DCRM(M) - Rare Books and Manuscripts Section

Blank page (for TITLE)

Blank page (for TITLE verso)

Blank page (for TOC)4

Blank page (for TOC verso)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 5

PREFACEBackgroundDescriptive Cataloging of Rare Materials (Music), referred to hereafter as DCRM(M),is one of a family of manuals that form Descriptive Cataloging of Rare Materials(DCRM) (see introductory section I.1), and is based on Descriptive Cataloging ofRare Materials (Books) (DCRM(B)), on the Anglo‐American Cataloguing Rules, secondedition, 2002 revision (AACR2), and subsequent updates, on the preliminaryconsolidated edition of ISBD (2007), which incorporates the rules formerly known asISBD(A): International Standard Bibliographic Description for Older MonographicPublications (Antiquarian) and ISBD(PM): International Standard BibliographicDescription for Printed Music, on the Library of Congress Rule Interpretations (LCRI),with particular attention paid to those that comprised the formerly separate MusicCataloging Decisions, and on music cataloging manuals, most notably, RichardSmiraglia’s Describing Music Materials: A Manual for Descriptive Cataloging, thirdedition, 1997.Along with two other DCRM component manuals, DCRM(M) was already wellunderway when work on RDA: Resource Description and Access (then calledAACR3) was announced. All DCRM editors considered postponing further workuntil after RDA’s publication, but agreed that it would be unwise to delay, given theprogress already made on the DCRM manuals and the considerable investment todate of time, labor, and money.Changes in DCRM from its earlier manifestationsAside from incorporating rules for more formats, the DCRM manuals include othersignificant changes from earlier editions focusing on rare books. They containintroductory sections on “Objectives and Principles” and “Precataloging Decisions”,the explicit incorporation of machine‐made material into the rule text and examples,the addition of Area 6, an appendix on early letter forms and symbols (includingimages of early letters and symbols accompanied by their correct transcriptions), ,appendixes on collection‐level cataloging, on minimal‐level cataloging andvariations requiring the creation of a new bibliographic record. In DCRM(M) itself,there is an appendix with sample citation forms for music bibliographic resourcescited in cataloging records.DCRM(M) gives guidance and prescribes a rigorous and consistent approach totranscription and incorporates a sharp distinction between information transcribedDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 7

PREFACEfrom the source and information that has been supplied by the cataloger. Placingtranscribed information within square brackets is to be avoided as assiduously aspracticable (with the general exception of cases where a letter or character is unclear;see 0G6.2). Conversely, the presence of square brackets in those areas of thedescription that require transcription (see introductory section III.2.2) immediatelyand unambiguously identifies text as supplied or interpolated. Another notableissue related to rigorous transcription principles is that roman dates in the source aretranscribed as roman rather than arabic numerals.DCRM(M) adopts the changes from earlier rules for rare books that includerestricting transcription of the statement of responsibility to the chief source ofinformation, a discussion on the transcription of manufacturers in Area 4, theelimination of special status for engraved title pages in the statement of extent, thedropping of periods after cm and mm (approved for AACR2 in 2002 butimplementation deferred until publication in RDA), and an expanded section onlocal notes. Moreover, the language throughout has been made consistent andexplicit.AcknowledgmentsMany people have contributed their time and effort in bringing DCRM(M) tofruition. Members of the Bibliographic Standards Committee since DCRB went intorevision in the spring of 1998:Randal S. BrandtChristine ClarkeAnn W. CopelandLaurence S. CreiderEmily EpsteinDavid M. FauldsSarah Schmidt FisherJain FletcherJane GillisMelinda HayesEileen HeeranRyan HildebrandJames LarrabeeDeborah J. LeslieMegan LewisM. Winslow LundyJuliet McLarenRussell MartinRobert L. MaxwellKate MoriartyR. Arvid NelsenRichard NobleGregory PassElizabeth RobinsonJennifer OʹBrien RoperPatrick RussellNina SchneiderE.C. SchroederSandra SiderStephen SkuceEileen L. SmithJoe A. SpringerJames StephensonBruce TabbManon ThérouxAlex ThurmanGerald R. Wager†Beth M. Whittaker& more ... thru 2010The Bibliographic Standards Committee is profoundly grateful to the Beinecke RareBook and Manuscript Library of Yale University, for their abundant generosity inbringing twenty‐five participants to New Haven for the DCRM Working Conferencein 2003, and providing food, housing, space, and staff assistance for an enormously8Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

PREFACEproductive four‐day meeting. It is not an exaggeration to say that the DCRMinitiative would have been much the poorer and much the slower without theBeinecke’s unstinting support. Conference participants were:John AttigAnn W. CopelandLaurence S. CreiderJackie M. DooleySarah Schmidt FisherJain FletcherJane GillisBrian HillyardElizabeth L. JohnsonBarbara M. JonesJames LarrabeeDeborah J. LeslieRobert L. MaxwellJuliet McLarenGregory A. PassElizabeth RobinsonJennifer OʹBrien RoperStephen SkuceEileen L. SmithJoe A. SpringerLaura StalkerBruce H. TabbSuzy TarabaManon ThérouxBeth M. WhittakerConscientious and insightful comment on earlier drafts of DCRM(M) was providedby [list of people] and our partners in this endeavor, the Music Library Associationand the Cataloging Policy and Support Office of the Library of Congress.We extend our warm gratitude to all those who, in addition to those listed above,contributed to DCRM(M) by participating actively at the public hearing,commenting on or proofreading drafts, and providing valuable research and expertopinion. This is surely a community document: [list will include the names of peoplewho “beta‐cataloged”, non‐JTG examples finders‐‐starting with the 2 LC catalogers,proofers from BSC and MLA, etc., etc.].The index was prepared by __________ of _________. The cover and title page designis by _________ of _____________.Finally, huge gratitude is due to the six people who agreed to serve as DCRM(M)editors, who have given so generously of their time, considerable intellect andexperience. They are: MLA representatives Nancy Lorimer, Karen Spicher, CharlotteWolfe and RBMS representatives Jain Fletcher, Robert L. Maxwell and Bruce Tabb.Editors preparing the other DCRM components have also provided substantialeditorial help and advice: Erin Blake, Randal S. Brandt, Ann W. Copeland, JainFletcher, Stephen Skuce [list will be enlarged].[Any final special recognition, if needed, would go here...]Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 9

GENERAL RULESgenerate display features automatically. This usually means, for example, thatthe cataloger omits punctuation between areas, parentheses enclosing a seriesstatement, and certain words prefacing formal notes.III. Objectives and principlesThe instructions contained in DCRM are formulated according to the objectivesand principles set forth below. These objectives and principles seek to articulatethe purpose and nature of specialized cataloging rules for rare materials. Theyare informed by long‐accepted concepts in bibliographic scholarship and theAnglo‐American cataloging tradition, as well as by more recent theoretical workimportant to the construction and revision of cataloging codes, namely theInternational Federation of Library Associations and Institutions’ FunctionalRequirements for Bibliographic Records (FRBR) and Elaine Svenonius’s TheIntellectual Foundation of Information Organization. They assume familiarity withthe FRBR terms used to categorize entities that are the products of intellectual orartistic endeavor (work, expression, manifestation, and item) as well asbibliographic terms used to differentiate among textual variants (edition, issue,impression, and state). It is hoped that these objectives and principles willprovide catalogers, and administrators of cataloging operations, with a betterunderstanding of the underlying rationale for DCRM instructions.III.1. Functional objectives of DCRMThe primary objectives in cataloging rare materials are no different from those incataloging other materials. These objectives focus on meeting user needs to find,identify, select, and obtain materials. However, users of rare materials oftenbring specialized requirements to these tasks that cannot be met by generalcataloging rules, such as those contained in the latest revision of AACR2. Inaddition, the standard production practices assumed in general cataloging rulesdo not always apply to rare materials. The following DCRM objectives aredesigned to accommodate these important differences.III.1.1. Users must be able to distinguish clearly among differentmanifestations of an expression of a workThe ability to distinguish among different manifestations of an expression of awork is critical to the user tasks of identifying and selecting bibliographicresources. In general cataloging codes like AACR2, it is assumed thatabbreviated and normalized transcription is sufficient to distinguish amongmanifestations. Users of rare materials, however, often require fuller, moreDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 13

GENERAL RULESfaithful transcriptions, greater detail in the physical description area, and carefulrecording of various distinguishing points in the note area, in order to identifyseparate manifestations. Additionally, users of rare materials are typicallyinterested in drawing finer distinctions among variants within manifestationsthan are users of other materials, including not simply between editions andissues but between variant impressions and states; many also need to distinguishbetween copies at the item level.III.1.2. Users must be able to perform most identification and selection taskswithout direct access to the materialsUsers of rare materials frequently perform identification and selection tasksunder circumstances that require the bibliographic description to stand as adetailed surrogate for the item (e.g., consultation from a distance, limited accessdue to the fragile condition of the item, inability to physically browse collectionshoused in restricted areas, etc.). Accuracy of bibliographic representationincreases subsequent efficiency for both users and collection managers. The sameaccuracy contributes to the long‐term preservation of the materials themselves,by reducing unnecessary circulation and examination of materials that do notprecisely meet users’ requirements.III.1.3. Users must be able to investigate physical processes and postproductionhistory and context exemplified in materials describedUsers of rare materials routinely investigate a variety of artifactual and postproductionaspects of materials. For example, they may want to locate materialsthat are related by printing methods, illustration processes, binding styles andstructures, provenance, genre/form, etc. The ability of users to identify materialsthat fit these criteria depends upon full and accurate descriptions and theprovision of appropriate access points.III.1.4. Users must be able to gain access to materials whose production orpresentation characteristics differ from modern conventionsIn order to distinguish among manifestations, general cataloging codes likeAACR2 rely on explicit bibliographic evidence presented in conventional form(e.g., a formal edition statement on the title page or its verso). In rare materials,such explicit evidence will often be lacking or insufficient to distinguish amongdifferent manifestations. That which is bibliographically significant may thus beobscured.14 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESIII.2. Principles of DCRM constructionTo meet the objectives listed above, DCRM relies upon the following sixprinciples. These principles are influenced by the general principles ofbibliographic description offered by Svenonius: user convenience;representation; sufficiency and necessity; standardization; and integration.III.2.1. Rules provide guidance for descriptions that allow users to distinguishclearly among different manifestations of an expression of a workThis principle derives from the general principle of user convenience and hasimplications for all areas of the bibliographic description. The principle relates toobjective 1 stated above.III.2.2. Rules provide for accurate representations of the entity as it describesitself, notably through instructions regarding transcription,transposition, and omissionThis principle derives from the general principles of representation (with itsrelated subprinciple of accuracy) and of standardization. Precise representationis of particular relevance in those areas of the description that requiretranscription (the title and statement of responsibility area, the edition area, thepublication, distribution, etc., area, and the series area), but should not beignored in the physical description and note areas. The general principles ofrepresentation and standardization stand in greater tension with each otherwhen cataloging rare materials. Faithfulness to both principles may requiredescriptive and annotative treatment necessarily exceeding the norms (and attimes the vocabulary) established as sufficient for the description of generalmaterials. The principle relates to objectives 2 and 4 stated above.III.2.3. Rules provide guidance for the inclusion of manifestation‐specific anditem‐specific information that permits users to investigate physicalprocesses and post‐production history and context exemplified in theitem describedThis principle derives from the general principle of sufficiency and necessity(with its related subprinciple of significance). Application of the principlerequires that rules for rare materials cataloging provide additional guidance onaccess points, particularly in cases where such information is not integral to themanifestation, expression, or work described. Rules for item‐specific informationappearing in the note area may recommend standard forms for presentation ofDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 15

GENERAL RULESinformation (addressing the general principle of user convenience and its relatedsubprinciple of common usage). Application of such rules presumes both a user’sneed for such information and a cataloger’s ability to properly describe suchaspects. The principle relates to objective 3 stated above.III.2.4. Rules provide for the inclusion of all elements of bibliographicalsignificanceGeneral cataloging codes like AACR2 routinely strive for both brevity andclarity, principles affiliated with the general principle of sufficiency. Indescribing rare materials, too great an emphasis on brevity may become theoccasion for insufficiency and lack of clarity. Brevity of description may bemeasured best against the functional requirements of the particular bibliographicdescription rather than against the average physical length of other bibliographicdescriptions in the catalog. The tension between rules for rare materials thatpromote accurate representation of an item and yet do not exceed therequirements of sufficiency is great. Reference to the principle of userconvenience may offer correct resolution of such tensions. This principle isrelated to all of the objectives stated above.III.2.5. Rules conform to the substance and structure of the latest revision ofAACR2 to the extent possible; ISBD serves as a secondary referencepointThis principle relates to general principles of standardization and userconvenience (with the latter’s subprinciple of common usage). DCRM assumesthat users of bibliographic descriptions constructed in accordance with itsprovisions operate in contexts where AACR2 (often as interpreted and appliedby the Library of Congress) is the accepted standard for the cataloging of generalmaterials. Therefore, DCRM uses existing AACR2 vocabulary in a mannerconsistent with AACR2; any additional specialized vocabulary necessary fordescription and access of rare materials occurs in a clear and consistent mannerin DCRM rules, appendixes, and glossary entries. DCRM does not introducerules that are not required by differences expected between rare and generalmaterials. Numbering of areas within DCRM conforms to the structure of ISBDas implemented in AACR2. When an existing AACR2 rule satisfies therequirements of cataloging rare materials, DCRM text is modeled on AACR2 text(substituting examples drawn from rare materials for illustration). In cases wherethe language of AACR2 is not precise enough to convey necessary distinctions ormay introduce confusion when dealing with rare materials, DCRM uses carefully16 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESconsidered alternative wording. Wording of relevant ISBD standards was alsoconsidered when deviating from AACR2.IV. OptionsAvailable options are indicated in one of three ways.Alternative rule designates an alternative option which affects all or severalareas of the description, and which must be used consistently throughout. InDCRM(M), alternative rules apply to the transcription of originalpunctuation and to the creation of separate records for individualimpressions, states, binding variants, or copies. “Optionally” introduces an alternative treatment of an element. “If considered important” indicates that more information may be added in anote, and thus signals choices for more or less depth in the description. Thisphrase covers the entire range between best practice on the one end, andhighly specialized practices on the other.The cataloging agency may wish to establish policies and guidelines on theapplication of options, leave the use of options to the discretion of the cataloger,or use a combination of the two.V. Language preferencesDCRM(M) is written for an English‐speaking context. Cataloging agenciespreparing descriptions in the context of a different language should replaceinstructions and guidelines prescribing or implying the use of English into theirpreferred language (see 4B3‐4, 4B8‐12, 4F, and areas 5 and 7).VI. Spelling and styleDCRM(M) uses Merriam‐Webster’s Collegiate Dictionary, eleventh edition, as itsauthority in matters of spelling, and in matters of style, the fifteenth edition ofthe Chicago Manual of Style.VII. AcronymsAACR2BDRBBIBCOAnglo‐American Cataloguing Rules, second editionBibliographic Description of Rare BooksMonographic Bibliographic Program of the PCCDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 17

GENERAL RULESCC:DADCRBDCRMDCRM(B)DCRM(M)ISBDLCLCRIMLAPCCRBMSRDACommittee on Cataloging: Description and Access, Association forLibrary Collections and Technical Services, American LibraryAssociationDescriptive Cataloging of Rare BooksDescriptive Cataloging of Rare MaterialsDescriptive Cataloging of Rare Materials (Books)Descriptive Cataloging of Rare Materials (Music)International Standard Bibliographic DescriptionLibrary of CongressLibrary of Congress Rule InterpretationsMusic Library AssociationProgram for Cooperative CatalogingRare Books and Manuscripts Section, Association of College andResearch Libraries, American Library AssociationResource Description and AccessVIII. Examples and notesVIII.1. Examples. The examples are not in themselves prescriptive, but are meantto provide a model of reliable application and interpretation of the rule inquestion. A word, phrase, element, or entire area may be illustrated; ISBDpunctuation is given as needed only for the portion illustrated.VIII.2. Notes. The instructions and guidelines in area 7 are written in imperativeform. This does not imply that all notes are required; on the contrary, most notesare not (see 7A1.6). Consult the other areas of DCRM(M) in order to ascertainwhat is required and what is optional in any given situation (see 7A1). Theconventions for notes included as part of the examples are as follows. “Note” indicates that the note is required if applicable to the situation. “Optional note” indicates that the note is not required. The labeling of a noteas “optional” in these rules carries no judgment about its importance (seeintroductory section IV); certain notes designated as “optional” may in factbe almost universally applied. “Local note” indicates a note describing copy‐specific information which isrequired if applicable to the situation (see 7B20). “Optional local note” indicates that the note concerns copy‐specificinformation not affecting areas 1‐6. It is not required, but must be clearlyidentified as a local note according to the provisions of 7B20.1.1. Copy‐18 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESX. Precataloging decisionsBefore a bibliographic record can be created for a music monograph, or group ofmonographs, awaiting cataloging in an institution’s special collections,appropriate decisions must be made regarding the array of descriptive optionsavailable to the cataloger. These precataloging decisions include: determiningwhether DCRM(M) or AACR2 rules will govern the description, choosing thelevel of cataloging that will be applied, and determining the extent to whichvarious options in the rules will be exercised.Because DCRM(M) was written to address the special needs of users of raremusic materials, it is likely to be the appropriate cataloging code for the majorityof music monographs held in special collections. However, for some categories ofmaterials, the cataloging objectives (see introductory section III) may be met byuse of AACR2 or by the application of options within the DCRM(M) rules thatpermit less detail in the description. Full‐level DCRM(M) records that employ allpossible descriptive options will not necessarily be the best choice for every item.The following section provides guidance for catalogers and catalogingadministrators faced with these decisions and identifies some of the institutionaland contextual factors that should be taken into consideration. It assumes thatcertain routine choices will already have been made, such as whether theencoding standard for the description will be MARC 21 and whether a resourceissued as part of a monographic series or multipart monograph will be analyzed.Institutions may promote efficiency by setting cataloging policies for specificcategories of materials in their collections rather than making decisions on anitem‐by‐item basis. For example, an institution may decide to catalog all musicprior to a locally‐set date (such as 1900) using DCRM(M) or to trace printers andmusic sellers for all pre‐18th‐century music, but give signature statements andexpansive descriptive notes for 16th‐century music only. It may choose to catalogall later music according to AACR2, but add selected genre/form or provenancename headings. It may decide that collection‐level cataloging is sufficient for allsheet music. A mechanism for easily making exceptions to general catalogingpolicy is desirable as well. If, for example, a curator buys music for its notablebinding, description of and access to the binding ought to be given in thebibliographic record, even if it is not the institution’s usual policy to describebindings.20 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESX.1. Decisions to make before beginning the descriptionX.1.1. Whether to catalog as a book or as musicThe difference between a book and musical score may seem clear cut, but inreality, there is a certain amount of material that may be described one way orthe other. Some examples include: a monograph that includes nearly equalamounts of text and music; a monograph that is primarily text but provides titlesfor tunes and/or melodies for some of the text; a monograph that is primarily textbut has a large number of musical examples; a musical “score” that consists ofwritten instructions.In most cases, cataloging guidelines have been developed that provideinstruction on how to catalog these materials, a prominent example beingOCLC’s Bibliographic Standards and Formats.X.1.2. Item‐level vs. collection‐level descriptionDetermine whether the material will receive item‐level description, collectionleveldescription, or some combination of the two.Item‐level cataloging represents the normative application of the DCRM(M)rules. Guidelines for creating collection‐level descriptions are found in AppendixB. Collection‐level cataloging is usually faster than item‐level—sometimesdramatically so—but is attended by such a substantial loss of specificity that itsuse as the sole final cataloging for a group of items should be chosen only aftercareful consideration. The lack of specificity can be mitigated through provisionof some sort of item‐level control, such as an inventory list, finding aid, ordatabase, and such an approach is highly recommended. Collection‐levelcataloging of rare materials is most suitable when items have minimal value inthemselves but derive value as part of a collection. Use of collection‐level controlby itself may be appropriate when users are unlikely to be seeking known items,or the risk of inadvertent purchase of duplicate individual items is consideredinsignificant. Collection‐level control alone is unlikely to provide adequateevidence to identify materials following a theft.A combination approach would entail individual cataloging of all or selecteditems in the collection in addition to the creation of a collection‐level record. Suchan approach may involve phased processing, whereby the cataloger creates acollection‐level record to provide immediate basic access to the collection, andDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 21

GENERAL RULESfaithful transcription and detailed, complete physical description. Althoughsome notes are required (e.g., the source of the title proper if not the title page),most are optional and can be applied selectively depending on the nature of acollection or an institution’s needs. For example, signature statements,descriptions of illustrative elements, names of illustrators and others responsiblefor such elements, and particular attributes of the item in hand may be includedor omitted as desired.Although treatment of headings is outside the scope of DCRM(M), full‐level recordstypically contain a full complement of name and subject headings. In addition tothose typically given to general materials, DCRM(M) full‐level records may containheadings for printers, publishers, illustrators, performers, engravers, former owners,binders, etc. The name and name/uniform title headings need not be establishedusing authority records, although full authority work, especially if contributed to theLC/NACO Authority File, will result in greater consistency of headings andimproved access. 4The addition of genre/form headings is particularly encouraged in full‐level records.These may be used to provide access by physical form or specific aspects of an item(e.g., Advertisements, Annotations). Prefer terms found in the official thesaurimaintained by the RBMS Bibliographic Standards Committee; 5 terms from otherauthorized thesauri (e.g., the Ethnographic Thesaurus 6 ) may also be used asappropriate. Music form/genre terms are part of the Library of Congress subjectheadings.X.1.5. Bibliographic variantsIf two or more items can be identified as bibliographic variants of an edition,decide whether to describe them using a single bibliographic record or multiplerecords.It is taken as a default approach in DCRM(M) that a separate record will be madefor each variant that represents what is referred to as an “edition” in AACR2 andan “issue” in bibliographic scholarship. However, this default approach is not4If an institution is a BIBCO participant contributing full‐level records as part of the Programfor Cooperative Cataloging (PCC), all headings must be established in the LC/NACO andLC/SACO Authority Files.5These thesauri include: Binding Terms; Genre Terms; Paper Terms; Printing and PublishingEvidence; Provenance Evidence; and Type Evidence.6Produced by The American Folklore Society; available at: .Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 23

GENERAL RULESprescriptive and indeed may not be desirable in every situation. Within the rules,alternatives are provided (see 2B3.2, 2B4.2, 2D2, 4H) that permit the creation ofseparate records for individual impressions, states, binding variants, or copies.Once the decision has been made to apply these alternative rules, the catalogermust be consistent in applying them to all areas of the description. For furtherguidance on the cataloging of bibliographic variants, see Appendix E.X.2. Factors to consider in making these decisionsConsider the following factors when determining appropriate levels ofdescription and access for materials awaiting cataloging. These factors will helpto identify items that might deserve more detailed descriptions or higher prioritytreatment.X.2.1. Institution’s mission and user needsEvaluate the relevance of the items awaiting cataloging to the institution’smission and the needs of its users. Ideally, the institution will have developedinternal documentation that will facilitate such an evaluation, including amission statement, collection development guidelines, and a listing of constituentusers and their anticipated needs. The needs of both patrons (researchers,teachers, students, etc.) and staff (collection development, reference, technicalservices, etc.) should be taken into consideration.X.2.2. Institutional and departmental resourcesEvaluate institutional and departmental resources, especially staffing levels,expertise, and current workloads. Is staff able to keep up with the inflow of new materials? Is there a reasonable balance between resources devoted to acquiringmaterials and those devoted to processing them? Is current staff expertise in languages, subject areas, descriptive standards,and encoding standards adequate for implementing and/or completingproposed work plans? Is staff able to work concurrently with more than one code and/ordescription level? Are funding and space available for hiring new temporary or permanentstaff with the necessary qualifications? Are adequate reference sources, such as specialized bibliographies, available24 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESfor staff use? How many other projects are in process and what are their requirements andpriorities? The regular review of cataloging priorities is highly recommended andshould include discussions with curatorial, public services, technicalservices, and preservation staff.X.2.3. Market value and conditions of acquisition of the item or collectionConsider the conditions of acquisition and the estimated market worth of theitem or collection awaiting cataloging. Does the monetary or public relations value of the material justify a higherlevel of access than would otherwise apply? Have any access requirements been imposed by a donor as part of the termsof acquisition? Is the item or collection accompanied by bibliographic descriptions that willfacilitate cataloging?X.2.4. Intellectual and physical characteristics of the item or collectionFinally, evaluate the intellectual and physical characteristics of the itemsawaiting cataloging. Is there a unifying characteristic that would justify and facilitate thedescription of the materials as a collection (e.g., author, publisher, place ofpublication, genre/form, etc.)? Is a particular collection renowned? Do the materials have a topical focus that has recently acquired importanceor urgency (e.g., due to a scholarly conference hosted by the institution or thehiring of a new professor with a particular specialty)? Is cataloging copy generally available? Were the items purchased primarily for their content? Do the specific copies have bibliographic or artifactual value? Is the institution collecting deeply in the area? Are detailed descriptions likely to reveal bibliographic variants that will beof interest to researchers?Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 25

GENERAL RULES Are detailed descriptions likely to help prevent the inadvertent purchase ofduplicates or the failure to acquire desirable variants? Is the item or collection vulnerable to theft or vandalism? Would a more detailed description help prevent unnecessary handling bystaff and researchers?26 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULES0. GENERAL RULESContents:0A. Scope0B. The basic description0C. Chief source of information0D. Prescribed sources of information0E. Prescribed punctuation0F. Language and script of the description0G. Transcription0A. ScopeThese rules provide instructions for cataloging printed music whose rarity, valueor interest make special description necessary or desirable. They are especiallyappropriate for publications produced by printing methods dating from theonset of music printing through the nineteenth century. They may be used indescribing printed music up to the present, as well, particularly music producedin fine or limited editions.These instructions may also be used in cataloging manuscript music, particularlymodern manuscripts dated after 1600. Rules addressing print and manuscriptmusic are integrated herein and apply to both formats, unless otherwiseindicated. Additional instructions for manuscripts are provided whereappropriate. These instructions may also be useful for printed music withsignificant manuscript characteristics, such as handwritten inscriptions,revisions, or other annotations. The rules do not address pre‐1600 manuscripts,photocopies, digital files, or printouts.0B. The basic description0B1. Required elementsThe description must always include the following elements, regardless of thecompleteness of the information available: title proper date of publication, distribution, or creation extentDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 27

GENERAL RULES sizeAlso include other elements of description as set out in the following rules, ifavailable and appropriate to the chosen level of description.0B2. Basis of the description0B2.1. General rule. Base the description on the item in hand.0B2.2. Imperfect copies. If describing published music known to be imperfect,and details of a perfect (or more perfect) copy can be determined, base thedescription on the perfect copy. Use square brackets only where required fordescription of the perfect copy. In such cases, the details may be determined byexamining additional copies or by referring to reliable descriptions in othersources. As appropriate, cite the source used for the description in a note (see7B15). Make a local note describing the imperfection of the copy in hand (see7B20.1).If no reliable evidence of the details of a perfect copy is available, describe thecopy as it is. Make a general note indicating that the description is based on animperfect copy.0C. Chief source of information0C1. Single title page0C1.1. The chief source of information is the title page, or, if there is no title page,the source from within the item that is used as a substitute for it. If informationtraditionally given on the title page is given on two facing pages or on pages onsuccessive leaves, with or without repetition, treat all of these pages as the chiefsource of information.0C1.2. If one of the options for source of title page consists of a list of titles thatincludes the title of the piece being cataloged, use as the chief source ofinformation whichever furnishes the fullest information, whether that be the“list” title page, the caption, or the cover.0C1.3. However, if published music bears a cover issued by the publisher, andthe cover contains all the elements typically given on a title page but with morerecent information than that provided on the title page (e.g., a later editionstatement and publication date), choose the cover as the chief source of28 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESinformation. Make a note to indicate that the cover has been chosen as the chiefsource of information (see 7B3.1).EXAMPLE NEEDED HERENote: NEEDED HERE0C2. Multiple title pages0C2.1. If the music has more than one title page, choose as the chief source ofinformation one of the following, applying the first applicable criterion:a) If the title pages present the music in different aspects (e.g., as anindividual publication and as part of multi‐volume music), prefer the onethat corresponds to the aspect in which the item is to be treated.b) If the music is in more than one volume, each of which has a title page,use the title page in the first volume (or the lowest numbered volume ifthe first volume is not available).c) If the music is in one volume and the chief difference between multipletitle pages is imprint date, choose the one with the latest date.d) If the music is in one volume and the chief difference between two titlepages is that one is letterpress and the other is not, choose the letterpresstitle page.e) If the music has the same information on the title page(s) in more than onelanguage or script, choose the title page that is in the language or script ofthe main part of the resource.f) If two title pages face one another, choose the one on the recto of its leaf.g) If two or more title pages follow one another, choose the first one.Whenever any of the above criteria are applied, make a note indicating thesource chosen as the chief source of information.0C2.2. Multipart music. If music consists of several simultaneous parts (e.g.score and parts), choose as the source of the chief source the part that gives themost information, usually the score if present. Make a note indicating the partchosen if other than the score. If the title pages of other parts differ from that ofthe chief source, indicate the variations in a note, if deemed important.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 29

GENERAL RULES0C3. No title pageFor music produced without a title page (or for music produced with a title pagewhen the title page is missing and no reliable description of it is available), if asingle title proper is available in a single source within the music, use this sourceas the title page substitute. If the same title proper is available in more than onesource within the music, choose as the title page substitute the source thatsupplies the most additional information. If different titles, or differing forms ofthe same title, appear within the music, choose as the title page substitute one ofthe following, in this order of preference:a) captionb) coverc) colophond) other preliminariese) a source elsewhere within the musicf) a reference sourceMake a note indicating the source chosen as the title page substitute (see 7B3).Hereafter in these rules, “title page” means “title page or title page substitute”.0D. Prescribed sources of informationThe prescribed source(s) of information for each area of the description is set outin preferred order below. Do not interpolate transcribed information fromelsewhere in the item if it is not present in a prescribed source for that area.For manuscripts written or annotated in various hands, transcribe onlyinformation that is part of the original manuscript, if this can bedetermined. Enclose later annotations in square brackets and identify thehandwriting and date in a note, if possible.AreaPrescribed sources of information1. Title and statement of responsibility Title page2. Edition Title page, caption, cover 7 , colophon, otherpreliminaries7Consider the cover to be a prescribed source only if it was issued by the publisher. Title andseries‐like statements present on covers not issued by the publisher usually represent binders’30 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULES3. Material (or type of publication) specific Title page4. Publication, distribution, etc. Title page, caption, cover, colophon, otherpreliminaries, first page of music4. Date of creation of manuscript Title page, caption, cover, last page of music,colophon, other preliminaries, first page ofmusic5. Physical description The whole resource6. Series Series title page, title page, caption, cover,colophon, other preliminaries7. Note Any source8. Standard number and terms of availability Any sourceIn all cases in which information for areas 1‐4 is taken from elsewhere than thetitle page, make a note to indicate the source of the information (see 7B3, 7B6,7B7.1, 7B8). In all cases in which information for area 6 is taken from elsewherethan the series title page, make a note to indicate the source of the information(see 7B13).0E. Prescribed punctuationPrecede each area, other than the first, by a period‐space‐dash‐space (. ‐‐ ) unlessthe area begins a new paragraph.Precede or enclose each occurrence of an element of an area with standardpunctuation as indicated in the “prescribed punctuation” sections of these rules.Precede each mark of prescribed punctuation by a space and follow it by a space,with the following exceptions: the comma, period, closing parenthesis, andclosing square bracket are not preceded by a space; the opening parenthesis andopening square bracket are not followed by a space.End paragraphs with normal punctuation (usually the period).If an entire area or element is omitted from the bibliographic description (e.g.,because it is not present in the source), also omit its corresponding prescribedpunctuation. Do not use the mark of omission.titles and should be treated as copy‐specific information. They may be transcribed in a local note,if considered important. In case of doubt, do not consider the cover to be a prescribed source ofinformation.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 31

GENERAL RULES0F. Language and script of the description0F1. General rule0F1.1. In the following areas, transcribe information from the music itself in thelanguage and script (wherever feasible) in which it appears there: title and statement of responsibility 8 edition musical presentation publication, distribution, etc. series0F1.2. Give interpolations into these areas in the language and script of the otherinformation in the area, except for prescribed interpolations and other casesspecified in these rules (e.g., 4B4 and 4C6). If the other information in the area isromanized, give interpolations according to the same romanization.0F1.3. Give any other information (other than titles, citations, signatures, andquotations in notes) in the language and script of the cataloging agency.0F2. Romanization0F2.1. If it is not feasible to transcribe from the music using a nonroman script,romanize the text according to the ALA‐LC Romanization Tables. Do not enclosethe romanized text within square brackets. Make a note to indicate that theromanized text appears in nonroman script on the music (see 7B2).Source:СОБРАНІЕ РУССИХЪ НАРОДНЫХЪ ПѢСЕНЪ СЪ ИХЪГОЛОСАМИTranscription:Sobranīe russkikh narodnykh piesen s ikh golosamiNote: Title in Cyrillic scriptSource:Anno τής παρθενοτοχιας M. DC. XVIII8If nonroman text has been transcribed within the first five words of the title proper, provideadditional title access for a romanized form of the title proper (see Appendix F).32 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULES0G2.2. Letters i/j and u/v. If the rules for capitalization require converting theletters i/j or u/v to uppercase or lowercase, apply the following table: 9Uppercase letter to be convertedI (vowel or consonant) anywhere in wordII at end of wordII elsewhere in wordV (vowel or consonant) at beginning ofwordV (vowel or consonant) elsewhere inwordVV representing single letterLowercaseconversioniijiivuvvLowercase letter to be converted Uppercaseconversioni (vowel or consonant) anywhere in word Ij (vowel or consonant) anywhere in word Iu (vowel or consonant) anywhere in Vwordv (vowel or consonant) anywhere in Vwordvv representing single letterVVIf the source uses a gothic typeface that does not distinguish between the lettersi/j or the letters u/v, transcribe the letters as i and v respectively.Source:LE QVINTE MVSICHE … DI CLAVDIO SARACINI9This table represents the “solution of last resort” for text‐based material, as given inAppendix G. However, unlike material that is primarily text‐based, music will usually not havesufficient text to analyze the printer’s pattern of usage for i/j and u/v; therefore, this table is usedin every case for music. For information on the early printing of primarily textual matter as itpertains to the transcription of i/j and u/v, see Appendix G4. If any of the letters transcribedwithin the first five words of the title proper are in converted form, provide additional title accessusing alternative forms of the title proper as needed (see Appendix F).34 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESTranscription:Le quinte musiche / di Claudio SaraciniSource:ROMAE APVD VALERIVM DORICVM BRIXIENSEMTranscription:Romae : Apud Valerium Doricum Brixiensem0G2.3. Final capital ʺIʺ in Latin. Do not convert to lowercase a final capital I inLatin texts when the final I is uppercase and the immediately preceding letters inthe word are lowercase or smaller capital letters. Since this usage is not merelytypographic but affects meaning, the capital must be left in that form. 10Source:Typis Dvcalis MonasterI CampidonensisTranscription:Typis Ducalis MonasterI Campidonensis0G2.4. Chronograms. Capital letters occurring apparently at random or in aparticular sequence on a title page or in a colophon may represent a chronogram.Where there is good reason to assume that a chronogram is being used, do notconvert letters considered part of the chronogram from uppercase to lowercase,or from lowercase to uppercase (see also 4D2.2).0G3. Punctuation in the source0G3.1. General rule. Do not necessarily transcribe punctuation as it appears inthe source. Instead, follow modern punctuation conventions, using commonsense in deciding whether to include the punctuation, omit it, replace it, or addpunctuation not present.Source:Harmonia sacra; or, Divine hymns and dialogues: with a thorow‐bass forthe theorbo‐lute, bass‐viol, harpsichord, or organ. Composed by thebest masters of the last and present age. The words by several learnedand pious persons10If the letter occurs within the first five words of the title proper, provide additional titleaccess for the form of title with the final capital I converted to ii (see Appendix F).Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 35

GENERAL RULESTranscription:Harmonia sacra, or, Divine hymns and dialogues : with a thorowbassfor the theorbo-lute, bass-viol, harpsichord, or organ /composed by the best masters of the last and present age ; thewords by several learned and pious personsSource:TEXT 2 NEEDED HERETranscription:EXAMPLE 2 NEEDED HEREAlternative rule: Transcribe all punctuation as found in the source of information,with the exception of those marks covered in rules 0G3.5‐0G3.7. When followingthis alternative rule, always include prescribed punctuation as well, even if thisresults in double punctuation. Prescribed punctuation is treated at the beginning ofeach chapter within these rules. 11Harmonia sacra; or, Divine hymns and dialogues: : with athorow-bass for the theorbo-lute, bass-viol, harpsichord,or organ. / Composed by the best masters of the last andpresent age. ; The words by several learned and piouspersonsEXAMPLE 2 NEEDED HERE0G3.2. Apostrophes. Transcribe apostrophes as found. Do not supplyapostrophes not present in the source.Wyeth’s repository of sacred musicXII sonata’s or solo’s for a violinLoves a dream of mighty treasureFavorite country dances, reels, &c. : as performed at the Princeof Wales’s, Bath and other grand balls0G3.3. Hyphens. Transcribe hyphens used to connect the constituent parts ofcompound words, normalizing their form as necessary (see Appendix G2). Donot supply hyphens not present in the source.11Commas are not required around or when applying this option, because commas surroundinga conjunction introducing an alternative title are an AACR2 convention, not prescribed ISBDpunctuation.36 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESPot-pourri d’airs des Mystères d’Isis, Dom-Juan et du Mariage deFigaroDyer’s New-York selection of sacred musicThe Indian princess, or, La belle sauvage : an operatic melodrame in three acts0G3.4. Punctuation within roman numerals. Do not transcribe internal marks ofpunctuation appearing within roman numerals. Omit them without using themark of omission.La liberta Ramminga : applause musicali nella celebre funzionedetta delle Tasche dell’ eccellentissima republica di Lucca :l’anno MDCLXXVIII, giornata terza0G3.5. Ellipses, square brackets, and virgules. Do not transcribe ellipses ... orsquare brackets [ ] when present in the source; replace them with a dash ‐‐ andparentheses ( ) respectively or omit them, as appropriate. Do not confuse avirgule (/) in gothic typefaces with a slash; replace it with a comma or omit it, asappropriate. Make an explanatory note, if considered important.Source:Leominster, [Mass.]Transcription:Leominster, Mass.Optional note: On t.p., "Mass." is enclosed by square brackets0G3.6. Line endings. Do not transcribe a hyphen or other mark of punctuationused to connect a single word divided between two lines; transcribe as a singleword, ignoring the punctuation. If the function of the hyphen is in doubt (e.g., ifit might form part of a compound word), transcribe it.Source:SELECTISSI‐MARVM CANTIO‐NVM SACRARVMTranscription:Selectissimarum cantionum sacrarum0G3.7. Punctuation substituting for letters. Transcribe as hyphens any hyphens,dashes, or underscore characters used in the source as a substitute for one ormore letters in a word or an entire word. Use one hyphen for each distinct pieceof type.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 37

GENERAL RULESSource:Sec‐‐t‐‐‐‐s of st‐‐te, the L‐‐‐‐ds of the Ad‐‐‐‐‐‐tyTranscription:Sec--t----s of st--te, the L----ds of the Ad------tyTranscribe asterisks as asterisks.par Mr. B***If the values of the missing letters are known, provide the information in a note,if considered important.Source:Clara H_____dTranscription:Clara H-dOptional note: Clara H-d is Clara Hayward0G4. Spacing0G4.1. Spacing within words and numbers. In general, follow modern spacingconventions when transcribing from the source. Make no attempt to preserve fullor irregular spaces between letters within words. If a word is divided betweenthe end of one line and the beginning of the next, transcribe it as a single word,ignoring the line‐break.Omit internal spaces when transcribing numbers (including roman numerals).Source:G R AE C AE GRAMMATICESTranscription:Graecae grammaticesSource (showing line endings):DE LAVDIBVS VRBIS ETRVRIAEET ITALIAETranscription:De laudibus urbis Etruriae et Italiae38 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESAlternative rule: Transcribe internal spaces within numbers (including romannumerals). If multiple spaces or different sizes of spaces appear between twocharacters within the number, transcribe them as a single space.Source:M. D. CC. XLIVTranscription:M. D. CC. XLIV0G4.2. Spacing between words. If spacing between words in the source isambiguous, or lacking, include spaces in the transcription to separate the wordsas needed. 12Source:LAMORTE DʹORFEOTranscription:La morte d'Orfeo0G4.3. Variant spellings. Do not insert spaces within single words that merelyrepresent variant or archaic spellings. 13Source:Newyork, Printed & Sold by George Gilfert, 1795Transcription:Newyork : Printed & sold by George Gilfert, 17950G5. Omissions0G5.1. General rule. Indicate omissions in the transcription or in a quoted noteby using the mark of omission. When using the mark of omission, generally giveit with a space on either side. However, give a space on only one side if the markcomes at the end of an area, is preceded by an opening parenthesis or openingsquare bracket, or is followed by a closing parenthesis, closing square bracket, orcomma.12If the variant or archaic spellings occur in the first five words of the title proper, provideadditional title access for the form of title with the spacing inserted (see Appendix F).13If the missing spaces occur in the first five words of the title proper, provide additional titleaccess for the form of title as it appears in the source, without the spacesDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 39

GENERAL RULESLondon : Published at the Royal Harmonic Institution ... by Welsh& Hawes ..., [182-?]A Bruxelles : Chez Terry, Marchand d’Estampes et de Musiques, auxArts Reunis ..., [1800?](Comment: The mark of omission has a space on only one side because it isfollowed by a comma)0G5.2. Information not considered part of any area. If omitting grammaticallyseparable information from the transcription because it is not considered part ofany area (pious invocations, etc.; see 1A2.2), do not use the mark of omission. Ifconsidered important, give the omitted information in a note.0G5.3. Information not taken from the chief source of information. Iftranscribing information from a source other than the chief source ofinformation, omit any words preceding or following the information if they arenot considered part of the element and are grammatically separable. Do not usethe mark of omission. If considered important, give the omitted text in a note.The second editionNote: Edition statement from colophon; full colophon reads:[MUSIC EXAMPLE NEEDED]0G6. Interpolations0G6.1. General rule. Indicate an interpolation in the transcription or in a quotednote by enclosing it in square brackets. If transcribing text with missing orobscured letters or words that can be reconstructed with some certainty, includethese in the transcription, enclosing them in square brackets. Make anexplanatory note, if considered important.amico[rum](Comment: The word ends with a )0G6.2. Conjectural and indecipherable text. Indicate a conjectural interpolationby adding a question mark immediately after the interpolation, within squarebrackets. Supply a question mark enclosed in square brackets for eachindeterminable word or portion of word. Make a note to justify theinterpolations, provide explanations, or offer tentative readings ofindecipherable portions of text, if considered important.amico[rum?](Comment: The word ends with a symbol of contraction that is conjectured to be a)amico[?]40 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULES(Comment: The symbol of contraction at the end of the word cannot bedetermined)El[speth?] [?] McWhorter(Comment: An autograph with some conjectured letters in the forename and anindecipherable middle initial, transcribed in a local note)0G6.3. Lacunae in imperfect copies. If the description is based on an imperfectcopy (see 0B2.2), use the mark of omission enclosed in square brackets ([...]) toshow lacunae in the resource.En Barcelo[na] : Por Sebastian Mateu[...]Note: Description based on an imperfect copy; title page tornwith partial loss of imprint0G6.4. Blank spaces. If transcribing text containing blank spaces intended to be\completed in manuscript (such as for situations where a publisher has multiplepublications with nearly identical title pages and has opted for the expediency ofretaining standing type or a specially engraved title page for the purpose),supply the word “blank” enclosed in square brackets. 14 If the blank has beencompleted in the item being described, indicate this in a local note, if consideredimportant.Magnificat in [blank] / composé par Mr. Le ClercLocal note: In [library's] copy, the key “Re Mineur” is writtenby handThe Royall : a new dance performed at court on her majestiesbirth day, Febr. ye 6th, 17[blank] / compos’d by Mr. IsaacLocal note: In [library's] copy, the dance’s name is taken from aprinted label pasted over a blank space and the year has beenfilled out in manuscript: 17530G6.5. Adjacent elements within a single area. If adjacent elements within onearea are to be enclosed in square brackets, generally enclose them in one set ofsquare brackets.[Leipzig : W. Stürmer], 1572If the square brackets are due to interpolations such as corrections or expansions(see 0G8.2, 4B3, 4B4, 4B5), however, use separate pairs of square brackets.Lugduni [Lyon] : [Philippe Tighi?], 157314If the blank occurs in the first five words of the title proper, provide additional title accessfor the form of title without the interpolated word “[blank]” (see Appendix F).Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 41

GENERAL RULES0G6.6. Adjacent elements in separate areas. If adjacent elements are in differentareas, enclose each element in a set of square brackets.At London : Imprinted for VVilliam Aspley, [1613] -- [48], 418 p.0G7. Misprints, etc.0G7.1. Misprints. Transcribe a misprint, misspelling, or other inaccuracy inprinted or manuscript music as it appears there. Follow such an inaccuracy eitherby “[sic]” or by the abbreviation “i.e.” and the correction within squarebrackets. 15: (...) for two treebles [sic] and a bassSix quatuor [i.e. quatuors] à flute, violon, taille & basse,obligésDo not correct words spelled according to older or non‐standard orthographicconventions, e.g., “françoise” for “française”, or “antient” for “ancient”.0G7.2. Turned and approximated letters. Transcribe a turned letter (i.e., a letterset upside‐down), whether inadvertent or deliberate, as the intended letter.Transcribe two letters used to approximate a third letter as the intended letter.However, transcribe vv as vv (see Appendix G5). Make an explanatory note, ifconsidered important. 16LondonOptional note: First "n" in "London" printed with a turned "u"WittenbergOptional note: The "W" in "Wittenberg" is formed using "rv"0G7.3. Blank spaces for initial letters. When the printer has left a blank space foran initial letter, supply the intended letter in square brackets, regardless ofwhether the letter has been executed in manuscript, and make an explanatorynote. If a guide letter has been printed, transcribe it without square brackets. Incase of doubt about whether a printed guide letter is present, transcribe the letter15If the misprint occurs in the first five words of the title proper, provide additional titleaccess for the form of title without the interpolation and for the form of title as if it had beenprinted correctly (see Appendix F).16If the two letters used to approximate a third letter occur in the first five words of the titleproper, provide additional title access for the form of title with the letters transcribed as set (seeAppendix F).42 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GENERAL RULESwithout square brackets. Make a local note to indicate the presence or absence ofmanuscript execution in the copy, if considered important.[H]istoriarum libri XXXV [FIND MUSIC EXAMPLE LIKE THIS]Note: Space for initial letter of first word of title left blankby printerOptional local note: [Library] copy: Initial letter executed inred and green inkHistoriarum libri XXXV [FIND MUSIC EXAMPLE LIKE THIS]Optional local note: [Library] copy: Printed guide letter "H" atbeginning of title not executed in manuscript0G8. Abbreviations and contractions0G8.1. When transcribing from the music, do not abbreviate any words notabbreviated in the source.0G8.2. If special marks of contraction have been used by the printer incontinuance of the manuscript tradition, expand affected words to their full formand enclose supplied letters in square brackets (see Appendix G3). Make anexplanatory note, if considered important (see 7B4.2). If a contraction standingfor an entire word appears in the source, supply instead the word itself, enclosedin square brackets. However, transcribe an ampersand or a Tironian sign ( ) asan ampersand. Enclose each expansion or supplied word in its own set of squarebrackets.Compendiu[m] musices confectu[m] ad facilioru[m] instructione[m]cantu[m] chorale[m] discentiu[m]If the meaning of a contraction is conjectural, apply the bracketing conventionsgiven in 0G6.2.0G9. Superscripts and subscriptsTranscribe superscript and subscript characters on the line unless the sensewould be affected (e.g., in a mathematical formula).Source:I. E Recueil NouveauxTranscription:Ie. recueil nouveauxSource:With Flute or Violin Accomp t . ad LibitumDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 43

GENERAL RULESTranscription:; with flute or violin accompt. ad libitum0G10. Initials, etc.0G10.1. Transcribe initials, initialisms, and acronyms without internal spaces,regardless of how they are presented in the source of information.Quatuor de W.A. Mozart, Music sellers to HRH the Prince of Wales,Missa in honorem purissimi cordis B.M.V. pro duabus aut tribusvocibus0G10.2. Treat an abbreviation consisting of more than a single letter as if it were adistinct word, separating it with a space from preceding and succeeding wordsor initials.Ph. D.Ad bibliothecam PP. Franciscan. in Anger/ componiert von Ch. Gounod ; deutsche Übersetzung von Ferd.Gumbert/ first collected by Chr. Ign. La Trobe0G10.3. If two or more distinct initialisms (or sets of initials), acronyms, orabbreviations appear in juxtaposition, separate them with a space.M. J.P. Rabaut(Comment: The first initial stands for Monsieur)44 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

1. TITLE AND STATEMENT OF RESPONSIBILITY AREAContents:1A. Preliminary rule1B. Title proper1C. General material designation1D. Parallel titles1E. Other title information1F. Statements of responsibility1G. Music without a collective title1A. Preliminary rule1A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede the title of a supplement or section (see 1B6) by a period.Enclose the general material designation in square brackets.Precede each parallel title by an equals sign.Precede each unit of other title information by a colon.Precede the first statement of responsibility by a diagonal slash.Precede each subsequent statement of responsibility by a semicolon.For the punctuation of this area when music has no collective title, see 1G.1A2. Sources of information1A2.1. General rule. The prescribed source of information for the title andstatement of responsibility area is the title page.1A2.2. Omission of pious invocations, etc. Omit, without using the mark ofomission, information found on the title page that constitutes neither titleinformation nor a statement of responsibility. Such information may includededications, pious invocations, quotations, devices, announcements, epigrams,mottoes, prices, etc. (see 0G5.2). Transcribe or describe this kind of information inDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 45

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYa note if it is considered important. If such information is a grammaticallyinseparable part (see 1B1) of one of the elements of the title and statement ofresponsibility area, however, transcribe it as such. If such information constitutesthe only title‐like information present in the source, it may be used as a devisedtitle according to the provisions of 1B5.1A2.3. Multiple items. If the music is one of a multiple group of volumes or iscomprised of multiple parts, and the title page gives a statement of the volume,part (e.g., voice or instrument), or part number within the overall group, omitthis statement without using the mark of omission, unless it is a grammaticallyinseparable part (see 1B1, 1B4) of the information being transcribed. Dotranscribe statements such as “in two volumes,” however (see 1E3).1A3. Form and order of informationTranscribe title and statement of responsibility information in the form and orderin which it is presented in the source, unless instructed otherwise by specificrules (see 0G).1B. Title proper1B1. Elements of the title proper1B1.1. The title proper is the first element of the description. Title informationpreceding the chief title on the title page is considered part of the title proper. Ifthe chief title is preceded or followed in the source by other elements ofinformation, transpose these elements to their appropriate areas in thedescription (or give them in a note) unless case endings would be affected, thegrammatical construction of the information would be disturbed, or the text isotherwise grammatically inseparable from the title proper. In the latter cases,transcribe the information as part of the title proper.Horn’s celebrated cavatina, “I’ve been roaming”The favorite songs of the comic opera I viaggiatori ridicoliWyeth's repository of sacred musicPotpourri pour le piano-forte sur les thêmes de l’opera, Jessondade Louis SpohrMusica de Don Lodovico Agostini Ferrarese, il primo libro demadrigali a cinque vociThe vocal score of Good news : a musical comedy46 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYSam. H. Harris presents Of thee I singJ.W. Pepper’s (1892) campaign band bookJohann Risten Himlische Lieder1B1.2. If a title consists solely of a generic term such as the name(s) of one ormore types of composition, or one or more types of composition and one or moreof the following: medium of performance key date of composition numbertreat generic term, medium of performance, etc., as the title proper. When theelements listed above are present on the title page, transpose them to the titleproper, while otherwise retaining the order in which they appear on the titlepage.Sonate en re majeur, opus 3, pour violonMusik für Saiteninstrumente, Schlagzeug, und CelesteViolin-Sonaten 1, 2, 3Zwei Praeludien und Fugen für Orgel, op. posth.Twelve grand concertos in seven parts for four violins, a tenorviolin, a violoncello with a thoroughbass for the harpsichord1B1.3. When elements have been transposed, provide sufficient information in anote to indicate the actual order of elements on the original title page. If thechanges are minor or easily summarized, make a note to indicate the originalposition of the transposed element(s). If the changes are substantial, provide anote, with additional title access, giving the exact transcription of the title wordsand elements, starting from the upper left‐hand corner of the title page,proceeding down to the lower right‐hand side.Sonate à quatre mains pour le forte-piano, oeuvre 41Note: Work number appears after composer’s name on t.p.Konzert für Violine und Kammerorchester, Op. 2, Nr. 1Note: Title page reads: Op. 2, Nr. 1, Konzert für Violine undKammerorchesterDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 47

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITY1B1.4. In all other cases‐‐that is, if the title does not consist solely of the name ofone or more types of composition‐‐if one or more statements of medium ofperformance, key, date of composition and/or number is found in the source ofinformation, treat the element(s) as other title information (see 1E), whileotherwise retaining the order in which they appear on the title page.Der Meistersinger von Nurnberg ; Klavierauszug für zwei HandenPetite suite : pour orchestreHymne a la joie : extrait de la 9e symphonie, pour 5 trompettesen utNewe teutsche Lieder : mit funff StimmenL’esperance : for the pianoIn case of doubt, treat statements of medium of performance, key, date ofcomposition, and number as part of the title proper.1B2. Note on the source of the title properMake a note on the source of the title proper if it is a title page substitute, e.g., thecaption title, cover, etc.Fanfare for brass quintetNote: Title from captionKammerkonzert : für Klavier, Flöte und StreicherNote: Caption title (piano part)Hope told a flattering tale : introduced by Madam Mara ... in theopera of Artaxerxes, written by Peter Pindar, Esq. : with thecelebrated harp accompaniment / compos’d by Mr. MazzinghiNote: Title from caption1B3. Forms of the title properThe title proper can take a variety of forms, some of which are exemplifiedbelow:1B3.1. Title proper inclusive of other titles or other title information appearingbefore the chief title on the title page:Orpheus Britannicus, A collection of all the choicest songs : forone, two and three voices(Comment: By virtue of its typographical prominence, the English title is clearlythe chief title)48 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYA new edition of The blue bell of Scotland : with variations forthe piano forte or harp(Comment: “The blue bell …” is more prominent than “A new edition …”)1B3.2. Title proper inclusive of alternative titles:The dancing master, or, Directions for dancing country tunesThe overture to The institution of the Garter, or, Arthur’s roundtable restor’dThe spinet, or, Musical miscellany1B3.3. Title proper consisting solely of the name of a responsible person or body:Monteverdi1B3.4. Title proper inclusive of a caption:Source:All’altezza reale di Frederico, prencipe reale di Valla e prencipe elettoraledi Hanouer, delle scienze e de le bell’arti, amatore possessore eprotettore sollievo delle gravi occupazioni, dal suo dilicato gusto, perloro pregio approvate e dalla sua regale clemenza gradite, digratitudine e d’ossequio in perpetuo monumento dedica l’umilissimodevotissimo et obbligatissimo servo Nicolo PorporaTranscription:All’altezza reale di Frederico, prencipe reale di Valla eprencipe elettorale di Hanouer, delle scienze e de lebell’arti, amatore possessore e protettore sollievo delle gravioccupazioni, dal suo dilicato gusto, per loro pregio approvatee dalla sua regale clemenza gradite, di gratitudine ed’ossequio in perpetuo monumento dedica l’umilissimodevotissimo et obbligatissimo servo Nicolo Porpora1B4. Title proper with grammatically inseparable designationIf the music is in more than one volume or part and the title proper of eachvolume or part includes a grammatically inseparable designation such asnumbering, instrument or voice that is specific to that volume or part, supply insquare brackets after the first designation a hyphen and the final designation,omitting intermediate designations. Do the same for single‐volume music thatcontains multiple parts.Airs de différents autheurs, mis en tablature de luth, premiere[-quatrième] livreDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 49

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYIf it is not feasible to do this, transcribe the title proper of the first volume or partwithout this interpolation and make a note about the later designation(s).1B5. No title proper1B5.1. If no title can be found in any source, and the work includes vocal text, useas the title proper the opening words of the text if these provide a reasonablydistinctive title. Indicate in a note if the title proper is taken from the openingwords of the text.Sol che il sole risplendaNote: Title from first lines of text(Comment: Manuscript opera excerpt; title is not bracketed because the first pageof text is here the title page substitute)1B5.2. If no title can be found, no vocal text is present, and a type of compositioncan be determined, devise a title, giving all of the elements prescribed foruniform titles for music, in the order prescribed in AACR2R 25.25‐25.35, with theexception that the type of composition should be given in the singular.[Trio, piano, strings, no. 2, op. 66, C minor]1B5.3. If no vocal text is present and no type of composition can be determined,supply a title from a reference source, or devise a brief descriptive title,preferably in the language and script of the cataloging agency, and use thisdevised title, enclosed in square brackets, as the title proper. Indicate in a note ifthe title proper is supplied from a reference source or has been devised by thecataloger.[Concerto per il clavicembalo, violino 1mo, violino 2do, oboe1ma, oboe 2da, con basso]Note: Title from Joseph Haydn, Thematisch-bibliographischesWerkverzeichnis / von Anthony van Hoboken[Hymni, Magnificat, motecta]Note: Title from description in: Capellea Sixtinae codices / J.M.Llorens Cistero. Città del Vaticano : Biblioteca apostolicavaticana, 1960Examples of titles devised from manuscript content, followed by one example ofthe note given in this situation:[Piano music][Music for four unidentified instruments][Music for unidentified instruments or voices]50 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITY[Music][Manuscript collection of sacred music]Note: Title devised from content1B6. Title proper with supplementary or section designation or titleIf the title proper for a work that is supplementary to, or a section of, anotherwork appears in two or more grammatically separable parts, transcribe the titleof the main work first, followed by the designation(s) and/or title(s) of thesupplement(s) or section(s) in order of their dependence. Make a note indicatingthe original position on the title page of any transposed elements.La fiancée. No. 4, Duo chanté par Mme. Pradher et Mr. CholletNote: Title page reads: No. 4. La fiancée1B7. Abridgments of the title proper1B7.1. General rule. Abridge a long title proper only if it can be done withoutloss of essential information. Do not omit any of the first five words. Indicateomissions by the mark of omission.Collectiun da canzuns spirtualas : sur da las ampurtontas wardadsda la doctrina da la cardienscha a moral Christianeivla ... :da duvrartiers ilg public survetsch da deus en las baselgiasevangelicas Rumonschas1B7.2. Alternative title. If the title proper contains an alternative title, do notomit any of the first five words of the alternative title.Deadly lively, or, The ladies nag : a favorite comic songThe adventures of Major Longbow, or, Upon my life it’s true ...Harmonischer Gottes-Dienst, oder, Geistliche Cantaten zumallgemeinen Gebrauche1B7.3. Chief title. Extend the transcription of the title proper at least through theend of the chief title of the resource. Apply this provision even if other words inthe title proper precede the chief title (see 1B1.1, 1B3.1). If the end of the chief titlecannot be determined, break off the transcription at the first grammaticallyacceptable place, but in no event within the first five words of the chief title.Don Fernandi de las Infantas Patritij Cordubensis Sacrarum variistyli cantionum tituli spiritus sancti(Comment: The chief title starts with “Sacrarum varii styli …”)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 51

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYA brand new song, entitled The Irishman's address to the twentysixNottingham worthies ...(Comment: The chief title begins “The Irishmanʹs address” but its ending isambiguous)1C. Optional addition. General material designation1C1. General ruleGive, immediately after the title proper, the appropriate general materialdesignation as instructed in AACR2R 1.1C.Sonata for viola and piano, op. 147 [music]Sechs Partiten für Flöte [manuscript]The call for Isaiah [kit]Motetti a quattro, cinque e sei voci [microform]1D. Parallel titles1D1. Order and source of parallel titlesTranscribe parallel titles in the order indicated by their sequence on, or by thelayout of, the title page. If the original title appears elsewhere than on the titlepage, transcribe it in a note, if considered important.1D2. Language of parallel titles and relationship to title proper1D2.1. Transcribe an original title in a language different from that of the titleproper appearing on the title page as a parallel title, unless it is grammaticallyinseparable from another part of the description.The first step in flute-playing = Le premier pas du flutiste1D2.2. Transcribe as other title information an original title in the same languageas the title proper (see 1E).NEED MUSIC EXAMPLE1D2.3. If the chief source includes statements of medium of performance, key,date of composition, and/or number that are treated as part of the title proper(see 1B1) in two or more languages or scripts, transcribe such information in theorder in which it appears in the chief source of information.52 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYSonate a 3, en mi mineur, pour 2 violons ou hautbois et bassecontinue [GMD] = e-Moll, für 2 Violinen oder Oboen undGeneralbass = in E minor, for 2 violins or oboes and thoroughbass1E. Other title information1E1. Order and source of other title informationTranscribe other title information appearing on the title page in the orderindicated by the sequence on, or layout of, the title page. Transcribe other titleinformation not appearing on the title page in a note, if considered important.1E2. Other title information1E2.1. General rule. Transcribe title information that appears following the titleproper as other title information, even if it begins with a preposition,conjunction, prepositional phrase, etc.The Austrian retreat [GMD] : a favorite airRule Britannia [GMD] : Volkslied mit Variationen für das Piano-ForteThe airs of the Beggars opera [GMD] : for the guitar, Germanflute or violinNewe teutsche Lieder [GMD] : mit fünff Stimmen, welche gantzlieblich zu singen vnd auff allerley Instrumenten zu gebrauchen1E2.2. Transcribe performance information appearing in the chief source as othertitle information, or give in a quoted note. Do not transcribe this information aspart of the statement of responsibility.Choose me your valentine : as sung by Madame Vestris / composedby Charles E. HornPretty maiden : a celebrated duetto sung by Mr. Horn & MissWilson in the opera of The haunted towerOmphale : tragedie en musique : representé pour la premiere foispar l’Academie royalle de musique le 10. novembre 1701Le sacrifice d’amour : cantatille nouvelle chantez au concert duChateau de Thuilleries par Melle. Le Maure / composez par Mr.Le MaireDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 53

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITY1E2.3. If this other title information appears following the statement ofresponsibility, transcribe it as a subsequent statement of responsibility (see1F14.2).1E2.4. If this other title information, or some portion of it, constitutes a formalstatement of the contents of the work, and is grammatically separable from thetitle proper and other title information, transcribe it in a note, if consideredimportant (see 7B16.2). When these formal statements are omitted from the titleand statement of responsibility area, use the mark of omission.The art of singing : in three parts ...Optional note: Contents: (from t.p.) I. The musical primer -- II.The Christian harmony -- III. The musical magazine1E2.5. Distinguish the above situations from those in which titles of other worksare given equal prominence with the first‐named work (see 1G1).1E3. Statements about illustrations or volumesTreat an illustration statement or a statement such as “in two volumes” as othertitle information, unless the statement is grammatically inseparable frominformation transcribed as part of another element or area (see 1F13 and 2B8). Ifthe statement appears following the statement of responsibility, transcribe it as asubsequent statement of responsibility.NEED EXAMPLE AS PART OF OTHER TITLE INFONEED EXAMPLE AS PART OF SOR1E4. Abridgment of other title informationOptionally, if other title information is very lengthy and can be abridged withoutloss of essential information, omit less important words or phrases, using themark of omission. If considered important, transcribe omitted words or phrasesin a note (including the other titles or phrases referred to in 1E2.3).Handel’s overtures from all his operas and oratorios set for theharpsichord and organ ...(Comment: Title page includes a long list, in columns, of the titles of the operasrepresented within)1E5. Other title information with grammatically inseparable elementsIf the other title information includes a statement of responsibility or an elementbelonging to another area, and the element is a grammatically inseparable part of54 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYthe other title information according to one or more of the conditionsenumerated in 1B1.1, transcribe it as other title information.Wilt thou forgive that sin : a setting of John Donne’s A hymn toGod1E6. Parallel statements containing other title informationTranscribe parallel statements containing other title information in the order inwhich they appear on the title page.1F. Statements of responsibility1F1. Statements of responsibility on the title pageTranscribe statements of responsibility found on the title page in the form inwhich they appear.Mélange de thèmes nouveaux : en duo pour harpe et violoncello,oeuvre 75 / par Chles. Bochsa fils et L. DuportNEED EXAMPLE ALONG THESE LINES: / written by himselfNEED EXAMPLE ALONG THESE LINES: / Dauide Edguardo Anglo authoreNEED EXAMPLE ALONG THESE LINES: / di Leon Battista AlbertiNEED EXAMPLE ALONG THESE LINES: / by the late Bishop BurnetNEED EXAMPLE ALONG THESE LINES: / illustrated by D. Maclise, R.A.1F2. Statements of responsibility on other sourcesIf a statement of responsibility appears on a source other than the title page, or istaken from outside the music, record the statement and its source in a note.Note: Pref. signed: Thomas Hopkins(Comment: Hopkins is not recorded in the statement of responsibility area eventhough he is known to be the author)Note: "Irene V. Jackson, compiler and general editor"--P. xv.1F3. Transposition of statements of responsibilityIf a statement of responsibility precedes the title proper in the source, transpose itto its required position unless it is a grammatically inseparable part of the titleproper according to one or more of the conditions enumerated in 1B1.1. WhenDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 55

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYtransposing the statement of responsibility, do not use the mark of omission.Make a note indicating the transposition.NEED EXAMPLE ALONG THESE LINES: Hanc dissertationem medicam dehydrope tympanite ... submittit ad diem [blank] Martii MDCLXXII... David Richter, Zittâ-Lusatus, autor / praeside ... Dn.Johanne Arnoldo FridericiNote: "Praeside" statement precedes title on t.p.Il primo libro delli madrigali a sei voci / di Camillo Zanotti...Note: Composer’s name precedes title on t.p.1F4. Single statements of responsibility with two or more namesTranscribe a single statement of responsibility as such whether the two or morepersons or corporate bodies named in it perform the same function or differentfunctions.NEED EXAMPLE ALONG THESE LINES: / prepared for the Ethical Unionby Mass-ObservationNEED EXAMPLE ALONG THESE LINES: / by William Whiston and HumphryDittonNEED EXAMPLE ALONG THESE LINES - : in two books / the first byLeonard Lessius, the second by Lewis Cornaro ...1F5. Omission of names in statements of responsibilityWhen a single statement of responsibility names more than one person orcorporate body performing the same function or with the same degree ofresponsibility, transcribe all the names mentioned. Optionally, if the responsiblepersons or bodies named in a single statement are considered too numerous tolist exhaustively, all after the third may be omitted. Indicate the omission by themark of omission and supply “et al.” in square brackets./ composées par Mrs. Bach, Abel & Giardini/ componirt von J. Cramer ... [et al.]1F6. Two or more statements of responsibilityIf there are two or more statements of responsibility, transcribe them in the orderindicated by their sequence on, or by the layout of, the title page. If the sequenceand layout are ambiguous or insufficient to determine the order, transcribe thestatements in the order that makes the most sense.56 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYTrois fantaisies ou caprices pour piano, op. 16 [GMD] / par F.Mendelssohn Bartholdy ; édition revue et doigtée par H.F.KufferathThe orphans prayer : a pathetic ballad / the words by M.G. Lewis,esqr. ; and set to music, with an accompaniment for the harp orpianopforte, by Miss AbramsThe songs of Father Goose / verse by L. Frank Baum ; music byAlberta N. Burton ; pictures by Wm. W. Denslow1F7. Terms of address, etc., in statements of responsibilityInclude titles and abbreviations of titles of nobility, address, honor, anddistinction that appear with names in statements of responsibility./ composé par Mr. Bailleux/ del sigr. Pietro GuglielmiNEED EXAMPLE ALONG THESE LINES: / by Horatio Walpole, Earl ofOrford ...1F8. Qualifications in statements of responsibilityQualifications such as initials indicating membership in societies, academicdegrees, and statements of positions held may be omitted from the statement ofresponsibility, using the mark of omission, unless:the qualifications are necessary grammaticallyororthe qualifications are necessary for identifying the person or are useful inestablishing a context for the person’s activity (initials of religious orders,phrases, or adjectives denoting place names, etc.)the statement of responsibility represents the author only by apseudonym, a descriptive phrase, or nonalphabetic symbols./ organista della Sereniss. Sig. di Venetia in S. Marco1F9. Ambiguous statements of responsibilityIf the relationship between the title of a work and the person(s) or body (bodies)named in the statement of responsibility is not clear, supply an explanatory wordor short phrase in the language of the text, within square brackets, or make anote.NEED EXAMPLE ALONG THESE LINES: / [compilé par] André BretonDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 57

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYLe domino noir / D.F.E. Auber ; [paroles de] E. ScribeIf considered important, make notes about expansions, explanations, andcorrections of statements of responsibility when needed for clarity (see 7B6).1F10. Statements of responsibility in more than one language or script1F10.1. If there are parallel titles in more than one language or script, but only asingle statement of responsibility, transcribe the statement of responsibility afterall the title information.NEED EXAMPLE ALONG THESE LINES: Jeux de cartes pour enfants =Children's playing cards / par Giovanni Belgrado et BrunoMunari1F10.2. If there are both parallel titles and statements of responsibility in morethan one language or script, transcribe each statement of responsibility after thetitle proper, parallel title, or other title information to which it relates. If any ofthese titles lack a matching statement of responsibility, transcribe the informationin the order indicated by the sequence on, or by the layout of, the title page.Milton : opéra en un acte / de Jouy et Dieulafoi ; mis en musiquepar Gaspard Spontini ... = Milton : opera en un atto e in prosa/ dei Signori Jouy e Dieulafoy ; tradotta in versi italiani daLuigi Balochi ; posta in musica da Gaspare Spontini ...1F10.3. Make a note to indicate the original position on the source of anytransposed statements.1F11. Nouns and noun phrases1F11.1. Treat a noun or noun phrase occurring in conjunction with a statement ofresponsibility as other title information if it is indicative of the nature of thework.Comus : a mask / by John Milton1F11.2. If the noun or noun phrase is indicative of the role of the person(s) orbody (bodies) named in the statement of responsibility rather than of the natureof the work, treat it as part of the statement of responsibility.Solomon [GMD] : an oratorio / set to musick by Mr. HandelThe saltarella : Mr. Isaac’s new dance made for her Majesty’sbirthday, 1708 / the tune by Mr. Paisible ; engraven incharacters and figures for the use of the masters ; thecharacters writ by Mr. de la Garde, dancing master58 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITY1F11.3. In case of doubt, treat the noun or noun phrase as part of the statement ofresponsibility.1F12. Persons or bodies not explicitly named in statements of responsibilityTranscribe a statement of responsibility as such even if no person or body isexplicitly named in that statement. Such statements will generally contain wordslike “translated,” “edited,” “compiled,” etc./ the whole harmonized for three and four voices, with a figuredbase for the organ and piano forte ; calculated for publicworship and private devotion1F13. Statements of responsibility with grammatically inseparable elementsIf the statement of responsibility includes information belonging to another area,and the information is grammatically inseparable from the statement ofresponsibility according to one or more of the conditions enumerated in 1B1.1,transcribe it as part of the statement of responsibility.NEED EXAMPLE ALONG THESE LINES: L'hymne au soleil / traduit envers latins, sur la troisième édition du texte françois, par M.l'abbé Métivier1F14. Phrases about notes, appendixes, etc.1F14.1. Transcribe phrases about notes, appendixes, and such accompanyingmatter in the order indicated by the sequence on the title page. If suchinformation appears before the statement of responsibility, transcribe it as othertitle information (see 1E2.1).NEED EXAMPLE ALONG THESE LINES: Chemische Erfahrungen bey meinemund andern Fabriken in Deutschland : nebst einem Anhangbesonderer chemischer Geheimnisse / von J.A. WeberNEED EXAMPLE ALONG THESE LINES: Clarion call : with FranklinPhelps' criticisms / by Lunceford Yates1F14.2. If such information appears after the statement of responsibility,transcribe it as a subsequent statement of responsibility, whether or not it namesa person or body.NEED EXAMPLE ALONG THESE LINES: / by James Townley ; with avariety of German notes explanatory of the idioms ... alludedto by John Christian HuttnerDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 59

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITYNEED EXAMPLE ALONG THESE LINES: / by the author of The conduct ofthe allies ; to which are added the said Barrier-Treaty ; withthe two separate articles ...NEED EXAMPLE ALONG THESE LINES: ... / done into English from theFrench, with a new original preface upon the same subject, byW.J. ; to which are added An essay upon Satyr by Monsieurd'Acier ; and A treatise upon pastorals by Monsieur Fontanelle1F14.3. Optionally, if the phrases are very lengthy and can be abridged withoutloss of essential information, omit less important words or phrases, using themark of omission. If considered important, transcribe omitted phrases in a note.If the phrases are actually titles of other works given equal prominence with thetitle of the first work, see 1G.1G. Music without a collective title1G1. Two or more works named on the title page1G1.1. By same person or body. If the music has no collective title and the titlepage bears the titles of two or more individual works, other than supplementarymatter, that are contained in the music, transcribe the titles of the individualworks in the order in which they appear on the title page. Separate the titles by aspace‐semicolon‐space if the works are all by the same person(s) or body(bodies), even if the titles are linked by a connecting word or phrase.Cantus, songs and fancies, to severall mvsicall parts [music] :both apt for voices and viols : with a brief introduction tomusick, as is taught into the Musick-school of Aberdeen ;together also, with Severall of the choisest Italian-songs, andnew English-ayres, all in three parts ...(Comment: Within the volume itself, separate title pages for “Cantus…” and“Severall …” show that these are distinct works; furthermore, “Cantus …” hadpreviously been published separately)1G1.2. By different persons or bodies. If the individual works are by differentpersons or bodies, or the authorship is in doubt, precede each title other than thefirst by a period and one space, unless a linking word or phrase is alreadypresent. Precede each statement of responsibility by a space‐slash‐space.NEED EXAMPLE ALONG THESE LINES: The serving-man become a queen.Jockey of the green. The lass of Richmond HillNEED EXAMPLE ALONG THESE LINES: Franklin’s way to wealth andPenn’s maxims60 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 1. TITLE AND STATEMENT OF RESPONSIBILITY1G2. One or more works not named on the title pageIf the music has no collective title, and one or more works contained within arenot named on the title page:transcribe the title and statement of responsibility from the title page, andname the other work(s) in a contents note (see 7B16)orormake a separate description for each separately titled work, linking theseparate descriptions with “With” notes (see 7B18)devise a collective title for the whole resource, preferably in the languageand script of the cataloging agency, and use this devised title, enclosed insquare brackets, as the title proper, and, optionally, name the work(s) in acontents note[A collection of dances from the early 1600s arranged for smallconsort]Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 61

2. EDITION AREAContents:2A. Preliminary rule2B. Edition statement2C. Statements of responsibility relating to the edition2D. Statement relating to a named revision of an edition2E. Statements of responsibility relating to a named revision of an edition2A. Preliminary rule2A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede the edition area by a period‐space‐dash‐space.Precede a statement relating to a named revision of an edition by a comma.Precede the first statement of responsibility following an edition statement by adiagonal slash.Precede each subsequent statement of responsibility by a semicolon.For the use of the equals sign to precede parallel statements, see the appropriaterules following.2A2. Sources of informationThe prescribed sources of information for the edition area are the title page,caption, cover, colophon, and other preliminaries, in that order of preference. Ifan edition statement or any part of the edition area is transcribed from elsewherethan the title page, indicate its source in a note.The third edition corrected, and considerably enlargedNote: Edition statement from half-title2A3. Form and order of informationTranscribe edition information in the form and order in which it is presented inthe source, unless instructed otherwise by specific rules (see 0G).Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 63

AREA 2. EDITION2B. Edition statement2B1. General ruleTranscribe a statement relating to an edition or issue of a publication as itappears, according to the general rules 0B‐0G. Include any explanatory words orphrases appearing with the edition statement. For manuscripts, transcribe astatement relating to a version of the manuscript, such as a draft, revision, orproof. If an edition statement is present on a manuscript draft or copy of apublication, or manuscript rented or sold by a publisher, give the editionstatement in a note.2B2. Words considered part of the edition statement2B2.1. Edition statements normally include either the word “edition” (or itsequivalent in other languages), or a related term such as “revision” or “issue”.Nunc primum in lucem aeditaUltima editio multò auctior et emendatiorNova edition, locupletior et emendatiorThe 17th edition, the whole work revised and done on the newty’d-note,and much more correct than any former editionsThe third edition, exactly corrected and enlargedTerza edizione ampliataEditio prima brabanticaDeuxième édition, du recueil noté2B2.2. Treat a phrase such as “newly printed” as an edition statement unless it ispart of a statement being transcribed in the publication, distribution, etc., area. Incase of doubt, treat such a statement as an edition statement.Newly imprinted and very necessary vnto all youthe2B2.3. If the word “edition” (or its equivalent in other languages) is used with astatement indicating an arrangement or version of the music (e.g., “Edition for 2pianos” or “Klavierausgabe”), such statements should be transcribed in thestatement of responsibility area, not the edition area. If the word, “edition”, or itsequivalent, appears with an editor’s name (e.g., “Busoni edition”), transcribe thephrase in the statement of responsibility area, not the edition area.64 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 2. EDITIONSonata in F major / J.S. Bach ; Busoni edition2B2.4. In the case of a song, song cycle, or set or collection of songs, treat astatement of voice range or other transposition (i.e., an alteration of the music)that is not grammatically linked to the title, as an edition statement, unless it ispart of a statement being transcribed in the title area, whether or not it includesthe word “edition”.Ausgabe für tiefe StimmeHigh key in F2B3. Words such as “impression” or “printing”2B3.1. Use judgment in transcribing statements containing words such as“impression” or “printing”. In music printed with movable type, such statementsoften signal a new edition or issue. In these cases, the statement may properly beconsidered an edition statement.The second impressionA new printing2B3.2. For music produced by the process of engraving and for processes used inlater periods, statements containing words such as “impression” or “printing”are more likely to indicate that the publication is simply a new impression of thesame edition. Omit statements of impression such as these from the transcriptionwithout using the mark of omission. Local notes may be made about thestatements, if considered important.Optional local note: [Library's] copy has "ninth printing" ont.p. versoAlternative rule: If a decision has been made to create a separate bibliographicdescription for an individual impression, state, binding variant, or copy within asingle edition or issue (see introductory section X.1.4 and Appendix E), transcribestatements containing words such as “impression” or “printing” in the edition area.Indicate the source of the statement, if other than the title page, in a note.Ninth printingNote: The words "ninth printing" taken from t.p. versoDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 65

AREA 2. EDITION2B4. Edition statements with special characters or a numeric emphasis2B4.1. If an edition statement consists entirely or chiefly of characters that areneither numeric nor alphabetic, transcribe the characters as they appear if thenecessary typographical facilities are available. For characters that cannot bereproduced, substitute the names or descriptions of the characters in squarebrackets.&&& edition[alpha chi] edition2B4.2. If an edition statement consists of one or more letters or numbers withoutaccompanying words, or only words that convey numbers, supply anappropriate word or abbreviation in square brackets. If no appropriate word orabbreviation can be determined, or in cases of doubt, simply transcribe thestatement as found.3e [éd.]Second [ed.]If such a statement signals a substantially unchanged impression of an edition,omit it from the transcription without using the mark of omission. Local notesmay be made about such statements, if considered important.Optional local note: [Library's] copy: "Fifth ten thousand"Optional local note: [Library's] copy: Number "2" on t.p.indicates 2nd printingOptional local note: [Library's] copy: "51st-100th"--T.p. versoOptional local note: [Library's] copy: "163-173 Tausend"NEED MORE MUSIC-RELATED EXAMPLES AS THE ABOVE, WHICH ARE FROMBOOKS; THE SAME IS TRUE OF THE EXAMPLES IN THE “ALTERNATIVERULE” BOX BELOW66 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 2. EDITIONAlternative rule: If a decision has been made to create a separate bibliographicdescription for an individual impression, state, binding variant, or copy within asingle edition or issue (see introductory section X.1.4 and Appendix E), transcribestatements such as the following in the edition area, even if they represent asubstantially unchanged impression of that edition: a statement consisting entirelyor chiefly of characters that are neither numeric nor alphabetic; a statementconsisting of one or more letters or numbers without accompanying words; or astatement consisting only of words that convey numbers. Supply appropriate wordsor abbreviations in square brackets, as needed. Indicate the source of the statement,if other than the title page, in a note.51st-100thNote: The words "51st-100th" taken from t.p. versoIf identification of the substantially unchanged impression is based on a publisherʹscode or number line or on information found in a reference source, supply anappropriate statement in square brackets, as needed. Indicate the basis for thestatement in a note.[3rd printing]Note: Number line on t.p. verso indicates 3rd printing: "8 7 65 4 3 88 89 90 91 92"2B5. No edition statement2B5.1. If the music does not contain an edition statement, but is known to containsignificant changes from other editions, or an edition statement for it is providedby a reference source, do not supply an edition statement based on thisinformation. Give the information in a note.Note: Third ed.; first published in 1569. Cf. EitnerNote: Deutsch identifies this as the 3rd. ed., giving 1827 as itsdate of appearance; he also notes that this ed. was the firsttime this song was recorded as “opus 32”. Cf. Deutsch, O.E.,Franz Schubert thematisches Verzeichnis (1978), 5502B5.2. If the music contains only a statement that refers to another edition (e.g.,as part of a preface to an earlier edition or a summary of the work’s publicationhistory), do not transcribe the information as an edition statement and do notsupply an edition statement based on the information. Notes may be made onsuch statements, if considered important.Optional note: "Preface to the first edition": p. 5-7(Comment: The publication is not the first edition)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 67

AREA 2. EDITION2B6. Edition statements that are grammatically inseparable parts of other areasIf an edition statement is a grammatically inseparable part of another areaaccording to one or more of the conditions enumerated in 1B1.1, and has beentranscribed as such, do not repeat it as an edition statement.Millers improved edition of the Piano-forte primerCaescilian edition of Beyer’s Progressive school2B7. Transposition of edition statementsTranspose grammatically separable edition statements into the edition area fromother parts of the title page. Provide details of the transposition in a note.2B8. Edition statements with grammatically inseparable informationIf information pertaining to other elements of the description (e.g., an originaltitle or other information concerning the original work) is grammaticallyinseparable from the edition statement according to one or more of theconditions enumerated in 1B1.1, transcribe it as part of the edition statement. Ifillustration statements or statements such as “in two volumes” appear with anedition statement, transcribe them as they appear (see also 1E3).2B9. Edition statements in more than one language or script2B9.1. If the music bears edition statements in more than one language or script,transcribe the statement that is in the language or script of the title proper. If thiscriterion does not apply, transcribe the statement that appears first in the source.Transcribe the remaining statement(s), together with any associated statementsof responsibility, as parallel edition statements. Precede each parallel statementby an equals sign. Make a note to indicate the original position on the source ofany transposed statements.2B9.2. Optionally, if it is considered that the parallel statements are too numerousto list exhaustively, and that some may be omitted without significant loss ofidentification, omit parallel statements after the first using the mark of omission.Transcribe the omitted statement(s) in a note, if considered important.2B10. Two or more works on the title page with at least one edition statementIf the title page bears the titles of two or more individual works contained in themusic, and one or more of these works has an edition statement associated with68 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 2. EDITIONit, transcribe each edition statement in the title and statement of responsibilityarea along with the title to which it pertains.NEED EXAMPLE ALONG THESE LINES: ... / by J. Keill, The secondedition corrected ... To the whole is annexed A dissertation onthe different figures of coelestial bodies, &c ... / by Mons.de Maupertuis2B11. Edition statements on multivolume or multipart music2B11.1. If cataloging multivolume or multipart music, and the edition statementvaries or does not appear on all of the volumes or parts, ascertain whether the setwas issued as such. If the music was issued as such, base the transcription on thefirst volume or primary part (e.g., score) and make a note to indicate variation in,or absence of, the edition statements in the subsequent volumes or other parts. Incase of doubt, assume the set was not issued as such.Revised editionNote: Vol. 2 issued without the edition statement2B11.2. If multivolume or multipart music is known or assumed to be a made‐upset (e.g., assembled from different editions by an owner) and reliabledescriptions of the editions are available, make separate descriptions for eachedition. In each description, make a local note indicating that the set is imperfectand identifying which volumes or parts are wanting.Second editionLocal note: Library's copy imperfect: v. 2 wanting; a previousowner has supplied v. 2 from the 3rd ed. to create a made-upset(Comment: The first of two descriptions associated with the made‐up set)Third editionLocal note: Library's copy imperfect; v. 1 wanting; a previousowner has supplied v. 1 from the 2nd ed. to create a made-upset(Comment: The second of two descriptions associated with the made‐up set)2B11.3. If multivolume or multipart music is known or assumed to be a made‐upset and reliable descriptions of the editions are not available, base the descriptionon the copy in hand. Make a note to indicate that the description is based on amade‐up set.First editionNote: Description based on a made-up set; v. 3 has "secondedition"Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 69

AREA 2. EDITION2C. Statements of responsibility relating to the edition2C1. General rule2C1.1. Transcribe a statement of responsibility relating to one or more editions,but not to all editions, of a given work following the edition statement if there isone. Such statements may include the reviser or arranger of a new edition, or acorporate body responsible for a new edition. Follow the instructions in 1F forthe transcription and punctuation of such statements of responsibility.The second edition corrected / with an additional number ofseveral new anthems and psalm-tunes by the authorNouvelle edition / révue et doigtée par H.F. KufferathQuatrième edition, revue et rectifiée d’apres le texte originalavec basses chifrées transcrites pour piano / par E. VauthrotThe only correct edition / as sung by Mr. Theo HabelmannFifth edition / printed upon the author’s new plan2C1.2. Do not, however, apply this provision to such statements that do notname or otherwise identify a person or corporate body.New edition, containing additional anthems, opening and closingpieces, etc.not New edition / containing additional anthems, opening and closingpieces, etc.2C1.3. In determining the extent of the edition statement and the beginning of thestatement of responsibility relating to the edition, it may be necessary to take intoaccount the layout, punctuation, and typography of the title page as well as thesense of the text. Such words as “Revised and enlarged,” when appearing withthe name of a person or body, might be transcribed either as part of the editionstatement or as part of the statement of responsibility relating to the edition,depending on their presentation on the title page.2C2. Transposition of statements of responsibility not relating to the editionIf a statement of responsibility appears after the edition statement, transpose it tothe title and statement of responsibility area in all cases except when it clearlyapplies only to the edition being cataloged. Make a note to indicate thistransposition.70 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

AREA 2. EDITIONNEED EXAMPLE ALONG THESE LINES: / by John Whitehurst. -- Thesecond edition, considerably enlarged, and illustrated withplatesNote: The statement "by John Whitehurst" appears on the t.p.after the edition statement(Comment: Statement of responsibility applies to all editions)2C3. Phrases about notes, appendixes, etc.2C3.1. If there are phrases about notes, appendixes, and such supplementarymatter and they apply to the edition in hand but not necessarily to all editions ofthe work, transcribe them as statements of responsibility relating to the editiononly in the case when the phrase names or otherwise identifies a person orcorporate body and appears in the same source as the edition statement.NEED EXAMPLE ALONG THESE LINES: The fourth edition / with a newepilogue by the authorNEED EXAMPLE ALONG THESE LINES: Editio altera, ab innumeriserroribus emendata / huic editioni accessere Jacobi Bongarsiiexcerptiones chronologicae ad Justini historias accommodatae2C3.2. If the phrase does not name a person or corporate body, transcribe it aspart of the edition statement proper or as part of the first statement ofresponsibility relating to the edition, as appropriate. Do not introduce thesemicolon (as in 1F14.2) to separate such phrases from preceding statements ofresponsibility.The fourth edition, with notesA new edition / by Grace Webster, to which is added a life of theauthor2C3.3. If such phrases have been transposed from a position preceding theedition statement, provide details of the transposition in a note.2C4. Statements of responsibility relating to the edition in more than onelanguage or script2C4.1. If the music has parallel edition statements (see 2B9) but a statement ofresponsibility relating to the edition in only one language or script, transcribe thestatement of responsibility after all the edition statements.2C4.2. If the music has parallel edition statements (see 2B9) and statements ofresponsibility relating to the edition in more than one language or script,Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 71

AREA 2. EDITIONtranscribe each statement of responsibility after the edition statement to which itrelates.2C4.3. Make a note to indicate the original position on the source of anytransposed statements of responsibility.2D. Statement relating to a named revision of an edition2D1. If the music is a named revision of an edition, transcribe the statementrelating to that revision as instructed in 2B.The third edition, reprinted with corrections(Comment: Statement indicates the publication is a revision of the third edition)2D2. Do not transcribe a statement relating to a reissue of an edition if itrepresents a substantially unchanged impression of that edition. Omit theimpression statement without using the mark of omission. Local notes may bemade about such statements, if considered important.The second editionOptional local note: Library's copy is "The fifth impression"Alternative rule: If a decision has been made to create a separate bibliographicdescription for an individual impression, state, binding variant, or copy within asingle edition or issue (see introductory section X.1.4 and Appendix E), transcribe astatement relating to a reissue of an edition, even if it represents a substantiallyunchanged impression of that edition, in the edition area. Indicate the source of thestatement, if other than the title page, in a note.The second edition, The fifth impressionNote: "The fifth impression" taken from the t.p. verso2E. Statements of responsibility relating to a named revision of anedition2E1. Transcribe a statement of responsibility relating to a named revision of anedition following the statement relating to the revision.NEED EXAMPLE ALONG THESE LINES: Third edition, The secondrevision / with considerable additions by George Wither2E2. Transcribe such statements of responsibility according to the applicableprovisions of 2C.72 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

3. OPTIONAL AREA. MUSICAL PRESENTATION STATEMENT AREAContents:3A. Preliminary rule3B. Musical presentation statement3A. Preliminary rule3A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede this area by a period‐space‐dash‐space.3A2. Sources of informationTake information included in this area from the chief source of information.3B. Musical presentation statement3B1.1. Transcribe a statement found in the resource indicating the physicalpresentation of the music.PartitionScore and partsPlaying scoreStimmenMiniature score3B1.2. If the statement appears in two or more languages or scripts, transcribe theparallel statements, each preceded by an equals sign.Partitura = Partition3B1.3. In case of doubt about whether a statement is a musical presentationstatement (as, for example, when it is associated with a statement ofresponsibility), do not treat it as one.... ; vollständiger Klavierauszug vom ComponistenDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 73

Area 3. Musical Presentation Statement... ; musique de L. van Beethoven ; partition de piano(Comment: A statement of responsibility is implied since it is anarrangement)3B2. If a musical presentation statement is an inseparable part of another areaand is recorded as such, do not repeat it here.Parties separées de La fausse magie(Comment: Part of title statement)Handel’s conducting score of Messiah(Comment: Part of title statement)74 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

4. PUBLICATION, DISTRIBUTION, ETC., AREAContents:4A. Preliminary rule4B. Place of publication, distribution, etc.4C. Name of publisher, distributor, etc.4D. Date of publication, distribution, etc.4E. Date of creation of a manuscript4F. Place of manufacture4G. Name of manufacturer4H. Date of manufacture4A. Preliminary rule4A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede this area by a period‐space‐dash‐space.Precede a second or subsequently named place of publication, distribution, etc.,by a semicolon, unless a linking word or phrase is given in the publication.Precede the name of the first publisher, distributor, etc., by a colon. Precede thename of a second and any subsequent publisher, distributor, etc., by a colon,unless a linking word or phrase is given in the publication.Precede the date of publication, distribution, etc., by a comma.The date of creation of a manuscript is the only element in this area and has nopreceding punctuation.Enclose the details of manufacture (place, name, date) within parentheses.Precede a second or subsequently named place of manufacture by a semicolon,unless a linking word or phrase is given in the publication.Precede the name of the first manufacturer by a colon. Precede the name of asecond and any subsequent manufacturer by a colon, unless a linking word orphrase is given in the publication.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 75

Area 4. Publication, Distribution, Etc.Precede the date of manufacture by a comma.For the use of the equals sign to precede parallel statements, see the appropriaterules following.4A2. Sources of information4A2.1. The prescribed sources of information for the publication, distribution,etc., area are the title page, caption, cover, colophon, other preliminaries, or firstpage of music, in that order of preference. If the information for an element is notpresent in these sources, any source may be used to supply needed information(see 0G6). If statements belonging to different elements are found in separatesources, combine them to make a complete statement in the publication,distribution, etc., area. However, do not combine statements belonging to asingle element when they appear in different sources within the publication.4A2.2. If any part of the publication, distribution, etc., area is taken from a sourceother than the title page, make a note to indicate the source (see 7B8). Make anote about information not transcribed in the publication, distribution, etc., area,if it is considered important.4A2.3. For manuscripts, use this area to transcribe or supply a date of creation,according to 4E1. If a place of creation appears on a manuscript, give thisinformation in a note.If publication, distribution, etc., information is present on a manuscript draft orcopy of a publication, or on a manuscript rented or sold by a publisher, give thisinformation in a note.4A3. Form and order of information4A3.1. Transcribe publication, distribution, etc., information in the form andorder in which it is presented in the source, unless instructed otherwise byspecific rules (see 0G).4A3.2. If statements belonging to different elements appear out of order, or aspart of another area, and they are grammatically separable, transpose them asneeded. Make a note indicating the original position of the transposed elements.In Roma : Nella stamperia di Ottavio Puccinelli ..., 1776Note: Date appears before printer’s statement on t.p.Cuira : Da la stamparia da B. Otto, 1816Note: Date appears before printer’s statement on t.p.76 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.In Venetia : Presso il Muschio : Ad instantia dell’ autore, 1600Note: Publisher information appears after date on t.p.4A3.3. If the elements are not grammatically separable, or their transpositionwould result in an ambiguous or otherwise confusing construction, transcribethem in the order found and supply missing elements in square brackets asneeded (see 0G6).NEED EXAMPLE ALONG THESE LINES: [London] : Emprynted the yere ofoure Lorde a. MCCCCC & xiij by Richard Pynson, prynter vnto thekyng[es] noble grace, [1513](Comment: The date of publication has not been transposed because it is not agrammatically separable element)4A4. Fictitious or incorrect informationIf all information relating to the publication, distribution, etc., area appearing inthe publication is known to be fictitious or incorrect, transcribe it nonetheless. Ifthe real details are known, or can be reasonably surmised, supply them at theend of the area as a correction in square brackets. Give the source of thisinformation in a note. If some but not all of the information is known to befictitious or incorrect, apply the appropriate rule (see 4B9, 4C5, 4D2.4).NEED EXAMPLE ALONG THESE LINES: Sadopolis : Chez Justin Valcourt... à l'enseigne de la Vertumalheureuse, an 0000 [i.e. Brussels: Jules Gay, 1866]Note: Corrected imprint from: Pia, P. Livres de l'Enfer4A5. Information covered by labels, etc.If any of the original details relating to the publication, distribution, etc., area arecovered by a label or other means showing later information, transcribe the laterinformation. If the original details are visible or otherwise available, transcribe orgive them in a note.4A6. Elements relating to publication, distribution, etc., vs. elements relatingto manufactureConsider the wording, layout, and typography of the publication itself whendetermining the most appropriate place to transcribe information relating to thepublication, distribution, etc., area. Keep in mind that statements relating toprinting will sometimes be more appropriately transcribed as elements ofDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 77

Area 4. Publication, Distribution, Etc.publication, distribution, etc., and sometimes as elements of manufacture. 17Consult the following instructions for guidance.4A6.1. Statements relating to publication, distribution, etc., onlyIf the publication bears only a statement relating to publication, distribution, etc.,or multiple such statements, transcribe the statement(s) according to theinstructions in 4B, 4C, and 4D.London : Published at Webb’s Royal Music Harmonium & PianoforteSaloon, [1855?]NEED EXAMPLE ALONG THESE LINES: Viennae : Impensis Joannis PauliKraus, bibliopolae Viennensis, 1768NEED EXAMPLE ALONG THESE LINES: New-York : Sold by D. Felt & Co.; Boston : Published by Cha's Ellms, agent, [1835?]4A6.2. Statements relating to manufacture only4A6.2.1. If the publication bears only a statement relating to manufacture, ormultiple such statements, generally assume the manufacturer(s) to be alsofunctioning as publisher(s), distributor(s), etc. Transcribe the statement(s)according to the instructions in 4B, 4C, and 4D. Consider the words “place ofpublication” and “publisher” in those instructions to refer equally to the place ofmanufacture and name of manufacturer in such cases.Augustae : Typis et impensis Iohannis Vdalrici Schoenigij, anno1623Leipzig : Bey Samuel Scheiben zu finden : Gedrukt durch QuirinBauchen, im Jahr 1652Philadelphia : E.F. Stewart, music typographer, [1861?]Wien : Gedrukt bei Gottfried Friedrich Innhaber der Edlen v.Schönfeldischen Buchdruckerei, 17874A6.2.2. However, if the manufacturer is known not to be the publisher,distributor, etc., and the identity of the publisher, distributor, etc., can be17In early publications, the roles of publishers, printers and sellers were not clearly delimited.Statements relating to printing frequently appear prominently on early printed materials,reflecting the tendency of printers to function as more than solely manufacturers. As thepublishing industry became increasingly specialized over time, however, the role of the publishergradually assumed greater importance, while the roles of manufacturer and distributor came tobe subordinate.78 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.determined or reasonably surmised, supply the name of the publisher,distributor, etc., in square brackets and transcribe the manufacturer statement assuch according to the instructions in 4F, 4G, and 4H.NEED EXAMPLE ALONG THESE LINES: [Boston : New York & ErieRailroad Company, 1856] (Boston : Farwells & Forrest, steam jobprinters, 5 Lindall Street)4A6.3. Statements relating both to publication, distribution, etc., and tomanufactureIf the publication bears statements relating both to publication, distribution, etc.,and to manufacture, determine whether or not the statements are grammaticallyseparable.4A6.3.1. If the statements are grammatically inseparable, transcribe themaccording to the instructions in 4B, 4C, and 4D. Consider the words “place ofpublication” and “publisher” in those instructions to refer equally to the place ofmanufacture and name of manufacturer in such cases.Boston : Stereotyped for the publishers by Kidier & Wright,[1818]Amsterdam : Gedrukt en Uitgegeven bij Gebroeders Bingers, 1874Philadelphia : Published by A. Bacon ... and sold at J.Robinson’s circulating library in Baltimore, and the Franklinmusic warehouse in Boston, [1757]4A6.3.2. If the statements are grammatically separable, determine whichstatement is emphasized in the source, whether typographically (larger font size,uppercase letters, boldface, etc.) or by appearing first in sequence in the source.4A6.3.2.1. If a manufacturer statement has been emphasized, transcribe all of thestatements according to the instructions in 4B, 4C, and 4D. Consider the words“place of publication” and “publisher” in those instructions to refer equally tothe place of manufacture and name of manufacturer in such cases.Ienae : Excudebat Salomon Richtzenham : Impensis HenriciBirnstiel, bibliopol[a]e Ephordensis, 1732NEED EXAMPLE ALONG THESE LINES: Oppenheimio : Ex officinatypographica Hieronymi Galleri : Sumptibus Johannis Theodori deBry, 1617NEED EXAMPLE ALONG THESE LINES: Manchester : Printed at theoffice of G. Nicholson, No. 9, Spring-Gardens ; London : SoldDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 79

Area 4. Publication, Distribution, Etc.by T. Knott, No. 47, Lombard-Street and Champante & Whitrow,Jewry-Street, 17964A6.3.2.2. If a publisher, distributor, etc., statement has been emphasized,transcribe the publisher, distributor, etc., statement(s) according to theinstructions in 4B, 4C, and 4D and transcribe the manufacturer statement(s)according to the instructions in 4F, 4G, and 4H.NEED EXAMPLE ALONG THESE LINES: Boston : Published by WilliamParker, 1816 (Brookfield [Mass.] : E. Merriam & Co., printers)NEED EXAMPLE ALONG THESE LINES: Tot Middelburgh : By ZachariasRoman, boeck-vercooper ..., anno 1636 (Tot Middelburgh :Gedruckt by Hans vander Hellen ...)NEED EXAMPLE ALONG THESE LINES: New York : Livermore & Rudd, 1856([New York] : Electrotyped by Thomas B. Smith, 82 & 84 BeekmanStreet : Printed by J.D. Torrey, 18 Spruce Street)4B. Place of publication, distribution, etc.4B1. General rule4B1.1. Transcribe the names of places associated with publishers, distributors,and sellers as part of this element. Transcribe the names of places associated withprinters and other manufacturers only if appropriate according to theinstructions in 4A6 (i.e., when the wording, layout, or typography of thepublication suggests that the manufacturer is also functioning as the publisher,distributor, etc.).Do not record a place of publication, distribution, etc., for unpublished music. Donot record s.l. in such a case. If a place of publication, distribution, etc., is presenton a manuscript, record this information in a note.4B1.2. Transcribe the place of publication, distribution, etc., as it appears in thesource. If the place appears together with the name of a larger jurisdiction (e.g.,country, state, or similar designation), or multiple such jurisdictions, transcribethis as well.Elizabeth-TownKölnApud inclytam Germaniae BasileamCommonwealth of Massachusetts, Boston80 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.Saskatoon, Saskatchewan, Canada4B2. Places of publication, distribution, etc., with initial prepositions, etc.Include in the transcription any prepositions appearing before the place ofpublication, distribution, etc., as well as any accompanying words or phrasesassociated with the place name.A LeipzicIn MilanoPrinted at LondonIn Boston, printed(Comment: Title page reads: “In Boston, printed. 1705.” Following provisions of4D1.3, “printed” is here transcribed with the place)Printed (typographically) at Harrisburgh, Penn.T’AmsterdamSe vend à ParisImpressum fuit hoc opus Venetiis4B3. Supplied modern forms of place namesIf considered necessary for identification and if known, supply in square bracketsthe modern form of the name of the place. Use an English form of the name, ifthere is one.A Bronsvic [Braunschweig]Impressum in ciuitate Taurini [Turin]Cuira [Romania]but Madridii(Comment: Recognizable as “Madrid” without qualification)4B4. Supplied fuller forms of place namesIf a place name is found only in an abbreviated form in the source, transcribe it asfound. Supply in square brackets the full form of the name, or the remainder ofthe name, if considered necessary for identification.Balte [i.e. Baltimore]Rio [de Janeiro]Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 81

Area 4. Publication, Distribution, Etc.4B5. Supplied larger jurisdictionsSupply in square brackets the name of the country, state, province, etc., after thename of the place if it is considered necessary for identification, or if it isconsidered necessary to distinguish the place from others of the same name. Usea modern English form of the name, if there is one. Apply the abbreviationsappearing in AACR2, Appendix B.Cambridge [England]Newport [R.I.]Washington [Pa.]4B6. Two or more places of publication, distribution, etc.4B6.1. If the source of information shows two or more places and all are relatedto the same publisher, transcribe all in the order in which they appear.Hamburg und ItzehoeLondon ; YorkA Lausanne & se trouve à Paris4B6.2. Optionally, if it is considered that the places are too numerous to listexhaustively, and that some may be omitted without significant loss ofidentification, the place of publication, distribution, etc., statement may beshortened by omitting all the places after the third. In such cases, use the mark ofomission and supply after it in square brackets a phrase in the language andscript of the cataloging agency to convey the extent of the omission. Include thenumber of omitted places (if more than one) in the supplied phrase.London ; Reading ; Bath ... [and 6 other cities in England]4B6.3. If a subsequent place of publication, distribution, etc., is not related to thesame publisher, transcribe it in association with the publisher, distributor, etc., towhich it corresponds.A Paris : Chez Janet et Cotell ...; A Londres : Chez Goulding,D’Almaine ... [and 2 other firms in Europe]4B6.4. Do not, however, transcribe a subsequent place as a place of publication,distribution, etc., if it must be recorded as a grammatically inseparable part ofanother element.82 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.Printed at Worcester, Massachusetts : By Isaiah Thomas : Sold byhim in Worcester, by said Thomas and Andrews in Boston, and bysaid Thomas and Carlisle, in Walpole, Newhampshire4B6.5. If a place of publication, distribution, etc., associated with an earlieredition appears together with the actual place of publication, distribution, etc., ofthe edition being described, transcribe the places as a single element in the orderin which they appear.Philadelphia printed, London reprinted4B6.6. If both the place and publisher, distributor, etc., associated with an earlieredition appear together with the place and publisher, distributor, etc., of theedition being described, transcribe each place with the publisher, distributor, etc.,to which it corresponds.London : Printed for Knight and Lacy, Paternoster-Row ;Greenfield, Mass. : Re-printed by Ansel Phelps, and for sale byhim at his bookstore, also by West & Richardson, Cummings,Hilliard & Co., Boston, and Wilder & Campbell, New-York4B7. Places of publication, distribution, etc., in multivolume musicIf the publication is issued successively in more than a single physical part, andthe place of publication, distribution, etc., changes in the course of publication,give the place of publication, distribution, etc., of the later part(s) in a note.Stuttgart ; TübingenNote: Place of publication in v. 33-40: Stuttgart ; Augsburg4B8. Place names that are grammatically inseparable parts of other areas, etc.If the place of publication, distribution, etc., appears only as a grammaticallyinseparable part of another area and is transcribed there, or appears only as agrammatically inseparable part of the publisher, distributor, etc., statement andis transcribed there, supply in square brackets the place of publication,distribution, etc., as the first element of the publication, distribution, etc., area(see 4C3). Use a modern English form of the name, if there is one.[Philadelphia] : Printed & sold at B. Carr’s Musical RepositoryPhiladelphia[Boston] : Stereotyped at the Boston Type and Stereotype Foundry,1843Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 83

Area 4. Publication, Distribution, Etc.4B9. Fictitious or incorrect places of publication, distribution, etc.If the place of publication, distribution, etc., appearing in the publication isknown to be fictitious or incorrect, supply a correction in square brackets, using amodern English form of name, if there is one, and give the basis for thecorrection in a note. If, however, the entire statement consisting of place,publisher, and date is known to be fictitious or incorrect, apply 4A4.Londres [i.e. Paris]Note: Actual place of publication from: Weller, E.O. FalscheDruckorte4B10. No place of publication, distribution, etc.4B10.1. If no place of publication, distribution, etc., appears in the music, supplyone in square brackets. Use a modern English form of the name, if there is one,and include the name of the larger jurisdiction if considered necessary foridentification. Use the location associated with the first transcribed publisher,distributor, etc., if one is present. Provide a justification for the supplied place ina note if necessary.[Cambridge, Mass.] : Printed by Samuel Green, 1668Note: Samuel Green was located in Cambridge, Mass., from 1660 to16724B10.2. If the name of the place has changed over time, supply the nameappropriate to the date of publication, distribution, etc., if known (e.g.,Leningrad, not St. Petersburg, for works published in that city between 1924 and1991). If considered necessary for identification, also supply the modern placename and the name of the larger jurisdiction.[Christiania i.e. Oslo][Leona Vicario i.e. Saltillo, Coahuila, Mexico]4B11. Place of publication, distribution, etc., supplied based on address or signSupply in square brackets the name of the place of publication, distribution, etc.,using a modern English form of the name, if there is one, when only an addressor sign appears in the publication. (Transcribe the address or sign as thepublisher, distributor, etc., statement; see 4C4.1.) When supplying the place, givea justification in a note if necessary.[London]84 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.(Comment: Imprint reads: “At ye Harpe & Hoboy”, the trade sign of a Londonprinter)4B12. Place of publication, distribution, etc., uncertain or unknown4B12.1. If the place of publication, distribution, etc., is uncertain, supply thename of the probable place of publication, distribution, etc., with a questionmark, using a modern English form of the name, if there is one, all in squarebrackets.[Amsterdam?][Venice?][London?]4B12.2. If no city of publication, distribution, etc., can be conjectured, supply thename of a state, province, country, or other larger geographic entity as the placeof publication, distribution, etc., with a question mark if necessary, using amodern English form of the name, if there is one, all in square brackets.[Canada][Surrey?][Germany?][Massachusetts?]4B12.3. If the reason for supplying the place is not apparent from the rest of thedescription, make a note to indicate the source of the information.Note: Place of publication suggested by D.W. Krummel in EnglishMusic Printing4B12.4. If no place of publication, distribution, etc., can be supplied, use theabbreviation “s.l.” (sine loco) in square brackets.[S.l.]4B13. Place names in more than one language or script4B13.1. If the name of the place of publication, distribution, etc., appears in morethan one language or script, transcribe the statement in the language or script ofthe title proper, or if this criterion does not apply, transcribe the statement thatappears first in sequence in the source. Transcribe the remaining statement(s) asDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 85

Area 4. Publication, Distribution, Etc.parallel statements, preceding each by an equals sign. Make a note to indicate theoriginal position on the source of any transposed statements.4B13.2. Optionally, if it is considered that the parallel statements are toonumerous to list exhaustively, and that some may be omitted without significantloss of identification, omit parallel statements after the first using the mark ofomission. Transcribe the omitted statement(s) in a note, if considered important.4C. Name of publisher, distributor, etc.4C1. Transcribe the names of publishers, distributors and sellers as part of thiselement. Transcribe the names of printers and other manufacturers only ifappropriate according to the instructions in 4A6 (i.e., when the wording, layout,or typography of the publication suggests that the manufacturer is alsofunctioning as the publisher, distributor, etc.).Do not record the name of a publisher, distributor or seller for unpublishedmusic. Do not record s.n. in such a case. If the name of a publisher, distributor orseller is present on a manuscript, record this information in a note.4C2. Transcribe the name of the publisher, together with any associated words orphrases, as it appears in the publication.: Chez A. Kühnel (Bureau de musique): Verlag von Schuberth & Niemeyer: Typis & sumtibus Abraham Lambergi & Caspari Closemanni: Au Magazin de musique à la HöheOptionally, omit addresses and insignificant information in the middle or at theend of the publisher, distributor, etc., statement, unless the information aids inidentifying or dating the publication or is deemed important to the catalogingagency (e.g., for the purpose of capturing book trade data). Indicate all omissionsby the mark of omission.A Paris : Chez Melle. Girard ... : Chez Melle. Castagnery ; ALyon : Chez Mr. Castaud ... ; A Rouen : Chez Mr. Lucas ...,If a statement such as “Privately printed” appears on the title page, transcribe itas, or as part of, the publisher, distributor, etc., statement.: Privately printed86 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.4C3. Publisher, distributor, etc., statements containing grammaticallyinseparable place names or datesIf the publisher, distributor, etc., statement contains grammatically inseparablestatements relating to place or date of publication, distribution, etc., transcribethe information as part of the publisher, distributor, etc., element. Supply theplace or date of publication, distribution, etc., in square brackets in theappropriate element (see 4B8, 4D1.4; see also 4A3.5).[London] : Printed in the year of our Lord 1665 for the authorLodowick Muggleton, in Great Trinity-Lane London, near the signof the Lyon and Lamb, [1665]4C4. Publisher, distributor, etc., statements containing only addresses, signs, orinitials4C4.1. If only the address, sign, or initials of the publisher, distributor, etc.,appear in lieu of the name, transcribe the statement containing the address, sign,or initials as the publisher, distributor, etc., statement (see also 4B11). If thepublisher’s, distributor’s, etc., name can be identified, supply it in squarebrackets after the initials or before or after the address or sign, as appropriate, orgive the information in a note.: Printed by W.G. [i.e. William Godbid]: Printed for M.L. I.B. and T.S. the assignes of W. BarleyNote: Publishers’ names are identified in Humphries as: MatthewLownes, John Browne and Thomas SnodhamVenetiis : Sub signo Agnus Dei [apud Petru[m] LiechtensteinColoniensem Germanum]Note: Publisher from colophonNEED EXAMPLE ALONG THESE LINES, WITH A MUSIC PRINTER-- : [Jean-Pierre Costard] rue Saint-Jean-de-Beauvais, la premiere portecochere au dessus du CollegeNote: Costard listed as printer in QuérardNEED EXAMPLE ALONG THESE LINES, WITH A MUSIC PRINTER-- : Adinsigne Pinus [i.e. Hans Schultes, the Elder]Note: Colophon: Augustae Vindel. Ex officina typographicaIohannis Praetorii, anno MDCI. Praetorius was a latinized formused by Hans Schultes in some imprints; see Benzing, J.Buchdrucker (1982 ed.)4C4.2. If the identification of the publisher, distributor, etc., is based on a device,supply the name of the publisher, distributor, etc., in square brackets, even if thedevice includes the publisher’s initials or spelled‐out name. Make notes asDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 87

Area 4. Publication, Distribution, Etc.necessary about the basis for the identification, the source of the informationused, the presence of the device, etc.4C5. Fictitious or incorrect publisher, distributor, etc., statementsIf the publisher, distributor, etc., statement is known to be fictitious or incorrect,supply a correction in square brackets and give the basis for the correction in anote. If, however, the entire statement consisting of place, publisher (distributor,etc.), and date is fictitious or incorrect, apply 4A4.NEED EXAMPLE ALONG THESE LINES-- : Par Mathurin Marchant [i.e.John Wolfe]Note: Printer identified in STC (2nd ed.)4C6. Two or more names of publishers, distributors, etc.4C6.1. If the publisher, distributor, etc., statement includes more than onepublisher, distributor, etc., in a single source, transcribe all the names in theorder in which they appear. Transcribe them as subsequent statements ofpublication, distribution, etc., only when they are not linked by connectingwords or phrases.London : Printed by W.G. [i.e. William Godbid] and sold by J.Playford at his shop in the TempleLeipzig : Schuberth & Niemeyer ; In Amsterdam : F.J. WeygandIn Milano : Appresso Francesco, & gli heredi di Simon Tini: Printed by J. Collyer for the author, and sold by B. Farnsworthin NewarkA Paris : Chez l’auteur, Ruë de la Bouclerie : Chez Mr. Baumel, àl’y Grec : Chez le sr. Boivin, Md. Ruë St. Honoré, à la Règled’Or4C6.2. Optionally, if it is considered that the names are too numerous to listexhaustively, and that some may be omitted without significant loss ofidentification, the publisher, distributor, etc., statement may be shortened byomitting all the names after the third. In such cases, use the mark of omissionand supply after it in square brackets a phrase in the language and script of thecataloging agency to convey the extent of the omission. Include the number ofomitted publishers (or firms) and the number of omitted places (if more thanone) in the supplied phrase.Boston : Oliver Ditson & Co. (451 Washington St.) ... [and 6others]88 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.Philadelphia : Published by Carr & Schetky and sold at thefollowing music stores, J. Carr’s Baltimore, G. Blake’sPhilada., J. Hewitt’s New York ... [and 4 others in 4 otherplaces]4C6.3. If the name of a publisher, distributor, etc., associated with an earlieredition appears together with the name of the actual publisher, distributor, etc.,of the edition being described, transcribe the names as a single element in theorder in which they appear.: Printed for T. Cooper, at the Globe in Pater-noster-Row, 1742,and reprinted for J. Wilkie, St. Paul's Church-yard4C6.4. If both the place and publisher, distributor, etc., associated with an earlieredition appear together with the place and publisher, distributor, etc., of theedition being described, transcribe each publisher, distributor, etc., with the placeto which it corresponds.London : Printed by G. Riebau, no. 439, Strand ; Edinburgh :Reprinted, with permission, and sold by J. Robertson, no. 4,Horse-Wynd ...4C7. Publisher’s numbers and plate numbersGive publisher’s numbers and plate numbers in the note area (see 7C18).If publishersʹ or plate numbers are present on a manuscript draft or copy of apublication, give these numbers in the note area.4C8. Names of publishers, distributors, etc., in multivolume musicIf the publication is issued successively in more than one physical part and thename or form of name of the publisher, distributor, etc., changes in the course ofpublication, transcribe the publisher, distributor, etc., statement of the first orearliest part and give the publisher, distributor, etc., statement of the later part(s)in a note.: G.J. Göschen'sche VerlagsbuchhandlungNote: Vols. 8-10 have publisher statement: Verlag von G.J.Göschen4C9. Supplied and conjectured names of publishers, distributors, etc.If no name, address, or device of a publisher, distributor, etc., appears in thepublication, supply the name of the publisher, distributor, etc., in square bracketsif known. If the responsibility of a publisher, distributor, etc., for a particularDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 89

Area 4. Publication, Distribution, Etc.publication is conjectured, either add a question mark to any supplied name orgive the information in a note. In any case of a supplied publisher, distributor,etc., give supporting evidence in a note.4C10. No supplied name of publisher, distributor, etc.If no publisher, distributor, etc., statement can be supplied, use the abbreviation“s.n.” (sine nomine) in square brackets.London : [s.n.][S.l. : s.n.]4C11. Publisher, distributor, etc., transcribed as part of another area4C11.1. If the name of the publisher, distributor, etc., does not appear in thepublisher, distributor, etc., statement, but has already been described as part ofanother area, supply it in a short identifiable form within square brackets.NEED EXAMPLE ALONG THESE LINES: [Paris : Symon Vostre, 25 Apr.1500](Comment: Title reads: “Ces presentes heures a lusaige de Paris ... fure[n]tacheuees lan mil cincq ce[n]s le xxv iour dapuril pour Symon Vostre, libraire …”)4C11.2. If transcribing a publisher, distributor, etc., statement in the publication,distribution, etc., area, however, do not abridge or expand the statement simplybecause it repeats or omits information given elsewhere in the description.4C12. Publisher, distributor, etc., statements in more than one language orscript4C12.1. If the name of the publisher, distributor, etc., appears in more than onelanguage or script, transcribe the statement in the language or script of the titleproper, or if this criterion does not apply, transcribe the statement that appearsfirst. Transcribe the remaining statement(s) as parallel statements, precedingeach by an equals sign. Make a note to indicate the original position on thesource of any transposed statements.4C12.2. Optionally, if it is considered that the parallel statements are toonumerous to list exhaustively, and that some may be omitted without significantloss of identification, omit parallel statements after the first using the mark ofomission. Transcribe the omitted statement(s) in a note, if considered important.90 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.4D. Date of publication, distribution, etc.4D1. General rule4D1.1. Transcribe dates of publication, distribution, etc., as part of this element.Transcribe dates of printing or other manufacture only if appropriate accordingto the instructions in 4A6 (i.e., when the wording, layout, or typography of thepublication suggests that the manufacturer is also functioning as the publisher,distributor, etc.).4D1.2. Transcribe dates as they appear in the publication, including the day andmonth, if present., 7th July 1766, 1732, reprinted 17344D1.3. Transcribe words and phrases such as “in the year” and “anno” as part ofthis element. If both the place and the date of printing appear in conjunction withthe phrase “printed in the year,” determine whether “printed” is to betranscribed with the place or the date according to the punctuation ortypography of the source.; Im Jahr Christi 1705London printed : [s.n.], in the year 1742(Comment: Imprint reads: “London printed, in the year 1742”)London : [s.n.], printed in the year 1742(Comment: Imprint reads: “London, printed in the year 1742”)4D1.4. If the date is grammatically inseparable from information transcribed aspart of another element or area according to one or more of the conditionsenumerated in 1B1.1, transcribe it within that area or element and supply thedate in square brackets as the date of publication.4D2. Transcription involving adjustments or additions4D2.1. Roman numerals. If the date appears in roman numerals, transcribe thedate as it appears. Omit internal spaces and punctuation (see 0G3.4, 0G4.1).Supply the year in arabic numerals in square brackets., anno Domini MDCXIV [1614], anno gratiae Mdiij [1503]Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 91

Area 4. Publication, Distribution, Etc.; Anno Virginei partus MDXXXIII [1533], MDCCXLIV [1744](Comment: On publication: “M. D. CC. XLIV”)4D2.2. Chronograms. If the date appears only in the form of a chronogram,substitute for it the date in arabic numerals in square brackets. If the supplieddate includes a day/month, use the sequence: day, month, year. Make a noteexplaining the source of the date. Include a transcription of the originalchronogram in the note, if considered important., [1650]Optional note: Date of publication derived from chronogram: ImJahr NVrnberg VMbgsetzt heIst frIsCh grVn Rebn, seIn VVeInbergVVerth Er IeDe traVbn thV gebn, [1650]Optional note: Date of publication derived from chronogram incolophon: Der FrIed Vnsers HErrn IesV ChrIstI behVte VnsereHertzen VnD Sinn, Von Ietzt an, bIss In EVVIgkeIt4D2.3. Very long dates. If the statement of the date on the publication is verylong, substitute for it a formalized statement in square brackets. If the supplieddate includes a day/month, use the sequence: day, month, year. Make a noteconcerning the source and the original form of the statement., [18 May 1507]Note: Date expressed in Latin words on t.p.(Comment: On publication: “Anno gratiae millesimo quingentesimo septimo dievero decimoctavo Maij”)4D2.4. Fictitious or incorrect dates. If the transcribed date is known to befictitious or is incorrect, transcribe it as it appears and supply the real or correctyear in square brackets. If, however, the entire statement consisting of place,publisher (distribution, etc.), and date is fictitious or incorrect, apply 4A4., DMLII [i.e. 1552], 1703 [i.e. 1730]If a date has been transcribed from the title page and evidence for a later dateappears in a source other than the title page, supply the later date in squarebrackets as a correction. If necessary, make a note to clarify that the date addedas a correction is a differing date, not a correction of an error on the title page., 1786 [i.e. 1788]Note: Dedication and preface both dated 178892 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.4D2.5. Julian/Old Style dates. If the date is based on the Julian calendar(sometimes called the Old Style calendar) and is known to have been publishedin the following year according to the Gregorian calendar, transcribe the date asit appears and supply the Gregorian year in square brackets. 18 Make a note toindicate the basis for the supplied year. Do not amend the month and day, ifpresent, by supplying Gregorian equivalents. In case of doubt, do not adjust theyear., printed anno Domini 1640 [i.e. 1641]Note: Date of publication based on the Julian calendar; see STC(2nd ed.), Februar. 8. anno 1588 [i.e. 1589]Note: Imprint uses Lady Day dating; see Steele, R. Tudor andStuart proclamationsIf two dates appear in the music, representing both Julian (Old Style) andGregorian (New Style) dating, transcribe both dates, separated by a slash. Supplythe Gregorian year in square brackets, if necessary., 2/13 September 1750, 1690/1 [i.e. 1691], 1690/1691 [i.e. 1691]4D2.6. Dates not of the Julian or Gregorian calendar. If the date is based on acalendar other than the Julian or Gregorian calendar, transcribe the date andsupply the equivalent Julian or Gregorian year(s) in square brackets. 19, shenat 627 [1866 or 1867](Comment: Year follows Hebrew calendar), an VII [1798 or 1799](Comment: Year follows French Revolutionary calendar)18The Julian calendar was gradually abandoned in favor of the Gregorian calendar beginningin 1582, with different countries adopting the calendar in different years. The difficulty indetermining dates during this period is further complicated by the fact that January 1 was notuniversally used to reckon the start of a new year (e.g., before adopting the Gregorian calendar,Great Britain and its colonies long calculated the turn of the year on March 25, the Feast of theAnnunciation or “Lady Day”). For assistance in establishing Gregorian dates, consult a referencesource such as Adriano Cappelli’s Cronologia e Calendario Perpetuo or C.R. Cheneyʹs Handbook ofDates for Students of English History.19For publications issued before 1582, supply the equivalent Julian date(s). For laterpublications, supply the equivalent Gregorian date(s).Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 93

Area 4. Publication, Distribution, Etc.Optionally, if the date of publication, distribution, etc., includes a day/monthbased on a calendar other than the Julian or Gregorian calendar, transcribe thedate and supply the equivalent Julian or Gregorian day/month in squarebrackets. Use the sequence: day, month, year., prid. Kal. Dec. [30 Nov.] 1488(Comment: Day and month follow Roman‐style calendar), die visitationis Beatae Virginis Mariae [2 July] 1497(Comment: Day and month follow ecclesiastical calendar)4D2.7. Multiple adjustments or additions. If the date requires more than asingle adjustment or addition, provide all the supplied information within thesame set of square brackets., MDCXIII [1613 i.e. 1693]Note: Corrected imprint date from Wing, anno MDCXVIII [1618 i.e. 1619]Note: Imprint from colophon. Date of publication given in OldStyle; see STC (2nd ed.), [620 i.e. 1859 or 1860]Note: Date of publication derived from chronogram on t.p.4D3. Date of publication, distribution, etc., supplied from reference sourcesIf the date of publication, distribution, etc., does not appear in the publication,but is known, supply it in square brackets from any source, preferably a reliablebibliography or reference work. Give the source of the supplied date and anyneeded explanation in a note., [1814]Note: Publication date from Prokopowicz, M. “Cotages d’editeursanterieurs a c.1850”4D4. Conjectural date of publication, distribution, etc.4D4.1. Supply in square brackets a conjectural date of publication, distribution,etc., based on any information available. Indicate the basis for the conjecture in anote.4D4.2. If the title page bears a prominent date that does not clearly represent thedate of publication, either transcribe it as part of the title and statement ofresponsibility area or give it in a note., [1825?]94 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.Note: At head of title: July 17, 1825(Comment: Date at head of title is the date of the performance, not the date ofpublication), [1677?]Note: “Representée pour la premiere fois devant le roy à Saint-Germain-en-Laye, le cinquième jour de janvier, en l’année 1677”4D5. Patterns for supplying a conjectural dateGive a probable date or period of publication, distribution, etc., according to oneof the patterns shown in the examples below. Give any needed explanation in anote., [1560?] probable date, [ca. 1580] approximate date, [ca. 1580?] probable approximate date, [not before 1479] terminal date, [not after 21 Aug. 1492] terminal date, [1727 or 1728] one year or the other, [between 1711 and 1749] span certain, [between 1711 and 1749?] span uncertain, [167-] decade certain, [167-?] probable decade, [16--] century certain, [16--?] probable century4D6. Copyright dates and dates of deposit4D6.1. If a date of publication is not provided in the music, but a copyright dateor date of deposit is provided, transcribe the statement of copyright or deposit asgiven. If it is very lengthy, abridge the statement using the mark of omission. Iftranscribing a copyright symbol, use a lowercase “c” to represent the symbol if itcannot be reproduced using available typographic facilities. Optionally, give thefull copyright statement in a note.©1917Copyright 1870Entered, according to Act of Congress, in the year 1866Do not record a copyright date for unpublished music. If a copyright date ispresent on a manuscript, record this information in a note.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 95

Area 4. Publication, Distribution, Etc.4D6.2. If the date of copyright or deposit does not represent the probable date ofpublication, distribution, etc., transcribe it nonetheless, preceded by a moreaccurate date of publication, distribution, etc., in square brackets. Provide anexplanation for the supplied date if possible.[194-], ©1929Note: Publication date suggested by WWII imagery on cover;copyright date of 1929 in colophon4D6.3. If the music bears both a date of publication, distribution, etc., and a dateof copyright or deposit, and the dates differ, transcribe both. Abridge thecopyright or deposit notice if necessary. Optionally, give the full copyrightstatement in a note.1880, copyright 1878 ...Optional note: "Copyright, 1878, by F.B. Greene"--T.p. verso4D7. Date of publication, distribution, etc., in multivolume music4D7.1. In describing music consisting of volumes, parts, or fascicles publishedover a number of years, transcribe the date of the volume, part, or fasciclepublished first and the date of the volume, part, or fascicle published last, andconnect them with a hyphen., 1692-1702, MDXIII-MDXXIIII [1513-1524], MDLVIII-1570 [1558-1570]4D7.2. Record the date of each volume in a note, if considered important. Such anote is particularly useful when the order of dates does not correspond to theorder of the volume numeration., 1560-1564Optional note: Vol. 1: 1561; v. 2: 1564; v. 3: 1562; v. 4: 15604D8. Date of publication, distribution, etc., on parts of musicIf parts of the music have individual title pages bearing dates that differ from thedate pertaining to the whole, give these additional dates in a note. If, however,one of these dates is a more accurate reflection of the actual date of publication,distribution, etc., than the date pertaining to all parts, give it as a correction asinstructed in 4D2.4.96 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.4E. Date of creation of a manuscript4E1. For manuscripts, transcribe or supply a date of creation, formulating thedate according to rules in 4D. Optionally, supply a span of dates encompassingcreation, revisions, and annotations written at the time of creation and in thesame hand as the manuscript as a whole, if this can be determined. Optionally,give dates of revisions or annotations written later or in a different hand in anote.or17871925 March 31862 [Aug. 23-26][1850-1929]1850Note: Includes conductors’ annotations, 1850-19294F. Place of manufacture4F1. General ruleTranscribe names of places associated with printers and other manufacturers aspart of this element when appropriate according to the instructions in 4A6.London and New York : Frederick Warne & Co., [1878?] (London andEdinburgh : Printed by Ballantyne, Hanson and Co.)Do not record the place of manufacture for unpublished music. If the place ofmanufacture is present on a manuscript, record this information in a note.4F2. Supplied place of manufactureIf the place of manufacture does not appear, or is transcribed as part of anotherarea or element, supply the place of manufacture in square brackets. Use amodern English form of the name, if there is one, and include the name of thelarger jurisdiction if considered necessary for identification. Provide ajustification for the supplied place in a note if necessary.Albany : Printed for Websters & Skinners and Daniel Steele ...,[1798?] ([Albany] : Packard & Van Benthuysen, typographers)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 97

Area 4. Publication, Distribution, Etc.NEED EXAMPLE ALONG THESE LINES: London : Collins ..., MCMXLVII[1947]([Northampton, England] : Printed in Great Britain byClarke & Sherwell Ltd, Northampton, on Mellotex book paper madeby Tullis Russell & Co. Ltd, Markinch, Scotland)4G. Name of manufacturerTranscribe the names of printers and other manufacturers as part of this elementwhen appropriate according to the instructions in 4A6.[S.l. : s.n., ca. 1830] (In Magdeburg : Stereotyp-Druck vonEduard Haenel)Boston : Published by Richardson and Lord ..., c1822 ([Boston] :Printed by J.H.A. Frost)Do not record the name of manufacturer for unpublished music. If the name of amanufacturer is present on a manuscript, record this information in a note.4H. Date of manufactureTranscribe a date of impression or other manufacture as part of this element onlyif it has not been treated as the date of publication, distribution, etc., followingthe instructions in 4A6, and only if it applies, or is likely to apply, to all copies ofthe edition or issue being cataloged. Such situations will occur only rarely. Datesof impression or other manufacture associated with a substantially unchangedimpression of an edition or issue may be transcribed in a local note, if consideredimportant., 1989Optional local note: [Library's] copy: "1990 printing"--T.p.versoDo not record the date of manufacture for unpublished music. If a date ofmanufacture is present on a manuscript, record this information in a note.98 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 4. Publication, Distribution, Etc.Alternative rule: If a decision has been made to create a separate bibliographicdescription for an individual impression, state, binding variant, or copy within asingle edition or issue (see introductory section X.1.4 and Appendix E), transcribe adate of impression or other manufacture associated with a substantially unchangedimpression as part of the date of manufacture element. Transcribe the date as itappears, together with any associated words or phrases., 1989 (1990 printing)Note: Date of impression from t.p. versoIf the date of manufacture appears in the source without an accompanying word orphrase, supply one in square brackets as appropriate., 1956 (1959 [impression])If the date of impression is known from a source outside the publication, supply itin square brackets., 1923 ([1924 impression])If the actual date of impression is known to differ from the date of impression giveninside the publication, supply it as a correction within square brackets., 1923 (1924 [i.e. 1925] printing)In the above cases, give the source of the date of impression, if other than the titlepage, and any explanations in a note.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 99

5. PHYSICAL DESCRIPTION AREAContents:5A. Preliminary rule5B. Extent (including specific material designation)5C. Illustration5D. Size and format5E. Accompanying material5A. Preliminary rule5A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede this area by a period‐space‐dash‐space or start a new paragraph.Precede an illustration statement by a colon.Precede the size by a semicolon.Enclose a statement of format in parentheses.Precede a statement of accompanying material by a plus sign.Enclose physical details of accompanying material in parentheses.5A2. Sources of informationTake information for this area from the music itself.5B. Extent (including specific material designation)5B1. General5B1.1. For published music, the statement of extent should account for every leafin the volume as issued by the publisher, including leaves of text, leaves ofillustrative plates, and blank leaves. For a manuscript, account for every leaforiginal to the manuscript. The statement of extent should not include leavesadded as part of the binding or the binding itself.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 101

Area 5. Physical Description5B1.2. Record the number of physical units in the music, as issued by thepublisher, or included by the creator of the manuscript, by giving the number ofscores and/or parts in arabic numerals and one of the following terms 20 asappropriate:scorecondensed scoreclose scoreminiature scorepiano [violin, etc.] conductor partvocal scorepiano scorechorus scorepartchoir bookpart booktable bookFor special types of music, use an appropriate specific term (e.g., skeleton score).If the item is a manuscript, precede the term by “ms.”.1 score4 parts1 choir book2 scores1 ms. vocal score4 ms. part books1 score and partNote: Part printed on p. 5 of the score5B1.3. If the music consists of different types of scores, or a score and partsseparately, or different types of scores and parts, give the details of each in theorder of the list in 5B1.2, separated from each other by a space, plus sign, space.1 score + 1 piano conductor part + 16 parts1 ms. score + 8 ms. parts20For definition of terms, see Glossary.102 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Description1 score + 1 ms. part5B1.4. If none of the terms in 5B1.3 is appropriate, use: “p. of music” or “leaves ofmusic”. If a general material designation is used, optionally omit “of music”.xx p., 55 p. of music2 leaves, 20 p. of music6, 7 p. of music25 p. of ms. music5B1.5. For a single score, part, or other type of music (or, optionally, whenaccounting for the extent of a small number of these), record the completenumber of leaves or pages in accordance with the terminology suggested by themusic itself. Describe a score and/or part with leaves numbered on both sides, orwith leaves unnumbered and notated on both sides, in terms of pages. Describe ascore and/or part with leaves numbered on one side only, or with leavesunnumbered and notated on one side only, in terms of leaves. If the musiccontains sequences in more than one kind of numbering, record each sequence inits appropriate term as pages or leaves.5B1.6. Recording the “complete number” as stated above means recording thenumber on the last numbered page or leaf of each numbered sequence as thebasic statement of extent, with any necessary additions according to succeedingrules, e.g., 5B8, for the addition of unnumbered pages or leaves. Record arabicand roman numerals as they appear in the music. Record roman numeralsuppercase or lowercase as they appear. If the pages or leaves are lettered ratherthan numbered, record the first and last letters followed by the word orabbreviation indicating pages or leaves. Use arabic numerals to designate pages,etc., that are numbered in words or in characters other than arabic or roman andmake an explanatory note.1 score (vi, 27 p.)2 ms. scores (20 p. each)1 miniature score (60 p.)1 score (viii, 278 p.) + 24 parts1 score (23 p.) + 1 piano conductor part (8 p.) + 16 parts1 ms. score (12 p.) + 4 ms. parts1 score (a-m p.)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 103

Area 5. Physical Description1 score (99, [1] p.)Note: Pages numbered in words "one" to "ninety-nine"5B1.7. When “of music” is used, apply the phrase only to those sequences whichare, or consist primarily of, music and not to sequences which are primarily text.xi p., 27 p. of music(Comment: Only p. 1‐27 are music)46, 29 p. of music(Comment: Both sequences are music)5B1.8. If a publication or manuscript consists of or contains only a score and onepart, include its pagination. Otherwise, do not give pagination for parts.1 ms. score (20 p.) + 1 ms. part (3 leaves)Optionally, if there is more than 1 part and all have an equal number of pages,give the pagination followed by the word “each”.1 score (10 p.) + 4 parts (5 p. each)Optionally, give the pagination of each part in a note.3 partsNote: violin 1 (10 p.), violin 2 (8 p.), continuo (20 p.)5B2. Multi‐volume music5B2.1. For multi‐volume music, give the number of volumes in arabic numeralsfollowed by v.1 ms. score (2 v.)2 v. of music3 v. of ms. music5B2.2. When parts are issued in more than one volume, include the number ofvolumes.1 score (2 v.) + 1 part (2 v.)1 score (3 v.) + 2 parts (3 v.)4 parts (6 v.)104 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Description5B2.3. If the number of physical units in which music is bound differs from thenumber which was actually issued or created, state this fact in a local note, ifconsidered important (see 7B20.1).1 score (6 v.)Optional local note: [Library] copy bound in 3 v.5B3. Bibliographic volumes versus physical volumesIf the number of volumes indicated by its labeling differs from the number ofphysical volumes in which the music is actually issued, give the number ofvolumes, as labeled, followed by “in” and the number of physical volumes. Givedetails of the numbering in a note, unless the numbering is given in a contentsnote (see 7B11).1 score (3 v. in 5)Note: Vols. numbered 1, 2A, 2B, 2C, 31 score (8 v. in 5)Note: The t.p. of the 5th vol. bears the designation "Bde. 5-8"5B4. Pagination continuous5B4.1. If the pagination of multi‐volume music is continuous, give the paginationin parentheses after the number of units.1 score (2 v. (vii, 275 p.))5B4.2. Do not use the physical description area to record preliminary sequencesunless only the first volume contains such a sequence. A complete record ofsequences may be given in a note, if considered important.1 score (3 v. (xx, 204 p.))(Comment: Preliminaries are in v. 1 only)1 score (3 v. (204 p.))Optional note: Vol. 1: xii, 72 p.; v. 2: vi, 73-162 p.; v. 3: v,[1], 164-204 p.(Comment: Preliminaries are present in all volumes)5B5. Pagination not continuousOptionally, if the pagination of multi‐volume music is not continuous, record thepagination of each unit either in parentheses after the number of units or in anote.1 vocal score (5 v. (32, 24, 36, 30, 18 p.))Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 105

Area 5. Physical Description1 choir book (3 v. (v, [1], 31, [1]; vi, 32; iii, [1], 49, [1]p.))or 1 choir book (3 v.)Optional note: Vol. 1: v, [1], 31, [1] p.; v. 2: vi, 32 p.; v. 3:iii, [1], 49, [1] p.(Comment: Same pagination as in preceding example)5B6. Leaves and pages of platesIf multi‐volume music contains leaves or pages of plates, do not record them inthe statement of extent. Note the presence of the plates in a note, if consideredimportant.1 piano score (2 v.)Optional note: Vol. 1: vi, 68, [2] p., [2] leaves of plates (1folded); v. 2: iv, 52 p., [1] leaf of plates5B7. Discontinued publicationsIf a publication planned for issuance in multiple volumes has been or appears tohave been discontinued before completion, describe the incomplete set asappropriate (i.e., record paging for a single volume or the number of volumes formultiple volumes). Make an explanatory note.1 score (2 v.)Note: No more published?1 score (131, [1] p.)Note: Vol. 2 was never published5B8. Unnumbered pages or leaves5B8.1. If unnumbered pages or leaves (printed, manuscript or blank) are notincluded in a sequence of pagination or foliation, count them according to theterms used to describe the rest of the music, or the part of the music, with whichthey are associated. In ambiguous cases count them as leaves when notationappears on one side only; otherwise count them as pages. Use arabic numeralswithin square brackets. If the gatherings are discernible, include in the countblank leaves at the beginning of the first gathering or at the end of the finalgathering when they are present in the item in hand or, in the case of publishedmusic, known to be present in other copies. Do not count possibly blank leaveswanting according to signature count and not known to exist in other copies ofpublished music.[8] p., 328 p. of music106 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Description1 score ([2], 328, [6] p.)1 score (iii, [1], 88 p.)1 score (64, [2] p., [3], 16 leaves)1 score (64 p., [2], 16 leaves)(Comment: The unnumbered leaves introduce the following section)1 score (64, [4] p., 16 leaves)(Comment: The unnumbered pages are not closely associated with either adjacentsection and one or more are printed on a verso)5B8.2. Consider numbered sequences to include unnumbered pages or leavesfalling logically within the sequence, counting back from the recorded number to1.1 score ([2], 40 p.)(Comment: Pages are numbered 3‐40 with four unnumbered pages at thebeginning)but 1 score ([2], 5-40 p.)(Comment: Pages are numbered 5‐40 with two unnumbered pages at thebeginning; there is no evidence that any leaves are missing)5B8.3. Record unnumbered blank pages or blank leaves inserted into andinterrupting a numbered sequence:1 score (200, [8], 201-232 p.)5B9. Errata leavesInclude errata leaves (but not errata slips) in the extent statement whether or notthey are conjugate with another leaf of the publication. Mention the presence oferrata leaves and errata slips in a note (see 7B16.1).136 of music, [2] p.Note: Errata on p. [137]5B10. Advertisements5B10.1. Include pages containing only advertisements in the statement of extentwhen they are clearly integral to the publication. This is the case when they:are included in the same pagination sequence as the text;orare printed on the pages of an initial or final gathering also containingleaves or pages of text;Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 107

Area 5. Physical Descriptionorare printed on a separate gathering in a publication that is continuouslysigned.5B10.2. Make a note to indicate the presence of pages that only containadvertisements.1 score (124 p.)Note: Advertisements on p. 119-1241 score (121 of music, [3] p.)Note: Advertisements on [3] p. at end1 score (124 of music, 8 p.)Note: Advertisements on 8 p. at end(Comment: Advertisements printed on the final gathering in a publication that iscontinuously signed)5B10.3. Do not include in the statement of extent pages containing onlyadvertisements that do not fall into any of these categories. Record them in alocal note, if considered important (see 7B19.1). Optionally, make a separatedescription for the advertisements.1 score (278 p.)Optional local note: [Library] copy has publisher's catalog on anadditional 8 p. at end(Comment: Advertisements printed on a final unsigned gathering)1 score (32 p.)Optional local note: [Library] copy has an additional leaf atend, with advertisements on recto and the verso blank5B10.4. When cataloging music described as “p. of music” or “leaves of music”,record advertisements or errata pages with a different page/leaf sequence. If theadvertisement consists of music, make a note describing it.4 p. of music, [5] p.Note: Advertisements on p. [1]-[5] at end4 p. of music, 1 p.Note: Excerpt of [composer, title] on p. 1 at end(Comment: An advertisement consisting of an excerpt of a musical work)but1 score (10, [2] p.)Note: Advertisements on p. [1]-[2] after score108 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Description5B11. Multiple sequences of numbering5B11.1. If the style of numbering within a sequence changes (e.g., from roman toarabic numerals), record each differently numbered part of the sequence. Ifunnumbered pages appear between the two styles of numbering, record the totalnumber of unnumbered pages in arabic numerals within square brackets.1 score (xxi, [22]-308 p.)1 score (xxxv, [36]-128, [4] p.)5B11.2. If a volume has pagination of its own and also bears the pagination of alarger publication of which it is a part, record the paging of the individualvolume in this area and the continuous paging in a note.1 score (128 p.)Note: Pages also numbered 201-3285B11.3. If the pages or leaves of music are numbered as part of a larger sequence(e.g., one volume of multivolume music), or the copy appears to be anincomplete part of a whole, record the number of the first and the last numberedpage or leaf. (See also 5B17 for incompleteness at end.) Generally precede thenumbers with the word or abbreviation indicating pages or leaves.1 score (leaves 81-94)1 score (p. 113-147, [1])(Comment: Fragment, detached from larger work)but 1 score ([2], 73-97, [1] p.)(Comment: A complete publication, such as a popular tune from an opera, issuedseparately with this pagination)5B11.4. If the music contains more than three sequences of numbered or morethan five sequences of numbered and unnumbered pages or leaves, preferablyrecord all of the sequences. If it is not practical to record all the sequences (e.g., ifthey are exceedingly numerous), then employ one of the following methods:a) Record the total number of pages or leaves followed by “in variouspagings” or “in various foliations.”1 score (1024 p. in various pagings)1 score (256 leaves in various foliations)b) If one of the sequences is clearly the main sequence, record the mainsequence and the total number of other pages or leaves.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 109

Area 5. Physical Description1 score (416 p., 98 p. in various pagings)c) As a last resort, give the designation as “v.” or “v. of music” (see 5B2.1).1 v. of music (various pagings)1 score (1 v. (various pagings))If one of these methods is employed, record all of the sequences in a note, ifconsidered important.5B11.5. When a manuscript contains revisions to numbering or alternatenumberings for the same sequence, give the final numbering and, if desired,describe other numberings in a note. If a final numbering cannot be determinedgive the total number of pages or leaves, followed by “in various pagings” or “invarious foliations”, and describe the revised or alternate numberings in a note.1 ms. score (94, [13], [22] p.)1 ms. vocal score ([180] p.)Note: Sections are numbered and paged separately, with revisionsin several unidentified hands5B12. Expansions or corrections5B12.1. Make a note giving more precise information about pagination orfoliation, blank pages or leaves, tipped in manuscript additions, or other aspectsof collation, if considered important (see 7B10).1 score (91, [1] leaves)Optional note: Last leaf blank1 score (216 p.)Optional note: Pages [205]-[206] blank1 score (vi, 744, [2] p.)Optional note: Leaves A7, B3, and C7 are cancels in some copiesOptional local note: [Library] copy: Leaves A7, B3, and C7 areuncancelled; the cancel leaves are between p. 742 and p. 7431 ms. score (150 p.)Note: Laid in is an excerpt in vocal score showing an alternatetransition to the final scene5B12.2. If the number on the last numbered page or leaf of a sequence does notindicate the correct number of pages, etc., either record the sequences exactly toindicate the source of the error or record the number as given in the music andsupply a correction in square brackets. Provide an explanatory note, ifconsidered important.110 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Descriptionxiv, 124 [i.e. 142] p. of musicOptional note: Page 124 wrongly numbered 1421 score (232, 221-252 p.)or 1 score (252 [i.e. 264] p.)Optional note: Numbers 221-232 are repeated in pagination(Comment: Same numbering as in preceding example)5B13. Lack of numbering5B13.1. If the music is entirely unpaginated or unfoliated, count the pages orleaves and record the total in arabic numerals within square brackets. State thetotal in terms of pages or leaves, but not of both. Begin the count with the firstpage or leaf of the first gathering and end the count with the last page or leaf ofthe last gathering, as instructed in 5B8. Count all blank pages or leaves. Formanuscripts, count all pages or leaves original to the manuscript.1 score ([104] p.)[88] leaves of music5B13.2. Optionally, if determining the total number of pages or leaves of anunnumbered volume might damage an item in fragile condition, give one of thedesignations used for publications issued in more than one physical unit (see5B1.3) followed by “unpaged” or “unfoliated.”1 chorus score (unpaged)5B14. Leaves or pages of plates5B14.1. Record the number of leaves or pages of plates at the end of thesequence(s) of pagination or foliation, whether the plates are found together ordistributed throughout the publication 21 . Record the number even when there isonly one plate. Count a plate folded and bound at the inner margin as two leavesof plates. Count unnumbered leaves or pages of plates without regard for theterms used to describe the rest of the publication (accordingly, leaves of platesmay follow sequences of pages and pages of plates may follow sequences ofleaves).1 score (120 p., 4 leaves of plates)21The rules in 5B14 are not to be confused with the process of printing entire publications fromplates, as with engraving and lithography. These processes, each in their own time, became theprimary forms of producing music following the first century of music printing, during whichmovable type was mostly used for printing music.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 111

Area 5. Physical Description1 score (144 p., [8] p. of plates)(Comment: Plates are printed on rectos and versos of 4 leaves)x, 32 p., 74 p. of music, [1] leaf of plates1 score ([12], 103, [1] p., [1], VI leaves of plates)(Comment: All plates except the frontispiece are numbered consecutively)1 score (112 p., 8 leaves of plates, 12 p. of plates)5B14.2. If a volume contains a mixture of unnumbered leaves and pages ofplates, record the number either in terms of leaves or of pages.5B14.3. For music produced from movable type, count title pages (and addedtitle pages) as leaves or pages of plates if they are made using another printingmethod (e.g., engraved or lithographed) and not integral to any of the typegatherings. Make a note to indicate any title page counted as a plate.1 score (64 p., [1] leaf of platesNote: Plate has engraved t.p. on recto and blank verso5B14.4. As a last resort, if a publication’s gatherings cannot be ascertained, or it isotherwise difficult to tell whether a leaf constitutes a plate, record it in terms ofpages or leaves of plates if unnumbered, and pages or leaves of text if included inthe pagination.5B15. Folded leavesDescribe folded leaves as such. Record folded leaves as leaves or pages of plates.Make a note to indicate any folded leaves with printed music, if consideredimportant.1 score (122 folded leaves)1 score (50, [2] p., [12] folded leaves of plates)Optional note: The folded leaves consist of solfeggio exercises60 p. of music, 5 leaves of plates (some folded)1 score (130 p., [4] leaves of plates (1 folded))5B16. Double leavesCount numbered double leaves (leaves with fold at either top or fore edge andbound at the inner margin) as pages or as leaves according to their numbering.Count unnumbered double leaves as pages (2 printed pages per double leaf) or112 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Descriptionas leaves (1 printed page per double leaf). Always indicate the presence ofdouble leaves in a note.[36] p. of musicNote: Printed on double leaves1 part ([18] leaves)Note: Printed on 18 double leaves1 score (72 p., 1 leaf of plates)Note: Plate printed on a double leaf5B17. Incomplete publications or manuscripts5B17.1. If a volume, or an individual sequence of pages or leaves within avolume, lacks pages or leaves at its end‐‐or an unpaginated or unfoliated volumeor sequence lacks any pages or leaves‐‐and the paging or foliation of a completecopy cannot be ascertained, record the number of the last numbered orunnumbered page or leaf followed by “+ p.” or “+ leaves.” Make a note of theimperfection.1 score (xxiv, 178+ p.)Note: Description based on incomplete copy; all after p. 178wanting1 score ([8+], 237, [1] leaves)Note: Description based on incomplete copy; one or more prelim.leaves (incl. t.p.) wanting5B17.2. When a score and parts, or a set of parts, is clearly incomplete and thecomplete numbers cannot be ascertained, describe the item as appropriate to themusic in hand. Account for the probable missing score(s)/part(s) in a note.1 part (30 p.)Note: Continuo part only; one or more string parts lacking5B17.3. If a manuscript is incomplete, give the number of pages present and giveadditional information in a note.1 ms. score ([6] p.)Note: A fragment of an additional unidentified song is present onthe recto of the first pageDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 113

Area 5. Physical Description5C. Illustration5C1. General rule5C1.1. To indicate the presence of illustration, use the abbreviation “ill.” after thestatement of extent.1 score (vi, 27 p.) : ill.1 score (23 p.) : ill. + 16 pts.1 ms. score (52 p.) : ill.5C1.2. Optionally, disregard minor illustrations.5C1.3. Do not regard ornaments (e.g., head‐pieces, vignettes, tail‐pieces, printers’devices), pictorial covers, or pictorial dust jackets as illustrations. If consideredimportant, these may be mentioned in a note (see 7B11).5C1.4. Optionally, treat significant title‐page illustrations as illustrations ratherthan ornaments. Make a note to indicate any title‐page illustration so treated, ifconsidered important (see 7B11).5C1.5. Optionally, add the graphic process or technique in parentheses, preferablyusing a term found in a standard thesaurus. 22 Give more detailed descriptions ofthe illustrations in a note, if considered important.: ill. (woodcuts): ill. (steel engravings)5C2. Types of illustrations5C2.1. Optionally, specify particular types of illustrations. Use in alphabeticalorder one or more such terms as the following: coats of arms, diagrams, facsims.,forms, geneal. tables, maps, ports. (use for single or group portraits), samples.5C2.2. Replace “ill.” with terms specifying particular types of illustrations if theparticular types are the only illustrations in the music.: diagrams: ports. (Woodbury types)22Thesauri useful for this purpose include the Art & Architecture Thesaurus (AAT) and theThesaurus for Graphic Materials II: Genre & Physical Characteristic Terms (TGM II).114 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Description5C2.3. Precede terms specifying particular types of illustrations with “ill.” if theparticular types are not the only illustrations in the music.: ill., facsims., ports: ill. (wood engravings)5C3. Color illustrations5C3.1. Describe color illustrations as such using the abbreviation “col.” Treatillustrations printed with a tint block (e.g., chiaroscuro woodcuts, tintedlithographs) as color illustrations.: col. ill.: ill., ports. (some col.): ill. (some col.), facsims.5C3.2. Do not describe hand‐colored illustrations as “col.” unless there isevidence that the publication was issued with the hand coloring. In case ofdoubt, consider later‐era publications (e.g., music produced by lithography, orlater) with hand coloring to have been issued that way by the publisher. Alwaysmention publisher‐issued hand coloring in a note (see 7B11); make a local noteon the presence of other hand coloring, if considered important (see 7B20).: col. ill.Note: With hand-colored wood engravings(Comment: Title contains statement “with colored engravings”): col. ill. (lithographs)Note: Lithographs are hand colored5C3.3. If both the text and illustrations are printed in a single color, do notdescribe the illustrations as “col.” Make a note to indicate the color of the ink, ifconsidered important.: ill.Optional note: Printed in green throughout5C4. Number of illustrationsRecord the number of illustrations when their number can be ascertained readily(e.g., when the illustrations are listed and their numbers stated).: 4 ill.: ill., 8 facsims.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 115

Area 5. Physical Description: 6 col. ill. (tinted lithographs): 2 maps (lithographs), 1 port. (mezzotint): 1 ill. (engraving)Note: Illustration is a t.p. vignette depicting a woman withraised sword and torch, with two serpents rising out of aninferno in the background5D. Size and format5D1. General rule5D1.1. Give the height of published music (based on the copy in hand) ormanuscripts in centimeters, rounding a fraction of a centimeter up to the next fullcentimeter. If the music measures less than 10 centimeters, give the height inmillimeters. If more than one copy of a publication is held, and the heights of thedifferent copies vary, record the height of the tallest copy and give the height ofthe other copies in a local note.; 18 cm(Comment: Music measuring 17.1 centimeters in height); 99 mm(Comment: Music measuring between 98 and 99 millimeters in height)5D1.2. If the music is bound, measure the height of the binding. When the heightof the music differs by 3 centimeters or more from the height of the binding,specify both.; 12 cm bound to 20 cm5D1.3. For music produced by movable type, add the bibliographical format ofthe publication in parentheses following the size statement whenever the formatcan be determined. Optionally, if it is useful and the count is viable, give theformat also for engraved music. Give the format in abbreviated form (fol., 4to,8vo, 12mo, etc.). Use “obl.” preceding format when the music is printed onpaper whose width is greater than its height.; 20 cm (4to)(Comment: A publication in quarto); 20 cm (4to and 8vo)(Comment: A publication consisting of a mixture of quarto and octavo sheets); 20 x 30 cm (obl. 4to)116 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 5. Physical Description5D2. WidthIf the width of a volume is greater than the height, or less than half the height,give the height x width.; 20 x 32 cm; 20 x 8 cmIf one of the measurements would normally be given in millimeters and one incentimeters, give both measurements in millimeters.; 95 x 120 mm5D3. Differing sizes5D3.1. If multipart or multivolume music differs in size, give the smallest orsmaller size and the largest or larger size, separated by a hyphen.4 parts ; 24-28 cm5D3.2. If music consists of one or more scores and/or parts, give the dimensionsafter all the details of the scores and parts.1 score (20 p.) + 1 part (3 p.) ; 28 cmIf the dimensions of the scores and parts differ, give the dimensions of each afterthe details to which they apply.1 score (vi, 63 p.) ; 20 cm + 16 parts ; 32 cm1 part (52 p.) ; 24 x 34 cm + 2 parts (22 p. each) ; 34 cm5E. Accompanying material5E1. General rule5E1.1. If a publication and its accompanying material are issued simultaneously(or nearly so) and are intended to be used together, give the number of physicalunits of accompanying material in arabic numerals, and the name of the materialat the end of the physical description.; 24 cm (8vo) + 1 contents list5E1.2. Optionally, give the physical description of accompanying material inparentheses following its name.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 117

Area 5. Physical Description; 28 cm (8vo) + 1 fingering chart (1 sheet (2 p.) : col. ; 55 x40 cm folded to 26 x 20 cm)orordescribe the accompanying material independentlymention it in a note (see 7B11).Describe material accompanying a manuscript in a note.5E2. Issued in pocketIf accompanying material is issued in a pocket attached to a publication, specifythe location in a note.; 30 cm (4to) + 2 folded chartsNote: Charts in pocket on inside back cover118 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

6. SERIES AREAContents:6A. Preliminary rule6B. Title proper of series6C. Parallel titles of series6D. Other title information of series6E. Statements of responsibility relating to series6F. ISSN of series6G. Numbering within series6H. Subseries6J. More than one series statement6A. Preliminary rule6A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede this area by a period‐space‐dash‐space.Enclose each series statement in parentheses.Precede each parallel title by an equals sign.Precede other title information by a colon.Precede the first statement of responsibility by a diagonal slash.Precede each subsequent statement of responsibility by a semicolon.Precede the ISSN of a series or subseries by a comma.Precede the numbering within a series or subseries by a semicolon.Enclose a date following a numeric and/or alphabetic designation in parentheses.Precede the title of a subseries, or the designation for a subseries, by a period.Precede the title of a subseries following a designation for the subseries by acomma.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 119

Area 6. Series6A2. Sources of information6A2.1. The prescribed sources of information for the series area are the series titlepage, music title page, caption, cover, 23 colophon, and other preliminaries, in thatorder of preference. If the music has both main series and subseries titles,however, prefer a source containing both titles.6A2.2. If the series statement, or any of its elements, is taken from a source otherthan the series title page, make a note to indicate the source.NEED EXAMPLE ALONG THESE LINES: (The penny library of popularauthors ; number 1)Note: Series statement from t.p.NEED EXAMPLE ALONG THESE LINES: (E.D.E.N. Southworth series ; 35)Note: Series statement from dust jacketNEED EXAMPLE ALONG THESE LINES: (Britain in pictures : theBritish people in pictures / general editor, W.J. Turner)Note: Series editor from verso of series t.p.6A2.3. If the series statement appears on both the series title page and the musictitle page, indicate this in a note, if considered important, and record the text ofthe latter statement if the two differ.NEED EXAMPLE ALONG THESE LINES: (British poets)Optional note: Series statement also appears at head of t.p.NEED EXAMPLE ALONG THESE LINES: (Blue and gold series ; no. 5)Optional note: Series statement also appears on t.p. as: Blue &gold series. Num. 56A2.4. If the series statement appears as a stamp or on a label, transcribe it asfound and make a note to indicate the presence of the stamp or label.NEED EXAMPLE ALONG THESE LINES: (New poetry series ; IV)Note: Series statement from label on t.p.6A2.5. If a series statement is not present in the music, but reference sourcesprovide evidence that the music was issued as part of a publisher’s series, do not23Consider the cover to be a prescribed source only if it was issued by the publisher. Serieslikestatements present on covers not issued by the publisher usually represent binders’ titles andshould be treated as copy‐specific information. They may be transcribed in a local note, ifconsidered important. In case of doubt, do not consider the cover to be a prescribed source ofinformation.120 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 6. Seriessupply a series statement in the series area. Rather, provide the seriesinformation in a note, if considered important.Optional note: NEED NOTE ALONG THESE LINES: Issued as no. 14 inthe Brocade series. See Bishop, P.R. Mosher, 1486A3. Form and order of informationTranscribe series information in the form and order in which it is presented inthe source, unless instructed otherwise by specific rules (see 0G).6B. Title proper of series6B1. Transcribe the title proper of the series as it appears in the music, accordingto the general rules 0B‐0G.(Master choruses for lent and Easter)(Die neue Bibliothek für Pianoforte-Spieler)If a series statement is present on a manuscript draft or copy of a publication, oron a manuscript rented or sold by a publisher, state this in a note, and also recordthe series title according to the following rules.6B2. If the series title proper includes a statement of responsibility or numberingthat is grammatically inseparable from other words in the title proper, transcribeit as part of the title proper.NEED EXAMPLE ALONG THESE LINES: (Fifth volume of the Manleylecture series)NEED EXAMPLE ALONG THESE LINES: (Tract no. I of the AmericanPeace Society)6C. Parallel titles of series6C1. If the source bears a series title in more than one language or script,transcribe as the series title proper the title that is in the language or script of thetitle proper. If this criterion does not apply, transcribe the title that appears firstin the source. Transcribe the remaining title(s), together with any associatedinformation, as parallel series titles. Precede each parallel series title by an equalssign. Make a note to indicate the original position on the source of anytransposed titles.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 121

Area 6. Series6C2. Optionally, if it is considered that the parallel series titles are too numerousto list exhaustively, and that some may be omitted without significant loss ofidentification, omit parallel series titles after the first using the mark of omission.Transcribe the omitted title(s), together with any associated information, in anote, if considered important.6D. Other title information of series6D1. Transcribe other title information relating to the series, if present, followingthe series title proper.NEED EXAMPLE ALONG THESE LINES: (The mermaid series : the bestplays of the old dramatists)6D2. If there are parallel series titles (see 6C), transcribe the other titleinformation after the series title to which it relates. If any parallel titles have beenomitted from the transcription, also omit the associated other title information.Transcribe the omitted information in a note, if considered important.6E. Statements of responsibility relating to series6E1. Transcribe a statement of responsibility relating to the series, if present,following the series title. If the statement of responsibility does not appear in thisposition in the source, transpose as needed. Provide details of the transpositionin a note. However, if the statement of responsibility is grammaticallyinseparable from the series title, see 6B2.(Collection d’airs varies pour le piano forte / Gelinek)Note: Composer precedes series title at head of ser. t.p.6E2. Parallel statements of responsibility relating to series6E2.1. If there are parallel series titles (see 6C) but the statement of responsibilityrelating to the series appears in only one language or script, transcribe thestatement of responsibility after the last parallel title (following any other titleinformation associated with the title).6E2.2. If the statement of responsibility appears in more than one language orscript, transcribe each statement after the series title (or other title information) towhich it relates.122 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 6. Series6E2.3. If any parallel series titles have been omitted from the transcription, alsoomit their associated statements of responsibility. Transcribe the omittedstatement(s) in a note, if considered important.6F. ISSN of seriesTranscribe an International Standard Serial Number (ISSN) of a series if itappears in the music.NEED EXAMPLE ALONG THESE LINES: (Graeco-Roman memoirs, ISSN 0306-9222 ; no. 62)(Yesterday’s music, ISSN 4344-1277 ; no. 56)6G. Numbering within series6G1. General rule6G1.1. If series numbering is present, transcribe it as the last element in the seriesstatement. If the numbering does not appear in this order in the source, transposeit as needed. Provide details of the transposition in a note. However, if thenumbering is grammatically inseparable from the series title, see 6B2.(Ashdown vocal duets ; no. 384)NEED EXAMPLE ALONG THESE LINES: Modern standard drama / edited byEpes Sargent ... ; no. XXXII)Note: Series from t.p.; series numbering precedes series title6G1.2. Transcribe the numbering as it appears in the music. Do not use anyabbreviations not present in the source and do not convert roman or spelled‐outnumerals to arabic.(... ; num. II)(... ; troisieme livraison, num. 44)6G2. If series numbering appears without a series title, transcribe the numberingin a note. Provide any additional information about the series (e.g., as found inreference sources) in a note, if considered important.Note: NEED NOTE ALONG THESE LINES: Number "6" appears at head oft.p.; issued as part of the American tract series; see BAL(Comment: Making a note on the number is required; providing the additionalinformation from BAL is optional)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 123

Area 6. SeriesIn case of doubt as to whether a number appearing on the music is seriesnumbering, transcribe the numbering in a note.6G3. Numbering relating to parallel series titles6G3.1. If there are parallel series titles (see 6C) and the series numbering alsoappears in more than one language or script, transcribe each number after theseries title to which it relates (following any other title information or anystatement of responsibility associated with the title).NEED EXAMPLE ALONG THESE LINES: (O.B.E.M.A ; number 11 =O.B.E.M.A. ; Nummer 11)6G3.2. If the series numbering appears only once, transcribe it after the parallelseries title to which it relates. However, if the numbering relates to all, more thanone, or none of the parallel series titles, transcribe it at the end of the seriesstatement.NEED EXAMPLE ALONG THESE LINES: (Série bilingue = Bilingualseries ; 5)6G3.3. If any parallel series titles have been omitted from the transcription, alsoomit their associated numbers. Transcribe the omitted number(s) in a note, ifconsidered important.6H. Subseries6H1. If both a main series and a subseries appear in the music, give the details ofthe main series first, followed by the details of the subseries. If the main seriesand subseries do not appear in this position in the source, transpose them asneeded and provide details of the transposition in a note.NEED EXAMPLE ALONG THESE LINES: (Parlour library. Shillingseries)6H2. If a phrase such as “new series,” “second series,” etc., appears with anunnumbered series, transcribe the phrase as a subseries title. If the phraseappears with a numbered series, transcribe the phrase as part of the numberingof the series.NEED EXAMPLE ALONG THESE LINES: (Studies in verse. Second series)(Comment: Series is unnumbered)NEED EXAMPLE ALONG THESE LINES: (Killaly chapbooks ; 2nd series,no. 6)124 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 6. Series(Comment: Series is numbered)6H3. If there are parallel series titles (see 6C), transcribe each subseries after theseries title to which it relates. If any parallel titles have been omitted from thetranscription, also omit their associated subseries. Transcribe the omittedsubseries in a note, if considered important.6J. More than one series statementThe information relating to a single series, or series and subseries, constitutes oneseries statement. If two or more series statements appear on music, transcribeeach statement separately.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 125

7. NOTE AREAContents:7A. Preliminary rule7B. Notes7A. Preliminary rule7A1. General instructions7A1.1. Notes qualify and amplify the formal description, especially when therules for such description do not allow certain information to be included in theother areas. Notes can therefore deal with any aspect of the music.7A1.2. Notes, by their nature, cannot be enumerated exhaustively, but can becategorized in terms of the areas of description to which they pertain. In additionto notes relating to these areas, there are notes that do not correspond to any areaof the formalized areas of description. Occasionally it may be useful to grouptogether notes that refer to more than one area, for instance when they are allbased on one source within the work, such as a privilege statement.7A1.3. If the description in the areas preceding the note area does not clearlyidentify the item being cataloged, make whatever notes are necessary forunambiguous identification. When appropriate, refer to detailed descriptions instandard catalogs or bibliographies. Provide sufficient information to identify thespecific source, whether using a general note, a formal “References” note givingthe source in prescribed form (see 7B15), or some combination of the two.7A1.4. For manuscripts, notes may aid both in identifying unique items and indescribing elements of the unique item’s context and research value, such asevidence of the creative process, variant version of the work, performance orpublication history of the work, or use and ownership of the artifact. Notes maybe made to justify added entries associated with the work or artifact, such as textsources, translators, dedicatees, performers, or former owners. Notes may begiven individually, or some or all notes may be included in a single narrativesummary.7A1.5. Notes may also be made to justify added entries intended for special filesof personal or corporate names, titles, genres/forms, physical characteristics,provenance, etc. Whenever possible, use terms taken from lists of controlledvocabularies when making such notes and added entries. Prefer the terminologyDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 127

Area 7. Noteused in controlled vocabularies lists issued by the RBMS Bibliographic StandardsCommittee. Terms from other authorized thesauri (e.g., the Art & ArchitectureThesaurus Online) may also be used as appropriate.7A1.6. In general, notes are not required, but some notes are required inparticular situations and are so indicated in previous rules, e.g., 1F3, 2A2, or 4A4,and in some of the rules for this area. 247A2. PunctuationStart a new paragraph for each note. End each paragraph with a period or othermark of final punctuation.Separate introductory wording from the main content of a note by a colonfollowed, but not preceded, by a space.7A3. Sources of informationTake information recorded in notes from any suitable source. Square brackets arerequired only for interpolations within quoted material.7A4. Form of notes7A4.1. Order of information. If information in a note corresponds to informationfound in the title and statement of responsibility, edition, publication,distribution, etc., physical description, or series areas, usually give the elementsof information in the order in which they appear in those areas. In such cases, useprescribed punctuation, except substitute a period for a period‐space‐dash‐space.Revision of: 3rd ed. London : Macmillan, 19537A4.2. Quotations. Record quotations from the item or from other sources inquotation marks. Follow the quotation by an indication of its source, unless thatsource is the title page. Do not use prescribed punctuation within quotations.NEED EXAMPLE ALONG THESE LINES: "Extracted from the minutes ofthe Society for the Propagation of the Gospel in Foreign Parts"NEED EXAMPLE ALONG THESE LINES: "Generally considered to be byWilliam Langland"--Harvey, P. Oxford companion to Engl. lit.24A complete list of required notes may be found in the Index under “Required notes.”128 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note"The principal additional music, contained in 72 pages, may behad, half bound, with or without the rules, price fourshillings and ninepence"--Pref.7A4.3. Formal notes. Use formal notes employing an invariable introductoryword or phrase or a standard verbal formula when uniformity of presentationassists in the recognition of the type of information being presented or whentheir use provides economy of space without loss of clarity.7A4.4. Informal notes. When making informal notes, use statements that presentthe information as briefly as clarity, understandability, and good grammarpermit.7A5. Notes citing other editions and works7A5.1. Other editions. In citing another edition of the same work, give enoughinformation to identify the edition cited.Revision of: 2nd ed., 18697A5.2. Other works and other manifestations of the same work. In citing otherworks and other manifestations of the same work (other than different editionswith the same title), give whatever information is appropriate, such as the mainentry heading, title proper (or uniform title), statement of responsibility, editionstatement, or date of the item. Arrange the information provided in the form thatmakes most sense in the particular case. Abridge the information as neededwithout using the mark of omission.NEED EXAMPLE ALONG THESE LINES: Adaptation of: Bunyan, John.Pilgrim's progressor Adaptation of: Pilgrim's progress / by John Bunyan7B. NotesSome of the most common types of notes are listed below; other notes than thoseprovided for may be made, if considered important. Specific applications ofmany of these notes are provided in the preceding sections. Make notes as calledfor in the following subrules, and, generally, in the order in which they are listedhere. If a particular note is of primary importance, it may be given first,regardless of its order in this list. When appropriate, combine two or more notesto make one note.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 129

Area 7. Note7B1. Form of composition and medium of performance7B1.1. If the musical form of a work is not apparent from the rest of thedescription, give the form in a word or brief phrase.CarolHymns and psalmsOperaMadrigal comediesSacred drama in plainchantCantata; K. 469Partite, capriccios, toccatas, canzoni, and galliards, probablyfor harpsichord, by Italian composers; includes Italianmonodies and divisions for viola bastarda and continuo7B1.2. Name the medium of performance for which a musical work is intendedunless it is named or implied (e.g., symphony, opera, etc.) in the rest of thedescription in English or foreign language terms that can be readily understood.Give voices before instruments. Record the voices and then the instruments inthe order in which they are listed in the music being described. Give a voice orinstrument in English unless there is no satisfactory English equivalent.7B1.3. If the music is for solo instruments, record all of them if no more thaneleven would be listed. If the work is for an orchestra, band, etc., do not list theinstruments involved. In describing ensemble vocal music, add to theappropriate term a parenthetical statement of the component voice parts, using S(soprano), Mz (mezzo‐soprano), A (alto), T (tenor), Bar (baritone), and B (bass).Repeat an abbreviation, if necessary, to indicate the number of parts. For vocalmusic before 1600, give the voices as named in the language of the item beingcataloged.For two choruses (SATB/SATB)For orchestraFor superius, contratenor, tenor and bassusFor flute, violin, and pianoFor 5 voices (canto, alto, quinto, tenore, basso)130 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note7B1.4. If the information relating to the medium of performance given in the restof the description is ambiguous or insufficient, record supplementaryinformation here.Principally harpsichord musicFor orchestra (4 unspecified staves)For recorder, violin, flute, oboe, viol, hurdy-gurdy or bagpipe;with acc. for harpsichord or guitarFor two choruses (SATB/SATB) and continuo ad libitumFor primo coro (SATB), ripieno (SATB), and organ continuoPrincipally for archlute or theorboFor 4-6 unspecified instrumentsFor 1 or more viole da gamba, in part with figured bass continuo7B2. Language and script; translation or adaptation7B2.1. Make notes on the language and script of the item, or on the fact that it is atranslation or adaptation, unless this is apparent from the rest of the description.Optionally, give the title, author and original language of the text of the vocalmusic, and describe translations and adaptations of text if not clear from theuniform title or title statement. Make notes on vocal texts which are separatefrom the music.Latin words (Magnificat); German words (carols); Englishtranslations of the carols printed as texts below captionsEight cantatas in French; 1 in ItalianFrench or Latin words, principally sacredOperetta with a libretto by Albert Willermetz, based on a novelby Maurice LarroüyVoice part includes separate text for second and third versesNote: Text from Friedrich Schiller’s An die Freude, in Italiantranslation by Andrea Maffei(Comment: Optional note explaining source of text for a cantata)7B2.2. Always note the presence of nonroman script if it has been transcribedonly in romanized form in the description (see 0F2.1).Church Slavic in Cyrillic scriptDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 131

Area 7. NoteTitle in Greek script7B3. Source of description; source of title proper7B3.1. Always make a note on the source of the title proper if it is from asubstitute for the title page. For manuscripts, make a note if the date orhandwriting of the title proper is not part of the original manuscript, if this canbe determined.Caption titleTitle from colophonTitle from publisher’s catalogTitle from: Smith, W.C. Handel (2nd ed.), p.35, no.1Title from cover, written in an unidentified hand7B3.2. For multivolume or multipart music, if the description is not based on thefirst volume or part, identify the part used as the basis of the description.Description based on: v. 2, published in 1796Title from tenore part bookTitle from first violin part7B4. Variations in title7B4.1. Make notes on titles borne by the music other than the one chosen as thetitle proper. If nonroman text has been transcribed in the title proper withoutparallel romanization (e.g., as transcribed from the source or provided by 0F2.2),give a romanization of the title proper.Title on added basso continuo part: Basso continuo del secondolibro de concerti a 3. 4. 5. & 6. vociEngraved t.p. reads: Davids Harpzangen : nevens de gewooneLofzangenVol. [4] has title: Intavolatura di liuto attiorbato, e di tiorba: libro quinto(Comment: Only books 2‐5 are extant)7B4.2. If considered important, also include here partial or completetranscriptions of title information to show the actual wording of the title page(e.g., when information has been omitted) and explanations of cataloger‐supplied132 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Noteletters or words (e.g., when special marks of contraction have been used by theprinter in continuance of the manuscript tradition).Marks of contraction in title have been expandedFor manuscripts, describe corrections or additions to title information writtenafter the date of creation or in a different hand from the body of the music, if thiscan be determined.Alternative version of title written in a later hand: ...7B5. Parallel titles and other title informationMake notes on parallel titles appearing in the music but not on the title page; alsogive other title information appearing in the music but not on the title page if it isconsidered important. If parallel titles and other title information appearing onthe title page have been omitted from the title and statement of responsibilityarea (e.g., because they could not be fitted into the body of the entry, or becausethey were very lengthy), they may be given here as notes.NEED EXAMPLE ALONG THESE LINES: Title on added t.p.: The book ofexposition = Liber rubensNEED EXAMPLE ALONG THESE LINES: Subtitle: The medicinal,culinary, cosmetic, and economic properties, cultivation, andfolklore of herbs, grasses, fungi, shrubs, and trees, with alltheir modern scientific uses7B6. Statements of responsibility7B6.1. Statement of responsibility on source other than title page. If a statementof responsibility appears in a source other than the title page, give it and itssource in a note.Composer identified in caption as J.S. BachNEED EXAMPLE ALONG THESE LINES: Signed at end: A lover of truth7B6.2. Transposed statements of responsibility. Note the original position onthe title page of statements of responsibility that have been transposed to the titleand statement of responsibility area.On the t.p., arranger’s name precedes composer’sDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 133

Area 7. Note7B6.3. Attributions7B6.3.1. If a statement of responsibility for a person or corporate body connectedwith the work does not appear in the music, and an attribution is available, givethe information in a note. Include the authority for the attribution wheneverpossible.By Unico Wilhelm van Wassenaer; previously attributed toPergolesiHandel’s authorship uncertain7B6.3.2. If a statement of responsibility recorded in the title and statement ofresponsibility area or in a note is known to be fictitious or incorrect, make a notestating the true or most generally accepted attribution. Give the authority for theinformation whenever possible.Composer unknown; words by Georgius Nicolaus Erasmus[?]Libretto by Pietro Metastasio based on a story from the OldTestamentNEED EXAMPLE ALONG THESE LINES: By John Locke. Author's nameappears on t.p. of 3rd and subsequent editionsNEED EXAMPLE ALONG THESE LINES: "The identity of Junius, which heconcealed with great skill, has never been definitelyestablished ... He is now generally thought to have been SirPhilip Francis"--Oxford companion to Engl. lit. (6th ed.), p.546(Comment: The pseudonym “Junius” appears on the title page)7B6.3.3. False attributions appearing in the bibliographical literature or in librarycatalogs may also be noted, along with the authority for the false attribution andthe authority for questioning it.NEED EXAMPLE ALONG THESE LINES: Attributed to Daniel Defoe (seeMoore); attribution challenged by: Secord, A.W. Robert Drury'sjournal and other studies7B6.4. Other statements. Record the names of persons or bodies connected witha work, or with previous editions of it, if they have not already been named inthe description; give the authority for the information, if necessary.NEED EXAMPLE ALONG THESE LINES: At head of title: Sub Carolo. V.Romanorum maximo Imperatore, primo Hispaniarum RegeNEED EXAMPLE ALONG THESE LINES: Illustrations are woodcuts byDora Carrington. See Kirkpatrick, B.J. Virginia Woolf, A2a134 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. NoteNEED EXAMPLE ALONG THESE LINES: Woodcuts on leaves B2b and C5bsigned: bAppended is a transposition written in holograph by GeorgesAuric, and a vocal score of the final octet, written in anunidentified hand, possibly that of Édouard Flament7B6.5. Variant forms of names. Note variant forms of names of persons orbodies named in statements of responsibility if the variant forms clarify thenames used in main or added entry headings.NEED EXAMPLE ALONG THESE LINES: By Gilbert Burnet, Bishop ofSalisbury(Comment: Statement of responsibility reads: “by the Right Reverend Father inGod, Gilbert Lord Bishop of Sarum”)NEED EXAMPLE ALONG THESE LINES: Charles Pigott is the author ofThe virtues of nature(Comment: Statement of responsibility reads: “by the author of The virtues ofnature”)7B7. Edition and bibliographic history7B7.1. Note the source of any element of the edition area when it is taken fromelsewhere than the title page. Note the original position of any element that istransposed to another position in transcription.The statement "corrected printing" from colophonThe statement "amplified edition" precedes title on t.p.Edition statement precedes composer's name on t.p.7B7.2. Make other notes relating to the edition being described or to thebibliographic history of the work, if they are considered important. In citingother works, and other manifestations of the same work, see 7A5. In citingbibliographies and catalogs, however, use the pattern for references to publisheddescriptions shown in 7B15 (see also Appendix [“510”]) whenever such a citationoccurs in a formal “References” note.Revision of: 2nd ed., 1753Sequel to: Cantica sacra : liber primus. 1652Second edition; first edition published in 1581 under title, Ilballarino. A reissue of the second edition, entitled, Raccoltadi varij balli fatti in occorenze di nozze, e festini, appearedin 1630Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 135

Area 7. NoteFirst part revised and enlarged; originally published asFlorilegium selectissimarum cantionem (cf. RISM B/1, 1603¹)7B7.3. If a statement as to a limited number of copies of the edition appears, givethis statement of limitation in a note, preferably in quoted form."250 copies printed"--Pref."Limited edition of 20 copies"--T.p. verso7B7.4. If the statement of limitation is accompanied by statements ofresponsibility or other information relating to the production of the edition,include as much of the additional information in the note as is consideredimportant.NEED EXAMPLE ALONG THESE LINES: "350 copies of this book havebeen designed and printed by Sebastian Carter at the RampantLions Press ... hand-set in Hunt Roman, and ... MonotypePlantin Light with Monotype Albertus for the title. The paperis Zerkall mould-made wove. 50 have been signed by RonaldBlythe, include an additional set of prints from the fiveblocks and are specially bound. Both bindings are by the FineBindery, Wellingborough"--Colophon7B7.5. If the statement of limitation includes the unique number of the copybeing cataloged, give only the statement of limitation here. Give the copynumber in a separate local note, if considered important (see 7B20.1.3)."Special edition of 200 copies on handmade paper"--ColophonNote: “Printed in the spring of 2000 in an edition of seventyfivecopies. A deluxe portion of the edition consists offifteen copies numbered 1-15 ... The book was designed andprinted by Ian Boyden, Crab Quill press”--ColophonLocal note: [Library] has no. 3 of the deluxe ed.7B8. PublicationMake notes on publication details that are not included in the publication,distribution, etc., area if they are considered important. If elements of thepublication, distribution, etc., area have been taken from a source other than thetitle page, make a note specifying the source.If publication information is present on a manuscript draft or copy of thatpublication, or on a manuscript rented or sold by a publisher, give thisinformation in a note. If printer’s markings are present, state this in a note. If aplace of creation or a copyright date is present, give this information in a note.136 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. NotePublished in partsPublication date from VogelImprint from colophonNEED EXAMPLE ALONG THESE LINES: Publisher named in privilegestatement as Sulpice SabonNEED EXAMPLE ALONG THESE LINES: Publisher statement on cancelslip. Original publisher statement reads: Sold by G. WalshNEED EXAMPLE ALONG THESE LINES: Imprint judged to be false on thebasis of printing of catchwords and signatures. See Sayce,R.A. Compositorial practices (1979, reprint ed.), p. 3-6, 31No more publishedNEED EXAMPLE ALONG THESE LINES: "Entered according to Act ofCongress, in the year 1853, by O.K. Kingsbury"--T.p. verso"Price three pence"Publication date from outside back coverAt head of title: On the day of Lord Byron's death 1824"c1950”--T.p., written in manuscript in an unidentified hand(Comment: Annotation on a manuscript)Includes printers annotations (Milan : Sonzogno, 1892)(Comment: Printer’s manuscript, used in preparation of a publication)7B9. Musical notationMake notes describing the musical notation used in an item if it is not thenotation normally found in that type of music. Identify the notation asspecifically and accurately as possible; level of specificity will depend on thematerial, local policy and cataloger’s expertise. Optionally, if the type of notationis considered important for bibliographic purposes, make a note, whether or notthis notation is normally found in that type of music.Lute (Organ, Flageolet, Violin, etc.) tablaturePlainsong notationShape-note notationAmerican notation (solmization on staff lines, with dots forduration)Solmization syllablesDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 137

Area 7. NoteLetter notationWhite notationBlack note notationColoration usedFigured bass not realizedChrysanthine notationItalian lute tablature7B10. Signatures7B10.1. General rule. Make a note giving details of the signatures of a volume, ifconsidered important. Give these signature details according to the formula inPhilip Gaskellʹs A New Introduction to Bibliography (see p. 328‐332), insofar astypographical facilities permit. Preface this note with the word “Signatures” anda colon.Signatures: [A] 4 B-C 4 D 2 E-G 4 H 2Signatures: A-C 4 D 4 (-D3) E-F 4Signatures: A-2Z 8 , 2 A-M 8Signatures: [1-6 8 ](Comment: Volume is completely unsigned)For the incunable period of music printing (1501‐ca. 1550), it is generallydesirable to give signatures, especially if identical signatures are not given in astandard bibliographic source. It is also desirable to provide signatures when avolume has no pagination or foliation.7B10.2. Unavailable characters. If the gatherings are signed with a mark ofcontraction (see 0G8.2, Appendix G3) that cannot be reproduced using availabletypographical facilities, substitute the spelled out form and enclose it in squarebrackets.Signatures: )( 8 a-z 8 & 8 [con] 8 [rum] 8If the gatherings are signed with other unavailable characters, substitute adescriptive term or an abbreviation for that term if a standard one exists.[dagger](Comment: Gathering is signed with )138 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note[double dagger](Comment: Gathering is signed with )[fist](Comment: Gathering is signed with )[fleuron](Comment: Gathering is signed with )[maltese cross](Comment: Gathering is signed with )[par.](Comment: Gathering is signed with )[sec.](Comment: Gathering is signed with )7B10.3. Special uses of pi and chi. Indicate unsigned leaves that fall outside thesignature sequence (see Gaskell, p. 330) by using the words pi and chi. Do notenclose the words in square brackets. Do not use the Greek characters π and χ, asthese will give the impression that the leaves have actually been signed withGreek letters (see 7B9.9).Signatures: pi 4 A-C 4 chi 2 D-Z 4Indicate partial duplications of an alphabet (see Gaskell, p. 331) by usingsuperscript pi and superscript chi or, if superscript letters are not available, bysubstituting “[superscript pi]” and “[superscript chi]”.Signatures: pi A 4 A-D 4 chi D 4 E-F 4or Signatures: [superscript pi]A 4 A-D 4 [superscript chi]D 4 E-F 47B10.4. Non‐conventional Latin alphabet. If the gatherings are signed withroman letters according to a pattern other than the conventional 23‐letter Latinalphabet (i.e., A‐Z, less I or J, U or V, and W), make this explicit by recording theadditional letters in the signature statement.Signatures: A-V 4 W 4 X-Z 4(Comment: Indicates a 24‐letter alphabet)Signatures: A-I 8 J 8 K-U 8 V 8 W 8 X-2I 8 2J 8 2K-2M 8(Comment: Indicates a 26‐letter alphabet)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 139

Area 7. Note7B10.5. Signatures do not match gatherings. If it can be determined that thesigning of the volume does not match its actual gatherings, indicate this in thenote.Signatures: [1] 8 2-3 8 ; volume actually gathered in twelves7B10.6. Concurrent signatures. If the volume is signed using two concurrentsequences, provide both sets of signatures in the note. Give the signatures thatcorrespond to the actual gatherings first, if this can be determined.Signatures: 1-12 12 ; also signed A-S 8Signatures: 1-12 12 and A-S 8 ; actual gatherings cannot be determined7B10.7. Nonroman signatures (numeric sequence). If the gatherings are signedwith nonroman characters that follow a numeric sequence, represent thecharacters using arabic numeration. Include an indication of the script used inthe signatures in the note.Signatures (in Hebrew characters): [1] 4 2-11 4(Comment: Indicates a numeric sequence in which the first gathering is unsigned,followed by gatherings signed 2‐11 in Hebrew numeration)If the nonroman characters are accompanied by parallel numeration usinganother script, note this as well.Signatures (in parallel Hebrew and arabic numerals): pi 8 1-4 8(Comment: Indicates a numeric sequence in which the first gathering is unsigned,followed by gatherings signed 1‐4 in both Hebrew characters and arabicnumerals)In case of doubt as to whether a sequence is numeric or alphabetic, assume anumeric sequence.Signatures (in Hebrew characters): 2-3 8(Comment: Indicates two gatherings signed with characters that could belong toeither an alphabetic or numeric sequence)7B10.8. Nonroman signatures (alphabetic sequence). If the gatherings aresigned with nonroman characters that follow an alphabetic sequence, transcribein original script if typographical facilities permit, or in romanized form usingthe ALA‐LC Romanization Tables. Use uppercase or lowercase charactersaccording to the usage of the piece. If the script is one that does not employ case,or if the case of the characters cannot be determined, use lowercase characters.140 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. NoteInclude an indication of the script used in the signatures if recording them inromanized form, or if the signature statement would otherwise be ambiguous.7B10.9. Greek alphabetic signatures. For gatherings signed in Greek alphabeticsequences, use the 24‐letter alphabet in the following chart as the basis forcompressed signature statements (Greek letters are given in the top row, theirromanized equivalents in the bottom row):α β γ δ ε ζ η θ ι κ λ μ ν ξ ο π ρ σ τ υ φ χ ψ ωa b g d e z ē th i k l m n x o p r s t y ph ch ps ōSignatures: pi1 α–γ 2 Α–2Λ 2or Signatures (in Greek characters): pi1 a–g 2 A–2L 2(Comment: Indicates an alphabetic sequence with an initial unsigned leaf, threegatherings signed α–γ in lowercase, a full sequence of 24 gatherings signeduppercase Α–Ω, finishing with a partial sequence signed ΑA–ΛΛ in uppercase)7B10.10. Hebrew alphabetic signatures. For gatherings signed in Hebrewalphabetic sequences, use the 22‐letter alphabet in the following chart as the basisfor compressed signature statements (Hebrew letters are given in the top row,their romanized equivalents in the bottom row):ת ש ר ק צ פ ע ס נ מ ל כ י ט ח ז ו ה ד ג ב אʼ b g d h ṿ z ḥ ṭ y k l m n s ʻ p ts ḳ r sh tSignatures: ש–א 8 , a-k 8or Signatures: ʼ–sh 8 (in Hebrew characters), a–k 8(Comment: Indicates a Hebrew alphabetic sequence followed by a romansequence)7B10.11. Other nonroman alphabetic signatures. For all other nonromanalphabetic signature sequences, do not assume that a standard signing patterncan be used as the basis for compressed signature statements. Give the first andlast characters in each sequence, followed by a total count of the gatherings inthat sequence in square brackets.Signatures: А-Ѵ 2 [=41], 2А-2Ѵ 2 [=41], 3А-3Ѿ 2 [=24]or Signatures (in Church Slavic characters): A-Ẏ 2 [=41], 2A-2Ẏ 2 [=41], 3A-3ŌT͡2 [=24]Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 141

Area 7. Note7B10.12. Multipart music. Optionally, if the parts are not too numerous, providesignatures for each part. Label each part by transcribing the term as found in theresource; show separation of parts by using a semicolon. Use standard methodsfor shortening the summary of the gatherings, unless it obscures the signingsystem used by the printer to differentiate between parts.Signatures: Soprano, A-2C 8 2D 4 ; Alto, A-Y 8 ; Basso, A-2D 8Signatures: Cantus I, A-G 4 H²; Cantus II, Aa-Gg 4 Hh²; Altus, AA-GG 4HH²; Tenor, a-g 4 h²; Bassus, aa-gg 4 hh²Signatures: Canto, A-D 4 ; Alto, E-H 4 ; Tenore, I-M 4 ; Basso, N-Q 4 ;Quinto, R-V 4 ; Sesto, X-Y 47B10.13. Full collation. If considered important, make a note giving the fullcollation instead of a note recording only the signatures.Collation: 8vo: A-H 4 ; 32 leaves: p. [1-2] 3-62 [63-64]; $3(-H3)signed. H4 blank7B11. Physical description7B11.1. Make notes on important physical details that are not already included inthe physical description area, if considered important.The first and last leaves are blankParts in score formatTablature is engravedMusic, text and illustration printed from a single wood blockPart printed on p. 5Violoncello and drum parts printed on one leaf.7B11.2. For music incunabula routinely, and for later resources if unusual, givethe form of printing (woodcut, type, manuscript on printed staff), if identifiable.Make a note of color printing, if it is an important feature. Coloration as atechnique of musical notation should always be noted (see 7B9).Staff lines printed in redMusic written in manuscript on 4-line staff printed with moveabletypePlainsong notation printed in black, on a 4-line staff, printedin red142 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note7B11.3. Give fuller details of the illustrations, if considered important. Alwaysnote the presence of hand coloring in publications issued as such. If illustrationsare present in a manuscript, describe them.Frontispiece on leaf A1Woodcuts: ill., initials, publisher's and printer's devicesEngraved port. of composer on t.p.With hand-colored wood engravings, as issued7B11.4. Describe details of a publisher‐issued binding, if considered important.NEED EXAMPLE ALONG THESE LINES: Pictorial cloth binding withgold, brown, and green stamping on brown calico-textured cloth,designed by Margaret Armstrong; signed: M.A.NEED EXAMPLE ALONG THESE LINES: Toy book cut in the shape of astanding Robinson Crusoe“The covers are finished with the same instrument lacquer as isused on Steinway pianos”--Colophon7B11.5.1. Details of physical description given here usually apply to all copies ofan edition or issue. Summaries of details that apply to particular groups of copieswithin an edition or issue may also be given. Notes pertaining to individualcopies may be given separately as local notes, if considered important (see 7B20).Two binding variants noted, one in red cloth and one in bluecloth"The edition consists of 190 copies on Pescia paper and 10 copieson Japanese paper marked with the letters A to J"--Colophon7B11.5.2. For manuscripts, make notes if necessary to identify a fragment of awork or clarify details such as page numbering or tipped in, laid in, or pastedover additions.Sections are numbered and paged separately, with revisions inseveral unidentified handsA fragment of an additional unidentified song is present on therecto of the first pageBound by a former owner7B11.5.3. For manuscripts, identify the handwriting, using terms such as“holograph”, “copyist’s manuscript”, or “manuscript in an unidentified hand”.Optionally, identify the type and color of the writing implements. DescribeDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 143

Area 7. Notecharacteristics such as revisions, annotations, inscriptions, or other evidence ofcreation, use, or ownership, and identify names and dates pertaining to these ifdifferent from the item as a whole.Holograph, in pencil, with corrections and revisions in blue inkHolograph, with corrections and conductor’s annotationsCopyist’s manuscriptManuscript in the hands of several copyistsHolograph, with annotations by the composer and choreographer(Comment: A ballet)7B11.5.4. If a manuscript is known to have been bound by a later owner ratherthan the creator of the manuscript, optionally give measurements of both themanuscript and the binding and describe the source of the binding.Bound by a former owner7B12. Accompanying materialMake notes for any accompanying material not recorded in the physicaldescription area. Give the location of accompanying material if appropriate.7B13. SeriesFingering chart in pocketAccompanied by a letter from the composer’s daughter concerningauthenticity of the handwritingNote the source of any element of the series area when it is taken from elsewherethan the series title page. If any element has been transposed in the description,note its original position in the item. Note any series information not transcribedin the series area, if considered important. Give information about a series inwhich the music has been issued previously, if considered important.If a series statement is present on a manuscript draft or copy of that publication,or on a manuscript rented or sold by a publisher, state this in a note.Series numbering precedes series titleOriginally issued in series: NEED MUSIC SERIES TITLE HEREAlso issued without series statement144 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note7B14. DissertationsIf the music being described is a dissertation or thesis presented in partialfulfillment of the requirements for an academic degree, give the designation ofthe thesis (using the English word “thesis”) followed if possible by a briefstatement of the degree for which the author was a candidate (e.g., “M.A.” or“Ph. D.”, or, for theses to which such abbreviations do not apply, “doctoral” or“master’s”), the name of the institution or faculty to which the thesis waspresented, and the year in which the degree was granted.Thesis--Eastman School of Music, 1936Thesis (doctoral)--Universität Tübingen, 1805If the music lacks a formal thesis statement, a bibliographic history note may bemade.Originally presented as the author's thesis (UniversitätHeidelberg) under title: ...7B15. References to published descriptions7B15.1. Give references to published descriptions in bibliographies or otherauthoritative reference sources if these have been used to supply elements of thedescription. Use the form and punctuation conventions recommended byStandard Citation Forms for Published Bibliographies and Catalogs Used in Rare BookCataloging (see Appendix H for samples of music resources and their citationforms). Begin the note with the word “References” and a colon.References: British Union-Catalogue of early music printed before1801, p. 789References: Smith, W.C. John Walsh, 1695-1720 (1948), no. 4007B15.2. Make other references to published descriptions, if considered important.Such references are especially useful whenever the cited source would serve todistinguish an edition (or variant) from similar editions (or variants),substantiate information provided by the cataloger, or provide a more detaileddescription of the publication being cataloged.References: Duggan, M.K. Italian music incunabula, 33References: Eitner, R. Bibliographie der Musik Sammelwerke,1572aReferences: RISM B/II, v.2, p.191Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 145

Area 7. NoteReferences: Sartori, C. Bibliografia della musical strumentaleitaliana, 1608bReferences: Schneider, H. Chronologisch-thematisches Verzeichnissamtlicher Werke von Jean-Baptiste Lully, LWV 60References: Wolfe, R.J. Secular music in America 1801-1825, 11667B15.3. For manuscripts, optionally cite published facsimiles. For microforms ofmanuscripts, optionally cite location of the original manuscripts.Described in: Census-catalogue of manuscript sources ofpolyphonic music, 1400-1550. [S.l.] : American Institute ofMusicology, 1979-1988Published as facsim. ed.: Bologna, Civico museo bibliograficomusicale, MS 19 ; the Rusconi Codex. New York : Garland Pub.,19887B15.4. A general note may be made if a description of the music being catalogeddoes not appear in a specific bibliographical reference source. Make such a noteonly if the music fits the scope for that source and the source purports to becomprehensive for its scope. Preface the general note with the words “Not in”and a colon.Not in: BL music to 19807B16. SummaryGive a brief summary of the content of the item, if considered important. Formanuscripts, especially those requiring extensive notes, some or all notes may beincorporated into a summary, if a single narrative note aids in clarity. Optionally,biographical/historical information may be given in a separate note or combinedwith the summary.Vocal score, holograph, with corrections by Messager andprinter’s annotations for publication by Éditions Salabert.Sections are numbered and paged separately; number twelve isnot present. Accompanied by two documents identifying the scoreas Messager’s holograph, signed by his granddaughter JacquelineDumore-Messager, 1971 May 23 and undatedScore of the final scene of I Rantzau, holograph withcorrections. Signed and dated at Milan, 1894 Nov. 1. The scorevaries from the version published in 1892 and apparently is arevision of the scene. Appended is an inscription to ArturoPirani, Milan, 1894, Nov. 2146 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. NoteWilliam Walton composed the Sinfonia Concertante while living inLondon with the Sitwell family. The work was first published in1928 and revised in 1943(Comment: Optional biographical/historical information; could be combined withnote below)Score, holograph, with corrections and conductor’s annotations.The score varies from the first published edition and isapparently an earlier version of the work7B17. Contents7B17.1. List the contents of the item, either selectively or fully, if it is considerednecessary to show the presence of material not implied by the rest of thedescription, to stress components of particular importance, to provide thecontents of a collection or of multipart music, or to provide additional titles inmusic without a collective title. Note the presence of errata leaves and errataslips (see 5B4). Note the presence of errata listed in other sources in the item, ifconsidered important.Includes bibliographical references (p. 43-58)Includes bibliographical referencesIncludes index"List of the author's unpublished poems": p. 151-158Errata on last leafWith an errata slipWOULD LIKE AN EXAMPLE ALONG THESE LINES: Includes Joseph Pike'sAn epistle to the national meeting of Friends in Dublin7B17.2. Transcribe contents from the title page if they are presented thereformally and have not been transcribed as part of the title and statement ofresponsibility area. In such cases, follow the word “Contents” with a colon andthe parenthetical phrase “(from t.p.)”. If a formal statement of contents is notpresent on the title page, take contents from the head of the parts to which theyrefer, or, if this is not feasible, from any contents list, etc., that is present. Formusic in two or more volumes, transcribe the volume or part designations asfound.Contents: Dixit Dominus : (Psalm 109) -- Confitebor tibi : (Psalm110) -- Beatus vir : (Psalm 111) -- Laudate pueri : (Psalm 112)-- Laudate Dominus : (Psalm 116) -- Christe Redemptor omnium :hymnDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 147

Area 7. NoteContents: (from t.p.) La teste m’y fait si grant mal / Anon. --Mary je songay l’autre jour / Jacotin Le Bel -- Et quant jesuis couchée / Anon. -- Ung compaignon gallin gallant /Passereau -- La la la, je ne l’ose dire / Pierre Certon --Jamais je n’aymeray grant homme / Anon. -- Ho la he par lavertu goy / Anon.7B17.3. Transcribe opus numbers with the titles if they are necessary to identifythe works named, as well as statements of responsibility not already included inthe title and statement of responsibility area. If the works in the collection are allin the same musical form and that form is named in the title proper of theresource, do not repeat the musical form in the titles in the contents note.Contents: No. 13, F major -- No. 14, A major -- No. 15, D minor-- No. 16, F major7B17.4. If a complete listing of contents cannot be assembled by one of the abovemeans, the cataloger may devise a contents note from any appropriate source orcombination of sources.7B18. Numbers7B18.1. Make notes of any numbers associated with the music not transcribed inanother area, if considered important.7B18.2. Publishers’ numbers and plate numbers7B18.2.1. Transcribe all publishers’ numbers and/or plate numbers that appearon the resource. Transcribe the statement(s) as found, even if this means giving apublisher’s name that has already been transcribed in the publication,distribution, etc. area. Give publishers’ or plate numbers for a manuscript draftor copy of a publication if they appear in the manuscript, and indicate theirsource.7B18.2.2. Precede the numbers by “Publisher’s no.:” or “Pl. no.:” as appropriate.If a number is preceded by an abbreviation, word, or phrase designating apublisher, give that abbreviation, word, or phrase as part of the number. Whentranscribing two or more distinct numbers, give each in a separate note.Transcribe a publisher’s number before a plate number.Publisher’s no.: Edition Peters Nr. 8444Pl. no.: S & B 4081148 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note7B18.2.3. When a designation such as “no.”, “Nr.”, “cat. no.”, “Ed. Nr.”, etc.,appears with a publisher’s number or plate number without identifying thepublisher through initials, abbreviations, or words, do not consider it to be partof the number and do not transcribe the extra designation.Publisher’s no.: 6139(Comment: Number shows on item as “Cat. no. 6139”)7B18.2.4. In describing music in several volumes, give inclusive numbers if thenumbering is consecutive; otherwise give individual numbers or, if there aremore than three of these, the first number and the last number separated by adiagonal slash. Give letters preceding a number before the first number, lettersfollowing a number after the last number, but letter preceding and followingnumbers in conjunction with each number.Pl. no.: B. & H. 8797-8806Pl. no.: B.M. Co. 10162, 10261, 10311Publisher’s no.: 6201/9935(Comment: The complete set of numbers is 6201, 6654, 7006, 7212, 7635, 7788, 8847,9158, 9664, 9935)Pl. no.: 9674-9676 H.L.Pl. no.: R.10150E.-R.10155EPl. no.: E.A.S. 4583(Comment: Manuscript printer’s annotation)7B18.2.5. In describing a reprint, give the plate or publisher’s number(s) togetherwith the statement that the item is a reprint (see 5.7B7).Reissued in lithograph, retaining plate nos. from orig.publication: Pl. no. S&V 10377B19. “With” notes7B19.1. If the description corresponds to part of a publication that is made up oftwo or more separately titled parts that are also separately paginated or foliatedand have separate signatures, but which have been issued together, make a notebeginning “With” followed by a colon. List the other parts of the publication inthe note, in the order in which they are found. In the case of bound volumes, listall the other parts on the record for the first part and, in general, only the first onthe records for the subsequent parts. (Do not make such “With” notes when thepagination, foliation, or signatures of separately titled parts are continuous withDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 149

Area 7. Notethe part being described. Instead, record these titles in a contents note asinstructed in 7B17.)7B19.2. For each work listed, give only the elements listed below:a) the heading; normally give this element first, usually in catalog‐entry form(e.g., with inversion of personal names under surname, but not necessarilyincluding personal birth/death dates, corporate qualifiers, etc.)b) the title proper as found in the record for the work; long titles may beshortened (whenever the uniform title is considered useful for theidentification of the work, record it within square brackets preceding thetitle proper)c) the primary statement of responsibility as found in the title and statementof responsibility area of the record for the work, unless it is redundant ofthe heading or exceedingly lengthyd) the publication, distribution, etc., area as found in the record for the work,abridged as necessary, without using the mark of omissionNEED EXAMPLE ALONG THESE LINES: With: Dunton, John. The mercifulassizes, or, A panegyric on the late Lord Jeffreys hanging somany in the West. London : Printed for Eliz. Harris, 17017B19.3. If the works were bound together subsequent to publication, rather thanissued together by the publisher, distributor, etc., make a local note according tothe instructions in 7B20.3.4, if considered important.7B20. Provenance, bindings and local notes7B20.1. General rule7B20.1.1. Make local notes on any special features or imperfections of the copybeing described when they are considered important. This information is highlydesirable in the context of rare materials cataloging, which puts greater emphasison materials as artifacts than is usual in general cataloging practice. These notescan also provide warrant for added entries (e.g., added entries for the names offormer owners or binders, for various kinds of provenance evidence, bindingcharacteristics, etc.). For published music, these notes should be identified aslocal notes and carefully distinguished from other kinds of notes that recordinformation valid for all copies of the bibliographic unit being cataloged.For many older publications, it may not be readily ascertainable whether thecharacteristics of a single copy are in fact shared by other copies. In case of150 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Notedoubt, consider that the characteristics of the copy in hand are not shared byother copies.It is important to note that the concept of “local notes” does not pertain tomanuscripts since all of the information given on a record for a manuscriptowned by an institution pertains to that copy. For this reason, only general anddefined note fields will ordinarily be used for manuscripts. Apply the followingrules when making general notes about provenance, bound‐withs, and bindingfor manuscripts.7B20.1.2. The extent and depth of detail provided in local notes will bedetermined by the local policies of the cataloging agency. The rules set forth inthis area are intended primarily to provide guidance and examples; theinstructions are not to be seen as prescriptive.7B20.1.3. Features that may be brought out here include known imperfectionsand anomalies, the presence of advertisements not recorded in area 5 (see 5B5),illumination, rubrication, and other hand coloring (unless issued that way by thepublisher; see 7B10.5), provenance evidence (such as bookplates, stamps,autographs, and manuscript annotations), the names of persons or institutionsassociated with specific copies, copy‐specific binding details and the names ofbinders, copy numbers (see 7B7.5), and “Bound with” notes.7B20.1.4. Include in local notes one or more of the following identifiers, ifconsidered important: a designation of the holding institution (e.g., a library’sname, acronym, or code), a designation of the item’s physical location (e.g., ashelfmark), or an indication of the item’s copy number (if the institution holdsmore than one copy). Such identifiers are especially recommended if thebibliographic record is to be contributed to a union catalog or other shareddatabase.Bass part: Imperfect: leaves 12 and 13 (2b6 and 2c1) wanting;without the last blank leaf (2i8)[Library] copy on vellum; illustrations and part of borders handcolored; with illuminated initials; rubricated in red and blue[Library] set imperfect: harp parts and t.p. of no. 2 wanting; p.3-4 of violin part of no. 1 blank[Library] set incomplete: t.p. and all but violin part wantingDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 151

Area 7. Note7B20.2. ProvenanceMake a note to describe details of an item’s provenance, if considered important.In less detailed descriptions, it is advisable to summarize provenanceinformation, without providing exact transcriptions or descriptions of theevidence. Include the names of former owners or other individuals of interestand approximate dates, whenever possible. For manuscripts, include theimmediate source of acquisition and previous custodial history, if known.COULD USE MUSIC EXAMPLE ALONG THESE LINES: [Library] copy:inscription of John Morris, 17th-century; stamped as a BritishMuseum Sale Duplicate, 1787COULD USE MUSIC EXAMPLE ALONG THESE LINES: [Library] copy withinscription of Langston Hughes dated 1954Gift of the composer(Comment: Immediate source of acquisition of a manuscript)Formerly owned by Arturo Toscanini(Comment: Previous custodial history of a manuscript)More detailed descriptions of provenance might include such additional featuresas: exact transcriptions of autographs, inscriptions, bookplates, stamps,shelfmarks, etc.; location of each in the item; approximate dates when known;descriptions of bookplates using standardized terminology; descriptions ofanonymous heraldic bookplates according to heraldic blazon; references topublished descriptions of the collections of former owners of the item,particularly if the item is cited in the source, etc.COULD USE MUSIC EXAMPLE ALONG THESE LINES: [Library] copy: "Ioh.Mauritius" (17th-century inscription on t.p.; see Birrell, T.A.Library of John Morris, no. 410); "Museum Britannicum" (inkstamp, in blue, ca. 1760, on t.p. verso); "British Museum SaleDuplicate 1787" (ink stamp, in red, on verso of t.p.)COULD USE MUSIC EXAMPLE ALONG THESE LINES: [Library] copyinscribed by Langston Hughes on t.p.: "Especially for LouiseBennett with admiration, Sincerely, Langston, New York, Oct. 8,1954"7B20.3. Bindings7B20.3.1. Use notes for descriptions of bindings, if considered important. Fordescriptions of publisher‐issued bindings common to all copies of an edition orissue, see 7B11.4‐5.152 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

Area 7. Note7B20.3.2. Make a local note when the number of physical units in which apublication is bound differs from the number in which it was actually issued, ifconsidered important (see 5B15.3).[Library] copy bound in 4 v.7B20.3.3. Make a local note to indicate any errors in binding, if consideredimportant.[Library] copy: leaves I5-6 incorrectly bound between h3 and h47B20.3.4. Make a note, if considered important, whenever a publication has beenbound with one or more works subsequent to publication, when a manuscripthas been bound with other works, or when both published and manuscriptmaterial is bound together. Preface the note with the words “Bound with”followed by a colon. Formulate the remainder of the note according to theinstructions in 7B18.NEED MUSIC EXAMPLE ALONG THESE LINES: Special Collections copybound with: The Bostonian Ebenezer. Boston : Printed by B.Green & J. Allen, for Samuel Phillips, 1698 -- The cure ofsorrow. Boston : Printed by B. Green, 17097B20.3.5. If it is considered that the works are too numerous to be listedexhaustively, make an informal note such as the following:No. 18 in a vol. with binder's title: Piano music7B20.3.6. Make a note to describe other details of a binding, if consideredimportant. Less detailed descriptions might include the color and nature of thecovering material, a summary of any decoration present (e.g., “gold‐tooled”,“blind‐tooled”), and (if these can be determined) an approximate date and thename of the binder.[Library] copy: late 17th-century binding in red goatskin, goldtooledBinding: contemporary quarter calf, marbled boards(Comment: Bound manuscript)7B20.3.7. More detailed descriptions of a binding might include such additionalfeatures as: nature of the boards (e.g., wood, paper); details of decoration;country or city of production; nature and decoration of spine; presence or formerpresence of ties, clasps, or other furniture; flaps; description of headbands, pageedgeand end‐paper decoration; references to published descriptions orreproductions of the binding (or related bindings), etc.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 153

Area 7. Note[Library] copy: late 17th-century English binding; red goatskin,gold-tooled, over paper boards; gold-tooled spine with fiveraised bands; gilt edges; gold roll on edges of boards; marbledendpapers154 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

8. STANDARD NUMBER AND TERMS OF AVAILABILITY AREAContents:8A. Preliminary rule8B. Standard number8C. Terms of availability8D. Qualification8A. Preliminary rule8A1. Prescribed punctuationFor instructions on the use of spaces before and after prescribed punctuation, see0E.Precede this area by a period‐space‐dash‐space or start a new paragraph.Precede each repetition of this area by a period‐space‐dash‐space.Precede terms of availability by a colon.Enclose a qualification to the standard number or terms of availability inparentheses.8A2. Sources of informationTake information included in this area from any source. Do not enclose anyinformation in square brackets.8B. Standard number8B1.1. Give the International Standard Music Number (ISMN) or InternationalStandard Book Number (ISBN). Give such numbers with the agreed abbreviationand with the standard spacing or hyphenation.ISMN M-321-76543-6ISBN 0-552-67587-38B1.2. In 2007, recording a 13‐digit International Standard Number was mademandatory for catalog records. This applies to any publication with an existingDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 155

AREA 8. STANDARD NUMBER AND TERMS OF AVAILABILITY10‐digit International Standard Number, whether or not the 13‐digit numbershows in the item. The additional ISMN is formulated by adding three numbersto the front of the 10‐digit ISMN (printed music was assigned a “979” prefix).The additional ISBN is formulated by adding three numbers to the front of the10‐digit ISBN (printed books were assigned a “978” prefix at the start and wereslated to move to “979” once those numbers were exhausted). Give this numberwith the agreed abbreviation and with the standard spacing or hyphenation.ISMN 979-M-321-76543-6ISBN 978-0-8166-4940-28B2. Optionally, give more than one number, followed by a brief qualification asnecessary. Give a number for a complete set before the number(s) for thevolume(s) or part(s). Give numbers for volumes parts in sequential order. Give anumber for accompanying material last.ISMN M-321-76548-1 (set). -- ISMN M-321-76548-8 (v. 1)ISMN M-321-76543-6 (score). -- ISMN M-321-76544-3 (vocal score).-- ISMN M-321-76545-0 (set of parts)ISBN 0-379-00550-6 (set). -- ISBN 0-379-00551-4 (v. 1)8B3. FingerprintsIf considered important, record the fingerprint derived according to a publishedstandard in area 8 or in a note. 25165204-b1 A2 ade : b2 L we(Comment: Fingerprint constructed according to the rules for The Short‐TitleCatalogue, Netherlands)8C. Terms of availabilityOptionally, if the publication bears a price, or other terms of availability, recordthe information in this area or give it in a note (see 7B8).25For further information on this method of identification and recommended forms ofrecording it, see Fingerprints = Empreintes = Impronte, supplemented by Nouvelles des empreintes =Fingerprint Newsletter, or Vriesema, P.C.A. “The STCN Fingerprint.”156 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX A. MARC 21 DESCRIPTIVE CONVENTIONS CODE8D. QualificationOptionally, add qualifications (including the type of binding) to the ISMN orISBN and/or terms of availability. Additionally, if volumes or parts in a set havedifferent ISMNs or ISBNs, follow each one with the designation of the volume towhich it applies.ISMN M-321-76548-1 (score, bound)ISMN M-321-76548-8 (score)ISBN 0-3001-1775-2 (pbk.) $35.00. –- 978-0-3001-1775-2 (pbk.)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 157

APPENDIX A. MARC 21 DESCRIPTIVE CONVENTIONS CODEA1. IntroductionIn MARC 21 bibliographic records, a code may be used in field 040, subfield ‡e,to indicate when specific cataloging conventions have been followed in addition tothe conventions identified in the descriptive cataloging form (Leader/18). Thisappendix offers guidance in using “dcrmm,” the code designating DCRM(M), in040 subfield ‡e.A2. Full‐level DCRM(M)Apply the code “dcrmm” to records for resources cataloged at full level (i.e., thenormative application of these rules). The fact that such records follow the fulllevelprovisions of DCRM(M) is indicated by the blank value assigned in theencoding level (Leader/17) and the code “dcrmm” in 040 subfield ‡e.A3. Collection‐level DCRM(M)Do not apply the code “dcrmm” to records for resources cataloged according tothe collection‐level guidelines found in Appendix B. The fact that such recordscontain collection‐level descriptions is indicated by the value c assigned in thebibliographic level (Leader/07). The guidelines in Appendix B suggest factors toconsider in constructing collection‐level records for rare materials and provideexamples useful in a special collections context. However, the conventionsconform substantially to those governing standard collection‐level descriptions,as presented in Cataloging Service Bulletin, no. 78 (Fall 1997).A4. Minimal‐level DCRM(M)Apply the code “dcrmm” to records for resources cataloged according to theminimal‐level guidelines found in Appendix D. The fact that such records followthe minimal‐level provisions of DCRM(M) is indicated by the value 7 assigned inthe encoding level (Leader/17) and the code “dcrmm” in 040 subfield ‡e.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 159

APPENDIX A. MARC 21 DESCRIPTIVE CONVENTIONS CODEA5. Microforms and digital reproductions of musicApply the code “dcrmm” to records for microforms and digital reproductions ofmusic if the descriptive portion of the record conforms to DCRM(M) (full orminimal level). If, however, DCRM(M) (full or minimal level) is not used in allaspects but instead in some hybrid fashion, do not use the code “dcrmm”.A6. Other formatsDo not apply the code “dcrmm” to records for other formats such as books,serials, maps, and graphics, even though they may have been catalogedaccording to an adapted, “DCRM(M)‐like” standard. 26A7. “Special collections cataloging”In this context “special collections cataloging” means fuller use of notes, accesspoints, and other elements that are not specifically called for in AACR2 or itspredecessors, but that follow the spirit of DCRM(M) without following its rulescompletely. Such cataloging is frequently done for 19th‐century and latermaterials housed in special collections. Do not apply the code “dcrmm” torecords for “special collections cataloging” unless the cataloging follows thedescriptive requirements of DCRM(M) completely (full or minimal level).A8. Earlier codesIf an existing record contains an earlier code in 040 subfield ‡e, such as “dcrb”(Descriptive Cataloging of Rare Books) or “bdrb” (Bibliographic Description of RareBooks), and the description is being updated to DCRM(M) standards, delete theearlier code and add the “dcrmm” code to the end of the 040 field in subfield ‡e.26Use a DCRM component manual for the format being described if one exists.160 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDSB1. IntroductionB1.1. This appendix offers guidance in the creation of bibliographic records forcollections of printed or manuscript music that will receive collection‐leveltreatment based on administrative or curatorial decisions. Several rationales canbe cited to justify a decision to use collection‐level cataloging: It can be a means of highlighting the shared characteristics of a collection ofmaterials by providing a summary‐level description, thereby “adding value”to any other forms of intellectual access, such as item‐level records, andrevealing collection strengths that may not otherwise be obvious. It can be a means of providing temporary control of unprocessed collections. It can be a cost‐effective means of providing bibliographic control for lowpriorityitems. Although this might seem to promise a solution to theproblem of an institution’s limited means, it should be understood thatadequately arranging and processing collections prior to cataloging alsotakes time. Since there are significant costs associated with under‐catalogedmaterials, this rationale should be used with careful consideration.B1.2. A collection‐level record may serve as the sole method of access for thecollection, with contents information provided in notes. Some or all of thecollection may also be represented by item‐level bibliographic records, whichmay be created at any level of fullness using cataloging rules such as AACR2 orcomponents of DCRM. Item‐level access may also be provided for some or all ofthe collection through inventories, finding aids, or databases (referred tohereafter as “finding aids”), which may be linked to collection‐level records.Providing some form of item‐level access to resources represented by acollection‐level record offers significant benefits for users and reduces the risk ofredundant acquisition of those resources. Decisions about the appropriate typeand level of description should be made based on institutional goals, priorities,and resources, as well as the attributes of the collections themselves.B1.3. The following guidelines are based on those issued by the Library ofCongress for collection‐level cataloging published in Cataloging Service Bulletin,no. 78 (Fall 1997). Examples have been added, drawn from the types ofcollections likely to be found in special collections libraries. Catalogers creatingcollection‐level records will also need to consult the appropriate cataloging rules,Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 161

APPENDIX B. COLLECTION‐LEVEL RECORDSMARC 21 Format for Bibliographic Data, and their local system documentation inorder to create useful, descriptive, and complete records using the various fieldsavailable to describe collections, as well as to create additional access points.Catalogers wishing to contribute collection‐level records as part of the Programfor Cooperative Cataloging will need to consult the relevant instructions inBIBCO Core Record Standards.B1.4. These guidelines are not intended for description of traditional archival ormanuscript collections. Rules for cataloging such collections are addressed inspecialized sets of rules such as Describing Archives: A Content Standard. However,many of the activities associated with arranging and describing traditionalarchival or manuscript collections also pertain to collections of printed materialsand inform these guidelines.B2. Selection of materialsB2.1. Collections normally fall into one of three categories: groups of items that come to a library already well organized by a previousowner groups of items that come from a single source, but with minimal or noprevious organization groups of items that are assembled into collections by the library for thepurpose of processing and storage, and are therefore termed “intentionallyassembled collections” (previously called “artificial collections”)B2.2. All three types of collections tend to be organized around one or moreunifying factors, which may include: creator (e.g., personal author, composer, arranger, etc.) issuing body genre/form subject language or nationality provenance time period162 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDSB2.3. Types of materials appropriate to consider for collection‐level treatmentinclude: groups of materials that share one or more of the above factors, or someother unifying factor, and for which access can adequately be provided witha single classification number and/or a collective set of access points groups of pamphlets or ephemera in various formats that are judged not tomerit item‐level cataloging, but that collectively are of research valueB3. Arrangement and descriptionB3.1. Arrangement and description are terms used to describe various types ofprocessing activities that bring order and control to collections of materials. Theycommonly involve the physical handling, sorting, and listing of materials, as wellas preservation and housing activities. Additional guidance in these matters maybe found in Kathleen Roeʹs Arranging and Describing Archives and Manuscripts.B3.2. Arrangement. Arrangement is the process of sorting individual items intomeaningful groups and placing those groups into useful relationships with eachother. Materials can be arranged in many logical ways, and the design of thearrangement should be determined by examining the material to consider thetypes of access most likely to serve the needs of researchers and other potentialusers. Different collections will require differing levels and methods ofarrangement. For these reasons, decisions about arrangement must be madeindividually for each collection.B3.2.1. Organized prior to acquisition. For collections that come to the libraryalready well organized, every effort should be made to maintain this order.Maintaining the original order of a collection can reveal significant informationabout the previous owner’s use of the materials and is, for this reason, a basictenet of archival practice.B3.2.2. Organized by the library. Collections that come to the library lacking anyrecognizable order must be examined, sorted, and arranged in some fashionprior to cataloging. Collections consisting of many items are normally dividedinto hierarchical subgroupings. Customary types of arrangement include: by source or provenance by genre/formDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 163

APPENDIX B. COLLECTION‐LEVEL RECORDS by content or topic in chronological order in alphabetical order (by author, title, etc.)B3.2.3. Acquired individually. Materials originally acquired as individual items(whether simultaneously or over time) may be grouped in intentionallyassembled collections, as noted above. Appropriate library staff, which mayinclude curators and catalogers, must determine which materials will be socombined, how they will be arranged, and at what level of fullness they will bedescribed (e.g., whether the material will receive contents notes and/or authortitleanalytics, whether it will be classified and shelved with music collections orboxed and treated archivally, etc.).B3.3 Description. Description is the process of recording the information thatwas gathered during the sorting and arranging stages. For large collections,finding aids typically are compiled to provide a greater level of detail. Findingaids vary widely in format, style, and complexity. They generally consist of twoparts. The first is a narrative introduction that includes: biographical sketches orhistorical contextual information; a content summary highlighting strengths,gaps, weaknesses, and characterizing the collection’s extent and depth; andinformation concerning the collection’s administration and use, such asrestrictions on access. The second part is a listing of the items or groups of itemsthat comprise the collection. For collections arranged hierarchically, the listingsmay stop at a collective subgroup level or may extend down to the file or itemlevel.B4. Elements of the bibliographic recordThe rules that guide the bibliographic description and added entry portions ofcollection‐level cataloging are the latest edition of AACR2, supplemented by useof appropriate national rule interpretations. Use the rules in conjunction withthese guidelines, which are arranged by MARC 21 field. Fields for which nospecific collection‐level instructions are required are not included here but maybe used as appropriate.Leader and directory06: Type of record. If the collection contains only printed music (ormicroform or digital reproductions of printed music), code as NotatedMusic, type c. If the collection contains only manuscript music (or164 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDSmicroform or digital reproductions of manuscript music), code asManuscript Notated Music, type d. If the collection contains a mix ofprinted and manuscript music and/or also includes other material types(e.g., book, cartographic, sound recordings, etc.), code as Mixed Materials,type p.07: Bibliographic level. Use the value c (collection‐level).Control field: 00806: Type of date. Coding choices are: i (inclusive dates of collection), k(range of years of bulk of collection), and m (multiple dates).07‐10: Date 1. Give the earliest date, or single date, from the 260 field.11‐14: Date 2. Give the latest or closing date from the 260 field. Enter 9999in 008/11‐14 if the collection is open or not yet complete and use m in008/06.15: Country of publication. If all the items were published in a singlecountry (or state, province, etc.), enter the code for that country. If theitems were published in more than one country, enter the code vp_. If allthe items are manuscript music, enter the code xx_.1XX field: Main entryThe main entry heading is determined by application of the appropriatecataloging rules. Title main entry is appropriate for many collections (see AACR2rule 21.7). A 1XX name main entry is appropriate when all materials have thesame composer(s) or librettist(s)/lyricist(s) or emanate from a single corporatebody (AACR2 rule 21.4).110 2 ‡a Capitol Theatre (New York, N.Y.)100 1 ‡a Wilson, Mortimer, ‡d 1876-1932When a collection is known by the name of its collector, enter the record underthe heading for that person or body. Optionally, follow the heading by the relatorterm “collector” in subfield ‡e or the relator code “col” in subfield ‡4. 27100 1 ‡a Hogan, Lurleen, ‡e collector.27For more information, see the guidelines in RBMS Controlled Vocabularies: Relator Termsfor Rare Book and Special Collections Cataloguing.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 165

APPENDIX B. COLLECTION‐LEVEL RECORDS245 10 ‡a [Lurleen Hogan collection of bebop sound recordingsand sheet music]240 field: Uniform titleSupply a uniform title for the collection if appropriate according to AACR2chapter 25.100 1 ‡a Wilson, Mortimer, ‡d 1876-1932240 10 ‡a Silent film music. ‡k Selections245 field: Title statementConstruct a title for the collection and enclose it in square brackets. Devised titlesshould generally be in the language and script of the cataloging agency andshould be both descriptive and distinctive, thereby highlighting the factor(s) thatcharacterize the collection as a whole. Strive for consistency in title constructionacross collections. Types of data appropriate for inclusion in collective titlesinclude: name of collection (for previously‐named collections) name of creator, creating body, collector, or source (provenance) languages geographic locations genre/form of material principal subjects—persons, events, topics, activities, objects, and dates ofsubject coverage100 1 ‡a Wilson, Mortimer, ‡d 1876-1932240 10 ‡a Silent film music. ‡k Selections245 10 ‡a [Collection of silent film music compositions andarrangements, ‡f 1883-1930, ‡g bulk 1910-1930].245 00 ‡a [African-American sheet music].245 00 ‡a [Sheet music from Canada’s past = ‡b Musique enfeuilles canadienne d’antan].245 00 ‡a [Collection of sheet music with interesting orunusual American and Canadian imprints].166 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDS246 field: Variant form of titleRecord variant titles by which a collection may be known if they differsubstantially from the 245 title statement and provide a useful access point. Ifmost or all of the items in the collection have the same title information and it isconsidered important, make an added entry for the title.245 10 ‡a [Collection of silent film music].246 3 ‡a Capitol Theatre collection of silent film music245 10 ‡a [Sheet music from Canada’s past = ‡b Musique enfeuilles canadienne d’antan].246 3 ‡a Musique en feuilles canadienne d’antan245 10 ‡a [Collection of 19th century California sheet music].246 3 ‡a Collection of nineteenth century California sheetmusic246 1 ‡i Also known by another title: ‡a California sheetmusic project260 field: Publication, distribution, etc. (Imprint)All elements of the imprint may be included in collection‐level records ifappropriate. Bracket all elements that are used. In most cases, only the dateelement (subfield ‡c) is appropriate. Use 260 subfields ‡a, ‡b, ‡e, and ‡f only ifthe same place and/or the same publisher, printer, or bookseller apply to allitems in the collection. If the collection is finite, use a single date or inclusivedates in the subfield ‡c, as appropriate.260 ‡c [1883-1950, bulk 1910-1930]260 ‡c [1850-1920]260 ‡c [ca. 1840-1870]260 ‡a [Madrid : ‡b El Partido Nacional, ‡c 1835-]260 ‡a [Philadelphia, ‡c 1850-1890]300 field: Physical descriptionExtent. Give the extent of the collection by counting or estimating the number ofitems it contains. Optionally, provide a separate physical description for eachformat.300 ‡a 17 v. of musicDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 167

APPENDIX B. COLLECTION‐LEVEL RECORDS300 ‡a 25 ms. scores300 ‡a ca. 350 scores300 ‡a ca. 100 scores + partsOther physical details. Provide other details of particular significance.Dimensions. Optionally, provide details of the size of the items and/or theircontainers. A range of sizes may be used if the items or containers are not ofuniform size.300 ‡a ... ; ‡c 28 cm.300 ‡a ... ; ‡c 23-30 cm.300 ‡a ... ; ‡c 60 x 90 cm or smaller.300 ‡a 25 ms. scores ; ‡c in box 12 x 26 x 35 cm.351 field: Organization and arrangementDescribe the way in which materials have been subdivided into smaller units orthe order in which particular units have been arranged.351 ‡a Organized in three series: 1. Sheet music. 2.Operettas. 3. Silent film scores.351 ‡a Items are arranged chronologically.4XX fields: Series statementDo not use. If series titles of items in the collection are significant, trace them inthe appropriate 7XX field. A note supporting the tracing may also be provided.500 ‡a Most of the sheet music is from the series GreatVivien’s musical bouquet.730 0 ‡a Great Vivien’s musical bouquet.5XX fields: NotesInclusion of a variety of notes will help provide collective context to the materialsbeing described. It is particularly important to describe the contents of thecollection in a 505 contents note and/or a 520 summary note, as described below.The order of notes presented below is recommended based on archivalcollection‐level cataloging practice.168 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDS500 field: General noteAlways include as the first note the statement ʺCollection title devised bycataloger.ʺ506 field: Restrictions on accessWhen access to a collection or a portion thereof is restricted, explain the natureand extent of the restrictions.506 ‡a Restricted: Original materials are extremely fragile;‡c Researchers must use digital images.506 ‡3 COLLECTION STORED OFF-SITE: ‡b Advance noticerequired for access.545 field: Biographical or historical noteProvide biographical or historical information about the individual ororganization referenced in the 1XX or 245 field.545 ‡a Wilson was born on Aug. 6, 1876 in Chariton, Ind.;studied in Chicago with Jacobsohn, Gleason, andMiddelschulte (1894-1900); taught theory atUniversity School of Music in Lincoln, Neb. (1901-1907; spent 3 years in Leipzig, Germany, studyingwith Sitt and Reger; was at the Atlanta Conservatoryin 1911 and conducted the Symphony Orchestra; taughtat Brenau College, Gainesville, Ga. (1916-1918); wasconsulting editor for the National Academy of Musicin New York; wrote The rhetoric of music (1907);composed 5 symphonies, chamber music, and many songsand piano pieces; wrote music for silent filmsproduced by Douglas Fairbanks, including The thief ofBagdad (1924); died on Jan. 27, 1932, in New York.110 2 ‡a Monday Evening Concerts of Los Angeles.245 10 ‡a [Monday Evening Concerts programs].545 ‡a The Monday Evening Concerts, first known as Eveningson the Roof, began in 1939 under the direction ofPeter Yates. The concerts featured his wife FrancesMullen, among others, playing chamber music and otherexperimental works ...520 field: Summary, etc.Summary notes are narrative, free‐text statements of the scope and contents ofcollections. Details may include forms of materials, dates of subject coverage, andthe most significant topics, persons, places, or events. A summary note may beDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 169

APPENDIX B. COLLECTION‐LEVEL RECORDSused in lieu of or in addition to a 505 note. If the collection contents are listed in aseparate finding aid, use only a 520 note and also make a 555 finding aid note.520 ‡a Collection consists of published scores, mostly forpiano, of music to accompany the showing of silentfilms. Includes some manuscript parts of musicarranged for chamber ensembles.505 field: Formatted contents noteFormatted contents notes provide a structured method of recording item‐levelinformation. Elements may include author, title, edition, date of creation orpublication, extent, scale, etc. Assign a number to each item, record it withinsquare brackets in the 505 note, and write it on each item. For materials that lackroutine bibliographic indicia, or for large collections of many items, prefer thenarrative 520 summary note to the 505 note.505 0 ‡a [1] The flying trapeze -- [2] Moet and Chandon :sequel to Champagne Charlie -- [3] Up in a balloon.524 field: Preferred citationUse to provide a specific citation format for citing the collection.524 ‡a Capitol Theatre Collection of Silent Film Music(Collection 87). Music Library Special Collections,University of California, Los Angeles.541 field: Immediate source of acquisitionRecord the immediate source from which the library acquired the collection. Useonly for materials acquired as a collection.541 ‡a Acquired by exchange from Auburn University; ‡d 1954.541 ‡a Mortimer Wilson, Jr.; ‡c gift; ‡c 1984.541 ‡a On permanent loan from the J. Paul Getty Museum.555 field: Cumulative index/finding aids noteSpecify the existence of any separate finding aid. An external electronic findingaid may be linked to from this field, if permitted by the local system (see also the856 field).170 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDS555 8 ‡a Unpublished finding aid available in the MusicSpecial Collections reading room.561 field: Provenance noteBriefly describe any relevant history concerning the ownership of the materialsfrom the time of their creation up until the time of their acquisition by the library.561 ‡a The collection belonged to the Earls of Westmorelandfrom 1759-1942.580 field: Linking entry complexity noteUse this note to state the relationship between the materials described and abroader collection of which it is a part. Use only when parts of the collection arebeing described in separate records (see also the 7XX fields).580 ‡a Forms part of the Collection of 19th centuryCalifornia sheet music.773 1 ‡t Collection of 19th century California sheet music6XX fields: Subject headingsAssign subject headings as specific as the collection warrants.110 2 ‡a Capitol Theatre (New York, N.Y.).245 10 ‡a [Collection of silent film music].610 20 ‡a Capitol Theatre (New York, N.Y.) ‡v Archives.650 0 ‡a Silent film music ‡v Scores.650 0 ‡a Chamber music ‡v Scores.Assign as many subject headings as seem appropriate, remembering thateconomy in processing may suggest that a reasonable limit be observed.655 fields: Genre/form headings 28Assign as applicable. Prefer terms found in the controlled vocabularies issued bythe RBMS Bibliographic Standards Committee; terms from other authorizedthesauri (e.g., the Art & Architecture Thesaurus Online or the EthnographicThesaurus) may also be used as appropriate. As with subject headings, assign28Music form/genre headings are currently being coded as subject headings (MARC 21, field650) and are included in the LCSH. A project to move form/genre headings is in progress. Checkthe Library of Congress Cataloging Acquisitions Website for thestatus of the project.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 171

APPENDIX B. COLLECTION‐LEVEL RECORDSheadings as specifically and numerously as the collection and institutional policywarrant.245 00 ‡a [Popular music press kits].655 7 ‡a Press kits. ‡2 aat245 00 ‡a [Women composers collection].650 0 ‡a Women composers ‡x Archival resources.655 7 ‡a Musical works. ‡2 rbgenr7XX fields: Added entriesTypes of added entries considered useful for various types of materials include:name/uniform title analytics, government bodies or individual sovereigns (e.g.,as authors of the laws, etc.), creators of collections, names of collections, etc. Incases where a person or corporate body is both the author or issuing body andthe subject of a collection, it may be appropriate to provide both a 6XX subjectentry and a 1XX or 7XX entry. If a linking entry complexity note has been used infield 580 to describe the relationship of the collection being cataloged to a largercollection, make an added entry for the larger collection using field 773.856 field: Electronic location and accessUse to specify the location or means of access to an electronic finding aidprepared for the collection or for other reasons, such as to point to scanned itemsor digital images selected from the collection. Take special note of the secondindicator, which specifies the relationship of the electronic resource being linkedto the item described in the record.856 42 ‡3 Finding aid ‡uhttp://lcweb2.loc.gov/ammem/ead/jackson.sgmB5. Additional considerationsB5.1. Lengthy descriptions divided into more than one record. It may bedesirable to divide the description of a collection into more than onebibliographic record due to factors such as complexity or length of thedescription or system limitations on record length. The description may bedivided in whatever way is most sensible. For example, the collection may beorganized in logical groupings, each of which can be represented in a singlerecord (e.g., pamphlets concerning tobacco consumption, pamphlets encouragingsmoking, and pamphlets discouraging smoking). Alternatively, a new record172 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX B. COLLECTION‐LEVEL RECORDSmay be started at a logical breaking point, such as with every twentieth item,based on chronology, etc.When multiple bibliographic records are created for one collection, most dataelements will be the same across all records, according to the guidelinesdiscussed above, with the following exceptions:245 field: Title statement. Indicate in subfield ‡n or in subfield ‡p, asappropriate, which part of the collection is being represented in therecord.260 field: Publication, distribution, etc. (Imprint). If the collection isdivided based on chronology, include the appropriate range of dates ineach record.300 field: Physical description. Indicate in the extent statement in thesubfield ‡a of each record the number of items represented in the recordout of the total number of items in the collection, using terminologyappropriate to the material being described.300 ‡a Items 1-40 of 80 in 1 bound volume of scores300 ‡a Items 41-80 of 80 in 1 bound volume of scores5XX fields: Notes. With the exception of the 505 contents note (see below),give the same 5XX fields in each record. In addition, make a note in eachrecord indicating that the collection being cataloged is represented bymore than one record, and provide references to the other records.505 field: Contents note. List in a 505 note only those items described inthe particular record. Numbering within contents notes should beconsecutive from one record to another.B5.2. Considerations when adding to collections. Sometimes items are added tocollections after initial processing or cataloging has been completed. In suchcases, edit or add to the description as necessary, paying particular attention tothe following elements: Dates (260 field and fixed fields) Extent (300 field) Contents (505 and/or 520 field) Subject and genre/form headings (6XX fields) Added entries (7XX fields)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 173

A PPENDIX C. CORE‐LEVEL RECORDSNo general use of this appendix is made for rare music materials. 2929PCC is in the process of revising the core record concept by creating a “standard record”.The standard record essentially merges the concept of “full” and “core” level into a singlestandard. There are standard records being created for rare books and for “modern” musicmaterials, but there is currently no plan to create a standard record for rare music materials.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 175

APPENDIX D. MINIMAL‐LEVEL RECORDSD1. IntroductionThe elements of description provided in DCRM(M) constitute a full set ofinformation for describing rare materials. This appendix sets out a less than fulllevel of description containing those elements recommended as a minimum foreffective description of early and/or other rare materials.Libraries most often turn to minimal‐level cataloging for rare materials inresponse to a need to create item‐level records for large backlogs of uncatalogedmaterials with the least amount of time and effort possible. These guidelines areprovided in response to such needs. Their purpose is not to promote the use ofDCRM(M) minimal‐level cataloging, but rather to provide a usable standard forthose institutions wishing to adopt it.D2. ApplicationCatalogers may apply the minimal‐level standard to any rare materials describedusing DCRM(M). DCRM(M) minimal‐level records are especially appropriatewhen faithful and accurate descriptions are desirable, the provision of subjectand other access points is not necessarily important, and abridged transcriptionsand fewer notes are acceptable.A minimal‐level cataloging policy is best kept simple. Complex rules for omittingor shortening a variety of record elements would require catalogers to devotetime to learning these new rules, thereby eliminating a portion of the intendedgains in time and expense. In addition, tampering with the full descriptionprovided by DCRM(M) areas 0‐6 and 8 would negate the very purpose of usingDCRM(M) for description of rare materials. The conclusion then is thateliminating notes accomplishes much of the purpose of minimal‐level catalogingbecause it saves considerable time while not unduly limiting access.Bibliographic records following this approach will, in most cases, still identifythe books being described and distinguish them from similar editions or issues.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 177

APPENDIX D. MINIMAL‐LEVEL RECORDSD3. Elements of the bibliographic recordD3.1. Follow the rules in DCRM(M) areas 0‐6 and 8. Abridge the descriptionwherever possible as allowed by the rules. It is not necessary to make the notesusually considered required.D3.2. Optionally, add any additional elements in accordance with institutionalpolicy. In particular, consider adding one or more of the following, each of whichcan significantly enhance the value of minimal‐level DCRM(M) records foridentifying rare materials: references to published descriptions in standard bibliographies (rule 7B14),particularly when the source cited provides more detailed information thanthe minimal‐level bibliographic record the required notes called for in DCRM(M) (a complete list of required notesmay be found in the index under ‘Required notes’) one or more local notes describing provenance, copy numbering,imperfections, binding, or any other information that will allow thebibliographic record to describe the particular copy in hand with sufficientprecision to indicate the institution’s ownership of that particular copy optional notes based on reliable dealers’ descriptions accompanying the itembeing describedD3.3. Minimal‐level cataloging policies often eliminate or simplify additionalareas of the bibliographic record such as subject headings, classification, or otheraccess points. This appendix does not address such questions, but users ofDCRM(M) may also wish to streamline these areas according to local needs,taking into consideration the effect that such policies will have on special files forprinters, binders, bindings, genre/forms, provenance, and the like.178 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX E. VARIATIONS REQUIRING A NEW RECORDE1. Default guidelinesE1.1. This appendix addresses the issue of whether to describe bibliographicvariants using a single bibliographic record or separate records. As a defaultapproach, the rules contained in DCRM(M) assume that a separate bibliographicrecord will be created for each bibliographic variant that represents what isreferred to as an “edition” in AACR2 and an “issue” in bibliographic scholarship.E1.2. Following this default approach, generally consider that a newbibliographic record is required whenever the publication distinguishes itselffrom other variants by one or more of the following characteristics: change in content (e.g., changes in the title, statement of responsibility, oredition statement that indicate corrections, revisions, expansions,abridgments, or the inclusion of supplementary materials) different setting of type (e.g., changes in the statement of extent, a change inbibliographic format, or differences in music line‐endings and catchwordsrevealed by the comparison of multiple copies) change in publication status (e.g., an original title page has been cancelledand replaced; an original publication, distribution, etc., statement has beencovered with a new label; original sheets have been issued in a newpublisher’s cover bearing more recent data than that provided on the titlepage, or with a new series title page) change in plate and/or publisher numbersE1.3. In general, do not consider differences relating solely to substantiallyunchanged impressions, states, binding variants, or copies as an indication that anew record is required. Examples of differences that do not in themselvesnecessarily signal the need for a new record in the absence of other differencesinclude: a difference in a statement of printing (e.g., fifth printing) a difference in the printer or other manufacturer if the publisher has notchanged a difference in the printing or copyright date if the publication date has notchangedDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 179

APPENDIX E. VARIATIONS REQUIRING A NEW RECORD a difference in the publisher’s cover that does not provide evidence of adiscrete publishing unit (e.g., a change of color in publisher’s cloth) a difference relating to inserted publisher’s advertisements and catalogs(unless they are integral to the publication) stop‐press corrections the presence or absence of an errata slip the addition, deletion, or change of an ISMNE1.4. These basic default guidelines result in a single bibliographic record beingused to represent multiple impressions, states, and binding variants relating to asingle edition or issue. This record may include, in local notes, information thatdoes not apply to all copies of the edition or issue, whether the informationapplies to an impression, a state, a binding variant or an individual item.E2. Alternative guidelinesE2.1. The default approach presented above is not prescriptive and indeed maynot be desirable in every situation. Institutions may sometimes want to createseparate records for different impressions or for other bibliographic variants.Some may want to create separate records for each individual copy.E2.2. Numerous factors will influence the decision of when to create separatebibliographic records for variants, including: the comprehensiveness of an institution’s collections the perceived needs of the users of these collections whether and how the publication has been described in a standardbibliography whether the publication can be compared to other copies the desire for consistency with other records in the institution’s catalog the quality of the records available for use in copy cataloging the structure of any shared database to which an institution contributes itsrecords the nature of an institution’s policies, priorities, and staffing levels180 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX E. VARIATIONS REQUIRING A NEW RECORDE2.3. Within the rules, alternatives are provided that allow a cataloger to createseparate records for individual impressions, states, binding variants, or copies(see rules 2B3.2, 2B4.2, 2D2, 4H). The cataloger must be consistent in applyingthese alternative rules to all areas of the description once the decision has beenmade to apply them.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 181

APPENDIX F. TITLE ACCESS POINTSF1. IntroductionTitle access plays an important role in enabling users to identify and locatespecial collections materials. While some title access will be handled bycontrolled forms, this appendix lists specific situations, commonly encounteredby rare materials catalogers, in which the provision of uncontrolled title accesspoints is likely to be useful. Uniform titles are discussed briefly below in F3.Supplement.This appendix is not intended as an exhaustive list of all instances in whichuncontrolled title access points may be made. Use judgment in determiningwhich forms of access will be most useful for the item in hand. In general, do notinclude access points that duplicate normalized forms of existing title accesspoints (e.g., the title proper, a uniform title, etc.). Take the indexing capabilities ofthe institutionʹs local system into consideration when determining whether theadditional access points are needed.F2. Rules relevant to the provision of title access pointsThe list is presented in DCRM(M) rule number order. Title access pointsconsidered optional are labeled as such.0B1. Title properProvide access for the entire title proper exactly as transcribed, disregardinginitial articles as required by filing rules.0F1.1. Title proper in nonroman scriptIf nonroman text has been transcribed within the first five words of the titleproper, provide additional title access for a romanized version of the title properusing the ALA‐LC Romanization Tables.Transcription:平 家 物 語Additional title access:Heike monogatariDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 183

APPENDIX F. TITLE ACCESS POINTS0G2.2. Title proper with converted letters i/j or u/vIf any of the first five words in the title proper contains a letter i/j/u/v that hasbeen converted to uppercase or lowercase according to a pattern of usage thatfollows pre‐modern spelling conventions, provide additional title access for theform of the title proper that corresponds to modern orthography (i.e., using i andu for vowels, j and v for consonants, and w for consonantal vv).If it differs from title access points already provided, also provide title access forthe form of the title proper that corresponds to the graphical appearance of theletters in the source, converting the letters i/j/u/v into uppercase or lowercasewithout regard for the pattern of usage in the publication being described.Source:LES OEVVRES MORALES DE PLVTARQVETranscription:Les oeuures morales de PlutarqueAdditional title access (normalized modern):Oeuvres morales de PlutarqueAdditional title access (converted graphical):Oevvres morales de Plvtarqve0G2.3. Latin title proper with final capital I representing iiIf any of the first five words in the title proper is a Latin word with a final capitalI that has been retained in the transcription, provide additional title access for theform of title proper with the final capital I converted to ii.Source:M. AccI Plauti quae supersunt ComoediaeTranscription:M. AccI Plauti quae supersunt ComoediaeAdditional title access:M. Accii Plauti quae supersunt Comoediae184 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX F. TITLE ACCESS POINTS0G3.7. Title proper containing characters as substitutes for letters (Optional)If a title proper contains hyphens or other characters as substitutes for letters,and the meaning of the characters is known, provide additional access to thedecoded form of the title.0G4.2. Title proper with inserted spacingIf any spacing has been inserted in the transcription of the first five words of thetitle proper, provide additional title access for the form of title with the wordsclosed up.Source:LAMORTE DʹORFEOTranscription:La morte d'OrfeoAdditional title access:Lamorte d'Orfeo0G6.4. Title proper with an interpolated blankIf a blank space intended to be filled in manuscript has been transcribed withinthe first five words of the title proper as the word “blank” enclosed in squarebrackets, provide additional title access for the form of title proper without theinterpolated blank, as well as access for the words written in by hand, ifconsidered useful.Transcription:Magnificat in [blank]Additional title access:Magnificat inAdditional title access:Magnificat in re mineur0G7.1. Title proper with corrected misprintIf any of the first five words in the title proper contains a misprint that has beencorrected in the transcription through the insertion of [i.e. ...], provide additionalDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 185

APPENDIX F. TITLE ACCESS POINTStitle access for the form of title proper as it appears in the source, without thecorrection. In addition, provide title access for the form of title as if it had beenprinted correctly.Source:Six quatuor à flute, violon, taille & basse, obligésTranscription:Six quatuor [i.e. quatuors] à flute, violon, taille & basse,obligésAdditional title access (without interpolation):Six quatuor à flute, violon, taille & basse, obligésAdditional title access (with correct spelling):Six quatuors à flute, violon, taille et basse, obligésIf any of the first five words in the title proper contains a misprint that has beenqualified in the transcription by the insertion of [sic], provide additional titleaccess for the form of title proper without the [sic]. In addition, provide titleaccess for the form of title as if it had been printed correctly.Source:Of the knowledeg whiche maketh a wise manTranscription:Of the knowledeg [sic] whiche maketh a wise manAdditional title access (without interpolation):Of the knowledeg whiche maketh a wise manAdditional title access (with correct spelling):Of the knowledge whiche maketh a wise man0G7.1. Title proper with non‐standard orthography (Optional)If the title proper contains words spelled according to older or non‐standardorthographic conventions, provide additional title access for the title spelledaccording to modern orthography.186 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX F. TITLE ACCESS POINTS0G7.2. Title proper with approximated lettersIf any of the first five words in the title proper contains two letters used toapproximate a third letter, provide additional title access for the form of titleproper with the letters transcribed as set.Source:Die rveysse der Messz vnnd Geniessung des hochwirdigē SacramentsTranscription:Die Weysse der Messz vnnd Geniessung des hochwirdige[n]SacramentsAdditional title access:Rveysse der Messz vnnd Geniessung des hochwirdigen Sacraments0G8.2. Title proper with special marks of contraction (Optional)If the title proper contains a cataloger’s expansions of special marks ofcontraction, provide additional title access for the title as it appears in thepublication, ignoring the marks of contraction. In addition, provide title accessfor the transcribed form of the title proper, but without the square brackets.Transcription:Compendiu[m] musices confectu[m] ad facilioru[m] instructione[m]cantu[m] chorale[m] discentiu[m]Additional title access (without expansion):Compendiu musices confectu ad facilioru instructione cantuchorale discentiuAdditional title access (without square brackets):Compendium musices confectum ad faciliorum instructionem cantumchoralem discentium0G10. Title proper with initials, etc. (Optional)If the title proper contains initials, initialisms, or acronyms with internal spaces,provide additional title access for the title with the spaces closed up. Conversely,if the title proper contains initials, initialisms, or acronyms without internalspaces, provide title access for the title with the spaces inserted.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 187

APPENDIX F. TITLE ACCESS POINTS1B1.1. Title proper with transposed elements (Optional)If an element appearing before the title proper on the title page has beentransposed, provide additional title access for the title inclusive of the precedingelement. If the preceding element has not been transposed, so that the titleproper includes it, provide additional title access for the title without thepreceding element.If elements of the title proper have been transposed to permit a logical reading ofthe title proper, provide additional access for the title in its untransposed form.1B3.2. Title proper inclusive of an alternative title (Optional)Provide additional title access for an alternative title.1B6. Title proper with supplementary or section title (Optional)Provide additional title access for a title that is supplementary to, or a section of,another work when both titles, whether or not grammatically separable, arerecorded together as the title proper. If the supplement or section title is a titlesuch as “Supplement” or “Chapter one,” however, and so is indistinctive anddependent for its meaning on the main title, generally do not provide additionalaccess.1C. Parallel titles (Optional)Provide additional title access for a parallel title.1E14. Phrases about notes, appendixes, etc. (Optional)Provide additional title access for phrases concerning notes, appendixes, etc., ifthe phrase is distinctive and the additional access seems useful.1F1‐1F2. Titles of additional works (Optional)For other than supplementary matter, provide access for the titles of additionalworks named on a title page without a collective title. Also, selectively provideaccess for titles of additional works found in such a publication although notnamed on the title page.188 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX F. TITLE ACCESS POINTS6B1. Title proper of series (Optional)Provide access for the series title proper exactly as it appears on the publication,unless title access is provided using a uniform series title.7B4‐7B5. Title variants and other titles (Optional)Provide additional access for cover titles, added title page titles, caption titles,half titles, running titles, spine titles, first line of text (when deemed important)and significant other title information.7B11. Titles of accompanying material (Optional)Provide additional access for any separate title on accompanying materialdeemed useful.7B19. Copy‐specific titles (Optional)Provide additional access for copy‐specific titles, such as a binder’s title.F3. Supplement. Music name/uniform and uniform titlesWhile the title proper (or other variant title) is the best way to access a particularedition of a musical work or works, it is often less useful in finding all theeditions, arrangements, etc. of that work. Because much music is primarily nontextualin nature, musical works are often not named by a unique title, but by amusical form or genre (e.g., symphony, concerto) with perhaps a musical keydesignation, and a numberic designation (either by opus number or ordinaryserial number). This title may appear in any language, depending on thepublisher of the work, and may be different in manuscript music than in its firstpublication. To add to the confusion, numerous well‐known musical works alsohave textual “nicknames”, as in Beethoven’s Symphony no. 3, which is known asthe “Eroica”. Even with vocal music, which usually has a distinctive title (i.e., nota generic form/type), the large number of works that appear either in translationalone or with both the original text and the translation in one edition, causelanguage to become an issue. In addition, the form/genre as title (known as acomposition type) may present its elements in different order, or there may beseveral works with the same title (even by the same composer.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 189

APPENDIX F. TITLE ACCESS POINTSUsing Beethoven’s third symphony as an example, the following list shows avariety of ways in which its title proper can appear, mainly in the Englishlanguage:Symphony no. 3Symphony number 3Third symphony3rd symphonySymphony, op. 55Eroica symphonySinfonia eroicaThese examples do not include any optional additions of key (E‐flat major) orinstrumentation (e.g., for orchestra).To bring together all the manifestations of a particular musical work and todifferentiate between works with similar or identical titles, AACR2 and RDAprovide means to create uniform titles and name/uniform titles. AACR2, chapter25.1A describes the purpose of uniform titles:Uniform titles can be used for different purposes. The provide the means: for bringing together all catalogue entries for a work when variousmanifestations (e.g., editions, translations) of it have appeared under varioustitles; for identifying a work when the title by which it is known differs from thetitle proper of the item being catalogued; for differentiating between two or more works published under identicaltitles proper; for organizing the file.Use of uniform titles is optional in AACR2, but they are used by most musiccatalogers and are generally considered necessary, except when the uniform titlewould mirror exactly the title proper. The use of uniform titles with DCRM(M) isstrongly encouraged.Fully established name/uniform title authority records (i.e., the composer’s namelinked with the title), are available from the Library of Congress name authorityfile. For guidance in creating new uniform titles, see AACR2, Chapter 25.25.Guidance on deciding whether a name is a composition type or a distinctive title190 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX F. TITLE ACCESS POINTSis available in MLA’s Types of Composition for Use in Music Uniform Titlesdocument, accessible via LC’s Cataloger’s DeskTop or directly from its Websiteat . Furtherinstruction and in‐depth analysis is available in Koth’s Uniform Titles for Music 30or any manual on cataloging music according to AACR2.30Koth, Michelle S. Uniform Titles for Music. Lanham, Md.: Scarecrow Press; [Middleton,Wisc.]: Music Library Association, 2008.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 191

APPENDIX G. EARLY LETTER FORMS AND SYMBOLSG1. IntroductionThis appendix provides guidance for transcription of archaic letter and characterforms, including marks of punctuation, and archaic conventions of contraction.Although this appendix cannot be exhaustive, it is intended to provide sufficientguidance for the most common occurrences, and to give a basis for judgment inambiguous situations. For transcription of characters commonly found insignature statements that cannot be reproduced using available typographicalfacilities, see 7B9.2.G2. Early letter forms and symbolsAccording to the instructions for transcription in rule 0G1.1, earlier forms ofletters and symbols are converted to their modern forms.Early letter forms and symbolsSource Transcription Example Transcription ofexampleNotesdijkMDrdethealijsooghelijckMDCCVforLigatured italic ij maylook like ÿTypical in early FrenchsignaturesInverted C used toform Roman numeralM or D is called anapostrophuss refuse Long s (an f has acrossbar on the stem;the bar on a long s, ifpresent, extends fromone side only)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 193

APPENDIX G. EARLY LETTER FORMS AND SYMBOLSssdesssz desz Long s and z arespaced normally, noligature‐ West‐Ridingomůss¨ Büche Superscript efunctioning as anumlaut&&c.G3. Early contractionsAccording to the instructions for transcription in rule 0G8.2, symbols ofcontraction used in continuance of the manuscript tradition are expanded to theirfull form, with cataloger‐supplied letters or words enclosed in square brackets.The values of many contractions are dependent on context, with the mostcommon values provided here.Early contractionsSource Transcription Example Transcription ofexampleNotes[missingletter(s)][ae][Christus][con]co[n]summatu[m]D[omi]n[u]sh[ae]c[con]cor[di]aOver a vowel, usuallyn or m; over aconsonant, oftenreplaces several lettersA contraction usingboth Greek and Latinletters194 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX G. EARLY LETTER FORMS AND SYMBOLS[es][ius][us][habet][hoc][per][par][pro][pri][quam][quan][que][qui][quia][quo][quod][recta][rum][scilicet][sed][th]statut[es]Ross[es]cu[ius]ei[us]su[per][par]ticulari[bus][pro]pter[pri]mavn[quam][quan]tumquo[que]Herculeae[que]quos[que][qui]b[us]quo[rum]libro[rum][the][that]A highly versatilesymbol; see also, forexample, ʺ[habet],ʺʺ[que],ʺ ʺ[scilicet]ʺ andʺ[sed]ʺ belowWhen y is used torepresent the OldEnglish/Icelandiccharacter þ [thorn],enclose th plusadditional letters insquare brackets.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 195

APPENDIX G. EARLY LETTER FORMS AND SYMBOLS[ur][us][bus][ver]nascunt[ur]reb[us][par]ticulari[bus][ver]tuosoSuperscript; a similarcharacter at baselinerepresents ʺ[con]ʺG4. Letters i/j and u/vG4.1. Historical background. Some knowledge of the history of printing as itapplies to the letters i/j and u/v is helpful when applying the provisions of 0G2.2.Until the early seventeenth century, the standard Latin alphabet contained 23letters. The letters we know as i and j were considered different minusculeshapes (or graphs) of the same letter, as were the letters u and v. The letter w wasnot part of the standard Latin alphabet. A printer’s choice for the u graph inpreference to the v graph (or the i to the j) depended on its placement in a wordand was governed by convention. Conventions varied somewhat from printer toprinter, but often reflected national and regional preferences. While there werevariant graphs for lowercase letters, in the pre‐modern distribution there wasonly one graph for each of these letters used as capitals: I (with the gothic formresembling a modern J), and V (with the gothic form resembling a modern U).For example, = Iacob; = Vnspotted (capitalized as the first wordof a title).The dominant patterns in use before the seventeenth century were: i used in the initial, medial, and final position, without signifying vocalic orconsonantal use; e.g., iustice (modern form: justice) j used in the medial or final position only after a preceding i (more typical onthe European continent), signifying vocalic use; e.g., commentarij (modernform: commentarii) u used in the initial, medial or final position, without signifying vocalic orconsonantal use; e.g., oeuures (modern form: oeuvres) v used in the initial position, without signifying vocalic or consonantal use;e.g., vtilita (modern form: utilita) I used in all positions, without signifying vocalic or consonantal use; e.g.,Iuan (modern form: Juan)196 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX G. EARLY LETTER FORMS AND SYMBOLS V used in all positions, without signifying vocalic or consonantal use; e.g.,Vrsprung (modern form: Ursprung)A gradual shift took place over time, from the late fifteenth century through themiddle of the seventeenth century, with U/u coming to phonetically signify avowel and V/v to signify a consonant, regardless of case or position in the word.Likewise with i and j, although the shift was more irregular, with I/i coming tophonetically signify a vowel and J/j a consonant. In the modern 26‐letter Latinalphabet, i and j and u and v are all considered separate letters.G4.2. Transcription. As instructed in rule 0G2.2, when the rules for capitalizationrequire converting i/j or u/v to uppercase or lowercase, 31 the music cataloger is touse the following conversion table. 32Uppercase letter to be convertedI (vowel or consonant) anywhere in word 33II at end of wordII elsewhere in wordV (vowel or consonant) at beginning of wordV (vowel or consonant) elsewhere in wordVV representing single letter 34Lowercase conversioniijiivuvvLowercase letter to be convertedUppercase conversion31An uppercase J or U in the source signals a modern distribution, in which i and j arefunctioning as separate letters, as are u and v, requiring no special consideration whileconverting case.32This table is presented as the “solution of last resort” in DCRM(B) and DCRM(S). Becausemusic often has little text and existing text is often in a variety of typefaces (including decorativeones), there is rarely sufficient text to establish patterns of usage. Therefore, it is presented here asthe primary guidline for transcription.33Do not convert a final uppercase I meant to represent an ii ending (see 0G2.3).34This must be distinguished from VV or vv as a combination of a vowel and a consonant asin the examples VVLT or vvlt (vult, “he wants”) and VVA or vva (uva, “grape”).Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 197

APPENDIX G. EARLY LETTER FORMS AND SYMBOLSi (vowel or consonant) anywhere in wordj (vowel or consonant) anywhere in wordu (vowel or consonant) anywhere in wordv (vowel or consonant) anywhere in wordvv representing single letter 34IIVVVVG5. Letter wG5.1. Historical background. The representation of the letter w is not to beconfused with the developments of the u/v graphs. The w graph was part of thestandard alphabet for Germanic languages. Most early printing was in Latin,shifting gradually to include a greater proportion of vernacular languagesthroughout Europe. W and w must have been scanty in cases of roman type, andthey appear to have been frequently exhausted when setting text in Dutch,English, or German. When that happened, compositors usually did one of twothings: used VV or vv to stand in for W or w, or permanently altered V or v typepieces – achieved by filing or shaving one of the serifs, often the right serif on theleft piece – so that the two type pieces would sit closely together in the forme,thereby more closely resembling a w. In early German texts, printers sometimesused a curved r followed by a v to approximate a w.G5.2. Transcription. When VV and vv graphs have been used to represent thesingle letter W or w, transcribe them as VV or vv as appropriate. When there isclear evidence of the filing of one or both pieces of type showing the intention ofcreating the W or w graph, transcribe as W or w, making an explanatory note, ifconsidered important. In cases of doubt, transcribe as VV and vv. When separaterv graphs have been used by the printer to approximate the single letter W or w,transcribe as W or w, making an explanatory note, if considered important (see0G7.2).Forms of WSource Transcription Example Transcription ofexampleNotesvvwvvholewhole198 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX G. EARLY LETTER FORMS AND SYMBOLSwweysseDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 199

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSThis appendix contains a sampling of standard references useful tobibliographers and catalogers of music material, with brief citations instandardized layouts, consisting of author(s) and a significant portion of the title.Apply brief citations in the catalog record for instances when a publishedreference contains a fuller bibliographic description or includes information thatsupports information in the record.Citation formsBerz, Ernst‐Ludwig. Die Notendrucker und ihre Verleger in Frankfurt am Main vonden Anfängen bis etwa 1630: eine bibliographische und drucktechnische Studie derMusikpublikation. Catalogus musicus, 5. Kassel: IAML and IMS, 1970.Berz, E.‐L. Die Notendrucker und ihre Verleger in Frankfurt am MainBoorman, Stanley. “Petrucci at Fossombrone: Some New Editions and Cancels.”In: Source Materials and the Interpretation of Music: A Memorial Volume to ThurstonDart, edited by Ian Bent, p. 129‐53. London: Stainer & Bell, 1981.Boorman, S. Petrucci at FossombroneBritish Library. Dept. of Printed Books. The Catalogue of Printed Music in the BritishLibrary to 1980. Editor, Laureen Baillie. London, New York: K.G. Saur; Detroit:Distributed by Gale Research Co., 1981‐British Library catalogue of printed music to 1980The British Union‐Catalogue of Early Music Printed Before the Year 1801. London:Butterworths Scientific Publications, 1957.British Union‐Catalogue of early music printed before 1801Cohen, Paul. Musikdruck und Drucker zu Nürnberg im 16. Jahrhundert erschienenenNoten‐ und Musikbucher. Nürnberg: Zierfuss, 1927.Cohen, P. Musikdruck und Drucker zu Nürnberg im 16. JahrhundertCusick, Suzanne G. Valerio Dorico: Music Printer in Sixteenth‐Century Rome.Studies in Musicology, [no. 43]. Ann Arbor: UMI Research Press, 1981.Cusick, S.G. Valerio Dorico, music printer in 16th‐century RomeDavidsson, Åke. Bibliographie zur Geschichte des Musikdrucks. Studia musicologicaUpsaliensia, nova ser., 1. Uppsala: Almqvist & Weksell, 1965.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 201

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSDavidsson, Å. Bibliographie zur Geschichte des MusikdrucksDavidsson, Åke. “Die Literatur zur Geschichte des Notendrucks.” In hisMusikbibliographische Beitrage, 91‐115. Uppsala Universitets Arsskrift, 1954, 9.Uppsala: A.B. Lundequistska Bokhandeln, 1954. (In German, translated from theSwedish by Robert Braun.)Davidsson, Å. Die Literatur zur Geschichte des NotendrucksDevriès, Anik and François Lesure. Dictionnaire des éditeurs de musique français. 2vols. in 3. Archives de l’édition musicale française, t.4. Genève: Editions Minkoff,1979‐1988.Devriès & Lesure. Dictionnaire des éditeurs de musique françaisDonà, Mariangela. La stampa musicale a Milano fino all’anno 1700. Biblioteca dibibliografia italiana, 39. Firenze: Leo S. Olschki, 1961.Donà, M. La stampa musicale a Milano fino all’anno 1700Duggan, Mary Kay. Italian Music Incunabula: Printers and Type. Berkeley:University of California Press, c1992.Duggan, M.K. Italian music incunabulaEitner, Robert, 1832‐1905, ed. Bibliographie der Musik Sammelwerke des XVI. undXVII. Jahrhunderts. Im vereine mit Frz. Xav. Haberl, A. Lagerberg und C. F.Pohl. Berlin : L. Liepmannssohn, 1877.Eitner, R. Bibliographie der Musik SammelwerkeGoovaerts, Alphonse. Histoire et bibliographie de la typographie musicale dans lesPays‐Bas. Mémoires de l’Academie Royale de Belgique, t. 29. Anvers: P. Kickx,1880.Goovaerts, A. Histoire et bibliographie de la typographie musicale dansles Pays‐BasHeartz, Daniel. Pierre Attaingnant, Royal Printer of Music: A Historical Study andBibliographical Catalog. Berkeley and Los Angeles: University of California Press,1969.Heartz, D. Pierre Attaingnant, royal printer of music202 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSHopkinson, Cecil. A Dictionary of Parisian Music Publishers, 1700‐1950. London:Printed for the Author, 1954.Hopkinson, C. Dictionary of Parisian music publishers, 1700‐1950Humphries, Charles and William C. Smith. Music Publishing in the British Isles,from the Beginning until the Middle of the Nineteenth Century: A Dictionary ofEngravers, Printers, Publishers, and Music Sellers, with a Historical Introduction. 2nded., with supplement. New York: Barnes and Noble, 1970.‐‐ also: [1st ed.] London: Cassell & Co., Ltd., 1954.Humphries & Smith. Music publishing in the British Isles (2nd ed.)International Inventory of Musical Sources. München: G. Henle, 1960‐RISM, ser. A, C 345RISM A/I, S 2847RISM B/I, 1608⁹, 1609¹³, 1611⁸, 1613RISM BII, v. 2, p. 191Kast, Paul. “Die Musikdrucke des Kataloges Giunta von 1604.” Analectamusicologica 2 (1965): 41‐71.Kast, P. Die Musikdrucke des Kataloges Giunta von 1604Kidson, Frank. British Music Publishers, Printers and Engravers: London, Provincial,Scottish, Irish, from Queen Elizabeth’s Reign to George the Fourth’s: With SelectBibliographical Lists of Musical Works Printed and Published Within that Period.London: W.E. Hill & Sons, 1900. Reprint. New York: Benjamin Blom, 1967.Kidson, F. British music publishers, printers and engraversKrummel, Donald W. Bibliographical Inventory to the Early Music in the NewberryLibrary. Chicago, Illinois. Boston, Mass.: G.K. Hall, 1977.Krummel, D.W. Bibliographical inventory to the early music in theNewberry LibraryKrummel, Donald W. English Music Printing, 1553‐1700. Bibliographical SocietyPublication for the Year 1971. London: Bibliographical Society, 1975.Krummel, D.W. English music printing, 1553‐1700Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 203

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSKrummel, Donald W. Guide for Dating Early Published Music: A Manual ofBibliographical Practices. Hackensack, N.J.: Joseph Boonin; Kassel: Barenreiter,1974.Krummel, D.W. Guide for dating early published musicLesure, François and G. Thibault. Bibliographie des éditions d’Adrian le Roy et RobertBallard (1551‐1598). Publications de la Société francaise de musicology, 2ème ser.,t.9. Paris: Heugel et Cie, 1955.Lesure & Thibault. Bibliographie des éditions d’Adrian le Roy etRobert Ballard (1551‐1598)Lesure, François and G. Thibault. “Bibliographie des éditions musicales publiéespar Nicolas Du Chemin (1549‐1576)”. Annales musicologiques 1 (1953): 269‐373.Lesure & Thibault. Bibliographie des éditions musicales publiées parNicolas Du Chemin (1549‐1576)Lewis, Mary S. Antonio Gardano: Venetian Music Printer, 1538‐1569: A DescriptiveBibliographical and Historical Study. Garland Reference Library of the Humanities,vol. 718‐719. New York: Garland Publishing, 1988‐2005. (3 v.)Lewis, M.S. Antonio Gardano, Venetian music printer, 1538‐1569Meissner, Ute. Der antwerpener Notendrucker Tylman Susato: eine bibliographischeStudie zur niederlandischen Chansonpublikation in der ersten Halfte des 16.Jahrhunderts. Berliner Studien zur Musikwissenschaft, Bd. 11. Berlin:Mersebruger, 1967.Meissner, U. Tylman Susato, eine bibliographische StudieMeyer‐Baer, Kathi. Liturgical Music Incunabula: A Descriptive Catalogue.Bibliographical Society Publication for the Year 1954. London: TheBibliographical Society, 1962.Meyer‐Baer, K. Liturgical music incunabulaThe National Union Catalog, Pre‐1956 Imprints: A Cumulative Author ListRepresenting Library of Congress Printed Cards and Titles Reported by other AmericanLibraries. Compiled and edited with the cooperation of the Library of Congressand the National Union Catalog Subcommittee of the Resources Committee ofthe Resources and Technical Services Division, American Library Association.London: Mansell, 1968‐1981.204 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSNUC pre‐1956Neighbour, O.W. and Alan Tyson. English Music Publishers’ Plate Numbers in theFirst Half of the Nineteenth Century. London: Faber and Faber, 1965.Neighbour & Tyson. English music publishers’ plate numbersPogue, Samuel F. Jacques Moderne: Lyons Music Printer of the Sixteenth Century.Travaux d’humanisme et Renaissance, 101. Geneve: Librairie Droz, 1969.Pogue, S.F. Jacques Moderne, Lyons music printerProkopowicz, Maria. “Cotages d’editeurs anterieurs à c.1850.” Fontes ArtisMusicae 14 (1967): 22‐37.Prokopowicz, M. Cotages d’editeurs anterieurs à c.1850Sartori, Claudio. Bibliografia della musica strumentale italiana stampata in Italia finoal 1700. Biblioteca di bibliografia italiana, 23, 56. Firenze: Leo S. Olschki, 1952‐1968. (2 v.)Sartori, C. Bibliografia della musica strumentale italianaSartori, Claudio. Bibliografia delle opere musicali stampate da Ottaviano Petrucci.Biblioteca di bibliografia italiana, 18. Firenze: Leo S. Olschki, 1948.Sartori, C. Bibliografia delle opere musicali stampate da OttavianoPetrucciSartori, Claudio. Dizionario degli editori musicali italiani (tipografi, incisori, libraieditori).Biblioteca bibliografia italiana, 32. Firenze: Leo S. Olschki, 1958.Sartori, C. Dizionario degli editori musicali italianiSartori, Claudio. “Nuove conclusive aggiunte alla ‘Bibliografia dal Petrucci’.”Collectanea historiae musicae 1 = Biblioteca historiae musicae cultures 2: 175‐210.Sartori, C. Nuove conclusive aggiunte alla “Bibliografia dal Petrucci”Schneider, Herbert. Chronologisch‐thematisches Verzeichnis samtlicher Werke vonJean‐Baptiste Lully (LWV). Tutzing : Schneider, 1981. (Munchen : E. Vogel)Schneider, H. Chronologisch‐thematisches Verzeichnis samtlicherWerke von Jean‐Baptiste LullyDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 205

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSSmith, William Charles. A Bibliography of the Musical Works Published by JohnWalsh During the Years, 1695‐1720. Bibliographical Publication for the Year 1941.London: Printed for the Bibliographical Society at the University Press, Oxford,1948. (Reprint: London: Bibliographical Society, 1968.)Smith, W.C. John Walsh, 1695‐1720 (1948)Smith, W.C. John Walsh, 1695‐1720 (1968)Smith, William Charles and Charles Humphries. A Bibliography of the MusicalWorks Published by the Firm of John Walsh During the Years 1721‐1766. London:Bibliographical Society, 1968.Smith & Humphries. John Walsh, 1721‐1766Smith, William Charles, assisted by Charles Humphries. Handel, A DescriptiveCatalogue of the Early Editions. 2nd ed., with supp. New York: Barnes & Noble,1970, c1960.Smith, W.C. Handel, Descriptive catalogue (2nd ed.)Sonneck, Oscar George Theodore. A Bibliography of Early Secular American Music,18th Century. Rev. and enl. by William Treat Upton. With a pref. to the Da Capoed. by Irving Lowens. New York: Da Capo Press, 1964.Sonneck‐Upton. Bibliography of early secular American musicSteele, Robert. Earliest English Music Printing: A Description and Bibliography ofEnglish Printed Music to the Close of the 16th Century. Illustrated Monographs, no.11. London: Printed for the Bibliographical Society, at the Chiswick Press, 1908.Steele, Robert. Earliest English music printingStellfield, J.A. Bibliographie des éditions musicales plantiniennes. Academie royale deBelgique. Classe des Beaux‐Arts. Mémoires, t.5. Bruxelles: Palais des Academies,1949.Stellfield, J.A. Bibliographie des éditions musicales plantiniennesToledo Museum of Art. The Printed Note: 500 Years of Music Printing andEngraving, January 14‐February 24, 1957. Toledo, Ohio: The Museum, [1957?]Toledo Museum of Art. The printed note: 500 years of music printingand engraving206 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

APPENDIX H. STANDARD CITATIONS FOR MUSIC MATERIALSVogel, Emil. Bibliothek der gedruckten weltlichen Vocalmusik Italiens aus den Jahren1500‐1700. Hildesheim: G. Olm, 1962. (2 v.)Vogel, E. Bibliothek der gedruckten weltlichen VocalmusikItaliens,1500‐1700Vogel, Emil and Alfred Einstein, François Lesure, Claudio Sartori. Bibliografiadella musica italiana vocale profana pubblicata dal 1500 al 1700. Nuova ed.,interamente rifatta e aumentata con gli indici dei musicisti, poeti, cantanti,dedicatari e dei capoversi dei testi letterari. Pomezia: Staderini, 1977. (3 v.)Vogel, E. (et al.) Bibliografia der gedruckten weltlichen VocalmusikItaliens, 1500‐1700Wolfe, Richard J. Secular Music in America, 1801‐1825: A Bibliography. Introd. byCarleton Sprague Smith. [1st ed.]. New York: The New York Public Library, 1964.Wolfe, R.J. Secular music in America, 1801‐1825Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 207

GLOSSARYThis glossary is comprised of terms pertinent to the music and musical formsfound in this manual. It also includes terms related to the cataloging anddescription of rare materials. With the exception of the music terms here takenfrom the glossary in AACR2, Appendix D, it does not repeat other terminologyfound there. In this way, it can be considered a supplement to the AACR2glossary. Moreover, the terms included here from AACR2 may have requiredsome amendment to accommodate the description of rare and special musicmaterials. Wherever AACR2 terms were insufficient to cover the terminologyneeded for this manual, definitions from other resources were used, either in anexact restatement, or slightly adapted, as needed. The sources used in compilingthis glossary are included in the “List of Works Cited”; they are identified at theend of each definition with an abbreviated citation, in parentheses.Adaptation (Music). A musical work that represent a distinct alteration ofanother work (e.g., a free transcription); a work that paraphrases parts ofvarious works or the general style of another composer; a work that is merelybased on other music (e.g., variations on a theme). (AACR2)Arrangement (Music). A musical work, or a portion thereof, rewritten for amedium of performance different from that for which the work wasoriginally intended; a simplified version of a work for the same medium ofperformance. (AACR2)Basso continuo. See ThoroughbassBibliographic description. A set of bibliographic data recording and identifyinga publication, i.e., the description that begins with the title proper and endswith the last note. (DCRM(B))Binder’s album. A collection of pieces bound together by the owner. Primarily a19th century practice. (Thorin)Binder’s title. 1. A title lettered on the cover of a collection of pieces boundtogether by owner. 2. Whatever title the binder puts on the cover of a boundscore or book, as distinct from the publisher’s original cover title (Thorin)Cancellation. A substitution for something originally printed. Usually applies toleaves but may apply to portions of leaves, pairs of leaves, or entireDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 209

GLOSSARYgatherings. The replacement leaf, etc., is called the cancel or cancellans (pluralcancels or cancellantia). The original leaf, etc., is variously called the cancelledleaf, the uncancelled leaf (if it is still present), the cancelland, or thecancellandum (plural cancellanda). (DCRM(B))Caption title. For a musical score, this is a title given immediately above theopening bars of music. (AACR2)Chief title. The distinguishing word or sequence of words that names apublication, as given on the title page (or substitute). This definition excludesalternative titles, parallel titles, other title information, and subsidiary titleinformation preceding the chief title on the title page, such exclusion resultingusually in a short title. (DCRM(B)) See also Title proper.Choirbook. A large music book made to be placed on a stand in front of a choir.Each part is notated separately, usually in the configuration that presents,when the book is open, the soprano and tenor parts on the version of a leaf,and the alto and bass parts on the recto of the next leaf; hence, the term“choirbook format”. This physical format was common in the 15th and 16thcenturies. (Thorin)Chorus score. This term is used only for works originally for solo voice(s) andchorus with accompaniment. In order for this term to be used in the physicaldescription area for a particular manifestation of a work, the item must omitthe solo voice(s), at least in those portions of the work in which the chorusdoes not sing. In addition, if the accompaniment is originally for other thankeyboard instrument, it must be either arranged for keyboard instrument oromitted; if originally for keyboard instrument, it must be omitted. This termis not used for works originally unaccompanied or for any manifestation ofan accompanied work with the original accompaniment. (AACR2)Chronogram. A phrase, sentence, or other text in which the numeric values ofcertain letters (usually distinguished typographically) express a date whenadded together. (DCRM(B))Close score. A musical score giving all the parts on a minimum number ofstaves, normally two, as with hymns. (AACR2)210 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GLOSSARYCondensed score. A musical score giving only the principal musical parts on aminimum number of staves, and generally organized by instrumentalsections. (AACR2)Continuo. See ThoroughbassCopyist’s manuscript. [placeholder]. (adapt from AMREMM?)Cover. For printed music, a folder whether attached or detached, wrappedaround the printed music, and made of substantially different material(heavier or different colored paper) than the paper on which the music isprinted. (Smiraglia) A wrapper made of material different from that usedthroughout the rest of the publication. (AACR2)Decorative title page. A title page for printed music, made of the same materialas the paper on which the music is printed, and bearing a substantialillustration (often in lieu of a cover). (Smiraglia)Device. A printed design, generally symbolic, emblematic, or pictorial ratherthan textual, used to identify a printer, bookseller, or publisher. To bedistinguished from a logo that renders a name as a stylized, primarily textualdesign.Distinctive title. 1. A title proper for a musical work that does not consist of thename of a type of composition, or of one or more names of types ofcomposition and a connector (“and” etc.), (e.g., Lincoln portrait). 2. A titleproper for a musical work that consists of the name of a type of compositionmodified by an adjective (e.g., Little suite). (Smiraglia)Edition. All copies resulting from a single job of typographical composition.(Tanselle)Excerpt. A passage of music, such as an aria from an opera or oratorio, ormovement from a symphony, which is extracted from a complete work andpublished or performed separately. (Thorin)Figured bass. See ThoroughbassFingerprint. A group of characters selected from specific locations in thepublication, which, when combined with the date of publication, etc., servesDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 211

GLOSSARYto identify a book as having been printed from a certain setting of type.(DCRM(B))Gathering. One or more pairs of leaves—made up of a folded sheet, a fraction ofa sheet, or several folded sheets tucked one inside another—that togetherform a distinct unit for binding purposes. (DCRM(B)) See also Signature.Generic title. A title proper for a musical work that consists of the name(s) of oneor more types of composition (e.g., fugue, sonata, divertimento, piece, etc.).(Smiraglia)Holograph. A manuscript in the handwriting of its author. (AMREMM)Identifying elements. Statements appearing with the title proper of a musicalwork such as serial number, opus or thematic index number, key, and date ofcomposition. (Smiraglia)Illustration. A pictorial, diagrammatic, or other graphic representation occurringwithin a publication, excepting minor decorative elements such as vignettes,head‐ and tail‐pieces, historiated initials, and printers’ ornaments.(DCRM(B))Impression. All copies produced in the course of one printing event; the term issynonymous with “printing.” (DCRM(B))Integral. 1. A leaf is integral to a gathering if it is conjugate with another leaf inthe gathering. 2. A leaf is integral to a publication if it can be assumed to bepresent in all copies represented by the bibliographic description. Leavesadded after publication by an owner (e.g., extra‐illustrated copies) or by abinder are not considered integral to the publication and thus must bedescribed in local notes. (DCRM(B))Interlinear words. Words of a text that are placed between lines (staffs) of music.(Thorin)Issue. A group of published copies which constitutes a consciously plannedpublishing unit, distinguishable from other groups of published copies byone or more differences designed expressly to identify the group as a discreteunit. (Tanselle)212 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GLOSSARYKey. “A statement of the specific tonality of a work (or at least its principalmovements) frequently introduced into the titles of those works whichordinarily consist only of the names of musical forms, e.g., sonata, symphony,etc. In most cases, the key is designated by both its pitch‐name and mode (i.e.,major, minor), but in certain modern works, the pitch‐name only is given andrepresents a predominant or recurring tonal centre rather than a specifictonality in the classical sense”. [IAML 35 , s.v. “key”] (Thorin)Label. See Publisher’s labelLeaf of plates. A plate in a publication that also has one or more leaves or pagesof text (whether preliminary text or text proper). Plates may be described interms of pages of plates if they are numbered as pages or are unnumberedand have illustrative matter on both sides. (DCRM(B)) See also Plate.Letterpress. Printing done directly from raised surfaces. Includes printing donefrom type, from wood blocks (e.g., woodcuts and wood‐engravings), andfrom metal surfaces designed for relief printing (e.g., stereotypes andelectrotypes). (DCRM(B))Librettist. The author of a libretto. (Thorin)Libretto. The literary text of an extended vocal composition, such as an opera ormusical comedy, whether or not it is published separately from the music.The libretto of a musical comedy is sometimes called its book. (Thorin)List title page. A title page for printed music that enumerates several musicalworks offered by the publisher, often with an asterisk or underscoreindicating the work contained within. (Smiraglia)Liturgical music. Music set to a text that is officially sanctioned or traditionallyaccepted for religious observance by a church or denominational body, e.g.,Mass, Magnificat, etc. The term normally excludes settings of hymns, psalms,etc., intended for congregational singing. (Thorin)Manuscript. [placeholder]. (adapt from AMREMM?)35International Association of Music Libraries. Code international de catalogage de la musique. Vol. 3:Rules for Full Cataloging, compiled by Virginia Cunningham. Frankfurt; New York: C.F. Peters,1971. Glossary of terms, compiled by Meredith Moon, p. 73‐85.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 213

GLOSSARYMedium of performance. The instruments, voices, etc., used in the realization ofa musical work. (Smiraglia)Mensural notation. [placeholder]. (adapt from New Grove?)Miniature score. A complete score, about nineteen centimeters in height, meantfor study or listening rather than for conducting or performing purposes, andsometimes including analytical or historical notes. Also called pocket score orstudy score. (Thorin)Movement. A complete section within a sonata, symphony, suite, etc., usuallyhaving its own title and/or tempo marking. When published or performedseparately, a movement is considered an excerpt. (Thorin)Musical presentation statement. A term or phrase found in the chief souces ofinformation of a publication of printed music, or a music manuscript thatindicates the physical presentation of the music, or a music manuscript thatindicates the physical presentation of the music (e.g., score, miniature score,score and parts). This type of statement should be distinguished from onethat indicates an arrangement or edition of a musical work (e.g., vocal score,2‐piano edition, version with orchestra accompaniment, chorus score).(AACR2)Notation. [placeholder] (adapt from New Grove?)Number notation. [placeholder] (adapt from New Grove?)Panel. A rectangular section formed by the creases in a single‐sheet publicationthat has been issued folded but is intended to be used unfolded. (DCRM(B))Part (Music). 1. The music for one of the participating voices or instruments in amusical work. 2. The written or printed copy of one or more (but not all) suchparts for the use of one or more performers, designated in the physicaldescription area as part. (AACR2)Partbooks. A common name for the manuscript or printed parts for 15th and16th century polyphonic music. (Thorin)Passe‐partout. A type of title page “printed from one plate which was intendedto be used again in other editions. Such plates were usually artisticallyexecuted. They contained, besides extensive decoration, such information as214 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GLOSSARYwould remain appropriate to a number of different editions, e.g., the imprint.The remaining information was added to the particular edition”.[Krummel 36 ]. (Thorin)Pasticcio. A medley or composite work. In its narrowest sense, an arrangementof tunes from favorite operas, designed to entertain audiences of theeighteenth century. (Thorin)Perfect copy. A copy of a publication that is physically complete and correctlyarranged, as issued. (DCRM(B))Piano [violin, etc.] conductor part. A performance part for a particularinstrument of an ensemble work to which cues have been added for the otherinstruments to permit the performer of the part also to conduct theperformance. (AACR2)Piano score. A reduction of an orchestral score to a version for piano, on twostaves. (AACR2)Plainsong notation. See Staff notationPlate. A leaf that is chiefly or entirely non‐letterpress, or a folded leaf of anykind, inserted with letterpress gatherings of text. A plate usually containsillustrative matter, with or without accompanying text, but may contain onlytext (e.g., an engraved title page or a folded letterpress table). (DCRM(B)) Seealso Leaf of plates.Plate number (Music). A numbering designation assigned to an item by a musicpublisher, usually printed at the bottom of each page, and sometimesappearing also on the title page. It may include initials, abbreviations, orwords identifying a publisher and is sometimes followed by a numbercorresponding to the number of pages or plates (AACR2)Pocket score. See Miniature scorePrinter’s manuscript. [placeholder]. (adapt from AMREMM?)Proof. [placeholder]. (adapt from AMREMM?)36Krummel, Donald W. Guide for Dating Early Published Music: A Manual of BibliographicalPractices. Hackensack, New Jersey: J. Boonin, 1974. Cf. p. 90‐92.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 215

GLOSSARYProvenance. [placeholder]. (adapt from RBMS thesaurus, AMREMM?)Publisher’s label. A slip bearing a revised imprint and pasted over the originalby a publisher who has bought the stock of another and reissued it in the newfirm’s name, or who, through contractual agreement is the licenside agent ordistributor for a publisher in another country. Such an imprint can also bestamped on the title page, with or intended to replace the original publisher’sname. (Thorin)Publisher’s number (Music). A numbering designation assigned to an item by amusic publisher, appearing normally only on the title page, the cover, and/orthe first page of music. It may include initials, abbreviations, or wordsidentifying the publisher. (AACR2)Score. A series of staves on which all the different instrumental and/or vocalparts of a musical work are written, one under the other in vertical alignment,so that the parts may be read simultaneously. Do not confuse with Part(Music) (AACR2)Shape‐note notation. A species of staff notation common in nineteenth‐centurytune books that uses symbols in the shapes of circles, diamonds, squares, andtriangles, which, when placed on the staff, designate degrees of the diatonicscale as well as pitches. (Thorin)Short score. A sketch made by a composer for an ensemble work, with the mainfeatures of the composition set out on a few staves. (AACR2) See alsoSkeleton score.Signature. A letter, numeral, symbol, or a group of such characters, printed atthe foot of the rectos of the first few leaves of an intended gathering for thepurpose of aiding binders in correctly assembling the sections. See alsoGathering.Skeleton score. An abbreviated score, made in the early stages in thecomposition of an opera, where only the essential instrumental lines (usually1st violin and bass) are set under the vocal line(s). (Cf. New Grove, “Verdi,Giuseppe, $4(i) Operas”)Staff notation. A method of writing music that uses horizontal lines (and spaces)which, when symbols are placed on them, indicate pitches. The most common216 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GLOSSARYform of staff notation encountered in modern times is “modern staffnotation”, using a five‐line staff with round‐shaped symbols (notes) toindicate pitches and durations. “Plainsong notation” uses a four‐line staffwith square‐shaped symbols (neumes) to indicate pitches, and is used insome editions of monophonic liturgical music of the Catholic Church(Thorin)State. A copy or a group of copies of a printed sheet or a publisher’s casingwhich differs from other copies (within the same impression or issue) of thatsheet or casing in any respect which the publisher does not wish to call to theattention of the public as representing a discrete publishing effort. (Tanselle)Study score. See Miniature scoreSuperlinear words. Words of a text that appear above the lines (staffs) of music.(Thorin)Tablature. “General name for the various early (15th to 17th century) systems ofnotation (for keyboard instruments, lute, guitar, viol, flute, etc.) in which thetones are indicated by letters, figures, or other symbols instead of notes on astaff.” [Harvard Dictionary of Music 37 , s.v. “tablature”] (Thorin)Tablebook. A large music book made to be placed on a table and displayed insuch a way that the performers can read their parts while seated or standingacross or around the table. Each part is notated separately, usually in aconfiguration that presents, when the book is open, different parts in invertedand/or inverted and/or perpendicular positions. This physical format wassometimes used for instrumental and/or vocal chamber music of the 16th and17th centuries. (Thorin)Thematic index/catalog. A bibliography of the works by a composer, usuallyarranged chronologically, usually containing reproductions of the themes orthe first few measures of each work, and sometimes including a transcriptionof the autograph score and a complete listing of published editions of eachwork. (Smiraglia)Thematic index number. A number assigned to each musical work of acomposer by the compiler of a thematic index. (Smiraglia)37Apel, Willi. Harvard Dictionary of Music. 2nd ed., rev. and enlarged. Cambridge, Mass.: BelknapPress of Harvard University Press, 1969.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 217

GLOSSARYThoroughbass. “A corruption of ‘through bass’ (in English), in the sense of onewhich is continuous, hence, an approximate translation of ‘Basso continuo’.As such, it specifically relates to a characteristic feature of the new style ofcomposition which emerged circa 1600, replacing the intermittent bass lines ofearlier music. The thorough‐bass part was usually supplemented withfigures, hence the common expression ‘Figured bass’, by which it is alsoknown, indicating the accompanying harmonies which were filled out or‘realized’ on a keyboard instrument (or lute) in extempore fashion ... togetherwith additional support from other bass (wind and/or string instruments”.[IAML 38 ] (Thorin)Title proper. The chief title of a publication, together with any title informationpreceding the chief title and any alternative title. This definition excludesparallel titles and any other title information following the chief title.(DCRM(B)) See also Chief title.Trio sonata. A type of Baroque chamber music written in three parts (two uppervoices plus a thoroughbass part). A trio sonata is normally performed by fourinstruments, e.g., two violins in the upper voices, a violoncello or bassoon toplay the bass line, and an instrument such as a harpsichord or lute to providethe realization of the thoroughbass accompaniment. For cataloging andclassification purposes, a trio sonata is considered a trio. (Thorin)Type of composition. A form of composition (e.g., sonata), a genre (e.g., abagatelle), or generic term used by many composers (e.g., piece). (Smiraglia)Variant. A copy showing any bibliographically significant difference from one ormore other copies of the same edition. The term may refer to an impression,issue, or state. (DCRM(B))Vocal score. This term is used for works originally for chorus and/or one or moresolo voices, with accompaniment. In order for this term to be used in thephysical description area for a particular manifestation of a work, the itemmust include the solo voice(s) (if any). In addition, if the accompaniment isoriginally for other than a keyboard instrument, it must be either arranged forkeyboard instrument or omitted; if originally for keyboard instrument, it38International Association of Music Libraries. Code international de catalogage de la musique. Vol. 3:Rules for Full Cataloging, compiled by Virginia Cunningham. Frankfurt; New York: C.F. Peters,1971. Glossary of terms, compiled by Meredith Moon, p. 73‐85.218 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

GLOSSARYmust be omitted. This term is not used for works originally unaccompaniedor for any manifestation or an accompanied work with the originalaccompaniment. (AACR2).Wrapper; Wrappers. See CoverDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 219

LIST OF WORKS CITEDALA‐LC Romanization Tables: Transliteration Schemes for Non‐Roman Scripts. 1997ed. Washington, D.C.: Cataloging Distribution Service, Library of Congress,1997 (and updates). http://lcweb.loc.gov/catdir/cpso/roman.htmlAnglo‐American Cataloguing Rules. Joint Steering Committee for Revision ofAACR. 2nd ed., 2002 revision. Ottawa: Canadian Library Association;Chicago: American Library Association, 2002 (and updates). (=AACR2 in“Glossary”)“Art & Architecture Thesaurus Online.”http://www.getty.edu/research/conducting_research/vocabularies/aat/Association of College and Research Libraries. Rare Books and ManuscriptsSection. Bibliographic Standards Committee. Descriptive Cataloging of RareMaterials (Books). Washington, D.C.: Cataloging Distribution Service, Libraryof Congress, 2006. (=DCRM(B) in “Glossary”)BIBCO Core Record Standards. Washington, D.C.: Program for CooperativeCataloging, Library of Congress.http://www.loc.gov/catdir/pcc/bibco/coreintro.htmlCappelli, Adriano. Cronologia e Calendario Perpetuo. Milano: Ulrico Hoepli, 1906.[6. ed.: Cronologia, Cronografia e Calendario Perpetuo. Milano: Ulrico Hoepli,1988]Cheney, C.R. Handbook of Dates for Students of English History. London: Offices ofthe Royal Historical Society, 1945. [New ed., revised by Michael Jones:Cambridge; New York: Cambridge University Press, 2004]The Chicago Manual of Style. 15th ed. Chicago: Chicago University Press, 2003.ʺCollection‐level cataloging.ʺ Cataloging Service Bulletin, no. 78 (Fall 1997), p. 8‐28.Washington, D.C.: Library of Congress, Collections Services.Describing Archives: A Content Standard. Chicago: Society of American Archivists,2004.Fingerprints = Empreintes = Impronte. Paris: Institut de Recherche et d’Histoire desTextes, 1984 [supplemented by: Nouvelles des Empreintes = FingerprintDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 221

LIST OF WORKS CITEDNewsletter, no. 1‐ (1981‐ ). Paris: Institut de Recherche et d’Histoire desTextes].Functional Requirements for Bibliographic Records. IFLA Study Group on theFunctional Requirements for Bibliographic Records. München: K.G. Saur,1998. http://www.ifla.org/VII/s13/frbr/frbr.htmGaskell, Philip. A New Introduction to Bibliography. Oxford: Oxford UniversityPress, 1972. Corrections incorporated into subsequent reprintings. [1995reprint: Winchester: St. Paul’s Bibliographies; New Castle, Del.: Oak KnollPress]International Federation of Library Associations and Institutions. InternationalStandard Bibliographic Description (ISBD). Preliminary consolidated ed. (IFLAseries on bibliographic control, vol. 31) [Munich]: K.G. Saur, 2007.MARC 21 Format for Bibliographic Data. Network Development and MARCStandards Office, Library of Congress, in cooperation with Standards andSupport, National Library of Canada. Washington, D.C.: CatalogingDistribution Service, Library of Congress, 1999 (and updates). Concise format:http://www.loc.gov/marc/bibliographic/ecbdhome.htmlMerriam‐Webster’s Collegiate Dictionary. 11th ed. Springfield, Mass.: Merriam‐Webster, 2003.Pass, Gregory A. Descriptive Cataloging of Ancient, Medieval, Renaissance, andEarly Modern Manuscripts. Chicago: Association of College and ResearchLibraries, American Library Association, 2003. (=AMREMM in “Glossary”)“RBMS Controlled Vocabularies: Controlled Vocabularies for Use in Rare Bookand Special Collections Cataloging.”http://www.rbms.info/committees/bibliographic_standards/controlledvocabularies/Roe, Kathleen. Arranging and Describing Archives and Manuscripts. Chicago:Society of American Archivists, 2005.Smiraglia, Richard P. Describing Music Materials: A Manual for DescriptiveCataloging. 3rd ed. Lake Crystal, Minn.: Soldier Creek Press, c1997.(=Smiraglia in “Glossary”)222 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

LIST OF WORKS CITEDSvenonius, Elaine. The Intellectual Foundation of Information Organization.Cambridge: The MIT Press, 2000.Tanselle, G. Thomas. “The bibliographical concepts of issue and state.” Papers ofthe Bibliographical Society of America, v. 69 (1975), p. 17‐66. (=Tanselle in“Glossary”)Thesaurus for Graphic Materials. Washington, D.C.: Cataloging DistributionService, Library of Congress, 1995. TGM II: http://www.loc.gov/rr/print/tgm2/Thorin, Suzanne E. and Carole Franklin Vidali, compilers. The Acquisition ofMusic and Sound Recordings: A Glossary. [Canton, Mass.]: Music LibraryAssociation, 1984. (MLA Technical Report, no. 11) (=Thorin in “Glossary”)VanWingen, Peter M. and Belinda D. Urquiza. Standard Citation Forms forPublished Bibliographies and Catalogs Used in Rare Book Cataloging. Incollaboration with the Bibliographic Standards Committee, Rare Books andManuscripts Section, Association of College and Research Libraries. 2nd ed.Washington, D.C.: Cataloging Distribution Service, Library of Congress, 1996.Vriesema, P.C.A. “The STCN Fingerprint.” Studies in Bibliography, v. 39 (1986), p.93‐100. http://etext.lib.virginia.edu/bsuva/sb/Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 223

INDEXSymbols& (ampersand). See Ampersands* (asterisk). See Asterisks: (colon). See Prescribed punctuation, (comma). See Prescribed punctuation‐‐ (dash). See Dashes= (equals sign). See Prescribed punctuation‐ (hyphen). See Hyphens. (period or full stop). See Prescribed punctuation? (question mark). See Question marks; (semicolon). See Prescribed punctuation/ (slash). See Prescribed punctuation/ (virgule). See VirgulesAAACR2: VIIchoosing between DCRM(M) and: X.1.2relationship to DCRM(M): II.1, III.2.5special collections cataloging: Appendix A8used in conjunction with DCRM(M): II.1, Appendix B4Abbreviations: 0G8. See also Spacingon dissertations: 7B14in place of publication: 4B4–4B5of two or more letters: 0G10.2Abridgment of information. See OmissionsAcademic degrees, memberships, etc.: 1F8Academic dissertations. See Dissertations, notes onAccess, restrictions on: Appendix B4 (506)Access points: III.2.3. See also Added entries; Headings; Main entries; Titleaccess pointsAccompanying material: 5Egeneral rules: 5E1notes on: 5E1.2, 5E2, 7B12standard number for: 8B2title access points: Appendix F2 (7B11)Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 225

INDEX (INCOMPLETE DRAFT)Acquisition, source of: Appendix B4 (541)Acronyms: VIIAcronyms (in source). See Initials, initialisms, acronyms (in source)Adaptations, notes on: 7B2.1Added entries: Appendix B4 (7XX), Appendix B5.2. See also Headings; Mainentries; Title access pointsnotes justifying: 7A1.5, 7B20.1.1Added title pages: 5B14.3, Appendix F (7B4‐7B5)Additional titles. See Other title informationAddresses, transcription of publisher’s, etc.: 4B11, 4C4Advertisements: 5B5, 7B20.1.3ALA‐LC Romanization Tables: 7B10.8, Appendix F2 (0F1.1)Alphabets, nonroman. See Nonroman scriptsAlternative rules: IV, Appendix E2.3. See also Optional treatments in rulesin the edition area: 2B3.2, 2B4.2, 2D2in the publication area: 4Hin transcription: 0G3.1, 0G4.1Alternative titles: 1B3.2, 1B7.2, Appendix F (1B3.2)Alternative treatments in rules. See Optional treatments in rulesAmpersands: 0G8.2, Appendix G2Anglo‐American Cataloguing Rules. See AACR2Announcements: 1A2.2Apostrophes, transcription of: 0G3.2Apostrophus: Appendix G2Appendixes, subsidiary texts, etc.: 1F14, 2C3, Appendix F (1E14)Arabic numerals: 5B13.1multiple sequences of numbering: 5B11.1in physical description area: 5B1.6in series numbering: 6G1.2substitution for nonroman numeric sequence: 7B10.7unnumbered pages: 5B8.1vs roman numerals in dates: 4D2.1vs spelled out numerals: 6G1.2Archaic place names: 4B3Archival collections: Appendix B1.4Areas of description. See Edition area; Musical presentation statement area;Note area; Physical description area; Publication, distribution, etc. area;Series area; Standard number and terms of availability area; Title andstatement of responsibility areaArrangement (of collections): B3.2226 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)Articles (part of speech): Appendix F2 (0B1)Artistic form, notes on. See Notes: Nature, scope or artistic form of itemAsterisks in names: 0G3.7Attributions, notes on: 7B6.3Author statement. See Statements of responsibilityAvailability, terms of. See Terms of availabilityBBDRB: Preface, Appendix A9BIBCO Core Records Standards: B1.3Bibliographic citations, preferred form: 7B15, Appendix HBibliographic description, definition of: GlossaryBibliographic Description of Rare Books. See BDRBBibliographic history, notes on: 2B5.1, 7B7.2, 7B13‐7B14Bibliographic level of description. See also Level of descriptionchoice of cataloging code: X.1.2collection‐level records: Appendix Bcore‐level records: Appendix Cminimal‐level records: Appendix DBibliographic variants. See VariantsBibliographic volumes different from physical volumes: 5B16Binderʹs titles: Appendix F2 (7B19). See also Titles: variantsBindingheight different from publication: 5D1.2notes on: 5B2.3, 7B11.4, 7B20.3Blank leaves or pages: 5B1.1, 5B8.1, 5B12.1, 5B13.1, 7B11.1Blank spaces: 0G6.4for initial letters: 0G7.3within title proper: Appendix F2 (0G6.4)ʺBound withʺ notes. See Notes: ʺWithʺ notesBroadsides (broadsheets). See Single‐sheet publicationsʺBy the composer of . . .ʺ See Words or phrases: as namesCCalendars, Gregorian/Julian. See Gregorian calendarCancellation, definition of: GlossaryCancelled title pages: Appendix E1.2Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 227

INDEX (INCOMPLETE DRAFT)Capital letters. See Case, conversion of; ChronogramsCapitalization: 0G2of letters I/J and U/V: 0G2.2Caption titles. See also Titles: variantas form of title proper: 1B3.4as source of information: 1B2notes on: 7B3.1title access points: Appendix F2 (7B4–7B5)Captions as prescribed sources of information: 0C3, 0DCase, conversion of: 0G2of I/J and U/V: 0G2.2of W: Appendix G5.2chi, in signature statements: 7B10.3Chief source of information: 0C. See also Sources of informationinformation taken from sources other than: 0G5.3items lacking title proper: 1B5Chief title. See also Title properdefinition of: Glossarytranscription of: 1B7.3Chronograms: 0G2.4, 4D2.2definition of: GlossaryCitation, bibliographic, preferred form of: See Bibliographic citations, preferredformCitation of collection, preferred form of: Appendix B4 (524)Collaborators. See Shared responsibility, works ofCollation, note on: 7B9.12Collection‐level records: X, X.1.1, Appendix A3, Appendix Baddition of new items: Appendix B5.2arrangement and description for: Appendix B3bibliographic elements for: Appendix B4rationale for: Appendix B1.1selection of materials for: Appendix B2Collective title, items without: 1G. See also Collective titles; Titles: devisedtitle access points: Appendix F2 (1F1–1F2)Collective titles. See also Collective title, items without; Titles: devisedtitle access points: Appendix F2 (1G1–1G8)Collector, name as main heading: Appendix B4 (1XX)Colons. See Prescribed punctuation; Punctuation in sourceColophons as prescribed source of information: 0C3, 0Dedition area: 2A2228 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)publication, distribution, etc., area: 4A2Color illustrations: 5C3notes on: 7B11.3Color printing, incunabula: 7B11.2Commas. See Prescribed punctuation; Punctuation in sourceConjectural information. See Uncertain informationConstructed titles. See Titles: devisedContent, summary of. See Summary of content, notes onContents notes: 7B17, Appendix B4 (5XX)for collections with more than one record: Appendix B5.1formatted: Appendix B4 (505)items with collective titles: Appendix B1.2items without collective title: 1Gsummary of contents: 7B16, Appendix B4 (520)title and statement of responsibility area: 1D2.3Contractions: 0G8, Appendix F2 (0G8.2), Appendix G3Conversion of case. See Case, conversion ofCopy being described. See Copy‐specific notesCopy numbers: 7B7.5, 7B20.1.3Copyright dates: 4D6, Appendix E1.3Copy‐specific information: 0Dn, 6A2.1n, 7B20.1.1Copy‐specific notes: III.2.3, VIII.2, 7B20, Appendix F2 (7B19). See also Copyspecificinformation; Local notesCore‐level records: X.1.3, Appendix A4Corrections. See Inaccuracies (in source)Countriesplace names, added to: 4B5as place of publication: Appendix B4 (008)place of publication, distribution, etc., added to: 4B1.2, 4B12.2Cover pages: 0C1.3Cover titles. See Titles: variantCovers as prescribed sources of information: 0C3, 6A2.1, 6A2.1nCurved r: Appendix G2DDCRB: VIIchanges from: Prefacecompatibility with: III.2.6Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 229

INDEX (INCOMPLETE DRAFT)DCRM(M): I.1, VIIalternative rules: IVcomments: VIII.2changes from DCRB: Prefacedetermining when use is suitable: X.1.2language preferences: Vobjectives: III.1optional local notes: VIII.2precataloging decisions: Xprinciples of construction: III.2relationship to other cataloging standards: IIscope: I.2, I.4, 0ADashes: 0G3.5, 0G3.7. See also Prescribed punctuationDate of deposit: 4D6Date of creation: 0DDate of distribution. See Date of publicationDate of manufacture: 4H. See also Date of publicationDate of printing: 4D1.1, 4D1.3Date of publication: 0C2, 4Dconjectured: 4D4on part pages: 4D8patterns for supplying conjectured: 4D5supplied from other sources: 4D3transcription of: 4D1.2Dates. See also Chronograms; Gregorian calendarcopyright: 4D6Julian/Old Style: 4D2.5not based on Julian or Gregorian calendar: 4D2.6other than publication: 4D4.2roman numerals in: 0G3.4, 0G4.1very long: 4D2.3Dedications: 1A2.2Defects. See Imperfect copiesDegrees. See Academic degrees, memberships, etc.Description, level of. See Level of descriptionDescription of collections: B3.3basis for: B5.2multiple bibliographic records: B5.1Description of item: 0B. See also names of specific areas, e.g., Edition areabasis for: 0B2230 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)notes on: 7B3required elements: 0B1Descriptive Cataloging of Rare Books. See DCRBDescriptive Cataloging of Rare Materials (Books). See DCRM(B)Detail, levels of. See Level of descriptionDevices: 1A2.2definition of: GlossaryDevised titles. See Titles: devisedDiacritical marks: 0G1Diagonal slash. See Prescribed punctuationdate of publication: 4D2.5virgules vs: 0G3.5Digital reproductions: A6Digraphs. See LigaturesDiscontinued publications: 5B7Dissertations, notes on: 7B14Distribution area. See Publication, distribution, etc. areaDistribution date. See Date of distributionDistributors. See Publishers, distributors, etc.Double leaves: 5B16Double punctuation option. See Punctuation in source: alternative transcriptionofDoubtful information. See Uncertain informationDust jackets: IX.2EE (letter of alphabet), superscript: Appendix G2Edition, date of. See Date of publicationEdition area: 2general rules: 2Bmultipart music: 2B11multivolume music: 2B11named revision: 2Dnotes on: 7B7prescribed punctuation: 2A1sources of information: 2A2special characters or numeric emphasis: 2B4Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 231

INDEX (INCOMPLETE DRAFT)statements of responsibility: 2C, 2EEdition statement. See Edition areaEdition statement lacking or doubtful: 2B5Editions. See also Edition area; Impressionsdefinition of: Glossarydetermination of bibliographic variants: X.1.4, Appendix E1Electronic location and access: Appendix B4 (856)Ellipses. See Omission, marks ofEncoding levels: X.1.3Engraved title pages: 5B14.3Entries. See Added entries; HeadingsEpigrams: 1A2.2Equals signs. See Prescribed punctuationErrata: 5B9, 7B17.1, Appendix E1.3Erroneous attributions to name, notes on. See Fictitious or incorrect information:attributions to name, notes onErrors (in source). See Inaccuracies (in source)Esszet: Appendix G2et al., use of: 1F5Excerpts. See Parts of worksExamples, conventions for: VIIIExplanatory notes. See NotesExtent: 5B. See also PaginationExtracts. See Parts of worksFFRBR: IIIFacsimiles of manuscripts: 7B15.3Fictitious or incorrect information. See also Inaccuracies (in source); Uncertaininformationattributions to name, notes on: 7B6.3.2dates: 4D2.4place of publication: 4B9publication, distribution, etc.: 4A4publisher statement: 4C5Figures. See NumeralsFinding aids: Appendix B1.2, Appendix B3.3, Appendix B4 (555)Fingerprints: 8B3232 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)definition of: GlossaryFolded leaves: 5B15, 5B16Foliation. See Leaves; PaginationForm and order of information: 0G, 1A3, 2A3, 4A3, 6A3, 7A4, 7B, 8BForm headings. See Genre/form headingsFormal notes: 7A4.3Format: 5D1.3Former owners. See Provenance, notes onFull‐level DCRM(M) cataloging: X.1.3, Appendix A2Full punctuation option. See Punctuation in source: alternative transcription ofFull stops. See Prescribed punctuationFunction, designations ofin statements of responsibility: 1F4publishers, distributors, etc.: 4A6Functional Requirements for Bibliographic Records. See FRBRGGatheringsdefinition of: Glossaryin signature statement: 7B10unnumbered leaves or pages: 5B3Genre/form headings: X.1.3, 7A1.5Grammatically inseparable elementsdate of publication: 4A3.3, 4D1.4, 4C3edition area: 2B6, 2B8illustration statements: 1E3other title information: 1E5place of publication: 4A3.3, 4A6.3.1, 4B6.4, 4B8, 4C3publisher statements: 4A3.3, 4C3series numbering: 6B2, 6G1.1sources of information: 1A2statements of responsibility: 1F3, 1F8, 1F13, 6B2, 6E1title proper: 1B1.1, 1B4, 1D2.1volume statements: 1E3Graphic processes: 5C1.5Greek characters: 7B10.3, 7B10.9. See also Nonroman scriptschart (signature statements): 7B10.9Gregorian calendar: 4D2.5, 4D2.6, 4D2.6n. See also DatesDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 233

INDEX (INCOMPLETE DRAFT)HHalf titles: Appendix F (7B4‐7B5)Hand coloring: 5C3.2, 7B19.1.3Headings: II. See also Access points; Added entries; Genre/form headings; Mainentries; Subject headings; Title access pointsencoding level requirements: X.1.3name: X.1.3in ʺWithʺ notes: 7B19.2Hebrew characters: 7B10.10. See also Nonroman scriptschart (signature statements): 7B10.10Height: 5D1. See also Size and formatHistory of itemnotes on: 7B7.1‐7B7.2user needs: III.1.3, III.2.3Holdings. See Local notesHonors. See Academic degrees, memberships, etc.Hyphens: 0G3.3, 0G3.7, Appendix G2. See also Punctuation in sourceline endings and: 0G3.6II (letter of alphabet): Appendix G4.1as Latin final capital: 0G2.3transcription of: 0G2.2, Appendix G4.2i.e., use of: 0G7.1, App. F (0G7.1)ISBD punctuation. See Prescribed punctuationISBD(A): II, III.2.5, VIIISBN: 8BISMN: 8BISSN: 6FIllumination: 7B20.1.3Illustrations: 5C. See also Color illustrations; Graphic processes; Hand coloringdefinition of: Glossarynotes on: 7B11.3other title information and statement about: 1E3Imperfect copies: IX.1. See also Incomplete items; Made‐up setsbasis for description of: 0B2.2notes on: 7B20.1Impressions: X, Appendix E. See also Issues234 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)date of: 4Gdefinition of: Glossaryedition area: 2B3notes on: 2B4.2, 2D2Imprint: See Publication, distribution, etc. areaInaccuracies (in source): 5B12dates of publication: 4D2.4, 4C5fictitious information: 4A4local notes: 7B20.1misprints: 0G7.1, 4C5, Appendix F2 (0G7)page numbering: 5B13place of publication, distribution, etc.: 4A4, 4B9, 4C5publisher statements: 4A4, 4C5statements of responsibility: 1F9Incipit. See Opening words of textIncomplete items: 5B11.3, 5B17. See also Copy‐specific notes; Imperfect copies;Made‐up setsIncunabulanotes for: 7B11.2signatures for: 7B10.1Informal notes: 7A4.4Initial articles: Appendix F2 (0B1)Initial letters, blank spaces for: 0G7.3Initial prepositions: 4B2Initials, initialisms, acronyms (in source): 0G10.1Inseparable elements. See also Grammatically inseparable elementsmusical presentation statement as inseparable element of another area: 3B2Integral, definition of: GlossaryInternational Standard Bibliographic Description (Antiquarian). See ISBD(A)International Standard Book Number (ISBN). See ISBNInternational Standard Music Number (ISMN). See ISMNInternational Standard Serial Number (ISSN). See ISSNInterpolations: 0F1.2, 0G6. See also Supplied wordsInverted letters. See Letters (alphabetic), turnedInvocations: 1A2.2Issues: X.1.4definition of: GlossaryIssuing agents. See Publication, distribution, etc. areaItem described note. See Copy‐specific notesItem‐level descriptionDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 235

INDEX (INCOMPLETE DRAFT)bibliographic variants: Appendix E1choice of cataloging code: X.1.2collection‐level description vs: X.1.1, Appendix B1minimal‐level records: Appendix D1notes on. See Copy‐specific notesJJ (letter of alphabet): Appendix G4.1transcription of: 0G2.2Joint authors. See Shared responsibility, works ofJulian calendar. See Gregorian calendarJurisdictions in place names: 4B5, 4B10.2LLCRI: II, VIILC/NACO Authority Files: X.1.3LC/SACO Authority Files: X.1.3nLabels: 4A5as source of information: 6A2.4, Appendix E1.2Lack of title. See Collective title, items without; Opening words of textLacunae: 0G6.3Lady Day dating: 4D2.5nLanguage. See also Multilingual edition statements; Multilingual itemsof adaptations, notes on: 7B2of description: 0Fof parallel musical presentation statements: 3B1.2of parallel titles: 1D2preferences in DCRM(M): VLatin final capital I: 0G2.3Latin place names. See Archaic place namesLeader and directory values: Appendix B4Leaf. See LeavesLeaf of plates, definition of: GlossaryLeaves. See also Paginationdouble: 5B16errata: 5B9, 7B17.1, Appendix E1.3folded: 5B15236 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)multiple sequences of: 5B11.4in multivolume music: 5B6of plates: 5B6, 5B14of titles, when to count as leaves: 5B14.3unnumbered: 5B8, 5B13unsigned: 7B10.3Letter forms: Appendix G1–G2Lettered sequences: 5B1.6Letterpress, definition of: GlossaryLetters (alphabetic). See also E (letter of alphabet), I (letter of alphabet); J (letterof alphabet); O (letter of alphabet), Thorn (letter of alphabet) U (letter ofalphabet), V (letter of alphabet); W (letter of alphabet)initial. See Initial lettersmodified. See Diacritical markssubstituted by punctuation: 0G3.7transcription of: 0G1.1turned: 0G7.2Levels of descriptioncollection: X.1.1, Appendix A3, Appendix Bconsiderations in choosing: X.2core: X.1.3, Appendix A4full: X.1.3, Appendix A2item: X.1.1minimal: X.1.3, Appendix A5, Appendix DLibrary of Congress Rule Interpretations. See LCRILibraryʹs holdings, notes on. See Copy‐specific notes; Local notesLigatures: 0G1.1Limitation, statement of: 7B7.3–7B7.5Line endings: 0G3.6Linking entry complexity notes: Appendix B4 (580)Local notes: VIII.2, 7B7.5, 7B19.3, 7B20. See also Copy‐specific notes; Noteson provenance: 7A1.5, 7B20.1.3, 7B20.2, Appendix B4 (561)Long s: Appendix G2Long s and z: Appendix G2Long titles: See Titles: lengthyMMachine‐readable cataloging: II.2Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 237

INDEX (INCOMPLETE DRAFT)Made‐up copies: IX.1Made‐up sets: 2B11.1‐2B11.3. See also Imperfect copies; Incomplete itemsMain entries: Appendix B4 (1XX). See also Access points; Added entriesMandatory notes. See Required notesManifestations: III.1.1, III.2.1, III.2.3. See also Editions; ImpressionsManufacturedate of: 4Hdetails of: 4A1, 4A6, 4FManufacturers: 4A6n, 4A6.2.1‐.2, 4A6.3, 4B1. See also Publishers, distributors,etc.name of: 4FManuscript collections: Appendix B1.4Manuscript musicdate, later than printed: 4D2.dates over a number of years: 4D7.1edition area: 2B1general rules: 0A, 0D, 0G6.4, 0G7.1, 0G7.3, 0G8.2note area: 7A1.4, 7B3.1, 7B4.2, 7B8, 7B11.2‐.3, 7B11.5.2‐.4, 7B13, 7B15.3, 7B16,7B18.2.1, 7B18.2.4, 7B20.1.1, 7B20.1.3, 7B20.2, 7B20.3.4, 7B20.6physical description area: 4A1, 4A2.3, 4B1.1, 4C1, 4C7, 4D6.1, 4E, 4E1, 4F1,4G, 4Hpublication, distribution, etc., area: 5B1.1, 5B1.2, 5B1.8, 5B8.1, 5B11.5, 5B12.1,5B13.1, 5B17, 5B17.3, 5D1.1, 5E1.2series area: 6B1title and statement of responsibility area: 1B5.1, 1B5.3, 1C1Maps as illustrations: 5C2MARC21 Format for Bibliographic Description: II.2, X, Appendix A1, AppendixB1.3Marks of omission. See Omission, marks ofMaterial (or type of publication) specific details area. See Musical presentationstatement areaMicroforms: Appendix A6Minimal‐level records: X.1.3, Appendix A5, Appendix DMisprints. See Inaccuracies (in source)Missing parts. See Incomplete itemsMisspelled words. See Inaccuracies (in source)Modified letters. See Diacritical marksMottoes: 1A2.2Multilingual edition statements: 2B9statements of responsibility: 2C4238 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)Multilingual items: 1F10.1. See also Languagechoice of title page as chief source of information: 0C2parallel musical presentation statements: 3B1.2parallel titles of series: 6Cpublication, distribution, etc., area: 4B13publisher statements: 4C12statements of responsibility: 1F10, 6EMultipart music: 0C2.2chief source of information: 0C2.2bibliographic volumes different from physical volumes: 5B3dates of publication in: 4D7edition statement on: 2B11multiple publisher names in: 4C8numbering in title proper: 1B4notes on: 7B3.2, 7B17.1places of publication in: 4B7sources of information: 1A2.3varying sizes: 5D3Musical notationnotes on: 7B9Musical presentation statement: 3BMusical presentation statement area: 3as an inseparable part of another area: 3B2NNames. See Statements of responsibilityNames, variant forms of. See Variant forms of nameNames of manufacturers. See ManufacturersNames of publishers, distributors, etc. See Publishers, distributors, etc.New Style calendar. See Gregorian calendarʺNewly printedʺ in edition statement: 2B2.2ʺNo more publishedʺ note: 5B7Nonarabic and nonroman numeralsin pagination: 5B1.6in signatures: 7B10.7Nonbook formats and ʺdcrmmʺ code: A7Non‐letterpress leaves or pages: 0C2.1Nonroman scripts. See also Language; RomanizationDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 239

INDEX (INCOMPLETE DRAFT)in musical presentation statements: 3B1.2in signatures: 7B10.8–7B10.11in title proper: Appendix F2 (0F1.1)notes on use of: 7B2.2ʺNot inʺ notes: 7B15.4Note area: VIII.2, 7, Appendix B4 (5XX), Appendix B4 (5XX). See also Notesform and order of information: 7A4prescribed punctuation: 7A2, 7A4.1‐7A4.2Notes: VIII.2. See also Copy‐specific notes; Local notes; Required notesaccompanying material: 7B12adaptations: 7B2attributions: 7B6.3bibliographic citations: See Notes : references to published descriptionsbinding: 7B11.4blank spaces: 0G7.3collation: 7B10.13collection‐level: B5.1contents: 7B17, Appendix B4 (5XX). See also Contents notescontractions: 7B4.2discontinued publications: 5B7dissertations: 7B14edition and bibliographic history: 7A5.1, 7B7ellipses, square brackets and virgules: 0G3.5facsimiles of manuscripts: 7B15.3false attributions: 7B6.3.3form of composition and medium of performance: 7B1form of notes: 7A4illustrations: 7B11.3incunabula: 7B11.2language and script of item: 7B2limitation, statement of: 7B7.3‐7B7.5linking entry complexity notes: Appendix B4 (580)manuscript material bound together: 7B20.4medium of performance: 7B1multipart music: 7B3.2, 7B17.1musical notation: 7B9“Not in” reference sources: 7B15.4numbers borne by item: 7B18other manifestations and works: 7A5.2other title information: 1E2.4, 7B5240 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)parallel titles: 7B5physical description: 5B1.6, 5B4.2, 7B11plates: 5B6, 5B14.3publication details: 7B8publishers numbers and plate numbers: 7B18references to published descriptions: 7A1.3, 7B15, Appendix Hrevisions: 7B7.2, 7B14series: 7B13signatures: 7B10source of description: 7B3.2source of title proper: 1B2sources of information: 7A3statements of responsibility: 1F9, 7B6summary of contents: 7B16, Appendix B4 (520)symbols: 0G1.2title or added title page counted as plate: 5B14.3transcription of letters V/W: Appendix G5.2translations: 7B2turned and approximated letters: 0G7.2variations in title: 7B4ʺWithʺ notes: 7B19, 7B20.1.3, 7B20.3.4Nouns and noun phrases. See Words or phrasesNumbering. See Multipart monographs; Pagination; Series: numberingNumbers. See also Standard numbersNumbers associated with itemnotes on. See Publishers’ numbers and plate numberswithin series. See Series: numberingNumerals: 6G1.2. See also Arabic numerals; Nonarabic and nonroman numerals;Roman numeralsOO (letter of alphabet), superscript: Appendix G2Obsolete place names. See Archaic place namesOld Style calendar. See Gregorian calendarOmission, marks of: 0G5.1, 0G6.3. See also Omissionsomit without using: 0E, 0G, 0G3.4, 0G5.2‐0G5.3, 1A2.2‐1A2.3, 1F3, 2B3.2,2B4.2, 2D2, 7A5.2, 7B19.2Omissions: III.2.2, 0G5.Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 241

INDEX (INCOMPLETE DRAFT)from chief source of information: 0G5.3, 1G3from edition statements: 2B4.2, 2B9.2, 2D2from minimal‐level records: Appendix D3.1from other title information: 1E2.4, 1E4from place of publication, distribution, etc.: 4B6.2, 4B13.2from publisher, distributor, etc.: 4C2, 4C6.2, 4C11.2from series information: 6C2, 6D2, 6E2.3, 6G3.3,6H3from statements of responsibility: 1F5, 1F8, 1F14.3from title proper: 1A2.2, 1B7.1Opening words of text: 1B5.1notes on: 7B3.1Optional treatments in rules: IV. See also Alternative rulesabridgments: 1E4, 1F5, 1F14.3, 2B9.2, 4B6.2, 4B13.2, 4C2, 4C6.2, 4C11.2, 6C2accompanying material: 5E1.2advertisements: 5B10.1date of publication, distribution, etc.: 4D2.6format: 5D1.3illustrations: 5C1.2, 5C1.4‐5C1.5, 5C2.1minimal‐level records, additions to: Appendix D3.2title access points: Appendix F2transcription in nonroman script: 0F2.2pagination: 5B5, 5B13.2physical description: Appendix B (300)relator terms: Appendix B(1XX)standard numbers: 8B, 8Dterms of availability: 8C, 8DOrder of information. See Form and order of informationOrganization and arrangement field: Appendix B4 (351)Ornaments: 5C1.3Other physical details. See IllustrationsOther title information: 1Eabridgments of: 1E4with grammatically inseparable elements: 1E5notes on: 1E2.4, 7B5other information transcribed as: 1D2.2, 1E3, 1F11.1, 1F14.1parallel titles and: 1E6series area: 6Dstatements of responsibility and: 1E2.2transcribed with title proper: 1B3.1Owners, previous. See Provenance, notes on242 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)PPagination. See also Leavescontinuous: 5B4errors in: 5B12.2expansions or corrections: 5B12general rules: 5B1incomplete publications: 5B17in more than one physical unit: 5B1.8, 5B2, 5B4, 5B5multiple sequences of: 5B5, 5B11, 5B14not continuous: 5B5unnumbered: 5B8, 5B13Panel, definition of: GlossaryParallel edition statements: 2B9, 2C4Parallel musical presentation statements: 3B1.2Parallel statements of responsibility: 1F10.2, 6E2Parallel titlesaccess points: Appendix F2 (1C)general rules: 1Dnotes on: 7B5other title information and: 1E6of series: 6C, 6H3Parentheses, use of: 0E, 4A1, 5A1, 5B4.1, 5B5, 5C1.5, 5D1.3, 5E1.2, 6A1, 7B17.2,8A1replacing square brackets in transcription: 0G3.5Partial contents. See Contents notesParts/volumes of musicdate of publication: 4D7, 4D8standard number and terms of availability area: 8B2title proper: 1B6ʺWithʺ notes: 7B19Perfect copies, definition of : GlossaryPeriodicals. See SeriesPeriods (full stops). See Prescribed punctuation; Punctuation in sourcePhrases. See Words or phrasesPhysical characteristicsevaluation of: X.2.4notes on: 7A1.5Physical description area: 5, Appendix B4 (300), Appendix B5.1notes on: 5B1.5‐5B1.6, 5B16, 7B11Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 243

INDEX (INCOMPLETE DRAFT)prescribed punctuation: 5A1Physical presentation of music. See Musical presentation statementPhysical processes: III.1.3Physical volumes different from bibliographic volumes: 5B3pi, in signature statements: 7B10.3Place namesabbreviations: 4B5modern forms of: 4B3, 4B10‐4B11in more than one language: 4B13Place of manufacture: 4A6, 4FPlace of publication, distribution, etc.: 4Bbased on address or sign: 4B11from earlier editions: 4B6.5‐4B6.6, 4C6. 4elements relating to: 4A6grammatically inseparable elements: 4B8initial prepositions with: 4B2lacking: 4B10in multivolume music: 4B7two or more: 4B6uncertain information: 4B12Platesdefinition of: Glossarynotes on: 5B6pagination: 5B14Plus signs. See Prescribed punctuation, Physical description areaPockets with accompanying material: 5E2Post‐production history: III.1.3Precataloging decisions: XPreferred citation of collection: Appendix B4 (524)Preliminariesin statements of extent: 5B1.5, 5B8.1notes on: 5B4.2as prescribed sources of information: 0C3, 2A2Prepositions with place of publication: 4B2Prescribed punctuation: II.2, 0E. See also Punctuation in sourceedition area: 2A1musical presentation statement area: 3A1note area: 7A2, 7A4.1‐7A4.2physical description area: 5A1publication, distribution area: 4A1244 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)in publications without collective title: 1G1series area: 6A1standard number and terms of availability area: 8A1title and statement of responsibility area: 1A1Prescribed sources of information. See also Chief source of information; Sourcesof informationedition area: 2A2general rules: 0Dnote area: 7A3physical description area: 5A2publication, distribution, etc., area: 4A2.1series area: 6A2.1standard number and terms of availability area: 8A2title and statement of responsibility area: 1A2.1Preservation: III.1.2Previous owners. See Provenance, notes onPrices: 1A2.2. See also Terms of availabilityPrinter. See ManufacturerPrintings. See also Impressions; Issuesas edition statements: 2B3.1ʺPrivately printedʺ statement: 4C2Privilege statements, notes on: 7A1.2Probable information. See Uncertain informationProgram for Cooperative Cataloging (PCC): C1Provenance, notes on: 7A1.5, 7B20.1.1, 7B20.1.3, 7B20.2, Appendix B4 (561)Publication, distribution, etc. area: 4, Appendix B4 (260), Appendix B5.1. See alsoDate of publication; Place of publication, distribution, etc.; Publishers,distributors, etc.manufacture vs publication: 4A6more than one: 4B6, 4C6, 4D7‐8notes on: 7B8order of elements: 4A3prescribed punctuation: 4A1sources of information: 4A2uncertain information: 4A4, 4C5Publication date. See Date of publicationPublished descriptions, notes on: 7B15Publisher statements: 4Cfrom earlier editions: 4B6.6, 4C6.3‐4fictitious information: 4C5Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 245

INDEX (INCOMPLETE DRAFT)form and order of elements: 4A3grammatically inseparable elements: 4C3missing: 4C9in more than one language: 4C12repetition of: 4C11two or more names in: 4C6Publishers, distributors, etc.: 4C. See also Manufacturersaddress of publisher: 4C2, 4C4emphasized in source: 4A6.3.2fictitious or incorrect: 4C5function: 4A6, 4A6nmore than one: 4C6supplied or conjectured: 4C9Publishersʹ devices: 4C4.2Publishersʹ numbers and plate numbers: 7B18Punctuation in source: 0G3. See also Prescribed punctuationalternative transcription of: 0G3.1substituted for letters: 0G3.7transcription of: 0G3, 0G3.1within roman numerals: 0G3.4QQuestion marks: 0G6.2Quotations: 1A2.2Quotations in notes: 7A4.2RRBMS Bibliographic Standards Committee: Preface, VII, 7A1.5RDA: Preface, VIIReference sources, notes on: 6A2.5, 7B15Reissues: 2DRequired elements: 0B1Required notes: 7A1.6. See also Note areaaccompanying material: 5E2advertisements: 5B10.2bibliographic volumes different from physical volumes: 5B3chronograms: 4D2.2246 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)collection‐level records: Appendix B4 (500)conjectural dates of publication: 4D4date of publication: 4D2.5, 4D8devised titles: Appendix B4 (500)discontinued publications: 5B7double leaves: 5B16edition statement: 2B11, 2D2(alt), 7B7.1edition statement lacking: 2B5.1errata leaves: 5B9hand colored illustrations: 5C3.2inaccuracies: 4A4, 4B9, 4C5information covered by labels: 4A5made‐up sets: 2B11.3minimal‐level records: E1.2physical description area: 5B1.5–5B1.6place of publication in multivolume music: 4B7plate numbers: 4C7publisher numbers: 4C7publisher statements: 4C8, 4C9, 4C4.1romanization: 0F2.1, 7B2.2, 7B4.1series: 7B13sources of information: 0D, 2A2, 4B12.3, 4D2.3, 4D3, 4D6, 6A2.2statements of responsibility not on title page: 1F2title page counted as plate: 5B14.3title proper: 1B2, 1B5.1, 1B5.3, 1B6, 7B3.1transposition: 1B1.3, 1F3, 2B7, 2B9, 2C2, 2C3.3, 2C4.3, 4A3.2, 4B13.1, 4C12.1,6C1, 6E1, 6G1.1, 6H1Revisionsedition statement: 2B2.1, 2Dnotes on: 7B7.2of dissertations: 7B14statements of responsibility: 2ERoman numeralsdate in: 0G3.4, 0G4.1, 4D2.1in pagination: 5B1.6, 5B11.1punctuation within: 0G3.4in series numbering: 6G1.2spacing within: 0G4.1, 4D2.1uppercase or lowercase: 0G2.1, 5B1.6Romanization: 0F1.2, 0F2, 7B2.2, 7B4.1. See also Nonroman scriptsDescriptive Cataloging of Rare Materials (Music) Version 5A Draft 247

INDEX (INCOMPLETE DRAFT)Romanization tables: 7B10.8‐.10, Appendix F2 (0F1.1)Rubrication: 7B20.1.3SScope of item, notes on. See Notes: Nature, scope or artistic form of itemScripts, Nonroman. See Nonroman scriptsSellers: 4A6nname of publisher, distributor, etc.: 4C1place of publication, distribution, etc., 4B1.1Semicolons. See Prescribed punctuation; Punctuation in sourceSeries. See also Series areanumbering: 6G, 6H2other title information: 6Dparallel titles: 6C, 6H3series statements: 6A2, Appendix B4 (4XX)series statements, more than one: 6Jstatements of responsibility: 6Estandard numbers (ISSN): 6Fsubseries: 6Htitle proper: 6B, Appendix F (6B1)Series area: 6form and order of information: 6A3notes on: 7B13prescribed punctuation: 6A1sources of information: 6A2statements of responsibility: 6EShared responsibility, works of: 1F4, 1F6sic, use of: 0G7.1, Appendix F (0G7.1)Signatures: 7B10definition of: GlossarySilent omissions. See Omission, marks of: omit without usingSine loco: 4B12.4Sine nomine: 4C10Size and format: 5DS.l. See Sine locoS.n. See Sine nomineSophisticated copies. See Made‐up copiesSources of information. See also Chief source of information; Prescribed sourcesof information248 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)covers as prescribed: 0Dn, 6A2ndust jackets: VIII.2interpolations to: 7A3title proper: 1B2Spaces. See Prescribed punctuationSpaces, blank: 0G6.4for initial letters: 0G7.3Spacing: 0G4abbreviations, initials, and initialisms: 0G10, Appendix F2 (0G10)omissions: 0G5in title proper: Appendix F2 (0G4.2)Special characters in edition statements: 2B4Special collections cataloging: Appendix A8Spelling, preferred authority for: VISpellings, variant. See Variant spellingsSquare brackets. See also Prescribed punctuationdescription of imperfect copies: 0B2.2, 0G6.3devised titles: 1B5, 1G2, Appendix B4 (245)interpolations and corrections: 0G6, 0G7.1, 0G7.3, 0G8.2, 1F9, 2B4.2, 4 passim,5B12.2, 7B9.11, Appendix G3in notes: 7A3, 7B19.2, Appendix B4 (505)pagination statements: 5B8.1, 5B11.1, 5B13.1replaced by parentheses or omitted in transcription: 0G3.5romanized text, not used with: 0F2signature statements, not used with pi/chi: 7B10.3standard number and terms of availability area, not used: 8A2symbols or characters not available: 0G1.2, 2B4.1, 7B10.2Standard Citation Forms for Published Bibliographies and Catalogs Used in Rare BookCataloging: 7B15.1Standard number and terms of availability area: 8Standard numbers: 8BState, definition of: GlossaryStatements of responsibility: 1Fin association with musical presentation statement: 3B1.3edition statement: 2Cgrammatically inseparable elements: 1F13more than one: 1F6with more than one name: 1F4named revision: 2Eomission of names from: 1F5Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 249

INDEX (INCOMPLETE DRAFT)qualifications in: 1F8series area: 6Ein series title proper: 6B2from source other than title page: 7B6.1supplying words for: 1F9transposed to title: 7B6.2Style guide, preferred authority for: VISubject headings: X.1.3, Appendix B4Subscripts: 0G9Subseries: 6HSummary of content notes: See Contents notes: summary of contentsSuperscripts: 0G9, Appendix G2Supplied titles. See Titles: devisedSupplied words. See also Interpolationsdate of publication: 4D3–4D4early contractions: Appendix G3fuller forms of place names: 4B4jurisdictions in place names: 4B5, 4B10.1modern forms of place names: 4B3, 4B10.2names of publishers, distributors, etc.: 4C9place of publication: 4B11publication, distribution, etc., area: 4A3.3statements of responsibility: 1F9Svenonius, Elaine: IIISymbols, transcription of: 0G1.2, Appendix G1‐G5TTerms of address: 1F7Terms of availability: 8D. See also PricesText, printed in a single color, notes on: 5C3.3Thesauri: 7A1.5Theses. See Dissertations, notes onThorn (letter of alphabet): Appendix G3Tint block illustrations: 5C3.1Tironian signs: 0G8.2Title access points: Appendix Ffor variant forms of title: Appendix B4 (246)Title and statement of responsibility area: 1, Appendix B4 (245), Appendix B5.1250 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)notes on: 7B3‐7B6prescribed punctuation for: 1A1sources of information: 1A2Title pageas prescribed source: 0Dlacking: 0C3multiple: 0C2.1non‐letterpress: 5B9.4single: 0C1statements of responsibility on: 1F1two or more works on: 1G1Title proper: 1B. See also Chief title, Other title information, Titlesabridgments of: 1B7alternative titles in: 1B3.2, 1B7.2approximated letters in: Appendix F2 (0G7.2)definition of: Glossaryforms of: 1B3lacking: 1B5series: 6Bsource of: 1B2, 7B3with supplementary or section title: 1B6Titlesadditional: See Other title informationalternative: See Alternative titlesbinder’s: See Binder’s titlescaption: See Caption titleschief: See Chief titlecollective: See Collective titlesdevised: 1A2.2, 1B5.1, 1B5.3, 1G2, Appendix B4 (245)half: See Half titleslengthy: 1B7.1, 7B19.2parallel. See Parallel titlesromanization of: 7B4.1series: See Seriesvariant: 7B4, Appendix B4 (246), Appendix F2 (7B4‐7B5)Transcription: 0G. See also Romanizationof archaic letter and character forms: Appendix Gneed for standardization of: III.2.2Transliteration. See RomanizationTransposition: III.2.2Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 251

INDEX (INCOMPLETE DRAFT)in edition area: 2B7, 2B9.1, 2C2, 2C3.3, 2C4.3in publication, distribution, etc., area: 4A3.2, 4B13.1, 4C12.1in series area: 6C1, 6E1, 6G1.1, 6H1in title and statement of responsibility area: 1B1.1‐.3, 1B6, 1F3, 1F10.3mark of omission and: 0Gnotes on. See Required notes: transpositiontitle access points: Appendix F2 (1B1.1)Turned letters. See Letters (alphabetic), turnedTypographical ornaments. See OrnamentsUU (letter of alphabet): Appendix G4.1transcription of: 0G2.2, Appendix G4.2Umlaut: Appendix G2Uncertain information. See also Fictitious or incorrect informationdates of publication, distribution, etc.: 4D4, 4D6.2patterns for supplying conjectural dates: 4D5place of publication, distribution, etc.: 4B12.2publishers, distributors, etc.: 4C9use of question mark: 0G6.2use of square brackets for contractions: 0G6.2Uniform titles: Appendix B4 (240)ʺWithʺ notes and: 7B18.2Unnumbered sequences, pagination of: 5B8Unnumbered series: 6H2Unpublished music. See Manuscript musicUse, restrictions on. See Access, restrictions onUser requirements: III.1VV (letter of alphabet): Appendix G4.1transcription of: 0G2.2, Appendix G4.2Variant forms of name: 7B6.5Variant forms of title. See Variant titlesVariant spellings: 0G4.3, 0G7.1Variant titles. See Titles: variant.Variants: X.1.4252 Descriptive Cataloging of Rare Materials (Music) Version 5A Draft

INDEX (INCOMPLETE DRAFT)definition of: Glossaryguidelines for creating new records: Appendix Eprecataloging decisions: X.1.4published references and: 7B15.2Virgules: 0G3.5Volume statementsnot transcribed 1A2.3transcribed: 1B4Volumesbibliographic different from physical: 5B3multiple. See Multipart musicused as other title information: 1E3WW (letter of alphabet): Appendix G4.1, Appendix G5.1transcription: 0G2.2, Appendix G5.2Width: 5D2. See also DimensionsʺWithʺ notes: See Notes: “With” notesWords or phrases. See also Opening words of textin date of publication: 4D1.3edition area: 2C3edition statement: 2B2as names: 7B6.5with place of publication: 4B2spacing between: 0G4.2spacing within: 0G4.1statements of responsibility: 1F11, 1F14Descriptive Cataloging of Rare Materials (Music) Version 5A Draft 253