Music Scores

[   Introduction  |    Definitions  |    Types of Scores  |    Study Scores  |    Performance Scores  |    Added Editions or Added Copies?  |    MARC Coding: 008 Music Format  |  Standard Numbers  |  Uniform Titles  |  Publication Information  |  Physical Description  |  Series  |  Notes  |  Subject Headings  |    Holdings Record  |    Location Codes  |    Call Number  |  Item Record  |    Parts Treated Separately  |    MARC Holdings  |    Processing  |    Authorities  |    Binding Assessment  |    Table of Contents (Special Formats)  |  Table of Contents (Top)]

Introduction

This section deals with copy cataloguing, adding to existing records and creating original description records.

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Definitions

Score:

The term is generally used to mean anything written in musical notation, whether a solo or ensemble work.

Score order:

Score order for full orchestral music, from top to bottom, is: woodwinds, brass, percussion, keyboard, strings.

There are often multiple parts for each instrument. The conductor uses the full score and, usually, each performer has a copy of his own part only (single staff of music).

Score order for chamber music [i.e. music for a small group of solo instruments] varies according to the instruments for which the work is intended. The order is generally stated on the work.

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Types of Scores

There are two broad categories: Study and Performance.

Study Scores

Historical sets

These include mss. facsimiles for musicological research

Miniature or study scores

These are full scores in small print, usually 25 cm. or less in height and generally used for reading or analysis

Performance Scores

Full score:

consists of the music played/sung by all the instruments or voices in a given ensemble. Usually the parts are notated one above the other on a series of parallel staffs.

Conductor's scores:

Usually oversize full scores for ease of reading and because of the large no. of parts notated.

Piano-conductor scores:

In music for small ensembles (chamber music), which include piano, the other parts (vocal or instrumental) are added on to the piano score, whether or not there is a "conductor". e.g. Violin and piano duets, etc.

Condensed scores:

Orchestral or band music that has been reduced to only a few staves, giving only the principal musical parts.

Parts:

Separate parts for individual instruments of an ensemble, also referred to as single stave.

Reduced scores:

Music, originally for orchestra or large ensemble, that has been reduced for keyboard. e.g. Piano concerto, originally for solo piano with orchestral accompaniment, reduced for 2 pianos (1 solo, 1 accomp.)

Transcription or Arrangement:

Music for one medium of performance that has been rewritten for another. Or music rewritten in a different key from the original.

Vocal scores:

Operas, oratorios, or other large works originally for solo voice/chorus and instrumental ensemble, with the instrumental accompaniment reduced for keyboard.

Voice scores:

Vocal and/or choral parts with the original accompaniment entirely omitted.

Close scores:

Commonly found in hymnals, the close score format presents all the separate parts transcribed on (usually) two staves.

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Added Editions or Added Copies?

To determine whether a score is an added copy/edition, check the name of the editor/arranger and the plate number. (if available). These points are more significant than the publisher or date as music is often reissued, unrevised by later publishers and publication dates are frequently omitted.

If the plate number and editor/arranger are the same, treat as an added copy. Make 590 notes, as necessary, to record differences in the added publication:

590 Library copy 2: Toronto : G. Thompson, 1999.

590::Library copy 2: Reissued with new cover.

hen music is republished, the title is often translated into another language or the word order changed from the original. That is why uniform titles are important so that all versions of a work will file together in the indexes. When searching music, author search is preferable to title, even when the title of the score is distinctive. Keyword is often an efficient alternative but not as thorough a search.

If in doubt about whether or not the item is an added copy, treat it as if it is not.

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MARC Coding

Leader

Type of Record: use code 'c' for Printed music.

When adding copies/vols. to an existing bibliographic record which is still in book format, change the 'a' (Language material) to 'c' (Printed music).

008 Music Format

Edit the following fields:

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Standard Numbers

Copy letters and nos. exactly as to punctuation

024:2 : International Standard Music Number (ISMN).
Not often used. Retain if found in copy. Add if available.

028:21: Plate no.  | b publisher
Usually the plate no. is printed on the bottom of each page of music.

028:31: Publisher's no.  | b publisher
This no. will only be printed on the cover, t.-p. or first page of music.

Verify and edit copy.

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Uniform Titles

240:10: Uniform title

Uniform titles are retained or created for virtually all music scores.

LC is the preferred source for uniform titles, even if the composer is Canadian.

When editing LC copy:

• Delete the initial article, if present
• Check indicators
• Use all uniform titles as found in AACR2 copy.

When editing non-LC copy, or copy without a uniform title:

• Search for the exact form of the heading (composer + title) in the Staff Name/Title Headings Index. (This index consists of established headings and their cross references, plus many non-authorized forms that are currently on bibliographic records in our database. Do not use these headings).
• Note whether the heading you find is the authorized form or only a cross-reference.
• Retrieve the record for the authorized heading.
• Copy the heading exactly (using an automatic copy and pasting method is the safest)

• Transfer the information to the 100 and 240 fields in the bibliographic record (or 6XX |t, or 7XX |t, as appropriate).

  Note: If your heading is the same as an authorized heading, but has additions to the title (|k Selections, or |o arr. or |s Vocal score), you can accept the entire heading as given on the copy, even though a validation check of the title results only in "Partial heading validation."

  If the heading is not found in the Staff Name/Title Headings Index:

  • First ensure that you have the authorized form of the composer's name, by finding it in the Staff Name/Title Headings Index, or in the Staff Name Headings Index.

  • Analyze the title to determine whether it is distinctive or generic, and whether the work in hand is a complete work, a part or parts, or an arrangement. Consult the appropriate section in the Authorities: Composer/Uniform Title for examples and detailed instructions.

  In the case of old bibliographic records (pre AACR2 or dumped from GEAC) update as much of the following as you can:

  • Change "Piano vocal score" to "Vocal score".
  • Change "Works, piano" to "Piano music" (or any similar heading for another instrument).
  • Insert the following subfield indicators:

  |l	language
  |m	medium of performance, instruments, etc.
  |n	numbers (opus, thematic nos., etc.). Delete any leading zeros.
  |r	key e.g. E b major -- Use symbols for sharp and flat (# and b)
  |o arr.	for arrangements, transcriptions
  |s	version e.g. Vocal score, Libretto, etc.

• Note regarding librettos: Retain the 240 tag in the bibliographical record.

  • These are the texts/literary works which are set to music (e.g. operas). Although there is usually no music in these publications and they are classed in ML49 or ML50 (with books, not scores), they are catalogued with composer as main entry and therefore require Uniform Titles.

If if is necessary to create a uniform title, refer to the Unit's Authorities Manual: Composer/Uniform Title

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Publication Information

254: : Musical Presentation Statement

This is not often used; retain on copy.

260: :Imprint

Check the bottom of the first page of music for additional publisher's information and dates. Data found here does not need to go into square brackets.

Ignore copyright renewal dates for works first copyrighted before 1978. Give the latest date for works copyrighted after 1977.

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Physical Description

300::Collation

NOTE: The physical description of a score, or score and parts must coincide with the barcoding and binding requirements.

See also the MARC Holdings (866) and Binding Assessment sections below.

Examples of AACR2 format:

1 miniature score (200 p.) ; |c 22 cm.

(study score)

N.B. an item may be described as a "miniature score," because of the print size, but be greater than 25 cm. In this case, the library location will be mu NOT mu,min.

1 score (3 v.) ; |c 34 cm.

(Multi volume set)

23 p. of music ; |c 32 cm.

(music for one performer, e.g. piano score)

1 score (24 p.) + 3 parts ; |c 31 cm.

(score and separate parts for each performer, one barcode)

4 parts ; |c 31 cm.

(1 barcode, 4 pieces)

[The old collation format did not include a number in front of the word "score". Do not bother to update collations in the old format unless they are incorrect (i.e., no. of parts, no parts mentioned, etc.)]

In the last example above, the items are all catalogued on one barcode when the parts are small enough to fit into a back pocket

Use |e before the description of "parts" when it is necessary to use multiple barcodes because items will probably circulate separately due to their physical size and binding, etc., e.g.

1 score (32 p.) ; |c 19 cm. + |e 4 parts ; 31 cm.

This represents a score with separately bound and barcoded parts for each of the performers.

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Series

440: 0: Series: A few of the publisher's numbers have been established as series statements, instead of using the 028:31: tagging.

For these six series, prefer the 440 tag to any other tag you find on the record (740, 028, 500, etc.) There are series title authorities for these headings.

A 490/830 combination is also acceptable, if required.

These Publishers are:

• Edition Peters ;  | v Nr. [5 digits]
• Edition Breitkopf ;  | v Nr. [4 digits]
• Edition Eulenburg ;  | v no. [4 digits]
• Edition Schott ;  | v [5 digits]
• Edition Simrock ;  | v [4 digits]
• Augener's edition ;  | v no. [4 digits]

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Notes

500:: Add Duration note, if information is available. Separate the digits representing hours, minutes and seconds by colons. If a duration is expressed in seconds only, precede it by a colon. Precede a statement of duration with "ca." if the time given is only approximate.

Duration: 15:30

Duration: :45

Duration: ca. 32:00

590:: Local notes:

• Add the note Parts in pocket when appropriate.
• Count no. of pieces and note incomplete sets, e.g. Copy 2: violin part wanting.
• Presented by: [name + year]. Many of the scores are donations to the Library.

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Subject Headings

650: 0:Subject Headings: Be sure that the subdivisions on copy are appropriate. For example, don't use "Scores and parts", if item in hand is only a score. Also do not add for works for a single performer, or for vocal music with only a keyboard accompaniment.

600 $t and 700 $t Composer/Uniform title subject or added entries:

• Use as found in copy in the bibliographic record.
• Apply the same rules re AUTHORITY record creation as for tag 240.
• If adding to an OLD record, be sure that the $t is included in the tag and that the initial article of the title has been deleted so that it will file properly in the title index.
• Insert the SUBFIELD codes as in 240, if necessary.

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Holdings Record

Location Codes (852 tag -  | h)

Since most scores are about 31 cm., the FOLIO location in the Music library applies only to books (usually classed in ML or MT). Following is a list of the most commonly used location codes for scores.

In addition to these location codes (|h), certain sublocation codes (|k) are added in the holdings record 852 tag, to cause the label program to add certain special locations to the label, e.g. |k ref for REF., |k ovsize for OVSIZE (i.e. "oversize")

Call Number

All scores are classed in "M," except for some instructional material which may be classed in "MT."

Replace the sharp and flat symbols with words.

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MARC Holdings (866)

Only add a MHLD tag (866) when you have barcoded 2 or more items/volumes.

Count the number of pieces to be sure the set is complete. e.g. A piano trio should consist of 3 items: a piano part (which includes the 2 additional staves for the violin and violoncello parts), a violin part and a violoncello part. The MHLD tag would read:

score + 2 parts

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Item Record

Every item record must have a barcode, a permanent location and an item type. Following is a list of the most commonly used codes for scores, which are selected from dropdown menus .

If the score and parts are on one barcode, remember to insert the NO. of PIECES into the ITEM record.

Score and Parts Treated Separately

When the parts are bulky enough to be barcoded separately, treat them as added volumes linked to the same Holdings Record. The ENUM is usually "part" if only one part, or the instrument name (max. 8 letters), if more than one part. The score will have "score" in the ENUM.

Sometimes a number of smaller parts fit into a pocket in one folder but to include the score in the same folder would make it too bulky. Two barcodes can be used: one for the "score" volume and one for the "parts" volume. Designate them as such in the ENUM of each. Assess the need for a 590 note of explanation.

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Processing

Bound items:

• Write the call no. on the t.p. verso. Precede the call no. with "MIN" for scores with the location mu,mi, or with "OV" for scores with the location mu,ov, or with "Ref" for scores with the location mu,rf.

• For a single physical item, attach barcode to the inside back cover.

• For material with multiple parts, some of which are in a pocket, attach barcode to the pocket.

• Request additional call labels, when necessary -- one for each additional part.

• Write call no. on t.p. verso of score (or bound part).

• Insert Music location flag

Unbound items:

• The final binding assessment is done in the Music Library, based on criteria listed in Binding Assessment. However, use your best judgement to make a preliminary assessment, based on the physical description and the number of item records created. Attach the corresponding barcodes to a Conservation Request flag, or to the inside back cover of a single item.

• Request multiple call labels, when necessary -- one for each piece in the set plus one to be attached to the binder, if appropriate.

• Insert Music location flag

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Authorities

Authority records are created for music headings, whether they are used as main or added entries, or as subject headings, following the same criteria and procedures as for any other type of heading. See the Authorities Manual: Introduction for general instructions.

See the Authorities: Composer/Uniform Title for detailed instructions on composer + uniform titles for music materials.

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Binding Assessment

The final binding assessment is done in the Music Library, however, a preliminary assessment must be done when the item is catalogued, in order to complete the physical description (300 tag), the item record/s and any MARC holdings statement (866 tag).

Factors to consider:

• size;
• physical condition;
• no. of separately barcoded items/volumes;
• how the items will be used by performers/researchers.

No further binding is required for:

• hardbound scores
• scores with spine wider than 1/2 inch
• items already bound into pamphlet binders

Send these directly to Music, with a Music location flag:

Further binding is generally required for:

• scores, paperbound, or unbound, with a spine width of less than 1/2 inch. These will be glued/stitched into Pamphlet Folders
• multipart items, with one barcode. All parts to be stored in a pocket in a single pamphlet binding.
• multipart items, with multiple barcodes. These include items, which, because of their bulk, have been bound in two or more separate pamphlet bindings, each requiring its own barcode, e.g. score and parts to be placed in two separate folders, if the size warrants and the items have been barcoded as two volumes, labelled "score" and "parts".
• occasionally, a Phase Box may be required for fragile material or large sets, (e.g. orchestral parts which are numerous, bulky and must remain loose, unbound for the use of performers). However, most of these sets are not catalogued by Central Technical Services. They are retained in a special "Performance Library" in the School of Music.

Send to Music,with a Music location flag, and a Conservation Request flag:

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Section 11, Part M9
Created Jan. 6, 1993; rev. Jan. 18, 1997
by Vivien Taylor
Rev. Jan. 2002 by Ann Allen

Page maintained by Elizabeth Read, readel@queensu.ca. Created: 28-06-2002 Updated: 08-Jun-2004 04:37 PM