^{Melanie Shaw, created: 8/23/2013; extensive updates: 9/12/2021; small updates: 2022-onward}

What is covered by this workflow:

• For Rare Music and Music Collections see: https://usulibrary.atlassian.net/wiki/spaces/ULC/pages/1438580751; mainly SCA (with some BARN locations for medium rare scores).

• For Music Score Physical Processing (binding and laminating):

  • index: https://usulibrary.atlassian.net/wiki/spaces/ULC/pages/1652359193 and: https://usulibrary.atlassian.net/wiki/spaces/ULC/pages/1329168442

  • and:

Note: I have attempted to pull out the most discovery- and selection-driven portions of the vast music cataloging rules and interpretations for cataloging our music scores. Suggestions for improvement are always welcome.

A-Score Format:

The format of a score (and parts) are very important to musicians, and this is the first thing to check when handling a score.

1. Check for Parts: if there is more than one instrument or voice:

   1. Are there separate parts tucked into the score? (will usually have one instrument or voice per part)

   2. Scores with parts will share a single barcode and will be checked out together in Sierra.

      • While checking for parts, make sure our tattle-tape hasn't been put into the score so as to glue one or more parts to the score. If so, carefully unstick glued parts from the score and cover the tattle-tape with opaque repair tape.

   3. But watch for scores with a loose page in the center of the folio: these will have pages numbered consecutively with the rest of the score: attach to the centerfold crease with clear binding tape.

      Open

      

      Continuously paged loose sheet

2. Size of the music notation

   1. Is the notation large enough to play or is it reduced notation meant for primarily for studying?

   2. Scores (with full-sized notation) are often, but not always, around 28-34 cm high.

   3. Study scores tend to have tiny musical notation & usually, reduced height: usually 25 cm or less.

3. Odd physical formats: (can always be set aside for the music cataloger to catalog):

   1. Is it one or more folded leaves, like an accordion-folded book?

   2. Is it a pile of loose leaves (or just 1) without any kind of binding?

      Open

      

      a. Accordion-folded leaf – b. Loose pages/sheets

4. Unusual musical notation

   1. Does it have regular staff notation or some other kind of music notation?

      • Most music is written in Staff notation, with a staff, key signature, time-measurement, and notes.

   2. Modern music may be written in Graphical notation, or some other unusual musical notation (and we do get a few of these per year).

   3. Is it written in Tablature notation? - Tablature can be found in Mandolin music, and similar plucked instruments.

5. If you find any other oddities that make the score difficult to catalog and/or bind, you can always set aside the score for the music cataloger.

More information & definitions of various score formats can be found in the 300 field physical description step below.

B-Tracking and Searching:

Find the Score title in the CMS item tracking base and attach barcode, if not already added

• If no barcode is attached, then:

1. Attach one barcode to the Score on the first page following the cover (if there is a cover), or on the first page, if there is no cover – never cover any musical notation or words:

   • If there are several scores and/or parts, choose one (usually the full score is biggest), and attach the barcode to its cover or first page, again making sure not to cover anything musical or useful: Scores & parts that are published together will share just one barcode.

   • Do not cover any useful identification (music, title, numbers, dates, etc.)

   • Especially do not cover up any musical symbols or staffs.

   • If not sure which item to attach the barcode to, clip it to the front of the items, or if already bound, to the front binder)

2. Enter the date and time in the Start Cataloging column.

1. Search in Sierra first:

Search the score title in Sierra both to find the order record and to look for possible duplicate score records.

• Search by title,

• by Composer name

• by keyword title + composer

• Use the limiters in Sierra side bar:

  • by date (if known): 1965

  • by location: Merrill-Cazier

  • by format: Music score

• Try scrolling down the Phrase “limiter” to look for possibilities

• If an order record (which will usually be under “book” format) is all that is in Sierra,

  • Copy the b-number, and go to step 2. Searching-OCLC-Connexion or C-OCLC Cataloging Scores

• If a previously cataloged duplicate record is found in Sierra, compare the score (and parts, if any) to the fields below:

Sierra Record Matching & Editing:

• Also in Sierra, check 337 and 338 fields for the term: unspecified and, if you have the right edition in hand, update both 337/338 fields:

• 500’s - Skim over the descriptive 5xx note fields, looking for instruments, formats, or whatever that don’t match the score in hand

  • Add a 590 local note for any Music Reference volumes (some are on subscription and will be coming in regularly). The new volume(s) will also need an internal (non-public) item note: Music Reference – and the Item Type: 3 (2-day loan) - also make sure the volumes are not to be cataloged separately

    • 590 Music Reference.

  • Add a 590 gift note, if score is from one of our legacy gift donations or a special purchases from gift funds:

    • 590 Gift of Jerome Jurinak.

  • Add a copy specific note, if needed, with some variations allowed:

    • 590 Copy two is missing the booklet.

    • 590 Copy 2: missing booklet.

• 505 - contents: if more than one piece of music is part of the score, do a quick skim or check that the 505 field titles match the contents in the item in hand. This can be useful for older score anthologies as the contents can vary between editions.

• Add a 909 field if you have made any changes or edits to the Sierra bibliographic record:

  • 909 Firstname Lastname|bYYYY-MM-DD|cEDIT|dCMS STATS

  • 909 Firstname Lastname|bYYYY-MM-DD|cEDIT|dCMS STATS|e505 ADDED, 520 ADDED ← choose 1 or both, if you have added both fields

  • You can also add your own notes in subfield z (I have used these for my smaller batch projects):

  • 909 Firstname Lastname|bYYYY-MM-DD|cEDIT|dCMS STATS|zNOTES

    • 909 Jane Jones|bYYYY-MM-DD|cEDIT|dCMS STATS|zSpicker Bound Music Project

Add an Item Record:

• Before starting, it’s a good idea to copy the LC Call Number for pasting in.

  • Go to Summary view

  • Choose Item from the drop down,

    • click on Attach New Item

Print & attach a new label (plus labels for each part) and stamp the score on the page edges, or if too narrow, the first inside page (often title page)

Check out of the CMS Tracking Airtable base

2. Searching OCLC Connexion:

Command Line Search (for a ISBN click in the Command Line Search box, and scan it in):

Or Keyword/Numeric Search:

Useful music searches in OCLC Connexion:

1. Music publisher number (028 field) - search index mn:

   • Search this first (if present):

     • Music Number is one of the most important matchpoints for scores

1. ISMN number (024 2_) – invented in 1993, so anything earlier than that won’t have one.

   • search index sn:

   • There will often be a barcode version that can be scanned on the back cover

2. ISBN book number (020)

   • To search in the Command Line: (just scan it in with no prefix needed)

   • or use Standard Number (sn:)

   • ISBN is not very common, but popular music and instructional scores will sometimes have one, instead of a music publisher number or ISMN (and some modern scores may have all three).

3. Title (245)

   • search index ti:

   • Title is the third most important matchpoint or search for scores.

4. Author (100 field)

   • search index au:

Combined search terms can be useful for prolific authors (Bach, Beethoven, etc.): especially for generic classical titles (Symphony op.#, Etudes, Romance no.#, etc.):

• author + title:

  • ti:symphony opus 51 au:brahms yr:1998

• Or author + title + format:

  • ti:symphony opus 51 au:brahms mt:sco

• Or author + title + publisher + format, if other results are still too long to page through:

  • ti:symphony opus 51 au:brahms pb:schirmer mt:sco

For further specifics and examples of searching, see the details, below, under the 028, 024, 245, & 100 field numbers, or click on the dropdowns in the OCLC Connexion Search boxes:

Order of Preference if OCLC has multiple records of an edition:

1. Always check for the correct format or edition of the score, being sure to check that the 300 field i the bib record matches the item in hand: 300/250 format of score is one of the most important matchpoints for scores.

2. Always check for Held in OCLC search results; as this usually means we already have that edition

   • which generally means it’s time to backtrack to Sierra to look for it,

   • However, if Held in a branch library, we will need to bring in a separate record from OCLC

3. Prefer DLC (Library of Congress) bibliographic records, if the same edition, format of music, etc.

   • Search results with truncated Lists will be marked with the shortened symbol of: D

   • 040 DLC ǂb eng ǂc DLC ǂd BTCTA ǂd YDXCP ǂd CNMBL ← See also field 040 in the bibs

4. We do not use records that were cataloged in a non-English language (see the 040 field & in the search results list) – the rules usually differ substantially from English language cataloging.

   • Examples

   • 040 TWNBI ǂb chi ǂc TWNBI ǂd OCLCQ ← Chinese

   • 040 RUQBL ǂb fre ǂe pn ǂc RUQBL ǂd OCLCO ← this one also has a code for the rules used: pn

5. If no DLC records exist for the same edition,

   1. look for one with the most Holdings

   2. OR, Choose the Fuller record:

   3. Check for complete records with 100, 245, 260/264, & 300 fields, a 090/050 call number, 650 subjects, and so on.

C-Cataloging scores in OCLC

LDR and 008-Fixed fields:

Music-related codes are in Dark Red

020 ISBN (International Standard Book Number)

May be used instead of, or, in addition to the ISMN and Music publisher number. Often used for anthologies of popular music and instructional scores.

024 2_ ISMN (International Standard Music Number):

Check for these on the cover, back cover, title page, and title page verso. If you find one, but it's not in the bib record, check for a better record or set it aside for original cataloging (unless it was really hard to find; in which case, the music cataloger might want to update the OCLC record, so let them know)

028 Music publisher numbers (mn):

One of the most important checkpoints (and search parameters) in music scores, if present

If the record was found by a different search, check that music publisher numbers in the record match what's on the score. If they don't, find a better record or set aside for original cataloging. If the number is missing altogether from the bib record, but your score has one, it may need original cataloging; check for a better matching record in OCLC, and if none, set aside for original cataloging.

028 on bib records, mn numbers will be entered as they are printed on the score (which may appear in multiple forms & accordingly have multiple 028 fields).

Subfield ǂb will be the music publisher or distributor

• 028 32 HN 40 ǂb G. Henle ← on title page verso with other publisher information

• 028 30 40 ǂb G. Henle ← on title page and cover

• 028 32 51480129 ǂb Hal Leonard ← a distributor number (increasingly added)

Subfield q may added for multivolume sets:

• 028 32 PWM 5694 ǂb Polskie Wydawnictwo Muzyczne ǂq (Book 5) ← multivolume set

028 First indicator shows type of publisher number:

028 2nd Indicator: most commonly is 0 (with a matching 500 note) or 2 (without a matching 500 note). Currently, whatever the 2nd indicator, all 028 fields seem to be searchable in OCLC.

Call Number

Call numbers (and subject headings) are based on the music composition type or form of music.

050/090 LC call numbers:

Most scores will fall under the M call number; M numbers need special checks and adjustments.

A smaller amount of scores will fall under ML (usually librettos) or MT (music education and theory); ML and MT call numbers are just searched against the Online Catalog LC call number index and adjusted (if needed) as usual.

Parts of a typical M call number:

Composer cutters: 1^st cutter

• Use the downloaded version below:

1. Always check Composer Cutters list for M call numbers & change the composer cutter to match or to fit similar composer names,

2. But then, always search the resulting call number in the Online Catalog first to see if our cutters require additional changes to fit in.

Place any edited call numbers in a 090 field; but don't remove the original 050 field from the record.

• Example:

• 050 00 M1500.B827 ǂb B54 1985

• 090 M1500.B837 ǂb B54 1985 (adjusted author cutter)

Title cutter: 2^nd cutter.

Classical (or Art Music) Generic Titles can have a different looking title "cutter" with an opus number, thematic index number, serial number, key, or year composed (in parentheses).

These will match numbers, keys, etc. in the uniform title. In general, use any 090/050 generic title cutter in the MARC record, only correcting minor typos.

However, if the MARC has a generic uniform/preferred title, but an ordinary title cutter, we may change it to a generic title cutter (see below for examples) using the 240 authorized/preferred title number(s). As usual, place a modified call number in an 090 field. When in doubt about a call number, check against similar call numbers in Sierra and go with the previous practice if any.

Examples of generic title cutters in preferred order of use:

049 field:

049 Building/Location Codes:

UUSA for music, even reference scores

• Regular circulating music scores use UUSA,

• OVERSIZE circulating music scores (Height: 36 cm and over; Width: 27 cm and over): UUSA

• Reference scores are currently in UUSA, but have other differences (local note, item circulation, etc.)

Music Uniform Titles or Preferred Titles (a brief guide):

To add a missing 100/240 uniform title, search the composer in the OCLC Authority File to find it.

245 Title statement:

Title is the third most important matchpoint for scores.

May be on the physical score’s title page, cover, caption, or nested into a list of publisher titles (often distinguished only by a small dot next to the title).

Check this against possible matching records carefully; there are some title variations that can mean original cataloging is needed. When in doubt ask or set aside for music cataloger.

250 Edition

• Sometimes may be a regular edition statement:

  • 250 Third edition.

• But often with scores, the edition is its format (not all bib records will have this here)

  • 250 Score & part

  • 250 Vocal score

• Can be repeated:

  • 250 Revised ed.

  • 250 High voice.

260 or 264 Publication:

• 260 Chicago : ǂb A Capella Books, ǂc ©1984. ← pre-RDA pub field

• With 264 field, more than one line may occur:

  • 264 1 [Germany] : ǂb Theodore Presser Co., ǂc [2022] ← publisher

  • 264 4 ǂc ©2022 ← copyright date

ǂb Publisher names are usually straightforward, but they have been getting tricky in recent years.

Lately, publishers of music may have been bought or merged into another publisher. Some scores may be reprinted by the new publishers with little change, except for new covers (often with the only reference to the current publisher being on the covers and only the older publisher named inside).

When in doubt, check the other match-points of the score: music publisher numbers, format of score, and if we can’t compare the new score to an original (which we usually don’t have), see how well the title and page numbers, size, etc. matches, paying special attention to missing words in either the record or item in hand. If everything matches, accept the record.

If multiple records come up, check for the best matching record, but if none matches well, set aside for original cataloging.

ǂc Publication dates can be hard to find; but copyright dates are often on the first page of music; sometimes on the back page or back cover (sometimes missing entirely). The presence of a ISMN or barcode can be a hint for at least the decade. However, reprinted music may have no useable dates: check for a record that matches other matchpoints with a recent date in brackets, before deciding to set aside for original cataloging (someone may have already done the research).

Cross check with fixed fields dates. RDA records will often have both publication & copyright date in two separate 264 fields, with two fixed fields Dates (correctly).

• 264 1 Rochestra, N.Y. : ǂb Wind Music, ǂc [1981]

• 264 4 ǂc ©1981

300 Physical description of score:

This is another important checkpoint for scores; some of which will have been found during your preliminary handling and searches of the score (and parts, if present).

There can be some variations, due to differences in pre-AACR2, AACR2, and RDA rules and definitions, but number of pages, number of parts, & sizes should match.

Examples:

• A book - sometimes, your score is cataloged as a book with lots of music (cataloger’s judgment):

• 300 xv, 303 pages : ǂb illustrations, music ; ǂc 28 cm. + ǂe piano keyboard in pocket.

  • Very common for music education, theory, and music exercises

Solo scores are treated very differently in AACR2 vs RDA (but will have same number of pages & size):

Pre-AACR2 scores may have very brief 300s: you can add known information & update on OCLC with ISBD punctuation, if you feel comfortable doing so; also you can update for import into Sierra:

A score with parts will have both scores & parts shown in the aǂ subfield:

Study scores have smaller notation & are meant more for study than performance

Selected Score Format definitions

(for fuller info, check RDA: Recording format of notated music area) & glossary

RDA physical format/genre terms for scores (required; add if missing)

Musical fields:

382 Type of Instrument/instrumentation:

Can be shown with a 500 field note or a 382 field. Generally useful to musicians, but may not always be present in a record; check if the instruments match what is present in your score, if bib has them in the 500 or 382 field. We may add them, if not already in the record, especially if the instrumentation is not referenced in the title or is unclear from the title

Example of both being used:

• 245 10 Fantasy / ǂc Seb. Godwin ; arranged by J. Scheathe.

• 500 For solo flute with piano accompaniment. ← Older, human readable version

• 382 01 flute ǂn 1 ǂb piano ǂn 1 ǂs 2 ǂ2 lcmpt ← New, machine-readable version

546 Language notes:

Any verbal language (or languages) in the score should be left as is; unless it is not in a separate 546 field; if that is the case, go ahead add a 546 field just for the language:

• 546 Latin. ← Language of lyrics/speaking parts, should be separate from notation

• May also have type of musical notation in the subfield b

• 546 ǂb Staff notation.

348 or 546 Musical notation and format:

Most musical scores are in staff notation.

Current Method (I haven’t been habitually converting to these yet)

• 300 1 score (76 pages) + 10 parts ; ǂc 31 cm

• 348 score ǂb 1007 ǂ2 rdafnm ← physical format (note: no punctuation)

• 348 part ǂb 1004 ǂ2 rdafnm ← physical format

• 348 ǂc staff notation ǂd 1007 ǂ2 rdafmn ←notation

  • terms from here:

Other RDA examples:

• 348 ǂc graphic notation ǂd 1001 ǂ2 rdafmn ←no punctuation

• 348 ǂc letter notation ǂd 1002 ǂ2 rdafmn

• 348 ǂc tablature ǂd 1008 ǂ2 rdafmn

Older Method (OCLC is still accepting these); I haven’t been updating these as yet

• 546 ǂb Staff notation. ← punctuation

• 546 ǂb Mandolin tablature.

• 546 ǂb Letteral notation. ← such as Shaker letteral notation

• 546 ǂb Graphical notation. ← often used in modern experimental music

Some may have both versions:

• 300 1 music score ; ǂc 32 cm

• 348 ǂc staff notation ǂd 1007 ǂ2 rdafmn

• 382 01 horn ǂn 1 ǂs 1 ǂ2 lcmpt

• 546 Latin.

• 546 ǂb Staff notation.

Musical Fields Chart:

It is not required to check all musical notes (and more keep getting added, or changed to another field, over time). Just glance over them for really obvious errors.

505 Contents Notes:

Can be useful to distinguish between various editions of older anthologies of music; otherwise just do a quick scan through the titles.

590 Local Notes:

Other uniform or preferred titles:

700 ǂa ǂt Name/uniform titles.

Unlike the MARC record split between 100/240, the 700 name/title combination is controllable in OCLC (if there is a matching authority record). Control what you can, (you can fix any obvious errors), but otherwise leave any uncontrolled titles in the record.

• To control one heading: click within the uncontrolled field, then click F11

• To Control all headings: Shift-F11

Uncontrolled title access is better than none.

You can skim through huge numbers of 700 uniform titles for massive scores, rather than checking each one; just do what you can to fix obvious errors.

730 Uniform title fields are also controllable in OCLC.

These lack composers, for various reasons: too many authors, or music with diffuse or unknown authorship, etc. Traditional folk music will often be treated this way.

Other preferred/uniform title examples:

Subject fields:

Subject headings, like call numbers are based on the music composition type or form of music.

650 LC subject headings

Score subject headings will usually be based on the music genre/type of composition rather than a topical subject

Score subject headings will usually be a plural form, but this is not always the case; when in doubt check Classification Web, look at the Authority Record itself in OCLC for hints, or ask.

Not all LCSH music formulations can be controlled in OCLC.

Many subject headings can be qualified with certain additions: such as instruments and numbers of instruments, or the word Arranged, even if no authority record for the combination exists.

However, some musical subject headings can't be qualified: as for instance, most popular music.

Other subject headings in music

Delete all Subject Headings with second indicators of 1, 2, 3, 4, 5, and 6.

Delete all Subject Headings in music that have second indicators of 7, Except:

Keep all FAST subject headings:

Local Fields:

907 Overlay Sierra bib field

Bib number overlay - only for items received through acquisitions, usually not used for large gift donations

• Copy/paste Sierra b-number with a period in front:

• 907 .b111111

909 Statistics/Cataloging field:

• 909 Firstname Lastname ǂb YYYY-MM-DD ǂc COPY ǂd CMS STATS <--regular copy cataloging

• 909 Firstname Lastname ǂb YYYY-MM-DD ǂc COPY ǂd CMS STATS ǂe 505 ADDED

• 909 Firstname Lastname ǂb YYYY-MM-DD ǂc COPY ǂd CMS STATS ǂe 520 ADDED

  • the last two are used whenever you do copy cataloging where you have added 505 contents or a summary (usually for thick music anthologies) to OCLC but not when they were already in the record.

• 909 Firstname Lastname ǂb YYYY-MM-DD ǂc COPY ǂd CMS STATS ǂe UPGRADED OCLC

  • Only for updgrading a record enough to change the ElLv code. i.e. K/3 (minimal) to I/[blank] (full)

• See 909 instructions for further examples:

949 Automatic Item Creation:

OCLC Constant data records: with 949 fields:

• Music Score 949

  • 949 call number ǂi barcode ǂl asjp ǂt 0 ǂx item code 1 ǂk a ǂm Check that...

• Stacksjp 949 - quite similar to the above, but without the m subfield:

  • 949 call number ǂi barcode ǂl asjp ǂt 0 ǂx item code 1 ǂk a

• OVERJP 949 (OVERSIZE scores - height: 36 cm and up; width: 27 cm and longer)

  • 949 call number ǂi barcode ǂl asszo ǂt 0 ǂx item code 1 ǂk a

• For Music Reference scores, use one of the above, based on size, but change the subfield t code to 3:

  • 949 call number ǂi barcode ǂl asjp ǂt 0 ǂx item code 1 ǂk a

  • Although most reference scores are very tall, in most cases circulation has adjusted the shelving to keep the reference scores in the general Merrill-Cazier circulating stacks.

949 Item Record: changes to make

D-Final actions:

Validate:

• Edit; Validate or Shift-F5

Update Holdings:

• Action; Holdings; Update Holdings or F8

Export:

• Action; Export or F5

Sierra Loading/importing:

• FUNCTION: Data Exchange

• Get PC and locate your exported file; choose .lfts

• Prep, Start (and make sure there is only one file exported), Close

• Export; and use the general overlay/create items (load table: LOAD/Overlay bibs & create items (.briefbiboverlay)

  • Test, then Load

    • or

  • just Load

• Delete your (3-4) Sierra files and OCLC exported file when done'

• Back to Catalog

Processing scores

Labels and barcodes:

For all scores and parts: make sure each piece has a label

• Any parts to be housed in back pockets of the score which will one item record and barcode in Sierra (plus check-in message), but all loose pieces should have labels made for them.

• Parts are noted on the last line of the label:

  • Add a temporary Volume field to the item record with pt. ← for just one part

  • Or pt.1, pt.2, etc.

  • Delete the volume field from the item before printing the label for the score.

Label templates:

• MCazier9t (Merrill-Cazier)

• MCazier8ti (Merrill-Cazier, with long call number)

• MCoversize (Merrill-Cazier OVERSIZE) – we are still using the old music oversize measurements.

  • Height: 36 cm and over

  • Width: 27 cm and over

For scores with parts, and flimsy scores, if not already bound/laminated: paperclip the labels to the front of the score; they will be applied after binding or laminating.

Set aside for binding or laminating (unless already bound)

Pamphlet Binding:

Laminating:

E-Check out of CMS Tracking Airtable

• Change Current Location to Out of Cataloging

• Fill in date for: Finished Cataloging and Out of Cataloging

F-Take down to Circulation

Selective Bibliography

newest version.

USU Libraries has not yet adopted the newest version of RDA, use the original:

Music Library Association Best Practices (MLA BP): (navigate to Resources tab of the original RDA Toolkit) or directly here:

Describing music materials : a manual for descriptive cataloging of printed and recorded music, music videos, and archival music collections : for use with AACR2 and APPM / Richard P. Smiraglia. 3rd ed. Soldier Creek Press, 1997. (no RDA information, but still useful in general)

Cataloging sheet music : guidelines for use with AACR2 and the MARC format / prepared by the Working Group on Sheet Music Cataloging Guidelines, Bibliographic Control Committee, Music Library Association ; complied [sic] and edited by Lois Schultz, Sarah Shaw. 2003. (no RDA information, but still useful)