Describing Music Materials

This fourth edition was prepared in 2015-2016 as a supplementary text for a graduate music cataloging course. This edition is rewritten to a large extent to conform to the new instructions and paradigms represented in Resource Description and Access (RDA). RDA instructions for printed music, recorded music and music video are accompanied by advice, examples, illustrations and complete catalog records, including versions in MARC21 format. Consistent with RDA, the chapter on form and choice of access points found in earlier editions is gone, replaced with a chapter on authorized access points. The concept of “uniform title” has evolved into the concept of the “preferred title,” as part of an authorized access point, which might require manipulation and addition of some elements for disambiguation and collocation. Only three chapters are used for description of printed music, sound recordings and video recordings. Many of the older LP examples were removed as were VHS video recordings. Multimedia packages are now rare in the marketplace, but streaming audio and video are quite evident so examples now include those media. Facsimile examples from the third edition have been retained and many new examples have been added. Most catalogers today are using RDA in combination with MARC21. Accordingly, in an appendix, we have rendered each example in MARC21 format using the OCLC Connexion approach to MARC21 record formatting.A lengthy bibliography in earlier editions has been replaced by a brief list in the introduction, with pointers to online resources that are both current and constantly updated by working catalogers.

Recent changes in both cataloging rules (AACR2) and MARC coding standards (MARC21) mean that for catalogers to create or edit records effectively, they need new up-to-date guidance. In a unique one-stop guide, cataloging expert Fritz provides the hands-on cross-references between AACR2 and MARC21 required for easy online cataloging. The 2006 Cumulation brings the second edition up-to-date with the inclusion of the 2004, 2005, and 2006 updates. Designed to streamline the process and avoid errors, the book is organized in order of MARC tags. Following this step-by-step guide, users can: Identify the rules that govern each MARC field Match resources to records Edit records Create new records easily Clone records for different editions Make individual MARC records "play well" with others in the database. Beginning catalogers can use this guide to create simple records while experienced catalogers will be able to identify specific rules. Fritz also helps copy catalogers pick better matching records, and systems librarians understand the content of records at the core of their collections. Providing clear, practical, easy-to-use guidance, this authoritative reference is the premier resource for students and instructors as a basis for creating and editing consistently good MARC records. Available in loose-leaf format to fit in a standard 3-ring binder.

Describing Music Materials, 4th edition is the latest update of a classic manual for resource description of music materials for library catalogs. Resource Description and Access (RDA) instructions for printed music, recorded music and music video are accompanied by advice, examples, illustrations and complete catalog records, including versions in MARC21 format.

Libraries, archives, and museums hold a wide variety of moving images. all of which require the same level of attention to issues of organization and access as their print counterparts. Consequently, the people who create collection level records and metadata for these resources need to be equally conversant in the principles of cataloging. Martha Yee covers both descriptive (AACR2R, AMIM, and FIAF rules) and subject cataloging (with a focus on LCSH). In the process, the reader is encouraged to think critically and to be prepared to make decisions in ambiguous situations where solutions to problems are not always obvious or clearly dictated by specific rules.

This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of these events in terms of their function in a musical context of pitch and rhythm. Equally important, the work offers an analysis of the relationship between the psychological organization of music and its internal structure. Combining over a decade of original research on music cognition with an overview of the available literature, the work will be of interest to cognitive and physiological psychologists, psychobiologists, musicians, music researchers, and music educators. The author provides the necessary background in experimental methodology and music theory so that no specialized knowledge is required for following her major arguments.

An urgently needed guide to understanding medieval music to be used as a text for the university undergraduate, graduate students in music and interdisciplinary medieval studies, and for the professional musicologist and medievalist. This book will also be appreciated by everyone interested in early music. Nancy van Deusen's The Cultural Context of Medieval Music addresses the mental landscape surrounding music that, especially, was sung and experienced in the Middle Ages. Largely anonymous in its composition, and apparently lacking the motivation of fame and commerce, music within a well thought-out system of education served a purpose that goes far beyond casual entertainment or personal professional advancement. Offering experience through performance, music exemplified the basic principles not only of the material and possible measurements of the visible world—such as of objects, relationships, and movement—but also of the invisible materials of sound and time, making it an ideal medium for working with unseen substances such as concepts, imaginations, and ideas. St. Augustine in the late fourth century reinforced the importance of music for the process of learning when he wrote that nothing could be truly understood without music. This book shows how this, in fact, is the case—a message of great relevance today.