Hermine Vermeij, UCLA
April 13, 2012
Notated music
 Published
music – AACR2 Chapter 5 + LCRIs
 Manuscript and unpublished music – AACR2 Chapter 4
 Some of Chapter 21 – Choice of Access Points + LCRIs
 “Printed music,” “Scores,” “Sheet music”—common ways
to talk about notated music. Basically, notes on a page.
Focus on aspects of music cataloging that are
different from standard monographic cataloging.
Description in MARC
Fixed Fields
Fixed fields for scores workform:
Special music fields:
 Comp
(Form of Composition)
 AccM (Accompanying Matter)
 Part (Music Parts)
 TrAr (Transposition and Arrangement)
 Fmus (Form of Music)
Notable Fixed Fields
Type (Type of Record)
– Notated music
 d – Manuscript music
 Only
used for unique manuscripts, score theses, and
microforms of unique manuscripts or theses.
– Language material (Books format)
 Used
for song texts and libretti without music.
 Used for some methods (cataloger’s judgment)
Notable Fixed Fields
Lang (Language Code)
 Code
for the language of sung or spoken text only.
 Music without sung or spoken music (such as instrumental
music) is coded “zxx.”
Comp (Form of Composition)
 Code
if known.
 Use “mu” for multiple forms if more than one code is
appropriate; then elaborate in the 047 (not required
by LC).
 Use “uu” for unknown if form is unclear or if the music
isn’t in any particular genre or form.
Notable Fixed Fields
AccM (Accompanying Material)
 Only
code if a significant part of the accompanying
matter is of a particular type.
 Common codes:
– Libretto or text
 e – Biography of composer or author
 i – Historical information
Notable Fixed Fields
Part (Music Parts)
 Code
if parts are present.
 Most common: # (no parts) and e (Instrumental parts).
 Not required by LC.
TrAr (Transposition and Arrangement)
 Code
if the item is known to be a transposed or
arranged version of another work.
 Most common: # (not an arrangement) and b
 Not required by LC.
Notable Fixed Fields
FMus (Format of Music)
 Corresponds
somewhat to the term used in the 300 $a
(will be covered later). Common values:
 a – Full score
 b – Minature or study score
 c – Accompaniment reduced for keyboard (vocal score)
 z – Music in other than score form (solo instrumental
music, graphic notation, etc.)
Chief Source of Information (5.0B1)
If there is a title page, it is the chief source.
If there is no title page, the preference order is:
 Caption
(first page of music)
 Cover
 Music
is often published without a cover.
 Colophon,
Some music (especially older music) has a list title
page – a list of titles, with the title of the item inside
indicated with a mark.
 If
you have a list t.p., you may choose among it, the
cover, or the caption to be the chief source.
Publisher’s Numbers and Plate
Numbers (5.7B19 + LCRI, 028)
Publisher’s number – Usually on the t.p., cover,
and/or first page of music.
Plate number – Usually at the bottom of each page
of music; sometimes also on the t.p. or elsewhere.
 028
32 $a 6139 $b Schott
 Publisher’s
 028
number: 1st indicator 3
22 $a B. & H. 8797 $b Boosey & Hawkes
 Plate
number: 1st indicator 2
Standard Numbers (5.8B)
Give ISBN if found.
The ISMN (International Standard Music Number) is
the printed music equivalent to the ISBN.
 Older
10-digit ISMNs (beginning with “M”) go in the
024 1st indicator 2.
 Newer 13-digit ISMNs (beginning with “979”) go in the
024 1st indicator 3.
 Examples:
 024
2# $a M001121966
 024 3# $a 9790260000438
Title (5.1 + LCRIs)
Transcribe medium of performance, key, date of
composition, and numbering as other title
information (245 $b), EXCEPT
When the title proper consists of one or more
type(s) of composition (Sonata, Symphony, etc.).
 List
of types of composition:
245 10 $a Traces : $b pour violoncello seul
 245 10 $a Sonata for viola and piano, op. 146
Statement of Responsibility (5.1F)
Transcribe composers, lyricists, arrangers, editors, etc.
The term “vocal score” (or its equivalent in other
languages) is actually a statement of responsibility,
since a vocal score is an arrangement.
(From LCRI 5.1F1): For popular music folios: When the
performer’s name is featured on the chief source, it
can be considered a statement of responsibility.
 245
10 $a Nixon in China / $c John Adams ; libretto,
Alice Goldman ; piano/vocal score.
 245 10 $a 40 hour week / $c Alabama.
Edition (5.2 + LCRIs)
Traditional edition statements (1st ed., etc.) are not
extremely common in notated music.
Statements designating the voice range of a solo
vocal piece (when the statement is not
grammatically linked to the title) are considered
edition statements.
 250
## $a High voice.
Musical Presentation Statement (5.3 +
MARC field 254
A transcription of a statement indicating the
physical presentation of the music (found on the
chief source of information).
Does not include terms that suggest an arrangement
(such as “vocal score” or “piano reduction”)—these
go on the statement of responsibility.
 254
## $a Orchester-Partitur.
 254 ## $a Score and parts.
Dates (5.4F)
Straightforward publication dates are uncommon in
printed music.
Often a copyright date is present, and can be used
in lieu of a publication date.
 Commonly
the copyright date will clearly be
significantly earlier than the apparent date of
Many records in WorldCat have bracketed dates
of publication before the copyright date. Example:
 260
… $c [2011?], c1925.
Dates (5.4F)
Be careful when deciding whether to add a new
record if a record with the early copyright date
already exists.
 Examine
OCLC’s “When to Create a New Record” to
determine if a new record is warranted.
 You may just have a reprinting of an older edition.
 Differences that do not require a new record:
 Addition
of an ISMN or ISBN
 Minor differences in format of publisher name
 Printing date
Extent of Item (5.5B + LCRIs)
Record the number of physical units using one of the
following terms (see AACR2 Appendix D for all
 Score
– Must be a series of staves on which different
instrumental or vocal parts are written, in vertical
 Condensed score – Not terribly common.
 Close score – Typical for hymns.
 Miniature score – Must be reduced in size but not
necessarily very small. Includes most “study scores.”
Extent of Item (5.5B + LCRIs)
Piano [violin, etc.] conductor part – Not terribly common.
 Vocal score – Shows all vocal parts, with accompaniment (if
any) arranged for a keyboard instrument. Common for
large vocal works, including operas and musicals. Generally
not used for popular music folios (when the original
instrumentation is not orchestra).
 Piano score – Orchestral reduction for piano.
 Chorus score – Shows only choral (not solo) vocal parts, with
accompaniment (if any) arranged for keyboard.
 Part – The music for one or more (but not all) of the
participating voices or instruments.
Extent of Item (5.5B + LCRIs)
If none of these apply, use “p. of music” (or v. or
leaves of music).
 This
includes most music for a solo instrument (including
piano), two-piano music when the parts are printed on
different pages, popular music with interlinear words,
and music using graphical notation.
If the item is a manuscript, precede the term by
Extent of Item (5.5B + LCRIs)
Give the number of scores and parts issued by the
If the item consists of different types of scores, or a
score and parts, give the details of each, separated
from each other by “+”
Add pagination or numbers of volumes in
Extent of Item (5.5B + LCRIs)
 260
## $a 1 miniature score (57 p.)
 260 ## $a 67 p. of music
 260 ## $a 1 score (vii, 150 p.) + 4 parts
 260 ## $a 7 parts (2 p. each)
 260 ## $a 1 score (3 v.)
 260 ## $a 2 v. of music
 260 ## $a xxv p., 55 p. of music
 Only
p. 1-55 are music
Dimensions (5.5D)
If the dimensions of the score(s) and part(s) differ,
give the dimensions of each.
 260
## $a 43 p. of music : $b ill. ; $c 40 cm.
 260 ## $a 1 miniature score ; $c 18 cm. + $a 2 parts
; $c 32 cm.
Notes (5.7)
Form of composition and medium of performance
(5.7B1 + LCRI)
If the musical form is not apparent from the rest of the
description, make a brief 500 note.
 Name the medium of performance unless it is readily
understood from the rest of the description.
 Examples:
500 ## $a Opera in two acts.
500 ## $a For voice and piano.
500 ## $a Arr. for guitar.
500 ## $a For solo voices (SATB), chorus (SSATB), and orchestra.
You may also record the medium of performance in coded
form in the 048.
Notes (5.7)
 You
Notes (5.7)
Language (5.7B2)
 Give
the language of the textual content (sung or
spoken only; not accompanying historical or critical text)
of the work in a 546 note (if not apparent from the rest
of the description).
 Language of accompanying material goes in a 500
 Record language details in an 041.
Notes (5.7)
 Examples:
 041
0# $a fre $a eng
546 ## $a French and English words.
 041 1# $a lat $e eng $h lat $g eng $g ger $g fre
546 ## $a Latin words, English translation on p. v-xxii.
500 ## $a Includes pref. in English, German, and French.
Notes (5.7)
Notation (5.7B8)
 Give
the notation used if it is not the notation normally
found in that type of item.
 Examples:
 500
## $a Graphic notation.
 500 ## $a Modern staff notation.
(For a work that would normally be in plainsong notation)
 500
## $a Includes guitar chord diagrams.
Notes (5.7)
Duration (5.7B10 + LCRI)
 Give
the duration of performance (if stated on the
item) in a 500 note (English) and a 306 field (coded).
 Examples:
 306
## $a 001800
500 ## $a Duration: 18:00.
 306 ## $a 011000
500 ## $a Duration: ca. 1:10:00.
Notes (5.7)
Contents (5.7B18 + LCRI)
For musical anthologies, having (at least) keyword access to
the titles is very important.
 If the works in a collection are all in the same form (named
in the title proper), do not repeat the form in the contents.
 Examples:
505 0# $a Komm Heiliger Geist, Herre Gott = Come, O Holy Ghost,
God and Lord / by Lucas Osiander ; text by Lucas Osiander – Psalm
121 / by Heinrich Schütz ; freely translated by Cornelius Becker.
505 0# $a v. 1. No. 1 (op. 1, no. 1b) E minor. No. 2 (op. 1, no. 2) G
minor. No. 3 (op. 1, no. 5) G major. No. 4 (op. 1, no. 7) C major – v. 2.
No. 5 (op. 1, no. 11) F major. No. 6 (op. 1, no. 9) B minor. No. 7 (op.
1, no. 4) A minor. No. 8, A minor.
Choice of Access Points (21)
Arrangements, transcriptions, etc. (21.18B + LCRI)
 Usually
entered under the composer of the original.
 Added entry for the arranger or transcriber.
Adaptations (21.18C + LCRI)
 These
types of adaptations are entered under the
composer for the adaptation:
distinct alteration of another work (e.g., a free
 A paraphrase of various works or the general style of
another composer
 A work merely based on other music (e.g., variations on a
Choice of Access Points (21)
 Make
either a name-title added entry for the related
work or a name added entry under the related
Musical Works That Include Words (21.19)
 Enter
a musical work that includes words under the
heading for the composer.
 Make added entries for the writers of the words.
 If the words are based on another text, make nametitle added entries for the original.
Choice of Access Points (21)
Titles (21.30J + LCRI, 246)
 When
a title begins with a cardinal number that is not
an integral part of the title, make an added entry
under the title with the number omitted. Example:
 245
10 $a 3 romances sans paroles : $b pour piano, op. 17
/ $c par Gabriel Fauré.
 246 3# $a Trois romances sans paroles
 246 30 $a Romances sans paroles
Choice of Access Points (21)
 When
a title begins with an ordinal number that is not
an integral part of the title, make only an added entry
under the title with the number omitted. Example:
 245
10 $a 3a suite brasileira : $b sobre têmas originais,
para piano = 3rd Brazilian suite : about originals [sic]
themes / $c Lorenzo Fernandez
 246 30 $a Suite brasileira
 246 31 $a Brazilian suite
Choice of Access Points (21)
Analytical entries (21.30M + LCRI)
 To
the extent that it is feasible, add analytical uniform
title entries when you have a collection or anthology.
 Follow the rules for creating uniform titles for music (to
be covered later).

Scores – Descriptive Elements