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MLA BP
Music Library Association Best Practices for Music Cataloging Using RDA and MARC21 for Chapter 2: Identifying Manifestations and Items
MLA BP for 2.1.2.3
RESOURCE ISSUED IN MORE THAN ONE PART
This instruction applies to many kinds of music resources, including multi-disc audio recordings, scores issued with parts, sets of parts, etc. The following are guidelines for determining the basis for identifying the resource as a whole, and thereby choosing a preferred source of information, in several common cases.
Multi-part audio recordings:
a.
Generally apply b) if parts are numbered and title information is repeated on each part. If title information is not repeated, treat the individual parts as a collective source.
b.
Generally apply a) if parts are not numbered and title information is repeated on each part. If title information is not repeated, treat the individual parts as a collective source.
Scores issued with parts: Generally apply a) and treat the score (along with a cover or wrapper if present) as a source of information identifying the resource as a whole.
Sets of parts with no score: Generally apply a) if there is a cover or wrapper, and treat it as a source of information identifying the resource as a whole. If there is no cover or wrapper, select one of the parts as the source of information identifying the resource as a whole. Use judgment in making this selection, giving preference to parts that would generally appear first in score order (e.g., violin I in a string quartet, flute in a wind quintet). In both cases, apply 2.17.2.3 and make a note on the source of the title.
Books or scores issued with audio/video carriers: Generally apply a) or d) as follows:
a.
If the audio/video carrier is affixed to the cover or endpapers of the book/score, apply a) and treat the book/score as the source of information identifying the resource as a whole. Apply 2.2.2.2.
b.
If the book/score and audio/video carrier is housed together in a single container (e.g., a box containing a CD jewel case and a book) or the book/score is inserted into the container (e.g., a booklet in a jewel case), or the book/score is the same size as the audio/video carrier, apply d) and treat the audio/video carrier as the main part. Note that a booklet cover which is visible through the front of a container forms part of that container. Apply 2.2.2.3 or 2.2.2.4 as appropriate.
c.
In cases of doubt, base the decision on the perceived intent of the publisher and/or the relative importance of each component to the cataloging agency.
MLA BP for 2.1.3.2
BASIS FOR IDENTIFICATION OF THE RESOURCE--ANALYTICAL DESCRIPTION--SINGLE PART
See Best Practices 2.2.2.2 for the treatment of pages that consist of a list of titles, one of which is a title of the resource being described.
MLA BP for 2.2.2.2
PREFERRED SOURCE OF INFORMATION--RESOURCES CONSISTING OF ONE OR MORE PAGES, LEAVES, SHEETS, OR CARDS (OR IMAGES OF ONE OR MORE PAGES, LEAVES, SHEETS, OR CARDS)
Note: for printed music, cover is preferred over caption. (Under AACR2, caption was preferred over cover.)
Use cataloger's judgment in determining whether or not the resource has a cover. Generally consider a cover to be made of substantially different material (e.g., heavier or different colored paper) than the paper on which the music is printed.
If a resource is being described analytically, and has a page that consists of a list of titles, one of which is the title of the resource being described, use judgment to decide whether that page or another source (e.g., a caption) provides the best source for the description of the resource. Generally apply 2.17.2.3 and make a note on title source. Apply 2.3.2.6.2 to choose the title proper for the resource, if applicable.
MLA BP for 2.2.2.4
PREFERRED SOURCE OF INFORMATION--OTHER RESOURCES
This instruction applies to all audio carriers.
MLA BP for 2.3.1.7
TITLE PROPER--TITLES OF PARTS, SECTIONS, AND SUPPLEMENTS
MLA recommendation: Follow .
 
 
 
EXAMPLE
 
245 10Choraleworks. $n Set II, $p Ten chorale preludes for organ
 
245 10 Ouvertures per il teatro di Shakespeare. $n N. 5, $p Il racconto d'inverno : $b per orchestra
 
245 10Bolivian Baroque. $n Vol. 2, $p Music from the missions and La Plata
 
245 00Billboard #1s. $p The '70s
 
245 04The Dick Cavett show. $p Ray Charles collection
 
245 00Musical theatre for classical singers. $p Soprano
The compilations with this title for other voice ranges contain different songs.
But
245 10Songs of separation / $c William Grant Still.
250Tenor.
This piece is published in tenor and baritone versions.
 
 
 
When a score of a song or compilation of songs specifies a voice range, assume that another version for a different voice range but with the same contents exists, unless there is strong evidence to the contrary.
MLA BP for 2.3.2.8.1
OTHER ELEMENTS RECORDED AS PART OF THE TITLE PROPER--TYPE OF COMPOSITION, MEDIUM OF PERFORMANCE, KEY, ETC.
MLA recommendation: Consult the alphabetical list at Types of Composition for Use in Authorized Access Points for Music to determine whether the title in question meets the condition of the instruction. Do not consider such titles as "Double concerto," "Tripelkonzert", etc. to be names of types of compositions.
When a composer uses a word which is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition.
A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title.
Consider phrases such as "with an accompaniment for" to be part of a statement of medium of performance.
 
 
 
EXAMPLE
 
245 12A sonata for the guitar with an accompaniment for a violin
 
 
 
MLA BP for 2.3.2.9
TITLE PROPER--RESOURCES LACKING A COLLECTIVE TITLE
MLA recommendation: Follow , that is, generally do not apply the alternative. Apply the alternative in cases of archival or other large collections. Note that since resources of this type do not normally carry title information, the exception at 2.2.4 applies and no square brackets are necessary.
 
 
 
EXAMPLE
 
245 00Collection of 18th century English songs and ballads.
 
245 04The Vivian Perlis Collection of Schmitz, Ornstein, Copland, and Kirkpatrick.
 
 
 
MLA BP for 2.3.2.11
TITLE PROPER--RECORDING DEVISED TITLES
MLA recommendation: Follow for the alternative.
MLA BP for 2.3.3
PARALLEL TITLE PROPER
MLA recommendation: If feasible, record all parallel titles proper appearing on the preferred source. Optionally, record parallel titles appearing elsewhere in the resource.
Parallel titles from any source in the resource may be transcribed in 245 $b or $c, without square brackets. Parallel titles should also be encoded in 246 31, to ensure proper indexing.
 
 
 
EXAMPLE
 
100 1_De Pastel, Karen, $d 1949-
245 10Unter den Gärten von Bolhás : $b 9 Stücke über ungarische Volksmelodien für 2 Flöten = In the gardens of Bolhás : 9 pieces based on Hungarian folksongs for 2 flutes / $c Karen De Pastel.
246 31In the gardens of Bolhás
 
 
 
When a parallel title is taken from outside the preferred source and recorded in 246 (in addition to 245 $b or $c), apply 2.17.2.3 (Note on Title Source) by encoding either a 500 note or an introductory phrase in 246 $i.
 
 
 
EXAMPLE
 
245 04Das dunkle Reich = $b Dark kingdom
246 31Dark kingdom
500English title from caption.
Or
245 04Das dunkle Reich = $b Dark kingdom
246 1_$i English title from caption: $a Dark kingdom
 
 
 
Alternatively, parallel titles from outside the preferred source may be given only in 246 1_ with an introductory phrase in $i. This approach may be preferable when multiple parallel titles appear in different sources, and therefore the second paragraph at 2.3.3.3 is difficult to apply.
 
 
 
EXAMPLE
 
245 10Píseň bohatýrská = $b Heroisches Lied = A hero's song = Le chant héroïque : op. 111 / $c Antonín Dvořák . 
246 1_$i Parallel title on cover: $a Heldenlied
246 31Heroisches Lied
246 31Hero's song
246 31Chant héroïque
 
 
 
MLA BP for 2.3.4
OTHER TITLE INFORMATION
MLA recommendation: Follow , that is, routinely transcribe other title information appearing in the same source as the title proper.
Give subtitles, alternative titles, etc. appearing on other sources (e.g., cover, caption, container spine of an audio carrier) if deemed useful for identification or access. Since other title information as defined in RDA can only be transcribed from the same source as the title proper, encode such subtitles as variant titles (per 2.3.6) in 246. Use indicators 13, 1_ with $i, or other indicator values according to local practice, as appropriate.
 
 
 
EXAMPLE
 
245 00Barry Manilow.
246 1_$i Subtitle on cover: $a Sing 8 of his best with sound-alike CD tracks
 
245 03El lenguaje del tambor
246 1_$i Subtitle on container: $a Bata rhythms & techniques from Matanzas, Cuba
 
246 1_$i Subtitle on container spine: $a Collection of tracks from performers who made their name at Harlem's legendary Apollo Theatre
 
246 1_$i Subtitle on insert: $a Tribute to Peter Tosh
 
 
 
MLA BP for 2.3.5
PARALLEL OTHER TITLE INFORMATION
MLA recommendation: If feasible, transcribe all parallel other title information. See D.1 for guidance on encoding parallel data in 245, using ISBD presentation.
MLA BP for 2.3.6.3
RECORDING VARIANT TITLES
MLA recommendation: Follow . Encode titles in 246 or 740 as appropriate. When encoding variant titles in 246, use indicators 13, 1_ with $i, or other values according to local practice, as appropriate.
 
 
 
EXAMPLE
 
245 0064 spirituals a cappella : $b traditional Afro-American songs
246 3_Sixty-four spirituals a cappella
 
245 10Oscar Wilde's The happy prince
246 30Happy prince
 
245 10Variations on "Awariguli"
246 30Awariguli
 
245 10Jazz concerto : $b Hot-Sonate (Jazz-Sonate) (1930) : für Altsaxophon und Klavier  
246 30Hot-Sonate
246 30Jazz-Sonate
 
245 14The art of tremolo : $b a comprehensive analysis of the tremolo technique
246 1_$i Title appears on item as: $a Mel Bay presents The art of tremolo
 
245 10Threnody for the victims of Hiroshima / $c Krzysztof Penderecki. Popcorn superhet receiver / Johnny Greenwood. Polymorphia / Krzsztof Penderecki. 48 responses to Polymorphia / Jonny Greenwood.
740 02Popcorn superhet receiver.
740 02Polymorphia.
740 0248 responses to Polymorphia.
740 02Forty-eight responses to Polymorphia.
 
240 10Männerlist grösser als Frauenlist
245 10Männerlist grosser als Frauenlist, oder, Die glückliche Bärenfamilie = $b Men are more cunning than women, or, The happy bear family
246 15Men are more cunning than women, or, The happy bear family
246 30Männerlist grosser als Frauenlist
246 30Glückliche Bärenfamilie
246 30Happy bear family
In this example, “Männerlist grösser als Frauenlist” is being given both as the preferred title (in 240) and as a variant title based on the first part of an alternative title (in 246), per LC-PCC PS 2.3.6.3(D)(1).
 
245 00Nigeria 70. $p Sweet times : $b Afro-funk, highlife & juju from 1970s Lagos
246 30Sweet times
246 30Afro-funk, highlife & juju from 1970s Lagos
246 3_Nigeria seventy
246 3_Afro-funk, highlife and juju from 1970s Lagos
 
 
 
MLA BP for 2.4.1.1
STATEMENTS OF RESPONSIBILITY--SCOPE
MLA recommendation: When performers are named more prominently on a resource than composers, songwriters, etc., record statements identifying these performers as statements of responsibility.
 
 
 
EXAMPLE
 
245 10Greatest hits / $c James Galway.
Resource is an audio recording.
 
245 10Arias I love / $c Maria Callas.
Resource is an audio recording.
 
245 10My favorite things / $c John Coltrane.
Resource is an audio recording.
 
245 10Bangerz / $c Miley Cyrus.
Resource is an audio recording.
 
245 10Mendelssohn / $c Abbado.
Resource is an audio recording. "Abbado" is in large print on the disc label. "Mendelssohn" is in smaller print below the conductor's name. "Mendelssohn" has been chosen as the title proper.
 
245 10Britten, Haydn / $c Rostropovich ; Britten.
Resource is an audio recording. "Rostropovich" and "Britten" are in large print on the disc label. "Britten" and "Haydn" are in smaller print below the performers' names. "Britten, Haydn" has been chosen as the title proper.
 
245 00Crossing waves : $b British works for solo harp / $c Keziah ; featuring Malcolm Arnold, Sally Beamish, Andy Scott, Huw Watkins, Benjamin Britten.
Resource is an audio recording. "Keziah" is in large print below the title proper on the disc label. Composers are in smaller print below the other title information.
 
245 10Oops! ... I did it again / $c Britney Spears.
Resource is a score.
 
 
 
MLA BP for 2.4.1.4
RECORDING STATEMENTS OF RESPONSIBILITY
MLA recommendation: Follow , that is, generally do not apply the optional omission.
MLA BP for 2.4.1.5
STATEMENT OF RESPONSIBILITY--STATEMENT NAMING MORE THAN ONE PERSON, ETC.
MLA recommendation: Follow , that is, generally do not apply the optional omission.
MLA BP for 2.4.2
STATEMENT OF RESPONSIBILITY RELATING TO TITLE PROPER
MLA recommendation: If feasible, record all statements of responsibility relating to title proper appearing on the preferred source. Optionally, record statements of responsibility relating to title proper appearing elsewhere in the resource.
Statements of responsibility relating to title proper from any source in the resource may be transcribed in 245 $c, without square brackets. If transcribing statements from multiple sources, apply 2.4.1.6 and give them in the order that makes the most sense, according to judgment. Generally, give statements from prominent sources (e.g., cover, caption, title page verso) before statements from other sources, and give all statements appearing in the resource before statements from outside the resource (which are given in square brackets). For the purposes of this instruction, do not consider attributions, etc. embedded in text to be statements of responsibility. If desired, apply 2.17.3 and give such attributions as notes on statement of responsibility.
 
 
 
EXAMPLE
 
245 12A piece for Yvonne : $b for solo piano / $c Gustav Holst ; edited by Raymond Head.
On caption: edited by Raymond Head.
 
245 10Nänie : $b for chorus of mixed voices with orchestra (and harp ad libitum) op. 82 / $c [poem by] Friedrich Schiller ; [music by] Johannes Brahms ; English version by Alma Strettell.
On title page: Friedrich Schiller, Johannes Brahms. On caption: English version by Alma Strettell. On cover: music by Johannes Brahms, poem by Friedrich Schiller. (Statements from title page transcribed first, and 2.4.1.7 applied)
 
245 10On the beach at Fontana : $b soprano and piano / $c Roger Sessions ; text by James Joyce.
On cover: text by James Joyce.
 
245 10Beggars banquet / $c the Rolling Stones.
Resource is an audio recording. On disc label: Beggars banquet. On container: the Rolling Stones.
 
 
 
MLA BP for 2.4.3
PARALLEL STATEMENT OF RESPONSIBILITY RELATING TO TITLE PROPER
MLA recommendation: If feasible, transcribe all parallel statements of responsibility relating to the title proper. See D.1 for guidance on encoding parallel data in 245, using ISBD presentation.
MLA BP for 2.5.1.4
RECORDING EDITION STATEMENTS
Encode multiple designations of edition, designations of named revision of edition, etc. in 250. However, when a designation of a named revision is linked to an edition statement, encode both in a single 250.
 
 
 
EXAMPLE
 
250Revised 1947 version.
250Full orchestral score.
 
250Full score.
250Second printing with revisions.
But
2504th ed., reprinted with corrections.
 
 
 
MLA BP for 2.5.1.5
EDITION STATEMENTS RELATING TO ISSUES OR PARTS
A common case in music is when a score, cataloged together with parts, bears the statement “Score” (or its equivalent). Per this instruction, do not treat such a statement as a designation of edition, as it does not apply to the entire resource.
MLA BP for 2.5.2
DESIGNATION OF EDITION
The most common designations of edition in music resources fall into category (b)(vii), “a statement indicating … a particular voice range or format for notated music."1
Treat a statement indicating a particular voice range that is not grammatically linked to the title, other title information, etc. as a designation of edition, whether or not it includes the word "edition" or its equivalent.
 
 
 
EXAMPLE
 
250 __Low voice
 
245 10Songs of separation / $c William Grant Still.
250 __Tenor.
 
245 10Songs of separation / $c William Grant Still.
250 __Baritone.
This piece is published in tenor and baritone versions. 
But
245 00Musical theatre for classical singers. $p Soprano
The compilations with this title for other voice ranges contain different songs.
 
 
 
For the latter type (“format for notated music”), refer to the list of formats given at 7.20.1.3 for guidance in determining whether the statement in question fits the scope or not.
Some formats of notated music (e.g., vocal scores, chorus scores, piano scores, etc.) are special cases inasmuch as they have dual identities: as a format of notated music, subject to this instruction,2 and as a type of arrangement. Do not treat other statements of arrangement, transposition, etc. as designations of edition; transcribe those statements as statements of responsibility, per 2.4. When in doubt, treat the statement as a statement of responsibility.
 
 
 
EXAMPLE
 
250 __Partitur und Stimmen.
 
250 __Klavierauszug.
 
250 __Studien- und Dirigierpartitur.
 
245 10Six great secular cantatas / $c Johann Sebastian Bach.
250 __In full score.
On title page: Six great secular cantatas in full score.
 
245 10Orlando furioso : $b dramma per musica in tre atti, RV 728 / $c Antonio Vivaldi ; arrangement pour clavier, Jacques Manet …
250 __Chant et clavier.
On title page: Arrangement pour clavier, Jacques Manet. On cover: Chant et clavier.
But
245 10 … / $c … ; flute and piano reduction.
 
245 10Konzert für Violine und Orchester D-Dur / $c Ludwig van Beethoven ; Ausgabe für Violine und Klavier von Christian Rudolf Riedel.
On title page: Ausgabe für Violine und Klavier von Christian Rudolf Riedel = Edition for violin and piano.
 
 
 
For statements containing "Urtext" and its variants: consult the National Authority File to see if the usage by a particular publisher has been established as a series or series-like phrase. If appropriate, transcribe as a series statement (see 2.12). In other cases, use judgment in determining whether the statement fits the "difference in content" criterion and thus may be transcribed as an edition statement. When in doubt, do not transcribe as an edition statement.
Under AACR2, statements of the latter type were treated as Musical Presentation Statements, and encoded in MARC field 254.
Under AACR2, vocal score statements were treated as Statements of Responsibility.
MLA BP for 2.5.3
PARALLEL DESIGNATION OF EDITION
MLA recommendation: If feasible, transcribe all parallel designations of edition associated with a particular edition statement in 250 $b.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
 
 
 
EXAMPLE
 
250Study score = $b Studienpartitur.
 
250Partytura = $b Score = Partitur.
 
250Erstdruck = $b First printing.
250Partitur und Stimmen = $b Score and parts.
 
250Limited edition = $b Edición limitada.
 
250Édition critique = $b Edizione critica = Critical edition.
 
 
 
MLA BP for 2.5.4
STATEMENT OF RESPONSIBILITY RELATING TO THE EDITION
MLA recommendation: If feasible, transcribe all statements of responsibility relating to a particular edition statement in 250 $b.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
 
 
 
EXAMPLE
 
250Klavierauszug = $b Vocal score / Paul Horn.
 
250Revised edition / $b by Leslie Howard.
 
250Vocal score / $b revised by Michael Pilkington.
 
 
 
MLA BP for 2.5.5
PARALLEL STATEMENT OF RESPONSIBILITY RELATING TO THE EDITION
MLA recommendation: If feasible, transcribe all parallel statements of responsibility relating to a particular edition statement in 250 $b.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
 
 
 
EXAMPLE
 
250Vocal score / $b arranged by Sam Jones = Klavierauszug / bearbeitet von Sam Jones.
 
250Partition chant et piano d'après le Urtext de l'édition "L'opéra français" / $b par Karl-Heinz Müller = Piano reduction based on the Urtext of the edition "L'opéra français" / by Karl-Heinz Müller = Klavierauszug nach dem Urtext der Ausgabe "L'opéra français" / von Karl-Heinz Müller.
 
250Neuausgabe nach den Quellen= $b New edition based on original sources.
250Partitur = $b Full score.
 
250Erstveröffentlichung, Klavierauszug = $b First edition, Vocal score = Première edition, Partition pour piano.
 
 
 
MLA BP for 2.5.6
DESIGNATION OF A NAMED REVISION OF AN EDITION
MLA recommendation: If feasible, transcribe all designations of named revision of an edition, in 250 $a or $b as applicable.
Separate multiple designations of named revision of edition by a comma.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
 
 
 
EXAMPLE
 
2505th edition, with corrections.
250Study score.
 
 
 
MLA BP for 2.5.7
PARALLEL DESIGNATION OF A NAMED REVISION OF AN EDITION
MLA recommendation: If feasible, transcribe all parallel designations of a particular named revision of edition in 250 $b.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
MLA BP for 2.5.8
STATEMENT OF RESPONSIBILITY RELATING TO A NAMED REVISION OF AN EDITION
MLA recommendation: If feasible, transcribe all statements of responsibility relating to a particular named revision of edition in 250 $b.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
MLA BP for 2.5.9
PARALLEL STATEMENT OF RESPONSIBILITY RELATING TO A NAMED REVISION OF AN EDITION
MLA recommendation: If feasible, transcribe all parallel statements of responsibility relating to a particular named revision of edition in 250 $b.
Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields.
MLA BP for 2.7.2
PLACE OF PRODUCTION
MLA recommendation: If deemed useful for identification or access, transcribe place of production in 264 (2nd indicator 0) $a.
 
 
 
EXAMPLE
 
264 _0[Boston, Massachusetts]
Title frames: An evening of opera scenes, recorded in Studio 401, March 4, 2011, by the Boston Conservatory.
 
264 _0New York
Resource is a holograph sketch. Caption: Trio in D (1950) / B. Martinů. Page 11: New York, February 26, 1950.
 
 
 
MLA BP for 2.7.4
PRODUCER’S NAME
MLA recommendation: If deemed useful for identification or access, transcribe producer’s name in 264 (2nd indicator 0) $b.
 
 
 
EXAMPLE
 
264 _0[Boston, Massachusetts] : $b Boston Conservatory
Title frames: An evening of opera scenes, recorded in Studio 401, March 4, 2011, by the Boston Conservatory.
 
264 _0New York : $b B. Martinů
Resource is a holograph sketch. Caption: Trio in D (1950) / B. Martinů. Page 11: New York, February 26, 1950.
 
 
 
MLA BP for 2.7.6
DATE OF PRODUCTION
MLA recommendation: Record date of production in 264 (2nd indicator 0) $c.
 
 
 
EXAMPLE
 
264 _0[Boston, Massachusetts] : $b Boston Conservatory, $c March 4, 2011.
Title frames: An evening of opera scenes, recorded in Studio 401, March 4, 2011, by the Boston Conservatory. Resource is for a first-generation videocassette.
 
264 _0New York : $b B. Martinů, $c 1950 February 26.
Resource is a holograph sketch. Caption: Trio in D (1950) / B. Martinů. Page 11: New York, February 26, 1950.
 
 
 
MLA BP for 2.8.2
PLACE OF PUBLICATION
MLA recommendation: Follow .
If more than one place is given in the resource and it is unclear which is the “true” place of publication and which is a place of distribution, foreign office, etc., give all places.
MLA BP for 2.8.2.6
PLACE OF PUBLICATION NOT IDENTIFIED IN THE RESOURCE
MLA recommendation: Follow . Interpret “if possible” to mean “if feasible.”
MLA BP for 2.8.4
PUBLISHER'S NAME
MLA recommendation: Transcribe the names of all publishers appearing on the preferred source. If feasible, transcribe the names of all publishers appearing anywhere in the resource. Encode in 264 (2nd indicator 1) $b.
Treat a trade name or brand name used by a publishing company (i.e., a “label” in the case of audio recordings) as a publisher’s name.
 
 
 
EXAMPLE
 
264 _1[Hamburg, Germany] : $b Archiv Produktion, a Universal Music company
 
264 _1New York, N.Y. : $b London
On label: London; on container: London Records, a division of Polygram Records, Inc., New York, N.Y.
 
 
 
Note that there is no option to transcribe a publisher name in the “shortest form in which it can be understood and identified internationally”. Thus, when in doubt as to whether a presentation of two names in the same source represents a publishing company and the name of a subdivision of that company or a trade name or brand name used by that company, or whether it represents two unrelated publishers, transcribe both names as separate publishers.
 
 
 
EXAMPLE
 
264 _1Minneapolis, Minnesota : $b Libby Larsen Publishing : $b Kenwood Editions
 
264 _1[Paris] : $b Opus111 : $b Naïve
 
 
 
If a trade name appears to be the name of a series rather than of a publishing subdivision, give it as a series title. Consult the Library of Congress Name Authority File (LCNAF) to see if a particular name has been established as a series or label name. In case of doubt, treat the name as a series title.
 
 
 
EXAMPLE
 
264 _1New York, NY : $b GRP Records, $c [1994]
490 1_Decca jazz
 
 
 
MLA BP for 2.8.4.4
PUBLISHER'S NAME--STATEMENT OF FUNCTION
MLA recommendation: Generally do not apply the optional addition.
MLA BP for 2.8.6.6
DATE OF PUBLICATION NOT IDENTIFIED IN A SINGLE-PART RESOURCE
MLA recommendation: Follow . Note that copyright date (whether © or ℗) is a separate element in RDA. It, or a copyright renewal or transfer notice (see 2.11) may be used to infer a publication date, but may not “stand in” as one. Give such inferred dates in square brackets. Routinely give copyright date separately, even if it is the same as the stated or inferred publication date. Give the date of publication in 264 (2nd indicator 1) $c and the copyright date in 264 (2nd indicator 4) $c. See 2.11 for guidelines on selecting and recording copyright dates.
 
 
 
EXAMPLE
 
264 _1$c [2011]
264 _4$c ©2011
And
008/6t
008/7-142011, 2011
 
264 _1$c [2011?]
264 _4$c ©1991
Publication date inferred from date given in preface.
 
 
 
MLA BP for 2.9
DISTRIBUTION STATEMENT
MLA recommendation: If transcribing a distribution statement separately from a publication statement, encode it in 264 (2nd indicator 2). It is not always necessary to record a separate date of distribution if date of publication and copyright are already recorded.
 
 
 
EXAMPLE
 
264 _2Milwaukee, WI : $b Hal Leonard Corporation
 
264 _2Kraków : $b Andromeda
 
264 _2Kassel ; $a New York : $b distribution mondiale Bärenreiter
 
264 _2Paris : $b distribution pour le monde entier, Alphonse Leduc
 
264 _2Oaks, PA : $b Eclectic DVD Distribution
 
 
 
When in doubt as to whether a person, family or corporate body is functioning as publisher or distributor, transcribe the name as a publisher’s name.
MLA BP for 2.10
MANUFACTURE STATEMENT
MLA recommendation: Follow .
MLA BP for 2.10.2
PLACE OF MANUFACTURE
Encode place of manufacture in 264 (2nd indicator 3) $a.
 
 
 
EXAMPLE
 
264 _3Austria
 
 
 
MLA BP for 2.10.4
MANUFACTURER'S NAME
Encode manufacturer’s name in 264 (2nd indicator 3) $b.
 
 
 
EXAMPLE
 
264 _3Austria : $b fabriqué par Sony DADC
 
 
 
MLA BP for 2.10.6
DATE OF MANUFACTURE
MLA recommendation: Follow , that is, routinely infer a publication date from a date of manufacture and/or copyright date if it seems reasonable to assume that date is a likely publication date. Do this even if also giving date of manufacture separately in 264 (2nd indicator 3) $c.
 
 
 
EXAMPLE
 
264 _3Austria : $b fabriqué par Sony DADC, $c 2012.
 
 
 
MLA BP for 2.11
COPYRIGHT DATE
MLA recommendation: For notated music, routinely record the latest copyright date in 264 (2nd indicator 4) $c.
 
 
 
EXAMPLE
 
264 _1$c [2011]
264 _4$c ©2011
 
 
 
For audio recordings, routinely record the latest phonogram copyright date in a separate 264 (2nd indicator 4) $c. If multiple phonogram copyright dates are present, record the latest date that can be determined to apply to the resource as a whole. Otherwise, do not record a phonogram copyright date. Optionally, record multiple phonogram copyright dates in a note. If it has been deemed useful for identification or access to also record the latest regular copyright date, record both dates in a single 264 (2nd indicator 4) field, in separate occurrences of $c.
 
 
 
EXAMPLE
 
264 _1$c [2010]
And
264 _4$c ℗2008
 
264 _1$c [2010]
And
264 _4$c ©2010, $c ℗2008
 
264 _1$c [2013]
And
264 _4$c ©2013
And
500℗2012, ℗2013.
Neither phonogram copyright date can be determined to apply to the resource as a whole.
 
 
 
Code Date type and Dates 1 and 2 in 008/06-14 as appropriate. (See Bibliographic Formats and Standards for determining precedence of date type when coding multiple dates.)
Do not transcribe a copyright renewal date as the copyright date. Do not transcribe a date of copyright transfer as the copyright date.
MLA BP for 2.12
SERIES STATEMENT
MLA recommendation: Follow .
For statements containing "Urtext" and its variants: consult the Library of Congress National Authority File (LCNAF) to see if the usage by a particular publisher has been established as a series or series-like phrase. If appropriate, transcribe as a series statement. In other cases, use judgment in determining whether the statement fits the "difference in content" criterion and thus may be transcribed as an edition statement (see 2.5.22.5.2). When in doubt, do not transcribe as an edition statement.
MLA BP for 2.12.3
PARALLEL TITLE PROPER OF SERIES
MLA recommendation: If feasible, transcribe all parallel titles proper of series.
MLA BP for 2.12.6
STATEMENT OF RESPONSIBILITY RELATING TO SERIES
MLA recommendation: Routinely transcribe the first statement of responsibility for series representing the complete works or selected works of one composer.
 
 
 
EXAMPLE
 
490 1_Ausgewählte Werke / Homilius
800 1_Homilius, Gottfried August, $d 1714-1785. $t Works. $k Selections. $f 2006.
 
 
 
MLA BP for 2.12.7
PARALLEL STATEMENT OF RESPONSIBILITY RELATING TO SERIES
MLA recommendation: If transcribing a statement of responsibility relating to a series (such as for the complete works or selected works of one composer), and if transcribing one or more parallel series statements for the same series, routinely transcribe a parallel statement of responsibility corresponding to each parallel series statement transcribed. See D.1 for guidance on encoding parallel data in 490, using ISBD presentation.
 
 
 
EXAMPLE
 
490 1_Sämtliche Werke für Laute / Silvius Leopold Weiss ; $v Band 2 = $a Complete works for lute / Silvius Leopold Weiss ; $v volume 2
800 1_Weiss, Silvius Leopold, $d 1687-1750. $t Lute music. $f 2002 ; $v Bd. 2.
 
490 1_Opera omnia latina / Matthei Rosmarini ; $v I/1 = $a Collected works / Mateo Romero ; $v volume I/1
800 1_Romero, Mateo, $d 1575 or 1576-1647. $t Choral music. $k Selections ; $v 1/1.
 
 
 
MLA BP for 2.12.8
ISSN OF SERIES
MLA recommendation: Follow .
MLA BP for 2.12.9
NUMBERING WITHIN SERIES
MLA recommendation: Follow .
MLA BP for 2.12.11
PARALLEL TITLE PROPER OF SUBSERIES
MLA recommendation: If feasible, transcribe all parallel titles proper of subseries. See D.1 for guidance on encoding parallel data in 490, using ISBD presentation.
MLA BP for 2.12.16
ISSN OF SUBSERIES
MLA recommendation: Follow .
MLA BP for 2.13
MODE OF ISSUANCE
Though 2.13 indicates that this is a core element for LC/PCC, current implementations of the MARC21 Bibliographic Format in North America do not provide an unambiguous means3 for coding mode of issuance for a multipart monograph4. Rather, this particular mode of issuance is inferred based on a number of clues elsewhere in the record. For the following types of multipart monographs, mode of issuance is indicated by one or more of the following.
Multi-volume scores and audio recordings:
008/06 (“Type of Date/Publication Status”) m
300 $a begins with a numeral higher than 1 followed by a term for type of carrier (e.g., “2 audio discs”)
300 $a contains “(x volumes)”, where x is a numeral higher than 1
Scores issued with part(s):
008/21 or 006/04 (“Music parts”) d, e, f
300 contains a “+ x part(s)”
Multiple instances of 300
Sets of parts with no score:
008/21 or 006/04 (“Music parts”) d, e, f
300 $a begins with a numeral higher than 1 followed by “parts”
Books or scores issued with audio/video carriers:
300 contains $e
Multiple instances of 300
006 present
Audio/video carriers with accompanying volume (insert, booklet, etc.):
300 contains $e (uncommon)
Multiple instances of 300 (uncommon)
500 note describing accompanying material
3
The RDA to MARC mapping for Mode of Issuance for a multipart monograph designates Leader/19 (“Multipart resource record level”), a character position which is currently not available for direct encoding in OCLC or most other cataloging interfaces. Per LC-PCC PS 2.13.1.3, Leader/07 m is to be encoded for both single and multipart monographs.
4
Defined in RDA as “A resource issued in two or more parts (either simultaneously or successively) that is complete or intended to be completed within a finite number of parts (e.g., a dictionary in two volumes, three audiocassettes issued as a set)”. Note that this definition applies to a resource regardless of how its component carriers are described. See 3.1.4 for guidance on describing accompanying material.
MLA BP for 2.13.1.3
RECORDING MODES OF ISSUANCE
MLA recommendation: Follow .
MLA BP for 2.15
IDENTIFIER FOR THE MANIFESTATION
MLA recommendation: If feasible, record all standard identifiers present on the resource, including but not limited to the following. MARC coding is indicated in parentheses.
ISBN (020)
ISMN (024 (1st indicator 2))
EAN (024 (1st indicator 3))
UPC (024 (1st indicator 1))
Issue number (audio recordings) (028 (1st indicator 0))
Matrix number (audio recordings) (028 (1st indicator 1))
Videorecording number (028 (1st indicator 4))
 
 
 
EXAMPLE
 
020 __0895796929
 
024 1_680160601042
 
024 2_M001178969
 
024 2_97902153191965
 
028 02HBR 00001 $b Hidden Beach Recordings
028 02EK 62137 $b Epic
On container: Hidden Beach Recordings, Manufactured and distributed by Epic.
 
028 42OA 0969 D $b Opus Arte
 
 
 
Record qualifying information following the identifier as appropriate (e.g., for components of a multipart monograph, or for variant forms of an identifier).
 
 
 
EXAMPLE
 
028 02438 953-2 $b Philips Classics $q (set)
028 02438 954-2 $b Philips Classics $q (disc 1)
028 02438 955-2 $b Philips Classics $q (disc 2)
 
028 02BG 4004 $b Bourg Records $q (disc 1)
028 02BG 4005 $b Bourg Records $q (disc 2)
 
028 02NI 5885/6 $b Nimbus Records $q (set)
028 02NI 5885 $b Nimbus Records $q (disc 1)
028 02NI 5886 $b Nimbus Records $q (disc 2)
 
028 02ECM 2316 $b ECM $q (disc 1)
028 02372 9527 $b ECM $q (disc 1)
028 02ECM 2317 $b ECM $q (disc 2)
028 02372 9528 $b ECM $q (disc 2)
Multi-CD set that has two numbering schemes; disc labels include both numbers.
 
 
 
For audio/video recording reissues, optionally record the issue and/or matrix number(s) pertaining to the original manifestation in 028 (1st indicator 0 or 1). Do this in addition to formulating a structured or unstructured description of the related manifestation (see 27.1). If this description includes the issue and/or matrix number(s), set 028 2nd indicator to 0.
 
 
 
EXAMPLE
 
028 02COL-CD-6618 $b Collectables Records
028 001446 $b Atlantic
028 001509 $b Atlantic
500 __Originally issued as analog discs in 1966 (Atlantic 1446; Soulero) and 1969 (Atlantic 1509; Laws' cause). 
 
028 0288697 56207 2 $b Masterworks Broadway
028 00ML 4140 $b Columbia
028 00OL 4140 $b Columbia
500 __Originally released February 15, 1949, as Columbia ML/OL 4140.
 
 
 
13-digit ISMNs have historically been designated in OCLC using 024 1st indicator 3. The MARC documentation has been revised to clarify that both 10- and 13-digit ISMNs can be designated using 1st indicator 2.
MLA BP for 2.15.1.5
MORE THAN ONE IDENTIFIER FOR THE MANIFESTATION
MLA recommendation: When a publisher's number appears in variant forms on an audio recording, its container, accompanying material, etc., record at least the form on the recording itself (e.g., the labels of a disc). If deemed useful for identification or access, record other forms as well. Follow each by a qualifier indicating its location, if appropriate.
 
 
 
EXAMPLE
 
028 02VDE-CD-552 $b VDE-Gallo
028 02VDE-552 $b VDE-Gallo $q (container)
 
 
 
When two or more distinct publisher's numbers appear on an audio recording, its container, accompanying material, etc., record each, followed by a qualifier indicating its location, if appropriate.
 
 
 
EXAMPLE
 
028 02MS-003 $b Mosaic
028 02B2-82418 $b Mosaic $q (container)
 
 
 
Generally record matrix numbers only if they are the only numbers shown on the resource. If deemed useful for identification or access, record matrix numbers even if the resource also bears regular publisher's numbers. Follow each matrix number by the word matrix in parentheses.
 
 
 
EXAMPLE
 
028 02P 406 $b Folkways Recs. & Serv. Corp.
028 02EFL 1406 $b Folkways Recs. & Serv. Corp. $q (container)
028 12FP 406 $b Folkways Recs. & Serv. Corp. $q (matrix)
Matrix number recorded because it might appear with “FP” in catalogs or citations.
 
 
 
MLA BP for 2.15.1.5
OPTIONAL ADDITION
Generally follow  for the optional addition, that is, record identifiers for all units, including cases where scores and parts bear separate identifiers, if feasible. Follow each identifier by a qualifier indicating the unit(s) to which it refers.
MLA BP for 2.15.1.5
ALTERNATIVE
MLA recommendation: Follow for the alternative.
MLA BP for 2.15.2
PUBLISHER'S NUMBER FOR MUSIC
MLA recommendation: If feasible, record all publisher’s and distributor’s numbers appearing on the resource. Apply the basic instructions on recording identifiers for the manifestation given under 2.15.1. However, do not precede the number with a trade name or the name of the agency, etc., responsible for assigning it. If the resource has more than one number, record a brief qualification only if considered important for identification, e.g., if numbers for parts of the resource are recorded. Record the name of the publisher or distributor associated with the number in 028 $b, in the same form as that transcribed in the publisher’s/distributor’s name element. However, do not include levels of corporate hierarchy.
When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr." appears with a publisher's number, do not consider it to be part of the number and do not record it with the number in 028 (1st indicator 3). If, however, initials, abbreviations, or words identifying the publisher also appear with the number, transcribe the entire statement as it appears in 028 (with 2nd indicator 2) or a 500 note, even if this means giving again a publisher's name already transcribed as such. Do this in addition to recording the number alone in 028; set 2nd indicator to 0 in this case.
 
 
 
EXAMPLE
 
028 32FK090003 $b Serenissima Music Inc.
 
028 32HL00042155 $b Hal Leonard Corporation
 
028 303891 $b C.F. Peters
028 32Edition Peters Nr. 3891 $b C.F. Peters
Or
028 303891 $b C.F. Peters
500 __Publisher's number: Edition Peters Nr. 3891.
 
 
 
For reprint scores, optionally record the publisher’s number(s) pertaining to the original manifestation in 028 (1st indicator 3). Do this in addition to formulating a structured or unstructured description of the related manifestation (see 27.1). If this description includes the publisher’s number(s), set 028 2nd indicator to 0.
For multipart notated music resources, apply the for the optional addition at 2.15.1.5, that is, follow each publisher’s number by a qualifier indicating the unit(s) to which it refers.
MLA BP for 2.15.3
PLATE NUMBER FOR MUSIC
MLA recommendation: If feasible, record all plate numbers appearing on the resource. Apply the basic instructions on recording identifiers for the manifestation given under 2.15.1. However, do not precede the number with a trade name or the name of the agency, etc., responsible for assigning it. If an additional number, corresponding to the total number of pages or plates, follows the plate number (often after a dash), record it as part of the plate number. Optionally, also record the plate number without the additional number.
If the resource has more than one number, record a brief qualification only if considered important for identification, e.g., if numbers for parts of the resource are recorded. Record the name of the publisher or distributor associated with the number in 028 $b, in the same form as that transcribed in the publisher’s/distributor’s name element. However, do not include levels of corporate hierarchy.
 
 
 
EXAMPLE
 
028 22D. 19 806 $b Doblinger
 
028 22CMBV 063 $b Centre du musique baroque de Versailles
 
028 2223009-11 $b Carl Fischer
028 2023009 $b Carl Fischer
 
 
 
When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr." appears with a plate number, do not consider it to be part of the number and do not record it with the number in 028 (1st indicator 2). If, however, initials, abbreviations, or words identifying the publisher also appear with the number, transcribe the entire statement as it appears in 028 (with 2nd indicator 2) or a 500 note, even if this means giving again a publisher's name already transcribed as such. Do this in addition to recording the number alone in 028; set 2nd indicator to 0 in this case.
For reprint scores, optionally record the plate number(s) pertaining to the original manifestation in 028 (1st indicator 2). Do this in addition to formulating a structured or unstructured description of the related manifestation (see 27.1). If this description includes the plate number(s), set 028 2nd indicator to 0.
For multipart notated music resources, apply the for the optional addition at 2.15.1.5, that is, follow each plate number by a qualifier indicating the unit(s) to which it refers.
MLA BP for 2.17.2
NOTE ON TITLE
MLA recommendation: Follow .
MLA BP for 2.17.2.3
TITLE SOURCE
Note that this instruction applies to all audio recordings. Routinely supply this element, regardless of where the title is taken from.
 
 
 
EXAMPLE
 
245 10Take care
500 __Title from disc label.
 
245 10Werke für Violine und Orchester
500 __Title from container spine.
505 0_Violinkonzert no. 2 -- Concertino de printemps -- Violinkonzert no. 1 -- Le bœuf sur le toit.
Disc label lists titles of each work without collective title. Container spine: Werke für Violine und Orchester.
 
245 10Hear me howling! : $b blues, ballads, & beyond
500 __Title from accompanying book title page.
4 discs enclosed in “accompanying” book, labels have only volume designations, and lack the title.
 
 
 
Encode a note on the source or basis for a variant title in 246 1_ $i.
 
 
 
EXAMPLE
 
245 00Michael Paulo.
246 1_$i Title on container spine: $a Michael Paulo and the Magenta Symphony Orchestra
 
245 10English music for viola
246 1_$i Title on container spine: $a English viola
 
245 10Om Shanti Om
246 1_$i Title on container: $a Red Chillies Entertainment presents Om Shanti Om
 
 
 
MLA BP for 2.17.2.3
OPTIONAL OMISSION
MLA recommendation: Follow .
MLA BP for 2.17.3.5
OTHER INFORMATION RELATING TO STATEMENT OF RESPONSIBILITY
MLA recommendation: For audio and video recordings, routinely give performers, narrators and/or presenters in a 511 field. Optionally, give names of members of a musical group in parentheses after the name of the group, if deemed useful for identification or selection.
 
 
 
EXAMPLE
 
511 0_Dynamis Ensemble (Birgit Noite, flute ; Rocco Parisi, clarinet/bass clarinet ; Paolo Casiraghi, clarinet ; Sergio Armaroli, percussion ; Candida Felici, piano ; Dominique Chiarappa-Zyrd, violin ; Teresa Felici, violoncello) ; Javier Torres Maldonado, conductor.
 
 
 
If there are numerous works/expressions embodied in the resource, and there are performers, etc. who perform only in some of the works/expressions, give all performers names, qualified by a designation for the works/expressions involved, if feasible. Optionally, give "Various performers" if:
1. Giving fuller detail is not feasible or not deemed useful for identification or selection, or;
2. Performers are named in the contents note in conjunction with the specific works/expressions in which they perform.
 
 
 
EXAMPLE
 
511 0_Sasha Cooke, soprano ; Inon Barnatan, piano (1st work) ; Wu Han, piano, Ani Kavafian, violin ; Lily Francis, viola ; David Finckel, cello (2nd work) ; Inon Barnatan, piano ; Miró Quartet (Daniel Ching, Sandy Yamamoto, violins ; John Largess, viola ; Joshua Gindele, cello) (3rd work).
 
511 0_Various performers.
505 0_Animals (1961) (Timothy Andres, prepared piano ; Caleb Burhans, Caroline Shaw, violins ; Nadia Sirota, viola ; Clarice Jensen, cello ; Chihiro Shibayama, marimba ; Chris Thompson, vibraphone) (10:00) -- Loops and sequences (1961) (Clarice Jensen, cello ; Timothy Andres, piano) (7:36) -- Three aphorisms (1960) (Timothy Andres, prepared piano) (4:00) -- Densities I (1962) : for viola solo with 4 treble instruments (Nadia Sirota, viola ; C.J. Camerieri, trumpet ; Clarice Jenson, cello ; Chihiro Shibayama, marimba ; Chris Thompson, vibraphone) (9:53) -- Four sound*poems (1962) (Clarice Jensen, Caroline Shaw, Nadia Sirota, Chris Thompson, speakers) (3:22) -- String trio (1962) (Caleb Burhans, violin ; Nadia Sirota, viola ; Clarice Jensen, cello) (12:00) -- Water music (1963) : for percussion solo and electronic tape (Alan Zimmerman, percussion) (12:40) -- Prelude to "The mystery cheese-ball" (1961) : for antiphonal rubber balloons (Timothy Andres, Caleb Burhans, Clarice Jensen, Caroline Shaw, Nadia Sirota, Chihiro Shibayama, Chris Thompson, balloons) (3:41).