FIU Libraries Cataloging

Scores Cataloging

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Scores Cataloging (General):

Scores are routed to the cataloging department, like books. There should be a NOTIS record for each title. First and second level scores are cataloged by Martha Perez, Katherine Mijuskovic, Nora Ferrer and Maria Bello; third level scores are cataloged by Bob Mead-Donaldson. Third level scores are staged for Bob on the last range of shelves, arranged by composer.

The music cataloger first checks NOTIS to see if the record downloaded by Record Creation matches the score and if other editions of the title are in the collection. Then OCLC is searched to see if a better match can be found.

When searching OCLC, the music publisher's number search is less effective in scores. Usually a composer-title search, qualified by format is best (4,4/sco).

There are a lot of duplicate records in the OCLC database, all matching records are checked against the title page and the best record is selected.

Uniform titles are common in classical music cataloging. Whenever the title is generic, such as symphony or quartet, a uniform title is needed. Distinctive titles may not require a uniform title.

Scores Cataloging (Parts, Items and MARC Holdings):

In OCLC there are legitimate separate bibliographic records for scores without parts, for scores with parts, and for parts without a unified score. We sometimes receive and must catalog parts with no main score.

Select the OCLC record which matches and make sure that the appropriate form subdivision is used in the 6XX fields: $v Scores, $v Parts, or $v Scores and parts.

Create MARC holdings for the score and for the part/parts. Just use the term parts, unless we do not have all the parts. If we lack one or more, then list the parts we have, by the English name (even if given in another language on the score) of the part, e.g., flute, piano, etc. For violoncello, use cello, for holdings and for labeling. Encode as 3L (if complete as multipart) or 2L (if incomplete).

If the score and parts are all contained in one cover, MARC holdings are still necessary.

Individual item records are not created for parts accompanying scores, even those with their own covers. However, if there are only parts, a single item record is made. For an example of a score published as parts only, see 26 simultaneous mosaics by Henry Cowell. (NOTIS number AEK7171)

The call number can be written in the upper left hand corner of the parts, so labels are not needed.

Route all scores containing parts to Alicia Padilla. She will have a pocket put in the back cover for the part or she will arrange for special binding.

Another oddity not uncommon in score cataloging is the receipt of two identical scores in lieu of parts: e.g., Six pieces opus 41 for two pianos, four hands by Gliere. (NOTIS number AEU4780)

If that is how the title has been published, then call them score 1 and score 2 in the holdings and on the labels (not c.1 and c. 2 and not piano 1 and piano 2, which would imply parts). In the case of the Gliere example above, each score was contained in its own cover, so two item records were created. If both scores had been in one cover, just one item would have been created with score 1-2 in the enum/chron field.

Call numbers for scores:

Music classification generally follows the form of the composition, such as music for one instrument, several instruments, concertos, symphonies, sonatas, etc., so that all the concertos are together in the shelflist, cuttered by composer and then subarranged by individual works.

For music call numbers the Library of Congress does not follow the cutter tables used for general books and other materials. Thus operas by Wagner are cuttered W13 rather than W3.

The cutter for a given composer will not stay the same from class number to class number within the M schedule.

For example,

Once the individual composer's cutter is established in our shelflist for a particular type of music, we follow it. Thus, the shelflist needs to be checked for each composer for each type of composition and the cutter on the bib record edited to fit if necessary.

If an 050 disagrees with our previously assigned cutter, our usual policy is to reclass the non-DLCs. However, if there are multiple scores to be changed, check with Bob before undertaking a reclassification project.

Another complication with music call numbers is that Library of Congress practice has changed over the years. If you look at LC's shelflist and our own shelflist, you will see that some composer cutters have been further subarranged inconsistently. For example, under the call number for Beethoven's symphonies (M1001.B4), some have been subarranged by their number in the series of symphonies written by Beethoven and some by their number in the series of all the compositions written by him (opus numbers). The more recent records use opus numbers.

Beethoven symphony arranged by symphony number: M1001 $b .B4 no.9 1990

Beethoven symphony arranged by opus number: M1001 $b .B4 op.67 1970
Note that our practice is to abbreviate number to no. and opus to op. with no space before the number.

We should have all a composer's works in a given form (e.g., symphonies) arranged as consistently as possible, so if, for instance, symphony numbers have been used and most of the scores are on the shelf that way, we will then tend to use symphony numbers. If reclassing seems to be called for, consult with Bob first.

Another type of number used in score call numbers is the thematic index number. These numbers have been assigned by music scholars who have prepared thematic indexes of a given composer's works. The most common ones are:

The thematic index numbers assigned by scholars may not be consecutive. Thus, Mozart's piano concerti numbers 13 and 14 have Köchel numbers K. 415 and 449.

Mozart's piano concertos have been subarranged in our catalog by both the thematic index number for individual concertos and the serial number for collections of concertos.

For adding first time entries for a given composer, we will always prefer opus numbers or thematic index numbers over the serial number for a particular type of composition.

For 2nd cutters of individual works, the order of preference is:

opus or thematic index number
serial number for particular type of composition
key
date of composition
title or editor

An example of subarranging by key is: M312.4 $b .M46 C min. K3. This is the call number for Trio for violin, viola and piano by Felix Mendelssohn-Bartholdy (NOTIS number AET7028). Note that major is abbreviated as maj.; minor is abbreviated as min.

An example of subarrangement by date of composition is M23 $b .O8 (1982) 1983. This is the call number for Sonata for piano, 1982 by Orlando Otey (OCLC #12912896). Note that the date of composition is enclosed in parentheses.

An example of subarrangement by title is Mozart's operas: M1500.M84 D54 1990 for Don Giovanni.

If none of the listed elements used for subarrangement is available, you have no choice except to single cutter.

Collections:

There is a long discussion of the term "collection" in the glossary on the page before the beginning of the M classification schedule in our print version of the schedule. The glossary does not seem to be in Classification Plus.

In general, the complete collected works of a given composer are classed in M3. They are single cuttered by the composer's name, and current LC policy is to subarrange by the date of publication. As with literature, if a composer wrote only one type of music and the collection is of that type, the collection is classed as "complete works." For example The poetical works of Wordsworth is treated as a "complete works" because he wrote almost entirely poetry; likewise the Lute book of Vincenzo Capirola is classed in M3 because he wrote only for the lute.

Collections of works by one composer are generally classed by specific or general medium, e.g., orchestra, piano, chorus (sacred or secular), instrumental ensemble, etc. A collection by one composer is classed in M3.1 only if it contains a mixture of musical media.

Double cutter collections of works by one composer that have a uniform title that means the same as the class number (i.e., works, songs, quartets, piano works, etc.). Assign the first Cutter for the name of the composer. Assign a second Cutter for the compiler, editor, arranger, or publisher. If none of the above appear, or the publisher is a very common one, assign a second Cutter for the title of the collection.

Dates in call numbers policy:

Current LC policy is always to include a date as the final element of a call number. However, if the LC-assigned 050 call number lacks a date, we will not add a date unless the date is needed to differentiate this edition from another. If you need to add a date, copy the call number into an 090 and then add the date.

It is not uncommon for scores to lack a date of publication. If no date of publication appears on the piece, look for a copyright date and use it in the 260 and the call number. If there is no date at all, our preference is to supply a probable date in brackets with a question mark. According to LC shelflisting practice, we do not add a "z" to the date in the call number so long as digits are not missing-e.g., [199-?] would require a "z."

Kalmus scores: Our standard practice for the white Kalmus classic edition scores is to use the date $c [1990?]. For the Kalmus miniature scores (yellow or gray-- not Kalmus classic edition), our standard practice is to use the date $c [1980?]. The place of publication for Kalmus is New York, not Miami which is the place of distribution.