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CATALOGING MUSIC SOUND RECORDINGS IN THE UNITED STATES: AN EVOLUTION OF PRACTICE AND STANDARDS.

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Title: CATALOGING MUSIC SOUND RECORDINGS IN THE UNITED STATES: AN EVOLUTION OF PRACTICE AND STANDARDS.
Authors: STRADER, C. ROCKELLE1
Source: Notes. Dec2015, Vol. 72 Issue 2, p276-327. 52p. 1 Illustration, 1 Diagram, 11 Charts.
Subject Terms: *Library administration, *History, Cataloging of sound recordings, Sound recording libraries, Music libraries, Sound archives, Archives administration
Abstract: The bibliographic control of sound recordings has been an issue ever since libraries began acquiring them. The description of recordings is generally more difficult than that for print materials, due to the prominence of both composers, as creators of the works recorded, and the performer(s) of these works, and also to the anthology-like nature of many recordings. One of the foremost problems with recordings is whether to catalog each work on the recording separately or the entire recording as a unit. The variety of ways in which works have been packaged has necessitated changes to cataloging and description standards over the years in order to consistently display information to users to support their decision making. This account looks back at how the cataloging of sound recordings has been handled over the decades, to provide a historical context in which to place the development and adoption of Resource Description and Access (RDA) as it relates to description and access of sound recordings. [ABSTRACT FROM AUTHOR]
Copyright of Notes is the property of Music Library Association Inc. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
Database: Education Research Complete
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  Data: The bibliographic control of sound recordings has been an issue ever since libraries began acquiring them. The description of recordings is generally more difficult than that for print materials, due to the prominence of both composers, as creators of the works recorded, and the performer(s) of these works, and also to the anthology-like nature of many recordings. One of the foremost problems with recordings is whether to catalog each work on the recording separately or the entire recording as a unit. The variety of ways in which works have been packaged has necessitated changes to cataloging and description standards over the years in order to consistently display information to users to support their decision making. This account looks back at how the cataloging of sound recordings has been handled over the decades, to provide a historical context in which to place the development and adoption of Resource Description and Access (RDA) as it relates to description and access of sound recordings. [ABSTRACT FROM AUTHOR]
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  Data: <i>Copyright of Notes is the property of Music Library Association Inc. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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