This document provides a brief introduction to changes in cataloging scores and sound recordings under RDA. It discusses the transition to RDA at the Library of Congress in March 2013 and preparations by the Music Library Association. Key changes outlined include a shift from AACR2 to FRBR/FRAD principles, new fields to replace the GMD, and alterations to elements like transcription, preferred titles, and access points. The overview gives examples of RDA catalog records for scores and sound recordings.

1. A BRIEF INTRODUCTION TO
RDA FOR SCORES & SOUND
RECORDINGS
Nancy Lorimer, Stanford University

2. Scope
 What is happening currently in RDA implementation
 A very brief introduction to RDA
 Highlights of changes to score & sound recording
cataloging in RDA in the MARC21 & ISBD
environment

3. RDA Implementation
 Library of Congress Day 1 for RDA is March
31, 2013
 On this day:
 All new authority records added to the name authority file
must be RDA records
 All PCC bibliographic records must have RDA access points
 LC catalogers will catalog in RDA
 Note that this does NOT mean that all bibliographic
records (PCC or not) must be created in RDA by this
date; there is no set date for this

4. RDA Implementation
 Preparations (Music Library Association)
 RDA Music Revisions Facilitation Task Force
 Joint task force with Library of Congress & Canadian
Committee on Cataloging (CCC)
 Charged with compiling known music issues in
RDA, prioritizing & recommendations on how to address the
issue
 RDA Music Implementation Task Force
 Createmusic best practices documentation to supplement
RDA & develop official MLA workflows to be shared in the
RDA Toolkit

5. RDA: Brief Overview
 RDA = Resource Description & Access
 Based on Functional Requirements for Bibliographic
Records (FRBR) & Functional Requirements for Authority
Data (FRAD)
 A content standard—what information you provide and
how to provide it
 It is not a display standard (ISBD) or a record format
(MARC 21)

6. RDA: Brief Overview

7. RDA additions in the Toolkit
 Library of Congress Policy Statements (LCPS)
 Library of Congress Core Plus
 RDA mappings
 RDA to MARC/MARC to RDA bibliographic mapping
 RDA to MARC/MARC to RDA authority mapping
 RDA to MODS mapping
 Shared workflows & mapping created by
individuals

8. 008 & 040
 Desc field = I (for ISBD)
 040 $a LIB $b eng $c LIB $e rda

9. Transcription
 Transcribe text & punctuation as given (and do not use [sic])
245 10 …ne l’aura che trema
NOT
245 10 --ne l’aura che trema
 Do not abbreviate (unless on the resource)
300 1 score (30 pages)
NOT
300 1 score (30 p.)
 Square brackets are only used for information not on the
resource
245 10 … /$c Egon Wellesz ; herausgegeben von Hannes Heher.
NOT
245 10 … /$c Egon Wellesz ; [herausgegeben von Hannes Heher]

10. Preferred Source for Title:
Scores (2.2.2.2)
AACR2 Ch.5—Chief Source RDA—Preferred Source
 Caption  Cover
 Cover  Caption
 Colophon  Masthead
 Other preliminaries  Colophon
 Other sources

11. Preferred source for title: Sound
recordings (2.2.2.4)
 “a label bearing a title that is permanently printed on or
affixed to the resource, excluding accompanying textual
material or a container (e.g., a label on an audio CD, or a
model)
OR
embedded metadata in textual form that contains a title
(e.g., metadata embedded in an MP3 audio file)”
 No preference for collective over non-collective titles

12. Statement of Responsibility (2.4.2.2)
 “Take statements of responsibility relating to the title proper
from the following sources (in order of preference):
a) the same source as the title proper
b) another source within the resource itself
c) one of the other sources specified in 2.2.4”
245 10 … /$c Egon Wellesz ; herausgegeben von Hannes Heher.
[editor taken from caption]

13. Edition Statement (2.5)
 RDA does not have a separate music presentation statement;
defined as part of the edition statement
AACR2
250 First edition.
254 Score & parts.
RDA
250 First edition, Score & parts.
250 Study score.
250 Piano/vocal score.

14. Publication statement (2.8)
 Publication statement is a core element
 Publication statement is a separate element from
distribution or manufacturer statements; these can no
longer replace the publication statement
 If no publication statement:
 [Place of publication not identified] : $b [Publisher not
identified]
OR
[Los Angeles?] : $b [John Redford]

15. Publication date/Copyright date
 2 different elements in RDA; copyright date may not replace
the publication date
 If publication date not known:
 [Publication date not known]
OR
[2010?]
 Copyright/phonogram date is not required if a publication
date is given BUT for music, we strongly suggest you add
it, even when it is the same as the publication date.

16. Examples so far: scores
245 10 Havana rhubarb rumba : $b for 4-7 recorders / $c Keith Terrett.
260 St. Louis, MO : $b American Recorder Society, $c [2010], ©2010.
245 10 From generation to generation : $b celebration for organ solo / $c Samuel
Adler.
260 [King of Prussia, Pa.] : $b Theodore Presser Company, $c [2011], ©2011.
245 10 Ghost ranch : $b for orchestra (2006) / $c Michael Daugherty.
250 Full score, Second printing with revisions.
260 New York, NY : $b Boosey & Hawkes ; $a Milwaukee, WI : $b Distributed by
Hal Leonard Corporation, $c [2011], ©2006.

17. Changes to MARC: the 264 field
 Production, Publication, Distribution, Manufacture
and Copyright Notice
 Provides individual coding through 2nd indicators
0 = Production
 1 = Publication
 2 = Distribution
 3 = Manufacture
 4 = Copyright Notice
 The 260 field will continue to be valid

18. Examples so far: recordings
245 10 The rough guide to Ravi Shankar.
260 [London] : $b World Music Network ; $b Rough Guides, $c [2004], ℗2004.
245 10 Carmen : $b Stockholm 1954 / $c Georges Bizet ; text by Henri Meilhac &
Ludovic Halévy ; original version translated and revised by Axel Strindberg.
260 [Sweden] : $b Bluebell, $c [2008], ℗2008.

19. Where did the GMD go?
 No more GMD
 Replaced by 3 new fields:
 Content Type (RDA 6.9; MARC21 336)
 Media Type (RDA 3.2; MARC21 337)
 Carrier Type (RAD 3.3; MARC21 338)
 Controlled vocabularies listed in RDA

20. 33X Fields
 Printed score:
336 notated music $2 rdacontent
337 unmediated $2 rdamedia
338 volume $2 rdacarrier
 CD, SACD, LP, 78, etc.:
336 performed music $2 rdacontent
337 audio $2 rdamedia
338 audio disc $2 rdacarrier

21. 33X: Sound recordings (mixed content)
 Mixed content:
336 performed music $2 rdacontent
336 spoken word $2 rdacontent
336 sounds $2 rdacontent
337 unmediated $2 rdamedia
338 audio disc $2 rdacarrier

22. Extent: Score (3.4.3)
 Rule is specifically for extent of notated music & looks
very much like AACR2:
 1 score
 1 vocal score
 Terms are listed in RDA 7.20.1.3
score violin conductor part chorus score
condensed score vocal score part
study score piano score choir book
piano conductor chorus score table book
part

23. Changes to score types
 Definition of score:
 Graphical, symbolic, or word-based musical notation
representing the sounds of all the parts of an ensemble
or a work for solo performer or electronic media. Do
not confuse with Part.
 No more “p. of music”, “v. of music”
8 p. of music becomes 1 score (8 pages)
 Miniature score (AACR2) = Study score (RDA)

24. Examples so far: Scores
245 10 Havana rhubarb rumba : $b for 4-7 recorders / $c Keith Terrett.
260 St. Louis, MO : $b American Recorder Society, $c [2010], ©2010.
300 1 score (4 unnumbered pages) ; $c 28 cm
336 notated music $2 rdacontent
337 unmediated $2 rdamedia
338 volume $2 rda carrier

25. Examples so far: Scores
245 10 From generation to generation : $b celebration for organ solo / $c Samuel
Adler.
260 [King of Prussia, Pa.] : $b Theodore Presser Company, $c [2011], ©2011.
300 1 score (8 pages) ; $c 28 cm
336 notated music $2 rdacontent
337 unmediated $2 rdamedia
338 volume $2 rda carrier

26. Examples so far: Scores
245 14 The entertainer / $c Scott Joplin ; orchestration by Richard W. Sargeant, Jr.
250 Study score = Partitur.
260 [Edwardsville, IL] : $b Serenissima Music, Inc., [2011], ©2009.
300 1 study score (30 pages) ; $c 25 cm
336 notated music $2 rdacontent
337 unmediated $2 rdamedia
338 volume $2 rda carrier

27. Examples so far: Scores
245 10 Buzz : $b for clarinet in B-flat, violin, violoncello, and piano (2001) / $c James
Matheson.
260 [King of Prussia] : $b Theodore Presser Company, [2010], ©2010.
300 1 score (21 pages) + 3 parts ; $c 25 cm
336 notated music $2 rdacontent
337 unmediated $2 rdamedia
338 volume $2 rda carrier

28. Extent: Sound recordings
 No specific rules for extent for sound recording, so
follow 3.4.1.3 (Recording extent)
 Number of units + carrier term from 3.3.1.3 (Carrier
type)
1 audio disc
 May also use a term in common usage per 3.41.5
(Other terms used to designate the type of unit)
1 CD

29. Other physical characteristics
 Type of recording (3.16.2.3)
 analog
 digital
 Encoding format (3.19.3.3)
 CD audio
 SACD
 Configuration of Playback channels (3.16.8)
 mono
 stereo
 Dimensions (3.5)
 4 3/4 in. OR 12 cm

30. In MARC...
300 1 audio disc : $b digital, CD audio, stereo ; $c 4 3/4 in.
300 1 CD : $b CD audio, mono ; $c 12 cm
300 1 audio disc : $b SACD ; $c 4 3/4 in.
Future changes: The new 334 field (Sound characteristics)
will enable more granular coding of the $b. Watch for
developments.

31. Examples so far: Recordings
245 10 The rough guide to Ravi Shankar.
260 [London] : $b World Music Network ; $b Rough Guides, $c [2004], ©2004.
300 1 audio disc : $b digital, CD audio ; $c 4 3/4 in.
336 performed music $2 rdacontent
337 audio $2 rdamedia
338 audio disc $2 rda carrier

32. Examples so far: Recordings
245 10 Carmen : $b Stockholm 1954 / $c Georges Bizet ; text by Henri Meilhac &
Ludovic Halévy ; original version translated and revised by Axel Strindberg.
260 [Sweden] : $b Bluebell, $c [2008], ℗2008.
300 2 audio discs : $b digital, CD audio ; $c 4 3/4 in.
336 performed music $2 rdacontent
337 audio $2 rdamedia
338 audio disc $2 rda carrier

33. Notation (RDA 7.13)
 Required in LC Core Plus
 graphic notation
 letter notation
 mensural notation
 neumatic notation
 number notation
 solmization
 staff notation
 tablature
 tonic sol-fa

34. Notation (MARC21 546)
 MARC21 546 $b:
 The name of the alphabet, script or information code that is used to
record the language. This includes specialized codes, scripts or
typefaces (e.g., Arabic alphabet, Arabic numerals, ASCII, bar code,
BCD, braille, ciphers, Cyrillic alphabet, EBCDIC, Fraktur, Greek
alphabet, Hebrew alphabet, hieroglyphics, musical notation systems,
…
546 $b Staff notation.
546 $b Staff notation with chord symbols.
546 $b Graphic notation.

35. Access Points
 Main/added entry concept replaced by the concept
of the Authorized Access Point
 Can be for people, corporations, families, work
 Consist of preferred name and/or title and any
additions required for differentiation purposes (many
of these are required)

36. Access Points: changes for music
 No longer a rule of 3—either provide an access point
for the 1st work of a collection or all the works
 May also provide a collective access point together
with or instead of individual access points for two or
more works by the same composer.

37. Access points: Changes for music
100 1 Mozart, Wolfgang Amadeus, $d 1756-1791.
240 10 Concertos. $k Selections
245 Bassoon concerto ; $b Horn concerto no. 2 / Mozart.
300 1 audio disc : $b CD audio ; $c 4 3/4 in.
700 12 Mozart, Wolfgang Amadeus, $d 1756-1791. $t Concertos, $m bassoon,
orchestra, $n K. 191, $r B♭ major.
700 12 Mozart, Wolfgang Amadeus, $d 1756-1791. $t Concertos, $m horn,
orchestra, $n K. 417, $r E♭ major.

38. Access points: Changes for music
 “Selections” becomes “Works. Selections”
Lloyd Webber, Andrew, $d 1948- $t Selections
becomes:
Lloyd Webber, Andrew, $d 1948- $t Works. $k Selections
 “Violoncello” becomes “Cello” per LCPS 6.15.1.6
Elgar, Edward, $d 1857-1934. $t Concertos, $m violoncello, orchestra,
$n op. 85, $r E minor
becomes:
Elgar, Edward, $d 1857-1934. $t Concertos, $m cello, orchestra, $n op.
85, $r E minor

39. Access points: Changes for music
 “arr.” becomes “arranged”
Corigliano, John, $d 1938- $t Voyage, $m flute, string
orchestra; $o arr.
becomes:
Corigliano, John, $d 1938- $t Voyage, $m flute, string
orchestra; $o arranged

40. No more performer main entry?
 In AACR2, recordings that emphasized a
performer/performing group over the works were
given “performer main entry”
 In RDA (as in FRBR), a performer is a “contributor”
not a “creator”, and so cannot be a preferred
access point in a record if that is their only role

41. Relationships
 RDA extends the web of relationships

42. Relationships
 Creators/Contributors
 Relator codes found in Appendix I
 Encoded with the $e, not the $4 (code)
 Music related ones include:
 Composer (Creator)
 Librettist (Creator)
 Lyricist (Creator)
 Singer (Contributor)
 Instrumentalist (Contributor)
 Performer (Contributor)

43. Relationships
 Between works:
 Vocabulary given in Appendix J
 “Contains” = 700 12 (analytic entries)
 Other relationships can be specified in a $i
 Libretto based on (work)
 Musical setting of (work)
 Musical variations based on (work)
 Cadenza for (work)
700 1# $i Libretto based on (work): $a