Sound Recordings Overview

Contents

Classification and Label Call Signs

• See Classifying Terms for category descriptions.

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MARC Coding

Fixed fields

• See also Cataloguing and Coding for All Formats, Fixed fields.
• See MARC Coding, Fixed fields, Sound recordings (Musical and Spoken)

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Duplicates/Pseudo-duplicates

• A sound recording is only considered to be a duplicate if the musical content is identical. If the content varies, e.g. extra tracks, bonus disc or DVD, “enhanced CD”, etc. make a new bibliographic record and add Contents note (505) or general descriptive note (500) when necessary to distinguish between recordings.
• Sound recordings with the same title and identical content but different publisher and/or publisher’s number can share a bibliographic record-see also (below) 028 Publishers’ numbers.
• Treat as duplicates those items where the only change involves minor technical upgrading. For sound recordings with the same title but with expanded content, see (below) 500 Reissues; for enhanced CDs, see also (below) 500 Enhanced CDs.

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024 UPC

• See Cataloguing Overview, 024.

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028 Publishers' numbers

• There is no limit to the number of occurrences recorded. Record all publisher's numbers (and their variants) given on the item. Include any letters or names (of the publisher) if given as part of the number.
• Record alternate publisher's numbers if doing so improves retrieval, e.g. where the difference is a space instead of a hyphen or a hyphen instead of a space or where the difference is a typographical symbol at the beginning of the manufacturer’s number, e.g. #56901.
• Do not record a separate 028 for a publisher's number which also exists as part of a ‘larger’ number which is also on the item. The ‘small’ number must be a separate part, i.e. separated by spaces, e.g.

028  143C 9102 030
DO NOT MAKE
028  9102

BUT

028  143C 9102030
DO MAKE
028  9102

• When the letters "A" and "B" (or similar) have been added to the same publisher's number to differentiate between two sides of one item, disregard.

• When the letters "A" and "B" (or similar) have been used to differentiate between separate items, record each number with the addition in 028.

• Record both the set number and individual numbers of a set individually in 028. Add qualifier in parentheses following the publisher’s number if a number only applies to part of an item. If a number only appears on packaging which is being discarded, add the qualifier (packaging) after the number.

028  CD-1056|q(set)
028  CD-1057|q(disc 1)
028  CD-1058|q(disc 2)

028  CD 1089|q(packaging)

028  1266|q(set no. from packaging)

• It is not necessary to record the publisher’s name as part of the 028. When a publisher’s number or ISBN is seen on packaging which will be discarded or websites which are consulted, the cataloguer may choose to record such an 028 (or 020) with a parenthetical note (On discarded packaging OR Not found on item).
• The publisher’s number(s) on a duplicate may be different from the number(s) in the current bibliographic record. If the item is a duplicate (i.e. the music recorded is the same), the new publisher's number (and publisher's name if different) is added as a new 028 only (the 264 is not changed); for clarity it may be necessary to add name(s) of publisher(s) to all the 028s.

028  KOC-4051-2 $b KOCH/Capitol/RCA
028  40512 $b KOCH/Capitol/RCA
028  67532-2 $b RCA [duplicate item]

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09X Call Number

• When determining the classification for a musical sound recording that has characteristics of more than one category refer to the hierarcy, see Classifying Terms.
• ABC = Cutter

099  CD ROCK ABC
099  CD CLA KEYBO ABC

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09X Karaoke

• Sound recordings issued for the purpose of karaoke, i.e., those items which consist wholly or in part of recorded accompaniments, are classified in the appropriate musical category.

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09X / J Christmas

• In most cases main entry will be for author, added entry for performer for Christmas stories, poems, and other literary works for children classed in “J Christmas”.
• Christmas-themed motion pictures/musicals (regardless of musical content), will be classified as SNDTRK or J SNDTRK not as Christmas or J Christmas.
• Classical music which is obviously seasonal in intent, i.e. meant to be listened to only at Christmas, will be classified in Christmas or J Christmas.
• Classical sound recordings in which the majority of selections are broader in scope will be classified CLA … or J CLA.
• Generally, specific classical compositions, e.g. Bach’s Christmas oratorio (Weihnachts-Oratorium), Tchaikovsky’s Nutcracker ballet, etc. are classified in the appropriate classical classification not Christmas or J Christmas.
• Collections of Christmas-themed classical selections by a performer(s), e.g. A gala Christmas in Vienna by Placido Domingo and others, are classed in Christmas or J Christmas.
• Add appropriate subject headings, e.g.

650  Christmas music.
650  Christmas stories, Canadian$vJuvenile sound recordings.
650  Christmas$vPoetry$vJuvenile sound recordings.
650  Carols, Cree.
650  Christmas radio programs$zCanada.
650  Carols (includes carols sung in more than one language)

09X Bilingual CD + Books

• Bilingual CD + Books contain the entire text in two languages. Include the non-English language as part of call number, e.g.

099  CD + Book J Spanish ABC
092  CD + Book J Chinese 398.24 ABC

• For bilingual titles that include text in a Canadian or U.S. Indigenous language and a non-English language, include the Indigenous language as part of the call number, regardless of prominence.

099  CD + Book J Michif PAT
092  CD + Book J Cree 398.24 DOR

• For all other titles; if neither language is English, choose the call number language based on prominence.
• For multilingual books, do not include a language as part of the call number, except for titles with text in a Canadian or U.S. Indigenous language that were purchased for the Indigenous Collection. For these titles include the Indigenous language as part of the call number, e.g.

099  CD + Book J Cree BOU
092  CD + Book J Cree 497.332 ITW

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1XX Main Entry

EPL Policy

• Do consider a principal performer a creator whenever a sound recording is a compilation (by multiple composers) and is titled with a collective title [Exception to RDA], e.g.

Resource described: Russian sketches / Tchaikovsky [and 4 others]
Authorized access point: Edmonton Symphony Orchestra

• Compare with compilation by one composer:

Resource described: Concert arias / Mozart
Performed by the London Symphony Orchestra
Authorized access point: Mozart, Wolfgang Amadeus, 1756-1791

• Do consider a principal performer the primary creator for popular or jazz recordings [Exception to RDA], e.g.

Resource described: Ella Fitzgerald sings the Cole Porter songbook
Authorized access point: Fitzgerald, Ella
Compare with RDA’s treatment with Authorized access point: Porter, Cole

Resource described: The Michael Bublé collection
Authorized access point: Buble, Michael

Resource described: Rockabye baby! Lullaby renditions of Elvis Presley / performed by Dennis Caplinger.
Multiple composers.
Authorized access point: Caplinger, Dennis.
Compare with RDA’s treatment with Authorized access point: Rockabye baby! (i.e., title main entry)

• However, if on a compilation there are multiple performers performing the work of one composer and there's no one principal performer identified (i.e. only a list of names associated with each track) follow instructions at RDA 19.2.1.3 for identification of the creator, treating performers as contributors (RDA 20.2.1.1) with select added entries, e.g.

Resource described: Bring it on home: Black America sings Sam Cooke
Authorized access point: Cooke, Sam
Added entries: Franklin, Aretha; Rawls, Lou; Redding, Otis, 1941-1967, etc.

For other examples of compilations of works by a single composer, see also RDA 6.14.2.8 for Bob Dylan and 6.28.1.9.1 for Joni Mitchell.

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245 Title

• See Cataloguing Overview, 245 Title.

Numerical / Chronological designation in titles

• Catalogue sound recordings that include a numerical or chronological designation in the title as individual titles. Create a separate record for each part of a multi-volume set, e.g.

245  Hot hits.$n2010
245  Danzig.$nIII
245  The mambo king.$nVol. 1

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245 Unit entries

• If an item lacks a collective title and tracks have a single performer or composer, record titles with semi-colons between (RDA 2.3.2.9).

1XX  Performer main entry.
245  Unholy$h[sound recording] ;$b God gave rock 'n' roll to you II ; Deuce ; Strutter /$c Performer.

• If tracks have different performers and/or composers, record titles with period between.

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245 Self-titled sound recordings in series

• To improve title access for self-titled sound recordings in a series, consider cataloguing as 245 |a Series. |p Artist self-title |h [sound recording], e.g.

245  The essentials.$p David Sanborn$h[sound recording].

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245 |c Statement of Responsibility

EPL Policies

1. EPL prefers to use the form of the name used on each public work and may need to over-ride a national library authority.
2. If we learn that an EPL name authority is in error, the authority will be corrected. E.g. Previously, Ricky Van Shelton’s works were cuttered VAN (for Van Shelton, Ricky); we now accept LC’s preferred form: Shelton, Ricky Van based on later information which clarified that Van is his middle name. Going forward, his works would be cuttered as SHE.
3. Relabelling should be considered only when a discrepancy poses a significant impediment to access.
4. EPL prefers local authorities for different forms of name when a person has separate identities at different stages in life or for separate activities or markets (more than transliteration or pseudonyms are involved).
5. EPL accepts forms used by LC/LAC if the variation from title page form arises because of a different scheme of transliteration applied.

• If a composer is being transcribed in the 245 |c, all performers are recorded in 511.
• Do not capitalize the article used with a group name, e.g.

245 /$cthe Beatles.
245 /$clos Lobos.

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245/246 Exception

Putumayo recordings:

• For those items which present the words “Putumayo presents” at head of title on the chief source of information, record “Putumayo presents” as part of the title proper, add a 246 for title, and trace Putumayo (Firm) as 710, e.g.

245  Putumayo presents Acoustic Brazil
246  Acoustic Brazil
710  Putumayo (firm)

• The above also applies to “Putumayo Kids presents”.

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246 Variant Title

• A 246 can be made (if useful) for miscellaneous information found on sound recordings. For instructions regarding use of container vs. insert, see 500 note: Container vs. Insert.

246 1\  $i On container spine: $a ___
246 1\  $i On container: $a ___

• If information is determined as title information, record as such, e.g.

246 1\ $i Container spine title: $a ___
246 1\ $i Container title: $a ___

• If packaging (i.e. material that is discarded) has a title that is particularly useful, make a 246, e.g.

246 1\ $i Title from packaging: $a…

• See also Cataloguing Overview, 740 Analytics.

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250 Edition statement

• Record edition statements as found on sound recordings, e.g.

250  30th anniversary edition.

• If an edition statement appears on an item with the same title but later release date, check contents to ensure that the musical content is identical to the original release; if the musical content is identical, add edition statement information as a 500 note; if the content is not identical, make a new bibliographic record. See also (below) 500 Reissues.

250 Bilingual Edition Statement

• Bilingual CD + Books contain the entire text in two languages. Include a 250 edition statement as follows, e.g.

250 \\ $a[Bilingual: French-English].

250 \\ $a[Bilingual: Arabic-English].

250 \\ $a[Bilingual: Chinese-English].

250 \\ $a[Bilingual: Arabic-French].

250 \\ $a[Bilingual: Tagalog-English], 1st ed.

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264 Publication Information

264 |a Place of publication

• Use any logical place of manufacture/distribution given on item.
• Use country if it is the only place given.
• If place not given, use [Place of publication not identified].

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264 |b Publisher

Publishers (i.e. Label names)

• List the publishers of a sound recording which are represented by logos on the physical item (label, container, spine, insert). Once the various logos for the publishers on a sound recording have been identified, use the fullest form of name appearing with the logo, e.g. Compass Recordings, MCA Nashville, Universal Music Canada [not Universal], etc.
• The form of the name given with the logo is usually preferred over the form given elsewhere; however if the logo does not contain the name or the form of name is too abbreviated to be meaningful, record the form of name as given elsewhere on the item, e.g. container spine.
• Note that logos do not have to be “pictures” they can consist of the name only. The names will all be recorded in the 264 separated by slashes. It is not necessary to record those logos which do not reflect the publishing function of the item in hand, e.g. distribution companies, motion picture companies, performer's management company, etc., but if in doubt, or if it is the only name on the item, record the name. (See also list “Do not use as label name” below).

264 1\ $b TVT/A&M/Blurb/VP/Scare Dem Productions
264 3\ $b Fontana North Distribution

• Record a distribution statement when a place of publication/publisher is not identified (RDA 2.9).
• Use the proper format (RDA D.1.2.5) in the 264, e.g.

264 3\ $b Columbia :$b Distributed by Warner Bros.,$c2009.

• For CD-Rs (recordable CD's) the label name is generally the manufacturer of the CD blank; for self-recorded items, the publisher listed in the 264 should be the artist (or his/her company). See also 500 Self-recorded CDs (below).
• Do not consider a copyright holder to be a publisher/label name unless the name of the copyright holder is used as a logo or is in some other position indicating a role greater than that of a copyright holder.
• A copyright holder may also be considered for the 264 |b if there is no publisher listed on the item. For self-recorded items which have no publisher listed and the copyright holder is not considered to be a candidate for publisher, use 264 |b[publisher not identified].
• Do NOT use as label name:

Adami (Societe civile pour l’administration des droits des artistes et musiciens interpretes)
Austro Mechana
BIEM or Bel BIEM (European copyright information)
"C", "DR", or "Q" appearing under the manufacturer's number is not part of the manufacturer's number.
Cedar/Cedar 2 (Computer Enhanced Digital Audio Restoration)
CARAS (Canadian Academy of Recording Arts and Sciences)
DIDX or DIDP numbers.
DSD (Direct Stream Digital; recording method)
FACTOR (Foundation to Support Canadian Talent on Records, a Canadian non-profit organization administering funds for Canadian Heritage dept.)
FCM (Fund for Music Creation = Le Fonds pour la creation musicale)
GEMA (German Authors’ Rights Society)
getmusic.ca (electronic site of Universal Music Canada, formerly known as umusic.ca)
HDCD (High Definition Compatible Digital; recording method)
IBMA (International Bluegrass Music Association)
K2 Laser Cutting (recording method)
LC [plus 4 digits] when given on label (as logo) in addition to manufacturer's number.
Manitoba Film & Sound (promotes Manitoba’s film & sound industry; provides financial support)
MAPL (Logo identifies Canadian content re: music, artist, production, lyrics).
MCPS (Mechanical Copyright Protection Society)
MUSICACTION (Canadian non-profit organization providing financial and marketing assistance) [not same as Musicor which is a Canadian distribution company]
MusiCan (music education program operated by CARAS)
ncb (Nordisk Copyright Bureau)
NTSC (National Television Standards Committee; set television and video (including DVD) standards)
PIAS – USE in 264: this is a record label = Play it Again, Sam
Quantegy [plus digits, e.g. GP9] (recording method)
RSS (Roland Sound Space : sound system)
Sacem (Societe des auteurs, compositeurs, editeurs de musique).
SCPP (Societe civile des producteurs phonographiques)
SIAE (Societa italiana degli autori ed editori)
Socan (Society of Composers, Authors and Music Publishers of Canada)
Sodec (Societe de developpement des enterprises culturelles (Quebec))
SODRAC (Societe professionnelle des auteurs et des compositeurs du Quebec)
SPPF (Societe civile des producteurs de phonogrammes en France)
Suisa (Swiss corporation for composers, lyricists and music publishers)
Super Sonics Digital (recording method)
umusic.ca see: getmusic.ca
UV 22 (recording method)
wmgreen (Warner Music Group’s environmental initiative)

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264 |c Dates of sound recordings

• The date of release or issue of a sound recording is the date to be used in the 264 $c. Sound recordings rarely indicate a date of release, but if given record as is, i.e. no square brackets. Generally the date of issue is inferred from the copyright information given on the item with the most important date being the phonogram copyright date (preceded by the symbol p) – the date of copyright of the sound. EPL will use 1980 as the earliest possible date of publication for CDs.
• A "p" date that applies to the entire recording can be used as the 264 $c.

p1990 on item.
264 1\ $c [1990]

264 4\ $c ℗1990.
Date tp: s Dates: 1990

• If there is no “p” date applying to the entire recording, or there is an indication that the actual release date is later than the given “p” date, use the copyright “c” date of artwork/design/packaging (if available) to infer the date; if there is an earlier phonogram copyright date applying to the item as a whole, also use it:

c2010 on item [no other dates given]
264 \4 $c [2010]
Date tp: s  Dates: 2010

p1987, c2012 on item.
264 \4 $c [2012], p1987.
518 Recorded in 1987.
Date tp: p Dates: 2012 1987

Fixed fields: Date tp “p” vs. “t”

• “p” indicates that the publication date of the sound recording differs from a given date of recording/broadcast (518 note) or an original date of release (500 note).
• “t” indicates that the publication date of the sound recording differs from the phonogram copyright date but no previous recording or release dates are given.

264 $c [1999], p1963
No previous date of recording or release
Date tp: t Dates: 1999 1963

264 $c p1999
500 Originally released in 1963.
Date tp: p Dates: 1999 1963

264 $c p1999
500 $aOriginally released in 1963.
518 $aRecorded in 1962.
Date tp: p Dates: 1999 1962

• See also 500 Reissues (below).

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300 Physical description

• List the number of sound discs, total playing time, type of recording (analog or digital), dimensions (discs only) and accompanying materials, e.g.

300  1 audio disc (67 min., 4 sec.) :$bdigital ;$c4 ¾ in.

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300 |a Playing time

• Record the total playing time of the sound recording if given as such on the item; record in the format: __ hr., __ min., __ sec., e.g.

(1 hr., 41 min.)
(101 min.).

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300 |a Multi-piece sets

• For a multi-piece set record the total number of sound discs in the 300 |a, e.g.

300  4 audio discs : $b

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300 |e Audio-visual material with accompanying material

• For instructions on deciding whether to catalogue an item as a book with a CD or as a CD with an accompanying book, see Cataloguing Overview, Determining Predominant Format.
• If the accompanying or loose material fits in the case, do not record a subfield $e, e.g.

300   1 audio disc :$bdigital ;$c4 3/4 in.

• If the accompanying or loose material does not fit in the case, first determine if it is essential to the enjoyment of the sound recording. If not, discard the material, if so, record a subfield $e with either:

1. ​Booklet - if the material is 5-48 pages
2. Book - if the material is more than 48 pages

300  1 audio disc … +$e1 book.
Contents: 1 CD
                1 Book

300 |e Bonus CDs & DVDs

• When a CD is accompanied by a “bonus CD”, code the information in 300 |a, e.g. 2 audio discs.
• When a CD is accompanied by other material, code the information in 300 |e.
• If the title is considered important, add this information in a 500 or 505 note as appropriate.
• The addition or deletion of bonus material generally constitutes a new edition requiring separate records; if in doubt, make separate records, e.g.,

300  2 audio discs
505 2\ disc 2. Bonus live disc.
Contents label: 2 CDs

300  1 audio disc … + $e 1 DVD.
Contents label: 1 CD
                         1 DVD

300  1 audio disc … + $e 1 CD-ROM.
Contents label: 1 CD
                        1 CD-ROM

300  1 audio disc … +$e 1 Blu-ray [i.e. Blu-ray videodisc]
Contents label: 1 CD
                          1 Blu-ray

300  1 audio disc … + $e 1 Blu-ray audio disc
Contents label: 1 CD
                          1 Blu-ray audio disc

300 |e Bonus VCDs (also known as Video CDs)

• When a video CD (or VCD) accompanies a CD code 300 +|e1 VCD. Check that contents label is correct, e.g.

300  1 audio disc … +$e1 VCD.
Contents label: 1 CD
                        1 VCD

• The library does not at this time catalogue VCDs, but in those rare cases where the item to be catalogued is a VCD which is chiefly music tracks playable on regular stereo equipment with some video tracks, catalogue as a sound disc with a note:

300  1 audio disc
500  Includes some video tracks.

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300/500 Size of CD item

• It is only necessary to record the height of a CD item if it meets the oversize requirements; see, Cataloguing Overview, Oversize.
• Indicate Oversize on the IP form as needed. If necessary, an explanatory 500 note can be made, e.g.

300  2 audio discs +$e1 book
500  Repackaged in case (14 x 17 cm)

[CD item has been repackaged into a larger “audiobook” case to accommodate the large accompanying book]

300  1 audio disc
500  Original packaging retained (28 x 14 cm)

[single CD item with bound-in book – decision made to retain original “Oversize” packaging as not possible to remove attached book]

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336, 337, 338 CMCs

• 336 Content type, e.g.

336 performed music|bprm|2rdacontent

• 337 Media type, e.g.

337 audio|bs|2rdamedia

• 338 Carrier type, e.g.

338 audio disc|bsd|2rdacarrier

• $b is not required in original cataloguing, but retain as-is in derived or vendor-supplied records.
• See RDA Toolkit, sections 3.2 Media Type, 3.3 Carrier Type and 6.9 Content Type.
• Retain other 3XX RDA fields in vendor supplied records.

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490/830 Series

• Sound recordings in series will be catalogued either as 245 |aSeries title.|pPart title or with 490/830. Choice will be based on the prominence of the series title on the item. When in doubt, catalogue individually with 490/830.

Liszt piano works, vol. 4 [Series only appears on back of container. Individual title "Annees de pelerinage" appears prominently on label and container.]
245     Annees de pelerinage $h [sound recording].
490     Piano works ; $vv.4
830     Piano works ;$vv.4

See also 245: Self-titled sound recordings in series.

490/830 Capital City Records Collection note

490/830  Capital City Records Collection.

490/830 Indigenous Collection note

• For all titles deemed to have content featuring Indigenous culture and history, including print and non-print formats.

490/830  Indigenous Collection.

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5XX Notes

500 Format/Physical characteristics

• If considered important, make a note of format or physical characteristics. Prefer the use of quoted information from item. Do make notes for the following:

500  "Cassingle extended play".
500  "Maxi play".
500  “DualDisc, 2-sided disc: CD + DVD”—Container verso.
500  “SACD” or “Super Audio CD [SACD]”.
500  “MP3 CD”—Container. This title is only available in this audio format. [Use entire statement].

• Note: At this time, EPL does not collect MP3 format recordings so the statement about limited availability is required to explain inclusion in the library’s collection.

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500 No publisher’s name

• If there is no valid publisher given on a sound recording add a quoted note for an agency/company (if available) that is given on a sound recording to aid in the identification of duplicates, e.g.

500  ”Saskatchewan Arts Board”—Container verso. [agency provided funding]

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500 Self-recorded CDs

• Make a note (quoted or otherwise) for CDs which are self-recorded in their original form, e.g.

500  "Recordable CD-R."
[quoted from label]
or
500  Issued on generic disc (Phillips; CD-R)

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500 Enhanced CDs

• See also VCD (Video CDs).
• For enhanced compact audio discs, i.e. those CD's which include any type of multi-media bonus track (including video tracks, computer games, Internet connections, etc.) which is accessible only by using a PC (personal computer), add the 500 note Enhanced CD to enable keyword searching. If the term “Enhanced CD” appears on item, use as a quoted note, e.g.

500  “Enhanced CD”. [on label]
500  “Enhanced CD”—Container verso.

• The information regarding the presence of a multimedia bonus track is often not prominent. Check for logos such as "M, Made with Macromedia", "QuickTime", "CD extra", "Hyper CD", etc.; also, check for statements regarding PC system requirements which would also indicate a bonus multimedia track. In these cases, use the generic note Enhanced CD with the addition of quoted information taken directly from the item (edit for brevity) which will aid in the identification of a duplicate, e.g.

500  Enhanced CD: includes “2 music videos”—Insert.
500  Enhanced CD: “Insert CD into your computer …”—Container verso.

• The term “Enhanced CD” will be restricted to those enhancements which are accessible only by using a PC. For those CDs which have enhancements accessible by using other machines or processes (e.g. CD+Gs are CDs which include graphic scripting which is accessible through a karaoke machine), use a 500 note to quote the information from the item.

Enhanced CD duplicates:

• For CDs which would otherwise be treated as duplicates (same title, same music) but one CD is enhanced and the other is not, make a new bibliographic record.

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500 Reissues

• It is important to identify reissued sound recordings, either in identical or expanded format. If an earlier date is given on an item or if there is any other reason to suspect that an item in hand is a reissue rather than a new album by an artist, confirm date of release (and original content) in All music guide online. Record the original release date in a 500 note, and code the fixed field “Dat_tp” as “p”.
• Reissue of album with identical content:

264  $cp2010.
500  Originally released in 1965.
500  Contains 9 selections. [identical content of original album]
Date_tp: p  Date1: 2010  Date2: 1965

• Reissue of album with expanded content:

264  $cp2010.
500  Original album released in 1965.
500  Contains 9 selections plus 5 bonus tracks.
Date_tp: p  Date1: 2010  Date2: 1965

• Compilations/collections of previously released material:

264 $c[2010] [date on item: copyright 2010].
500  Selections originally released between 1965 and 1998.
Date_tp: p  Date1: 2010  Date2: 1965

• Note: Record this information if original release/recording date of each selection is clearly provided on the item itself; if absent, a date must be supplied per RDA.
• See also 518 Recording Dates; 264 |c Dates for sound recordings.

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500 Remastered CDs

• Record remastering information that may appear on a CD if it is considered important, e.g.

250 $aRemastered ed.
490 $aAbkco’s the Rolling Stones remastered series
500 “Remastered directly from the original 78s”—Insert
518 $aRecorded in 1965; digitally remastered in 2011.

• Generally a CD that is reissued in a remastered format but with identical content is considered to be a duplicate (or pseudo-duplicate); however, in certain situations new bibliographic records will be made, e.g. the reissuing of an artist’s entire back catalog with remastered tracks, often with a new series, new publisher, etc.

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500/505 Contents notes

• Provide a 505 Contents note listing the selections for popular sound recordings when feasible, adding a subfield t before each track, e.g.

 505  00  $tMoney on my mind --$tGood thing --$tStay with me

• Accept Contents note as given in derived records, i.e. accept punctuation and capitalization as given; if Contents are given with enhanced MARC coding, ensure that the 2^nd indicator is set to “0”.
• For original cataloguing, it may be preferable to first check online sources for contents. For compilations by various performers, provide performer information, e.g.

505  00  $tRolling in the deep / Adele --$tMarry the night / Lady Gaga.

• Performance information is generally more important than composition information in popular sound recordings – do not provide composition information in original cataloguing and delete if given in derived records.
• For items where it is not feasible to record the contents, e.g. the title listings are too lengthy or not given, provide a general 500 note indicating the number of selections (note that generally in popular music, the term “selection”, meaning a separate musical work, is synonymous with the word “track”; in classical music it is common to have a “selection” involve several tracks).
• For unnumbered selections, it may be necessary to confirm the number by using a CD player; enclose the total number in square brackets only if unable to confirm with a visual check, e.g. unlisted selections. Also, if indicated as such on the item, record the number of bonus tracks – in the same note, but as a separate amount, e.g.

500  Contains 9 selections plus 3 bonus tracks. [tracks numbered 1-12, tracks 10-12 identified as bonus tracks].
500  Contains 2 selections (14 tracks).

• Generally it is not necessary to provide a general 500 note if a 505 Contents note has been included in the record.
• See also Classical sound recordings, 505 Contents.

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511 Performers

• List here prominent performers and performing groups if not already named in the statement(s) of responsibility in 245, or if a composition statement is in the 245 |c.
• Record up to 3 performers which are prominently named or record the first named performer of a prominent list. (Classical sound recordings are an exception; see Classical Sound Recordings, 511 Performers).
• Also note the absence of named performers on the item. Generally do not make note of any name that will not be given a 7XX added entry, but members of a group can be listed if necessary for clarification (per RDA 2.4.1.5), e.g. group name misleading, name(s) of a group member credited separately on item and 7XX not required, names of group members given prominently, non-unique group name, etc.
• Generally, add group members’ names for duos and trios; do not remove group member information if provided in a derived record. See also (below) 7XX Added entries.

511  Performed with LA Boogie Band.
511  Various performers.
511  Unspecified performers.
511  Mike Snow (Andrew Wyatt, Christian Karlsson and Pontus Winnberg) [no member named Mike Snow]
511  Great Jazz Trio (Hank Jones, Richard Davis, Elvin Jones)
511  OperaBabes (Rebecca Knight, soprano ; Karen England, mezzo-soprano).

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518 Recording dates

• If the date of recording appears on a sound recording, give it in a note (AACR 6.4F2):

518  Recorded in 1961.
518  Recorded between 1975 and 1978. [single album recorded over several years]
518  Selections originally recorded between 2000 and 2006. [compilation album of previously released material.

• Use this field to give the date of recording (or broadcast) even if it is the same as the publication date.
• It is not necessary to give the place of recording; if only the place of recording is given in item (i.e. no date given), do not fill this field. However, if this information is provided in a derived record, do not delete.
• For information on release dates, see 500 Reissues; see also 264 |c Dates for sound recordings

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6XX Subject Headings

• See also Subject Headings, Music headings
• All musical sound recordings in any genre by local musicians receive the subject heading:

650  $aMusic$zAlberta$zEdmonton Region.

• Local performers are defined as those being within the geographic area known as the Edmonton Capital Region (City of Edmonton plus the Counties of Leduc, Parkland, Strathcona and Sturgeon. For a complete listing of municipalities included see Wikipedia: Edmonton Capital Region). Include those performers having a strong association with the defined area, e.g. born in, raised in, teaching in, etc.; it is not enough to have only performed or recorded in the Edmonton area.
• For children's music use:

650  $aMusic$zAlberta$zEdmonton Region$vJuvenile sound recordings.

• For classical performers it is often necessary to add a 500 note for clarity, e.g.

500  $aEdmonton performers.

500  $aEdmonton composer (M. Forsyth).

• Subject headings should reflect the nature of the content even if the information duplicates the classification. E.g.,

099  CD ROCK GUN
650  $aRock music.

• Retain date range subdivision if provided in derived or vendor-supplied records.
• Retain vendor-supplied 655s, as they are searchable as subjects in BiblioCore.
• Supply additional 650s as needed to enhance access, but do not duplicate 655s  unless adding the geographic subdivision $zCanada.

• E.g., Cadence Weapon's Parallel world 

  655 \7  $aRap (Music)$2lcgft

  Add 650 \0 $aRap (Music)$zCanada.

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7XX Added entries

• Made added entries for:

1. Accompanying performer/group.

George Thorogood and the Destroyers
100  Thorogood, George
710  Destroyers (Musical group)

2. Leader/director whose name is included in the group name and who is performing with the group.

Jeff Beck Group
110  Jeff Beck Group (Musical group)
700  Beck, Jeff

3. For musical groups whose group name includes name(s) of group member(s), make added entry or entries for that person or persons (up to three) and have the appropriate links made in the name authority records. Do not make added entries for members of a duo or trio unless a member’s name is in the group’s name.

100  Santana (Musical group)
700  Santana, Carlos

110  Lambert, Hendricks & Ross (Musical group)
700  Lambert, Dave, $ d 1917-
700  Hendricks, Jon, $ d 1921-
700  Ross, Annie, $d 1930-

110  Peter, Paul and Mary
700  Yarrow, Peter, $d 1938-
700  Stookey, Paul, $d 1937-
700  Travers, Mary, $d 1936-

110  Stevens Sisters
700  Stevens, Beth
700  Stevens, April

• Note that no further justification other than the 245 |c statement (e.g. Peter, Paul and Mary) is required to trace the group members.
• Note that statements such as [name] and his band [orchestra, etc.] do not provide sufficient justification for a 710, e.g.,

511  Tommy Dorsey and his orchestra.
100  Dorsey, Tommy
No 710 provided [unless further justification provided in record]

4. Any other performer given prominence.

The Commodores featuring Lionel Ritchie
110  Commodores (Musical group)
700  Ritchie, Lionel

5. A composer or lyricist when either is prominently named.

Joan Baez sings Bob Dylan
100  Baez, Joan
700  Dylan, Bob

• Within the sound recording format, uniform titles for classical music are only used in the categories CLA and J CLA.
• Do not trace arrangers unless there is a single arranger for the entire album and name of arranger is prominent.
• Do not make added entries for producer(s), unless named in the title or name is prominent and would provide a valuable access point, e.g.

      245  Babyface presents
      700  Babyface

• The first named performer of a prominent list can be given an added entry if this would provide a valuable access point. 
• Make an added entry for the record company if they are responsible for the item being issued, e.g. samplers; otherwise do not trace.
• For DJs/Mixers, see DJs/Mixers. Do not make added entries for people who have remixed, remastered, dee-jayed, etc. if their names are not given prominence on the item.
• An added entry can be made for the author of a previously published book that an item is based on, if such an author is named prominently and would be a valuable access point; however, do not make added entries for the writers of a “screenplay book” which is the “working document” of a musical, etc. E.g.,

       Great expectations adapted for children
       700 Dickens

• When presented prominently, the collector/recorder of field material (usually natural sounds or traditional folk material of obscure origins) is noted and traced.
• Trace only those corporate bodies which are prominent on the item and which provide a valuable access point, e.g. Walt Disney ; Reader’s Digest; Putamayo.

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730 Uniform titles

• Prefer use of 246 when the required title entry can be justified by the 245; otherwise use a 730 and justify entry by a note, e.g.

245  Original Broadway recording of La cage aux folles$h[sound recording]
246  Cage aux folles$h[sound recording]
OR
245  Iranian underground$h[sound recording]
500  Distributed with the Apr./May 2010 issue of Songlines magazine.
730  Songlines (Magazine) [no GMD]

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740 Title added entries

• Generally 740s are not made for titles recorded in a 505 contents note, e.g. individual song titles; “titles” on a single disc that have been noted for extra information only (comparable to chapter titles in print material); non-distinctive titles of individual discs in a multi-disc set. However do make 740s for distinctive titles of individual discs of a multi-disc set if such titles are the only titles appearing on the individual discs (i.e. the 245 title is not on the discs) or if the individual discs have ever been released separately.
• Use a 740 title added entry (not a 246 variant title) for all titles following the first title in a 245 unit entry, e.g.

245 10 Johnny Cash is coming to town$h[sound recording] ;$bBoom chicka boom
740 02 Boom chicka boom$h[sound recording]

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Accompanying material

• Discard material which is included with a sound recording but is not directly related or necessary to the sound recording.
• CD sets which include computer game discs, work books with blank pages, etc. should be referred to a librarian.

E.g. the CD "The wedding album" included a souvenir wedding booklet for the bride that included poems, etc. The booklet was unrelated to the sound recording itself; discarded before cataloguing.

• See also Cataloguing Overview, Accompanying items

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Vinyl Records

• EPL is introducing a pilot vinyl collection at the Milner Library in spring 2024.

Cataloguing

• Symphony bibliographic record format = MUSIC
• The chief source of information is the label on the vinyl record
• Secondary sources include accompanying printed information, such as a booklet or sleeve
• MARC Fixed Fields:
  • See MARC Coding: Sound Recordings (Musical & Spoken)
• Classification & Call Signs:

• Sample MARC Bibliographic Record:

• 300 field:
• 300 \\ $a1 audio disc :$banalog, 33 1/3 rpm ;$c12 inches
• 336, 337 & 338 336, 337 & 338 fields:
• $b is not required in original cataloguing but retain in derived or vendor-supplied records
• 520s are optional; retain in vendor supplied records
• 6XX Subject Headings:
• All musical sound recordings in any genre by local musicians receive the subject heading:

        650 \0 $aMusic$zAlberta$zEdmonton Region.

• Local performers are defined as those being within the geographic area known as the Edmonton Capital Region (City of Edmonton plus the Counties of Leduc, Parkland, Strathcona and Sturgeon. For a complete listing of municipalities included see Wikipedia: Edmonton Capital Region). Include those performers having a strong association with the defined area, e.g. born in, raised in, teaching in, etc.; it is not enough to have only performed or recorded in the Edmonton area.

• All records for vinyl are to include the following heading:

  =655  \7$aVinyl records.$2CaAE

• 856 Cover Image
  • The vinyl cover images have been scanned and uploaded to the CMA Photobucket account. The URLs for each cover image are located in the 2024-03 VinylCollection_Blackbyrd_Cataloguing.xlsx spreadsheet. 
  • Create an 856 field (indicators 42). Locate the cover image URL for the record in the spreadsheet, and copy/paste it into the MARC record 856 $u. 
• See Sound Recordings Overview for additional details around bibliographic records

Item Entry

Processing

• A machine-readable barcode is affixed to the front of the cardboard jacket, center-aligned to the right edge
• A "Please return to library staff label" is also affixed to the cardboard jacket, next to the barcode label
• An eye-readable label with the barcode # is affixed to the upper right corner of any accompanying loose booklets and the interior paper sleeve in the upper right corner
• Affix an RFID hub label to the center of the first/primary vinyl disc, writing the last 9 digits of the barcode number on it
• Apply a donut label to any additional disc that does not receive an RFID tag, writing the last 9 digits of the barcode number on it
• For items with more than 1 disc included, and/or accompanying booklets, affix the appropriate Contents label to the cardboard jacket, vertically under the barcode label along the right edge
• Affix the spine/call number label to the top left corner of the front of the cardboard jacket
• Insert the processed cardboard sleeve with enclosed paper sleeve and record into a clear plastic sleeve before distributing
• Sample processing diagrams:

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Last revised May 23, 2024