The preferred title (RDA 6.2.2) for a musical work is
° the title or form of title chosen to identify the musical work
° the basis for the authorized access point representing that work.
Sources of information (220.127.116.11) || Choosing the preferred title (18.104.22.168)
Recording the preferred title for: a musical work (22.214.171.124) | title consisting solely of the name of one type of composition (126.96.36.199) | duets (188.8.131.52) | a part or parts of a musical work (184.108.40.206) | compilations of musical works (220.127.116.11)
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
Choose the composer's original title in the language in which it was presented.
° Better known: If the work has become better known by another title in the same language, choose it as the preferred title (see also 18.104.22.168–22.214.171.124).
° Long 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.
° Numbered sequence: 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
» the works are also cited as a numbered sequence of compositions of that type.
When recording the title chosen according to 126.96.36.199, 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)
° 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
Cinq sonates & un divertissement
What remains:: Sonates & un divertissement
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
What remains is: Quatuor "Ainsi la nuit"
Best practices for music cataloging: 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.
If the application of 188.8.131.52-184.108.40.206 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.
*LC-PCC PS: Language: Record the accepted form of name in English if the name has an English cognate form or if the same name is used in English.
However: 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.
* RDA does not indicate how to determine whether one of these works is intended for concert performance or for strictly instructional purposes.
Best practices for music cataloging:
° 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.
° 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.
Singular vs. plural:
220.127.116.11.2: Record the accepted form of the name of the type of composition in the singular form unless the composer wrote more than one work of that type with the same title.
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, consider that the composer 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:
LC-PCC PS: for both 18.104.22.168 and 6.28.1:
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 (22.214.171.124) 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 126.96.36.199 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 188.8.131.52.
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: Follow LC-PCC PS. Consult the alphabetical list at Types of Composition for Use in Authorized Access Points for Music 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.
|Record Duets for works variously titled duos, duets, etc.|
|This rule is used for a compilation of works that is not known by a title used in resources embodying that compilation or in reference sources.|
If a compilation of musical works has become known by a title through use in resources embodying that compilation or in reference sources, apply the instructions at 184.108.40.206-220.127.116.11.
For other compilations, record the preferred title for a compilation that consists of, or purports to be, the complete musical works or complete works for a broad or specific medium in various or a single type by a composer by applying the instructions below.