboard stringed instrument, consider it the name of a type of composition. Use the English form as the preferred title and add the medium of performance according to RDA 6.28.1.9. Liturgical words or phrases When the preferred title is a Latin liturgical word or phrase (e.g., "Gloria," "Salve Regina," "Te Deum")      ° record it in the singular           » Exception: Use the plural form "Magnificats," "Masses," or "Requiems" when appropriate      ° Generally, do not add the medium of performance in the authorized access point. Best practices for music cataloging, draft: Follow LC-PCC PS. Consult the alphabetical list at Types of compositions for use in music uniform titles to determine whether the title in question meets the condition of the rule. Do not consider such titles as "Double concerto," "Tripelkonzert," etc. to be names of types of compositions. When a composer uses a word which is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition. A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title.

(6.14.2.7) Recording the preferred title for a part or parts of a musical work

One part (6.14.2.7.1) Follow the instructions for recording the preferred title for a musical work (6.14.2.3) and the following: RDA Each part identified by: Record: 6.14.2.7.1.1 only a number the number 6.14.2.7.1.2 only a title the title 6.14.2.7.1.3 both a number and a title and      ° each of the parts is identified by its own title the title      ° the parts are identified by the same title the number 6.14.2.7.1.4 a number and some are also identified by a title the number of the part followed by a comma and the title, if there is one 6.14.2.7.1.5 Part of a larger part      ° if the title of the larger part is distinctive the distinctive title of the larger part followed by the title and/or designation of the smaller part      ° if the title of the larger part is not distinctive omit the designation of the larger part      » unless it is required to identify the smaller part Separate the title and/or designation of the larger part from the title and/or designation of the smaller part by a full stop Two or more parts (6.14.2.7.2): record the preferred titles of the parts applying the instructions at 6.2.2.9.2: Consecutively numbered parts identified only by a general term and a number (6.2.2.9) When identifying a sequence of two or more consecutively numbered parts of a work, each of which is identified only by a general term and a number, record the designation of the parts as the preferred title. Record the general term in the singular followed by the inclusive numbers of the parts. Record the numeric designations as numerals. Unnumbered or non-consecutively numbered parts When identifying two or more unnumbered or non-consecutively numbered parts of a work, record the preferred title for each of the parts Alternative: When identifying two or more unnumbered or non-consecutively numbered parts of a work, identify the parts collectively. Record the conventional collective title Selections as the preferred title for the parts. Apply this instruction instead of or in addition to recording the preferred title for each of the parts. LLC practice/PCC practice for: for Alternative: Instead of recording the preferred title for each of the parts, record the conventional collective title Selections as the preferred title for the parts. If one or more parts is especially important, also record the part title(s). Best practices for music cataloging, draft: Generally follow LC-PCC PS for the alternative. If deemed useful for identification and access, also give separate access points for individual movements, arias, etc. embodied in the resource. 6JSC/CCC/7: Alternative: When identifying two or more parts of a work, instead of (or in addition to) recording the preferred title for each of the parts, record the conventional collective title Selections as the preferred title for the parts unless the parts form a group called suite by the composer. If a composer assembles a group of excerpts from a larger work and calls the group suite, record that word as the designation for the part

(6.14.2.8) Compilations of musical works

RDA Type of compilation: Record: 6.14.2.8.2 complete works Works for a compilation that consists of, or purports to be, the complete musical works of a composer. Consider complete works to include all works that are complete at the time of publication 6.14.2.8.3 Works of various types for one broad medium the designation of the medium as the conventional collective title for a compilation that consists of, or purports to be, all the composer's works in one broad medium:      Chamber music, Choral music, Instrumental music, Keyboard music, Vocal music Best practices for music cataloging, draft: Use only those conventional collective titles given as examples 6.14.2.8.4 Works of various types for one specific medium a conventional collective title generally descriptive of the medium for a compilation that consists of, or purports to be, all the composer's works for one specific medium:      Brass music, Orchestra music, Piano music, Piano music, 4 hands, Piano music, pianos (2), String quartet music, Violin, piano music Alternative: When identifying two or more works in an incomplete compilation, record a conventional collective title as instructed at 6.14.2.8.2–6.14.2.8.5, as applicable, followed by Selections. Apply this instruction instead of or in addition to recording the preferred title for each of the works in the compilation. LC-PCC PS: Alternative: Instead of recording the preferred title for each of the works in the compilation, record a conventional collective title followed by "Selections." Give an authorized access point for the first or predominant work (RDA 17.8) or expression (RDA 17.10). Best practices for music cataloging, draft: Follow LC-PCC PS. Use only medium terms established in Library of Congress Subject Headings. 6.14.2.8.5 Works of one type for one specific medium or various media the name of the type as the conventional collective title for a compilation that consists of, or purports to be, all the composer's works of one type:      Concertos, Musicals, Operas, Polonaises, Quartets, Sonatas, Songs, Symphonies Best practices for music cataloging, draft: To the extent possible, use names of types of compositions given in Types of compositions for use in music uniform titles. If none of those is suitable, use an appropriate a genre/form term (e.g., Motion picture music, Incidental music). As the RDA examples show, use an English-language form if one is available. ° If the compilation consists of a consecutively numbered group of works: the inclusive numbering following the name of the type      Symphonies, no. 1-3 6.14.2.8.6 If a compilation corresponds to one of the categories above and the compilation is incomplete identify each of the works in the compilation separately by applying the instructions at 6.14.2.4-6.14.2.7 Alternative: When identifying two or more works in an incomplete compilation, record a conventional collective title as instructed at 6.14.2.8.2-6.14.2.8.5, as applicable, followed by Selections. Apply this instruction instead of or in addition to recording the preferred title for each of the works in the compilation. LC-PCC PS: LC practice for Alternative: Instead of recording the preferred title for each of the works in the compilation, record a conventional collective title followed by "Selections." Give an authorized access point for the first or predominant work (RDA 17.8) or expression (RDA 17.10). Best practices for music cataloging, draft: Generally follow LC-PCC PS for the alternative. If deemed useful for identification and access, also give separate access points for all individual works embodied in the resource.