>> From the Library of Congress in Washington, D.C. [Silence] ^M00:00:09 [ Music ] ^M00:00:19 >> Melanie Polutta: Okay. So welcome back everybody. We are now going to have this final session on the three fields that are specific to musical works. Now before I get into them I need to add a brief note of explanation because this overall course is going to be the general course. It's meant for anybody who's a NACO cataloger and that's why it's covering things pretty generically. We're not-- and we get into the other sections where we talking about, you know, name authorities for works and expressions and that kind of thing. We're not going to be talking about specifics of how to setup a name authority for a musical work, or for example, a law work or any of those others. The main reason I'm covering these here even though they are specific fields for music is because I am talking about the general new MARC fields. So I'm trying to be thorough in the general course but we're actually going to try to have specialist sections at a later time where we have someone from music who can actually teach you in more detail about how to setup music NARs and someone from Law and I think we might do one from sacred scriptures. >> Paul Frank: The Bible. >> Melanie Polutta: Yes. The Bible, the Qu'ran. All those other special things because they have unique viewpoints with specialist knowledge that I don't have because I don't work with those types of resources. So--and since I don't work with these types of resources--be assured I wouldn't talk to music catalogers before I started talking about these fields. So the first of these three fields is 382, the medium of performance that is being recorded. And what you're going to do is record it in the a subfield. Now this is a work attribute but like most work attributes, it may appear in the expression attribute. What it does is it includes what it was specified for or used in performance. So the composer says you need to use woodwinds or you need to use violins. That's the information you are going to be recording here. Each separate instrument or voice would appear in a separate a subfield within that one field as appropriate to that specific composition. After that you may end up with multiple 382 fields because you may end up with one NAR covering multiple expressions, at this point that whole arranged thing is for one NAR even though it may indicate multiple expressions of the same thing. This is one that's going to be kind of important to help differentiate between different expressions of that same song over time. Over time some things have lots and lots of different expressions may end up with a lot of 382 fields. The next field is 383, numeric designation of music works. So this is where you are going to record things like the serial number, the Opus number, and soon the Thematic Index Code for the Thematic index number. This is one where although the field itself has been in use for a while, one specific subfield has not yet been activated which is the d subfield, the Thematic Index Code. Now what this is going to do is indicate what is the source info for where did you find the specific Thematic index number that's applied to that specific composition. It's my understanding that some compositions have been described by different scholars with different numbers and Opus numbers and so on. And so it's really good to say okay, it's got this Opus number because this specific scholar defined it that way and it's a standard in the music world. But this other scholar also recorded it this specific number and that's also a standard. So we want to be able to recognize what's the source of that standard. It is a work level attribute. Once again, it can apply to expression level NARs. When you do record Opus number and serial number, you're going to use the standard abbreviations of Op. and O. and so on. I don't think there's a standard for capitalization of these abbreviations, but the fact that it is going to be an abbreviation is a standard because that's how you're used to seeing them. As you might expect, this really applies primarily to classical works at this point in time. I really don't know that's it in heavy usage for any other kind of music. The final field is key. The music key in which a piece of music is written. Now this is one of the other few fields--new fields--that have an indicator. The first indicator will tell you if one, it is the original key; two, a transposed key; or unknown. So if it's original, you're going to have a 0 in the first indicator and that's really probably the one you're most likely to see on a regular basis. Transposed key and a one and unknown, just keep it blank. You only have the a subfield here and when you do that you're going to be recording the key that you're given for that composition. So work level attribute, the key that the composer had it in. If it was for an expression of that piece of music, some arrangement of it that somebody transposed to a different key than you can record the transposed key. But it is my understanding from the music catalogers that they're really only recording it most of the time for just the work. They're not really bothering to record it for expressions at this point in time. It may change in the future. When you do record it, you're going to go ahead and use the appropriate codes for the sharp or flat symbols and the words major and minor will be spelled out. Please do not abbreviate them. We want them spelled out. I do not know what those codes are since I don't work with them. I'm sure if you are a music cataloger you probably already know it. So those are the three fields that are specific to music and hopefully this will give you some guidelines on how to use them for the future. And then this brings us to the end of the entire module on all the new MARC fields. >> Paul Frank: I have a question. If I'm a cataloger in one of the specialist communities such as music or law; religion. You said that there hopefully be more information available but I guess it will be good for those catalogers to follow the websites or the news of their own community such as the MLA for music and-- >> Melanie Polutta: Yes. I believe they are within those communities they are actually already creating some best practices. >> Paul Frank: Very good. >> Melanie Polutta: And I would certainly recommend that you pay attention to your own professional communities because I know that for example, OLAC for the movie-- >> Paul Frank: Right. Audio visual. >> Melanie Polutta: Audio visual people are certainly discussing as a hot topic, the best practices that are going to be going on there, the Music Library, and so on. And the Theological Association-- >> Paul Frank: Right. >> Melanie Polutta: ... for sacred scriptures have already had some discussions on literally what's the best way to do certain things. So -- >> Paul Frank: So very good. That's a very good way to keep updated on the latest in your specialized area rather than just relying on ... we're just giving an overview here. >> Melanie Polutta: Yes. Certainly this is not the place to turn to at the moment for how to establish the specifics of a music name authority record. Because it does have some special requirements. >> Paul Frank: Yes. Yes. >> Melanie Polutta: Okay. We're down to the end. ^M00:07:15 [ Music ] ^M00:07:30 >> This has been a presentation of the Library of Congress. Visit us at http://www.loc.gov.