I continued to catalog electronic dissertations and theses this week. Like I previously mentioned, the hardest part of this process is assigning subject headings to these dissertations. Though, I do feel like I am getting better at it!
The last week of my internship is coming to an end. While not much has changed since last week, I have gained valuable experience in cataloging. I feel like I have learned the skills needed to catalog print music material. I am sure that I will forget many things and that many rules will change. However, I know where to look to find the information I need in order to be successful. I have come a long way from where I began and I am very thankful for the experiences that I have had in this internship
I continued to catalog electronic dissertations and
theses. The theses and dissertations for
all majors except composition are treated like an as an electronic book. Composition majors compose a piece of music
and submit a score. Therefore, their theses
are treated like scores. Because of
this, the cataloging process is almost identical to the process of cataloging a
physical score. There are simply more
fields that show it is an electronic resource and there are fields that provide
an online link to the resource itself.
The hardest part about cataloging dissertations and theses,
just like books, is assigning them proper subjects, especially when they cover
a very wide topic. However, with
practice, I feel like I am getting better at correctly assigning appropriate
I wrapped up cataloging print scores this week. I cataloged Symphony by David
Ward-Steinman. I then had a meeting with
my supervisor, Chuck, and we discussed my progress and goals. We have decided that I am making good
progress. I have become familiar with online
and paper resources that are used in cataloging music print material. I have also learned about the different
levels of cataloging standards such as full, Pcc, etc., as well as local
cataloging practices. I have been very
happy with the records that I have produced in Marc and that have been added to
Chuck and I both feel like I have gotten a firm grasp of
cataloging scores. My focus now will be
shifting to catalog electronic dissertations.
It will provide the opportunity to learn how to catalog electronic
I did catalog one online dissertation this week: Devising methods for classical
I continued working on cataloging works by
Ward-Steinman. I cataloged Brancusi’s brass beds, Rituals, Symphony, and Perelandra. Perelandra presented an issue because it is
subtitled double concerto for violin.
This presented a problem for the authority record because this would be
considered an alternate title; however, I recently cataloged a work by Ward-Steinman
that was called Double concerto for violin.
In this case, we would simply add more information such as the
year. They were both written this not
adequate because the same year. After
some digging was done, it seems that Perelandra was a version of the double
concerto arranged for chamber orchestra.
However, this was not true regarding the copy of Perelandra that we have—it
was still scored for full orchestra.
Perhaps this was an early version.
Because of this, the authority records had to be carefully constructed
to differentiate between these two works.
After finishing these scores, I have have started to catalog
This week I continued creating original OCLC records for works by David Ward-Steinman. The majority of these scores are unpublished. Because of this the 264 field, the publisher/production statement ends up looking something like this: San Diego : [publisher not identified], |c (1979?) . That statement lists the location in which it the item was produced which Ward-Steinman has normally notated on his
scores. The second part (producer not identified) is used when no producer/publisher was identified. The date normally comes from the year the Ward-Steinman wrote the piece according to the score. It ends with a question mark because it is not certain that that date was when the actual score was created. This can be seen in the following scores that I cataloged: Arcturus, Double concerto for violin, and Antares.
More original cataloging of scores. This week I cataloged a Four Orchestral Song by Primo Levi (https://iucat.iu.edu/catalog/17577818) written by Simon Bainbridge. This work has highlighted the importance of researching the items you are cataloging because it also goes by the name Ad ora incerta. Because of this I had to make sure that the correct 240 field was present—the uniform title. Because this was, also a musical setting of four poems by Primo Levi I included the proper 700 field with the “musical setting of (work)” included for all four poems. Chuck said that he probably would not have done that if the title of the poems had not already been authorized access points in OCLC. This was good to know because this applied to the next piece that I cataloged—Seasons Fantastic by David Ward-Steinman (https://iucat.iu.edu/catalog/17559409 ) who taught at IU as a composition professor. It is also coincidental but several scores I have cataloged this week have not been published scores. This is reflected in the 264 filed by stating that the producer is not identified. This can been seen in the Ward-Steinman score and also in an arranged of Pictures at an Exhibition ( https://iucat.iu.edu/catalog/11747584 ) for woodwind quintet and piano by David Walter.
I continued to create original cataloging records for a wide variety of scores including a transcription of Rhapsody in Blue for saxophone quartet, a transcription of Simple Symphony by Britten for guitar choir. I also cataloged a few original works for percussion ensemble. Each record I am making is up to Program for Cooperative Cataloging Standards, which means that it meets certain criteria for what information is recorded in the bib record. Cataloging certainly is a repetitive task and I feel like I am getting more proficient and recording the correct information accurately.
The scores I have cataloged this week have brought up some
interesting cataloging topics including uniform titles for musical works. A uniform title is important so that all
instances of an item can be found in a database. Let’s look at an example. A person might be interested in seeing what
editions the library owns of The Rite of
Spring by Igor Stravinsky. If the
user simply puts in the Rite of Spring, they will probably get a few results,
for works specifically cataloged under the English title. However, catalogers have decided that the
uniform title—that is an authorized access point for this work is not its
English name nor even its name in French.
Instead, the uniform title is in Russian: Vesna
svi͡ashchennai͡a. By searching by
the preferred title, you will get all instances of this work (as long as the
cataloger has included the preferred title).
Uniform titles can be straightforward
for works with unique names, such as in the example above. However, when an item has a type title, such
as sonata or symphony, it becomes a bit more complicated. Fortunately, there are many books such as the
Harden as well as Uniform Title for Music
by Koth to help the cataloger create the correct uniform title.
The transcriptions that I cataloged this week keep their original preferred titles that can be found in the authority records and then get a sub field o after then with the word arranged.
I focused on original
cataloging of scores. The skills I have
learned from copy cataloging and enhancing bibliographic records has proven
very useful in preparation for original cataloging. With this preparation, I
now know what information needs to be recorded and how to format it in Marc.
Recording the medium of performance has been interesting to
work on. I have decided to record it in
the 048 field as well as the 382 field.
While the 048, is not required in PCC, it may work better for some
OPAC’s. This can be seen in Sojurn by
Another challenge that I faced this week was providing
original cataloging for a score written in Polish. I had to really take my time to transcribe
and record the information properly and include all of the correct diacritics. The
score that I cataloged was Niezbędnik biesiadny (https://iucat.iu.edu/catalog/17559684).
This week was a shortened week due to the holiday and having family in town. I only worked two days this week but I continued to copy catalog scores from the Baldner donation. I also continued to read The Harden and Maxwell texts. Both texts are helping me further grasp the concepts of RDA and how they should be applied to music items in Marc format.
It is interesting to see how badly some records need to be cleaned up in OCLC. One of the scores that I processed this week was a copy of Prélude à l’après-midi d’un faune by Debussy. I would have assumed that most scores, especially older ones, would have all of the information needed to simply copy catalog the item. However, I was mistaken. I had to do several things to clean up the record, including recording the size of the score and medium of performance. He is the cleaned up record in IUCAT: https://iucat.iu.edu/catalog/17558048 .
This week I continued reading Maxwell’s handbook for RDA as
well as the Harden. Both provide very
clear instructions on recording information from items that are being cataloged. I started to copy catalog scores from a large
donation to the music library by Bettina Baldner. She donated Music scores from her late
husband’s, Thomas Baldner, collection.
Thomas Baldner was a professor of Instrumental Conducting at IU from
Like monographs, I am tasked with finding the best record to copy catalog. Some scores have records that need to be updated. For example, I updated the record for Sinfonie Concertante by Hanns Jelinek (OCLC 24393306). This record needed serious updating. I had to change the record to follow RDA format, add subject headings, add authority records for the title (ARN 12101846), edition statements, and more.