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Special Considerations When Cataloging Ethnic Music

Special Considerations When Cataloging Ethnic Music. Caitlin Hunter Processing Unit Head, Recorded Sound Section, Library of Congress MOUG Conference February 18, 2009. What will be covered:. Introduction to topic General elements to consider How people search for ethnic music

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Special Considerations When Cataloging Ethnic Music

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  1. Special Considerations When Cataloging Ethnic Music Caitlin Hunter Processing Unit Head, Recorded Sound Section, Library of Congress MOUG Conference February 18, 2009

  2. What will be covered: • Introduction to topic • General elements to consider • How people search for ethnic music • Selected cataloging issues and examples: • Commercial items • Collections and unpublished items • Ethnic music in FRBR-like models

  3. Why ethnic music? • My Background • Anthropology • Performance experience with ethnic music and related course work • Work experience

  4. Why “special considerations” • Complicated topic and limited time, so can only cover certain broad issues and specific examples. • Search practices differ from those for Western Art music • Institution size may impact cataloging practices • Varied treatment of typical search elements

  5. Why “special considerations”, cont. • Well-established cataloging practices for specific formats and Western Art music. Popular and Ethnic music are not covered as thoroughly. • Catalogers may have an incomplete understanding of: • Terminology • Cultural practices • Language

  6. Terminology • “Ethnic” • Shared cultural identity • Recognized elements marking difference from other groups • Independent of national borders

  7. Terminology • “World music” • Likely originated in the field of ethnomusicology • Music industry has used for marketing and classification • LCSH: • Once was used for " ... popular musical works combining traditional rhythms from around the world with elements of jazz and rock“ • Now encompasses ethnic music and ethnic/popular fusions.

  8. Terminology, cont. • “Traditional” and “Folk” music • Passed down through generations • Interchangeable terms • LCSH: “Folk music” is an established heading and the rules state to use this in place of “Traditional music”

  9. Terminology, cont. • “National” music • Governmental, regional, or geographic boundaries • LCSH: entry exists (although no scope note)

  10. Issues to consider prior to cataloging ethnic music: • Language and culture specialists • Reference works Examples • The Garland Encyclopedia of World Music • Spottswood, Richard K. Ethnic Music on Records- A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942. Urbana: University of Illinois Press, 1990.

  11. Issues to consider prior to cataloging ethnic music, cont. • Cataloging-related tools • Thesauri • Geography, Cultural groups, Languages, Instruments • Subject headings • Subject Cataloging Manual: H 1917 Music of Ethnic, National, and Religious Groups • “Provides guidelines for assigning subject headings to works that consist of or discuss the music of ethnic groups, music with national emphasis, religious music of certain groups, and non-Western art music, including works about the musical instruments of these groups”

  12. Issues to consider prior to cataloging ethnic music, cont. • Establishing cataloging practices that will allow patrons to search and retrieve results in a consistent manner • Providing print or online search guides

  13. How Do People Search for Ethnic Music?

  14. How do people search for ethnic music? Sources to consider • Writings related to searching for ethnic/cultural materials • Organization of information in reference sources devoted to ethnic music

  15. How do people search for ethnic music? Sources to consider, cont. • Search options found in databases offering access to ethnic music Examples • Smithsonian Global Sound http://www.smithsonianglobalsound.org/ • Amazon.com http://www.amazon.com/World-Music/b?ie=UTF8&node=33 • Other commercial sites Ex: CD Baby http://cdbaby.com/style/world

  16. How do people search for ethnic music? Sources to consider, cont. • Search guides provided by institutions Observed patterns: • Subject headings • Preformatted searches with click of a button • Classification schemes and call numbers

  17. How do people search for ethnic music? Search Elements for Ethnic Music • Most frequent search/organizational elements • Geographic location • Cultural/Ethnic group • Form/Genre • Instrumentation • Second-tier elements • Language • Dates • Contributors • Content/”Works”

  18. Cataloging Commercial Sound Recordings

  19. Cataloging commercial sound recordings MARC fields • Machine readable vs. • Readable by patrons Surveyed practices of various institutions

  20. Cataloging commercial sound recordings Geographic Location • Machine readable • 033 (Date/Time and Place of an Event) • |b (Geographic classification area code) • |c (Geographic classification sub-area code) • Source of codes: Library of Congress Classification –Class G • 043 (Geographic Area Code) • | a (Geographic area code) • Ex: Illinois = |a n-us-il • Source of codes: MARC Code List for Geographic Areas

  21. Cataloging commercial sound recordings Geographic Location, cont. • Readable by patrons • 518 (Date/Time and Place of an Event Note) • 6XX • SCM H 1917 • [ethnic or national group] |z [place] |v Music. • [heading(s) for music of individual religious group(s)] |z [place] • [Topical heading or subject heading string] |z [Larger jurisdiction] |z [Specific place].

  22. Cataloging commercial sound recordings Cultural/Ethnic group • Machine readable • -None- • Readable by patrons • 500/511 • 6XX • SCM H 1917 • [ethnic or national group] |z [place] |v Music. • [heading(s) for music of individual religious group(s)] |z [place]

  23. Cataloging commercial sound recordings Form/Genre • Machine readable • 008/18-19 (Form of Composition) (broad) • 047 (Form of Musical Composition Code)(broad) • Readable by patrons • 500 • 650 /655 • SCM H 1917 • [heading(s) for musical genre, type, or style, for ballads and songs, or for songs implying national emphasis]

  24. Cataloging commercial sound recordings Instrumentation • Machine readable • 048 (Number of musical instruments or voices code) (broad) • Readable by patrons • 500/511 • 6XX

  25. Cataloging commercial sound recordings Language • Machine readable • 008/35-37 (Language) • Source: MARC Code List for Languages • 041 (Language code) • |d (code for sung or spoken text) • Source: MARC Code List for Languages • Readable by patrons • 546 (Language note) • 6XX • SCM H 1917 • [heading(s) qualified by language of text]

  26. Cataloging commercial sound recordings Dates • Machine readable • 033 (Date/Time and Place of an Event) • |a (Formatted date/time ) • 1st 8 characters: yyyymmdd (hyphen for unknown digits) • Readable by patrons • 518: Date/Time and Place of an Event Note

  27. Cataloging commercial sound recordings Contributors • Machine readable • -None- • Readable by patrons • 1XX • 245 • 500/511/505 • 7XX

  28. Cataloging commercial sound recordings Content/”Works” • Machine readable • -None- • Readable by patrons • 245 • 505/520 • 740

  29. Cataloging commercial sound recordings Example 1(see handout) Natalie MacMaster, My Roots Are Showing Geographic Location • 033: |b 3422 |c C29 • 043: |a n-cn-ns • 500: “Traditional fiddle music of Cape Breton Island”--Container • 518: Recorded Dec. 1997 at Lakewind Sound Studios, Point Aconi, Cape Breton, N.S. • 650: |z Nova Scotia |z Cape Breton Island

  30. Cataloging commercial sound recordings Example 1, cont. Cultural/Ethnic Identity • 500: Performer Canadian. • + Inference from geographic location Form/Genre • 008/18-19: “fm” or “mu” • 047: |a fm |a df • 500: “Traditional fiddle music of Cape Breton Island”—Container • 650: |a Fiddle tunes • 650: |a Folk music • 650: |a Folk dance music

  31. Cataloging commercial sound recordings Example 1, cont. Instrumentation • 500: “Traditional fiddle music of Cape Breton Island”—Container • 511: Natalie MacMaster, fiddle; Mary Jessie MacDonald, piano (1st work); Joel Chiasson, piano (2nd work); … • 650: |a Fiddle tunes Language • [N/A for the works]

  32. Cataloging commercial sound recordings Example 1, cont. Date (of performance) • 033: |a 199712-- • 518: Recorded Dec. 1997 at Lakewind Sound Studios, Point Aconi, Cape Breton, N.S. Contributors • 100: |a MacMaster, Natalie. |4 prf • 511: Natalie MacMaster, fiddle;… • 700: |a Chiasson, Joel. |4 prf … Content/”Works” • 505: |a Hey, Johnny Cope! -- Willie Fraser -- The boys of the lake -- …

  33. Cataloging commercial sound recordings Example 2 Sam-Ang Sam Ensemble, Music of Cambodia Geographic Location • 033: |b 3804 • 033: |b 4284 • 043: |a a-cb--- |a n-us--- • 245: |a Music of Cambodia • 518: |a Recorded May 8, 1987, at Greenwich House, New York City, and Dec. 3, 1988, at Ruskin Studio, Seattle, Washington. • 650: |z Cambodia • ? 650: |z United States

  34. Cataloging commercial sound recordings Example 2, cont. Cultural/Ethnic Identity • 650: |a Cambodian Americans |v Music • + Inference from geographic location in title and background of performer Form/Genre • 008/18-19: “fm” • 650: |a Folk music

  35. Cataloging commercial sound recordings Example 2, cont. Language • 008/35-37: khm • 041: |d khm • 546: [not mentioned in existing bibliographic record] Dates (of performance) • 033: |a 19870508 • 033: |a 19881203 • 518: Recorded May 8, 1987, at Greenwich House, New York City, and Dec. 3, 1988, at Ruskin Studio, Seattle, Washington.

  36. Cataloging commercial sound recordings Example 2, cont. Instrumentation • [not mentioned in existing bibliographic record] Contributors • 110: Sam-Ang Sam Ensemble. |4 prf Content/”Works • 505: Kath troeuy = Crossing the river bank -- Khek Nup Bun = Indian from Nup -- Kolap Phnom Penh = Rose of Phnom Peng -- …

  37. Collections and Unpublished Materials

  38. Collections and unpublished materials Elements to Consider • Information discussed in previous section • Additional elements for consideration • Collection title • Content, Summaries, and Access to Individual Recordings in a Collection • Physical Description • Notes (Genre/Form and Provenance) • Subject Headings

  39. Collections and unpublished materials Collection titles (245) • Titles on item(s) • Supplied titles • AACR2 1.1B7 • “Supply a title proper for an item lacking a chief source of information from the rest of the item, or a reference source, or elsewhere. If no title can be found in any source, devise a brief descriptive title.” • Internal/Institution-specific practices • ATM: [Location, Cultural group, Dates] / |c collected by [Name] • [Brazil, Tupi Indians, ca. 1935] [sound recording] / collected by Charles Wagley.

  40. Collections and unpublished materials Collection titles (245) • Supplied titles, cont. • DACS (Describing Archives: Content Standard) • 245 |a: Name segment + nature of materials Mary Smith collection of fiddle tunes • Date • 245 |f: Date range Mary Smith collection of fiddle tunes, |f 1965-1970. • Other: 245 |g (bulk date) and 260 |c

  41. Collections and unpublished materials Content, Summaries, and Access to Individual Recordings in a Collection • Contents or Summary Notes • 505 • 520 • Access to individual recordings • Bibliographic Records • Finding Aids • Indexes

  42. Collections and unpublished materials Physical Description (300) • Multiple formats in one collection • Content to include in bibliographic record • Only sound recordings –or- • Sound recordings and accompanying materials • Single entry • 21 sound discs : analog, 78 rpm, mono. ; 7-10 in. + 4 sound tape reels (10 in.) . + documentation • Multiple entries in one record • 50 sound tape reels : analog, 7 1/2 ips ; 10 in. • 100 sound cassettes : analog. • 120 sound discs : analog, 33 1/3 rpm ; 12 in.

  43. Collections and unpublished materials Notes • Genre/Form Note • Suggest including a note listing various genres/forms in a collection • Provenance • Institutional repository of original recording • Collector who gathered the recordings • Narrative provenance story • Copies

  44. Collections and unpublished materials Subject Headings • LCSH • Local subject headings • How many is too many?

  45. Ethnic Music and FRBR-Like Models

  46. Ethnic Music and FRBR-like Models FRBR • http://www.ifla.org/VII/s13/frbr/ • Entities • Group 1 • Work (a distinct intellectual or artistic creation) • Expression (the intellectual or artistic realization of a work) • Manifestation (the physical embodiment of an expression of a work) • Item (a single exemplar of a manifestation)

  47. Ethnic Music and FRBR-like Models FRBR • Group 1 entities, cont.

  48. Ethnic Music and FRBR-like Models FRBR • Entities, cont. • Group 2 • Person • Corporate body • Group 3 • Concept(an abstract notion or idea) • Object(a material thing) • Event (an action or occurrence) • Place(a location)

  49. Ethnic Music and FRBR-like Models FRBR Shared Work and Expression Attributes (but applied differently) • Title • Form • Date • Other distinguishing characteristics • Context • Medium of Performance Group 2 and 3 Entities • Person • Corporate body • Event • Place

  50. Ethnic Music and FRBR-like Models Special Considerations Regarding: • Geographic Location • Contributors and Cultural/Ethnic Group • Form/Genre • Instrumentation • Content/”Works” • Other Misc. Issues

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