"Sound recordings are the embodiment of all kinds of sounds in some enduring material form, thus permitting them to be repeatedly perceived, reproduced, broadcast or otherwise communicated." WIPO Glossary, p. 240.

With regard to recordings of music and published literature, many different performers may record the same work e.g. Georgia on My Mind, Beethoven's Fifth Symphony, or Shakespeare's Tempest. Also the same performer(s) may record the same work more than once. In each case, although the original work is the same, its realisation in sound will always be different every time that it is recorded. Hence each new recording is different.¹

 

Footnotes:

1.Note: Often a recorded performance or event is simply referred to as a recording. Implicit here is the content of the recording, not its physical format for which the terms physical item or item are used

2. Coarse groove era here means the period from the 1890s to the 1960s, when recorded sound discs were predominantly made of shellac, and the playback speed of which may or may not have been standardised at 78 rpm.

3.Microgroove era here means the period when vinyl discs were manufactured and distributed, from 1948 to the 1990s.

4. CISAC. Draft ISWC : International Standard Work Code. - (CIS Brief No. 2). p. 1

5. CISAC. Draft ISAN : International Standard AudioVisual Number. - (CIS Brief No. 3). p. 1.

6. indecs (interoperability of data in e-commerce systems) http://www.indecs.org/results/persons.htm

7. Single-sided discs are recorded on one side only. The other or B side is blank.

During the early period of sound recording, first with cylinders (Edison, 1877) and a little later with early discs (Berliner, 1887) and discs of the coarse groove era a performance or event was recorded as a one-off take during a recording session, and without the possibility to improve or edit the content of that particular recording.

To improve on a take an entire repeat performance was necessary. Each separate recording was, therefore, a separate sound recorded event. With the introduction of discs, matrix numbers were usually allocated by the recording company and often etched or stamped into the wax. The wax is the name given to the area between the grooves and the label on disc formats. Matrix numbers were used to identify master recordings. They were often added to the stamper during the production process, and are usually visible on the final pressing which was generally mass-produced for publication and sale to the public.

On occasions when another take was considered necessary to improve on the performance, a new matrix number would be allocated to the next disc, or a new take number added to the existing matrix number. Take numbers were applied incrementally and appear after the matrix number, sometimes preceded with a hyphen. As with matrix numbers, take numbers may be numeric or alphabetic.

Each recording company applied its own matrix and take number system, and without a good knowledge of the company in question, it is sometimes difficult to identify a matrix and take number. The following made up examples, however, illustrate some of the types of systems used by record companies to apply take numbers:

 

FIRST TAKE	SECOND TAKE	THIRD TAKE
A1234-1	A1234-2	A1234-3
A1234A	A1234B	A1234C
1234	1234-A	1234-B
1234	1235	1236
1234	1234-x	1234-xx

 

Occasionally special symbols such as an x in a circle, triangle, or square have been used to indicate takes. (Note that with some record companies though, these types of geometric symbols, or other characters in circles located after or near the matrix number, were used to indicate the type of electrical system used for making the recording rather than the take.)

The best performance was then selected for publication and the corresponding matrix number (and possibly take number) would usually appear on the final product. With record companies selling and buying businesses, the record label and catalogue number on the different publications could change for the same recording over time. The matrix and take numbers (almost without exception) would, however, remain constant for that particular sound recording.

For discs produced during the coarse groove era then, the matrix and take numbers usually uniquely identify the particular recorded performance or event.

The opportunity to edit the audio content of a sound recording came as early as 1898 with wire recordings. However, the techniques, associated with editing wire were developed more extensively with the introduction of tape in 1934 (which became commercially available from 1937). Audio tape presented the possibility of editing by splicing for the first time. Today, there are many editing techniques: multi-tracking, patching, mixing and remixing the tracks (with the possibility of also including additional new tracks made in a later recording session).

Digital technology also allows sampling and a kind of 'virtual reality' by superimposing various recordings to create a new work through the ear and hand of the sound engineer.

The sound which is eventually fixed is what is then recognised as the recording. Another remixed or digitally remastered version, or an edited extract, used for instance as an audio clip in an interactive multimedia product, or as an example during a lecture, radio programme, interview, etc., is effectively a new recording for the purposes of identifying it usefully within an audiovisual collection.

Consequently, the usefulness of the matrix number to positively identify a particular sound recording has waned for post coarse groove era audio formats. Its usefulness to identify the side of an unlabelled disc through the production process has, however, continued through the microgroove era at least.

In the 1980s the International Standard Recording Code (ISRC) was developed by the International Federation of Phonographic Industries (IFPI) and standardised as ISO 3901:1986. This code is similar to ISBN in structure and purpose and is designed to uniquely identify each individual recording. It has been implemented in many countries. Other standard numbering systems under development at the time of writing and which are relevant to audiovisual archives are: International Standard Work Code (ISWC) to identify "any musical composition from songs to symphonies to advertising jingles"; and the International Standard Audiovisual Number (ISAN) to identify "audiovisual works from television shows to films to multimedia product … transmitted to worldwide audiences via broadcast, satellite, cable, on-line services and the Internet". These are being developed by International Confederation of Authors' and Composers' Societies (CISAC) as part of the Common Information System (CIS). Unique identifiers for persons as contributors to sound recordings (i.e. as authors or performers) are also under development.

Such numbering systems will be essential metadata components within fully automated archives, such as digital mass storage systems, but are not so vital to the traditional approach addressed by these rules. In any case, the numbers are intended to be digitally encoded on the recording and will therefore be invisible to the human eye without specialised decoding software. However, some record companies have printed ISRCs on the packaging, and these should be recorded in Area 8, e.g. DE-A14-93-514-00.

An archive or cataloguing agency may sometimes need to determine the most appropriate cataloguing treatment of audiovisual material, both within the context of the original work, and its performance, realisation or expression, and/or within the role and function of the archive itself.

Where a format for a moving image item is being described, it is anticipated that cataloguing rules appropriate to cataloguing film (e.g. the FIAF Cataloguing Rules for Film Archives) would usually apply.

There may be some cross-over or other type of relationship between moving image and recorded sound formats, however, and the following suggestions are given.

Where a film sound track for a moving image item occurs on disc, as with early sound film; or where physical components for a pre-composite film print are being described (including a film sound track on magnetic audio tape) it is recommended that the the item be catalogued in its capacity as a moving image item.

If, however, a sound recording item were merely captured on U-matic video (sometimes used as an early digital sound format) or on a sound track film format, it is recommended that the item would be catalogued in its capacity as a sound recording.

In each of the above cases, where additional specialist guidance for the physical description of the material is needed, it is recommended that appropriate specialist cataloguing rules for that type of medium be consulted.

Similarly, where a copy of the film sound track from a film production is edited and commercially published as a sound recording (e.g. in LP or CD format) this would be catalogued as a sound recording. In this case the recording would usually be edited to a shorter duration than the film sound track for the film production. It would therefore be a different recording from the original film sound track, and so not considered as part of the moving image item.

An amateur or home video of an opera production on stage may be intended to simply record the event of the performance. As with a sound recording, the main emphasis in cataloguing will therefore be on the created work (i.e. composer and title) and the particular live performance or expression itself (i.e. the opera company, conductor, and performers involved, and the date and place of the event). The medium of moving image coincidentally requires the appropriate general material designation of videorecording, and a physical description for the video. In addition the name of the person who shot the video may also be documented in the catalogue record.

In other instances, for example where a film production is intended to have an opera story complete with musical performance as the story, (e.g. Rosi's 1984 feature film Carmen) the resulting film would need to be catalogued as though it is a film production rather than as a performance of a musical work alone. As such the emphasis in the catalogue record would be on the title of the film with prominence given to the composer (if prominent in the opening credits), as well as to the film director, film producer, cinematographer, country of origin, production company and production date. The major vocal artists (star cast) at least, and the conductor would also be included, usually as a note.

Therefore, while the archive's and their clients' information retrieval requirements must be considered when cataloguing audiovisual materials, there are also other factors to consider. These include the necessity to discern the intention behind, and extent of creative input to, the final product to determine the best cataloguing approach for the material, the appropriate cataloguing rules to use, and the information to be highlighted as significant (see also 0.0.1.2-0.0.1.4).

In addition, each audiovisual medium (and often each format as applied within that medium) is part of an audiovisual culture unique to itself. In turn, that audiovisual culture is related to its historical era, and to the type of content (including duration of the recorded piece and its genre or style) in the format. The ability to recognise and respond appropriately to each particular era and culture relating to the various audiovisual media and formats is also necessary for cataloguing purposes.

With today's new technology and media, some moving image and electronic resource products could be considered as a contemporary means for communicating content which may otherwise have been exclusive to the recorded sound and radio media of the past (e.g. video histories vs oral histories; music videos vs long play recordings or singles; film or television productions of opera and ballet vs sound recordings and radio productions; and sound excerpts in interactive multimedia and other electronic resources). For this reason, film, video, television and electronic resources are also briefly addressed in these rules.

Audio content on early sound recordings was of very short duration (usually not longer than 4 minutes, e.g. wax cylinders, discs of the coarse groove era). Often composed musical works were abridged to fit into such a short playing time or were spread over several sides with carefully planned breaks for changing sides or discs. Frequently recordings on cylinders and single-sided discs were coextensive with the physical item.

Later, with double-sided discs, two (and sometimes more) separate recordings were contained on the one physical item.

Traditionally, in discography and in early gramophone library catalogues, the individual recordings would be described separately, and each description would include some piece of key 'linking' information back to the physical disc (e.g. label and catalogue number). Record shops and some sound recording libraries and archives traditionally filed their collections of published sound recordings (discs) on the shelf according to size, label and catalogue number.

With the introduction of the LP and EP, and more recently the DAT and CD, a single physical item could contain several recordings, and this multiplicity is increased with today's audio mass storage systems, and digital jukebox systems.

There are three methods to describe multiple recordings on a single item:

1. A contents note may be used to list the recordings contained on the physical item, which in itself is described as a unit (see 7.B.25);

2. A multilevel entry may be prepared for each recording. Multilevel description potentially provides scope to give more information about a recording than normally may be entered in a contents note. The multilevel structure is hierarchical, and the descriptions for the recordings are presented in the same order as the recordings occur on the physical item(s) (see 9.2); or

3. A discrete analytic entry for each recording may be prepared and then linked to the host item(s). The hierarchical structure of the multilevel approach is not a requirement for analytic cataloguing. Sometimes the same recording will occur on more than one host item. Thus the one analytic entry for a recording may be linked to as many host items as contain that particular recording (see 9.1). Also the use of a discrete analytic entry for each recording potentially allows a full bibliographic description complete with access points for the recording; it minimises duplication of effort to describe the occurrence of the same recording on more than one physical item; and, when a computer is used for cataloguing it allows for flexibility in producing lists and other reports such as discographies, catalogues, listings and carrier contents listings for tapes, DATs or CDs. These items may be published, unpublished, or broadcast items, or in-house archival preservation copies, dubbing masters or reference copies. (Note that an in-house copy may be a one-to-one copy or a new compilation in its own right, depending on the policy and procedures employed by the archive or cataloguing agency.)

The traditional layout of discographies has pre-empted the analytic approach, e.g.

BESSIE SMITH

Clarence Williams, piano
New York City, February 16, 1923
80863-5 DOWN HEARTED BLUES Col. A3844; CBS CG 33
80864-3 GULF COAST BLUES Col. A3844; CBS CG 33

(In this example, the main artist Bessie Smith features as the heading. Clarence Williams provides piano accompaniment. The place and date of the recording session are shown as in New York City on February 16, 1923. Following are separate lines for each recording showing (left to right) matrix and take number, the title, and publication details given as the record label and catalogue number. Here, both recordings are shown as having been published twice, as two labels and catalogue numbers occur after each title.)

It is the cataloguing agency's or archive's choice whether to apply multilevel or analytic cataloguing or not, or whether to include contents notes or not. These choices will depend on matters such as the volume of material to be brought under basic control and/or catalogued in full; the human and financial resources available to do this work; the priorities, commitments and goals of the archive or cataloguing agency; and the information retrieval requirements of the institution and its clients.

Generally, names may be considered in two main groups for the purposes of cataloguing: personal names and corporate names.

Personal names have two broad categories of their own in relation to sound and other audiovisual recordings:

1. a) persons who have created the work that is interpreted and performed (e.g. composers, librettists, lyricists, authors, translators),

1. b) persons who create, collect or capture the recording (in the case of field recordings of ethnographic or wildlife content or environmental and mechanical sounds), and

2. contributors or participants who perform or realise the work, i.e. whose voices or instruments we hear on the recording (e.g. performers, singers, instrumentalists, interviewees, interviewers, speakers).

Corporate names also apply to creators and/or performers in relation to sound and other audiovisual recordings (e.g. orchestras, groups, bands, publishers, producers, broadcasters, distributors).

Published sound recordings, which are mass-produced for commercial release, normally have printed labels affixed to the surface of the disc, spool or cassette. These labels denote the brand or trade name which the record company uses to market the recording, and also indicate the holder of the recording rights (i.e. the record company). Record companies often market sound recordings under a variety of labels. The different labels are designed to appeal to different sectors of the market, and to promote different types (styles, genres) of recordings. Labels have also been used to indicate pricing levels, e.g. whether a prestigious (expensive) first release or a budget (inexpensive) re-release.

Record labels are also bought and sold by companies, so that over time a particular label (and the recording rights associated with it) may pass through various ownerships.

For sound recordings, it is the record label which is presented as the publisher of a commercially issued (i.e. published) sound recording (see 3.D.2).

Although, not part of the information to be included in Area 3, the record catalogue number (which sometimes includes a prefix and/or suffix) for a published sound recording is inextricably associated with the label name. Record catalogue numbers are given in Area 8 together with the label name in The IASA Cataloguing Rules.

As record label and catalogue number information are always closely associated with each other, the following information about the development of the use of catalogue numbers is given here.

The catalogue number is any number used by the record company to identify a specific recorded sound item for ordering or stock control and sales purposes. Catalogue numbers have been applied to published sound recordings from the earliest commercial releases of cylinders.

The earliest discs were all one-sided. The catalogue number was therefore often the same as the matrix number for these discs. However, some single-sided discs also had specific catalogue numbers.

When double-sided discs were introduced (ca. 1905) many were given a separate catalogue number for each side. This proved a cumbersome method for identifying the discs and a single catalogue number soon became common to both sides of the disc.

Some discs, especially from the pre-1930 period however, also had a separate number to identify each side of the disc. This was known as a face number, and often appeared in addition to the catalogue number and to the matrix number. E.g., many early HMV discs display face numbers.

From the 1930s onwards, record catalogue numbers became more standardised and are usually easy to identify. Often a simple number was all that was used, but commonly a prefix of one or more letters was added to identify various series on the same label or just to make the plain number specific to that particular label. Less commonly, there were alpha-numeric prefixes and/or a suffix.

With the introduction of different disc formats, such as 45 rpm and LP records, the dominant types of records marketed in the 1950s, there was often a need to distinguish between different formats of the same recording (which might exist on both a 78 rpm and a 45 rpm disc) or to indicate different sizes of long-playing records (such as 10 inch and 12 inch LPs). This led to more complex catalogue numbers which frequently included prefixes and/or suffixes.

In the 1980s some discs (mainly LPs) began to show a variety of different numbers, including order numbers and other stock-control numbers, sometimes making it difficult to distinguish which is the actual catalogue number. There was also a tendency to use computer-generated numbers, usually a long sequence of digits. Later, the development of international standard numbering systems resulted in the use of codes (to identify the format) being part of the catalogue number (e.g. "-1" at the end of a number to indicate a vinyl disc, "-2" to indicate a CD, and "-4" to indicate a cassette release - all of the same published release of the recording).

The terms published, unpublished and broadcast are used throughout The IASA Cataloguing Rules. They are broad categories which are defined and applied as follows:

Published items are produced for distribution to the public on a commercial scale; e.g., mass-produced and commercially issued or released sound recordings or electronic resources available for purchase through retail outlets or by mail order from commercial or trade catalogues; film productions distributed as prints for public screening in cinemas, or as mass-produced videos for purchase through retail outlets, or hire for limited periods.

Such items are usually attractively packaged and/or appealingly promoted. The packaging itself can lend a form of identity to an item to be catalogued (e.g. limited edition disc in sequined cover; cassette in breakfast cereal box).

Note that material available through some computer networks, e.g. the Internet, is also included in this definition.

Unpublished items are not mass-produced and are not available for commercial distribution (e.g. field recordings, oral history recordings, privately made recordings). They are usually unique, the only additional copies being in-house archival preservation copies, dubbing masters or reference copies. These items do not have the attractive packaging of published material and may lack adequate identification in the form of a label, or documentation on the item or its container.

Broadcast items are not mass-produced as a physical format. However, broadcasting is a form of publication as it is a means of publicly disseminating information. In audiovisual archives, these items normally comprise programme tapes (audio or video) or kinescope films (early sound/image TV recordings), do not have the attractive packaging of published material in many cases, and may lack adequate identification in the form of a label, or documentation on the item or its container. Information about the content of these items may sometimes be found only in scripts, national or regional programme listings, or in the announcements which form part of the recorded programme itself.

Bibliographic description. The term bibliographic description is applied here to mean a set of bibliographic data recording (i.e. documenting) and identifying an item regardless of the medium or format of the item. The more specific terms such as discographic and filmographic are implied as appropriate through the use of the term bibliographic in these rules.

Copyright legislation varies from country to country, but it always exists on more than one level for sound recordings. The range of rights which may apply includes recording rights, mechanical rights, performing rights and moral rights. Rules for documenting these are to be found at 3.F.1.5-3.F.1.7 and in Area 4.

With the increase in electronic commerce as a direct consequence of digital storage and distribution of sound recordings there are, at the time of writing, several international and regional initiatives underway which seek to standardise the various copyright elements outlined above in the form of machine-readable codes and numbers (e.g. ISWC, ISAN). It is too early to make provision for these developments in this first edition of The IASA Cataloguing Rules but such developments are being followed closely by IASA and Area 4 of these rules may therefore be substantially altered in the future.

In addition, special rights or restrictions may apply in the case of recordings from traditional societies, relating to ownership of the content by the society. These recordings are not always subject to or protected by national copyright legislation. Often these recordings are unpublished. It is a matter of professional ethics for archives and cataloguing agencies to acknowledge, document and observe such rights or restrictions.

Similarly, access to other unpublished recordings, e.g. oral histories, may also be restricted at the request of the person(s) recorded, and again it is the responsibility of the archive to acknowledge, document and observe any restrictions of this type.

IASA does not condone the practice of making unauthorised, pirated, bootleg, etc., recordings. It is recognised, however, that sometimes an unauthorised or suspected unauthorised recording may be received by an audiovisual archive, e.g., a copy of the original release of Bob Dylan's Great White Wonder double album.When cataloguing such material, any information to be recorded about the illegality of the item should be confirmed to be correct as far as possible, and supported in a cataloguer comment (see 7.B.35), to eliminate any future implication of liability for the archive or cataloguing agency.

0.0.1. Scope

0.0.1.1. Primary emphasis : cataloguing sound recordings

Based on ISBD (NBM) 0.0.1
Based on FIAF 0.1.1

The IASA Cataloguing Rules specify requirements for the description and identification of sound recordings and related audiovisual media, assign an order to the elements of the description and specify a system of punctuation for that description. They are designed for use by sound and audiovisual archives as a guide in the preparation of cataloguing records and as a standard for the exchange of bibliographic information concerning sound and related audiovisual materials. Their provisions relate to the bibliographic records for sound and audiovisual archives in general, and may require elaboration in more specialised archives whose holdings are exclusively of a single format or type, e.g. radio programmes, advertisements, sound effects, wildlife recordings, ethnographic recordings, music.

Here the term audiovisual encompasses sound recordings, moving and still images.

The IASA Cataloguing Rules’ primary emphasis is on sound recordings, in particular:  

• audio formats (published, unpublished and broadcast);
• moving image formats where these could be considered to be a natural extension of audio formats (e.g. music videos, musical performances on laser disc ), or related to audio (e.g. simultaneous FM radio and television broadcasts); and
• electronic resources (e.g. interactive CD-ROMs, audio content in jukeboxes and mass storage systems).

Special emphasis is given to information that is appropriate to include for different types of content on sound recordings and related audiovisual materials as identified above. Options and alternatives are presented to assist archives and libraries in deciding on the most suitable approach to cataloguing their collections, in order to meet the requirements of public service and archival imperatives.

The IASA Cataloguing Rules are designed to harmonise with the Anglo-American Cataloguing Rules. - 2nd ed., and the International Standard bibliographic description (Non-Book Materials) and to be able to be used in MARC or other cataloguing systems.

They address cataloguing issues concerning sound recordings and their natural extensions into other audiovisual media in more depth than AACR2. Briefly, the additional issues are cataloguing of unpublished and broadcast recordings, extra emphasis on copyright (Area 4) and greater emphasis on analytic and multilevel description (Introduction and Chapter 9). Additionally a chapter on item /copy level information (Chapter 10) is included, while appendices respectively cover the concepts of fonds and collection level cataloguing and terms and definitions for common conditions relating to sound recordings.

This work therefore does not seek to duplicate existing cataloguing rules and guidelines, but is intended to be compatible with and complement them, and to focus freshly on a variety of issues of particular relevance to sound and audiovisual archives.

Still images, paper based media, and remote access electronic resources as complete systems are not addressed in these rules.

0.0.1.2. Cataloguing of moving and still images

The FIAF Cataloguing Rules for Film archives and Betz, Elizabeth, Graphic Materials: Rules for Describing Original Items in Historical Collections have already been published, and to a considerable extent already address the cataloguing of moving and still images respectively. These should be referred to in the first instance for cataloguing of moving and still images.

Clearly, where a sound recording is contained in a moving image format , or alternatively a recorded sound format is an integral part of a moving image work, it will be necessary to discern which are the appropriate rules to apply for cataloguing the item . For some discussion on this see Appropriate cataloguing treatment of sound recordings and related audiovisual items in the Introduction to these rules.

0.0.1.3. Cataloguing of electronic resources

Furthermore, the Guidelines for bibliographic description of Interactive Multimedia and ISBD (ER): International Standard bibliographic description for Electronic Resources have been published and should be referred to for detailed guidance on cataloguing electronic resources. In particular, ISBD (ER) should be consulted for cataloguing of remote access systems as a whole.

0.0.1.4. Fonds and collection level cataloguing

These rules also cover the concept of fonds and collection level cataloguing to the extent that it may apply to cataloguing of sound recordings and related audiovisual archives and collections. ISAD(G) : General International Standard Archival Description; Bureau of Canadian Archivists, Rules for Archival Description; and Hensen, Stephen L. (comp.), archives, Personal Papers and Manuscripts: A Cataloguing Manual for Archival Repositories, Historical Societies and Manuscript Libraries should be referred to for in-depth guidance on cataloguing a fonds or collection, and its series and files.

0.0.1.5. Analytic description

Analytic description is addressed in these rules. It is an especially important concept for cataloguing sound recordings. This is because individual sound recordings are usually grouped together on a particular sound carrier, and over time, the same sound recordings may be recombined in variant groupings on new carriers, or in remote access electronic resources available on the Internet , in a mass storage system or in a jukebox.

Analytic description permits a single analytic record for the individual sound recording to be linked to the catalogue record(s) for one or more host item (s).

0.0.1.6. Multilevel description

Multilevel description is also addressed in these rules. Multilevel description has traditionally been used in archives and cataloguing agencies which apply the technique of fonds and collection level cataloguing. Depending on the information retrieval requirements and cataloguing policies and resources of the particular archive or cataloguing agency concerned, multilevel description may or may not extend to the level of the individual recording.

0.0.1.7. Descriptive cataloguing and choice of access points

Developed from FIAF 0.1.3, para 2

These rules address bibliographic description for the purpose of identification of sound and audiovisual materials in a catalogue.

These rules do not address choice of access points, nor the development of authority files.

Subject access to materials is not addressed here, as it is understood that most countries would have their own subject thesaurus.

Rules for standardising personal and corporate name headings and for choosing names as access points are not addressed here. For guidance in establishing name access points and name authority records, archives should refer to the national or multinational codes, and to the International Federation of Library Associations (IFLA) publications, such as Form and Structure of Corporate Headings (for establishing name headings), and to the Anglo-American Cataloguing Rules, 2nd ed., and Library of Congress Cataloging Service Bulletins (for establishing name headings and choosing names as access points).

Name information appearing on record labels and accompanying documentation and packaging is proven to vary considerably for the same name from source to source. It is therefore recommended that appropriate and scholarly reference works (e.g. specialised reference works and encyclopaedias, discographies, bio-discographies, etc.) and established name authority files be consulted to confirm correct spelling and data elements for name headings, as well as to assist with preparing useful see and see also references.

0.0 2. Purpose

Based on ISBD (NBM) 0.1.2

The primary purpose of The IASA Cataloguing Rules is to establish a norm in audiovisual archives for describing sound recordings conformant with other schemes for bibliographic description. The intention behind this primary purpose is to ensure that the cataloguing of sound recordings can be easily and efficiently incorporated into mainstream cataloguing activity.

The purpose of The IASA Cataloguing Rules, therefore supports that outlined in ISBD (NBM), 2nd ed.:

"to (A) make records from different sources interchangeable, so that the records produced in one country can be easily accepted in the library catalogues or other bibliographic lists of another country; (B) assist in the interpretation of records across language barriers so that records produced for users in one language can be interpreted by users of other languages; and (C) assist in the conversion of bibliographic records to machine-readable form."

FIAF 0.1.2, last para

For this reason every effort has been made to follow ISBD (NBM) wherever possible, particularly with regard to the prescribed order of descriptive elements and punctuation.

0.0.3. Use

0.0.3.1. Framework

Based on FIAF 0.1.3

The rules are intended to provide a framework for the maximum amount of descriptive information required in a range of archival cataloguing activities within a great variety of national and local environments. The elements of description listed in Rule 0.B. are therefore grouped into two categories, mandatory (if applicable) and optional or alternative. The elements listed as mandatory are essential for the effective exchange of bibliographic information, while archives and cataloguing agencies are encouraged to include as many of the optional elements as the information retrieval requirements of the institution and its clients, and resources permit.

0.0.3.2. Presentation of The IASA Cataloguing Rules and application of automation

The IASA Cataloguing Rules are primarily concerned with presentation of output rather than method of input, and so were written to be applied by sound and audiovisual archives regardless of the type, or even existence of, an automated system.

0.0.3.3. Preliminary rules

Preliminary rules are given at the beginning of Areas 1-8, Chapter 9 and 10. These are to:

a) reconfirm the punctuation preceding or enclosing each element of the description in the area/chapter, where appropriate;

b) reconfirm sources for information to use in that area/chapter; and may also

c) establish any general parameters (e.g. in Area 7) on how the rules which follow are to be applied.

In the case of this third category, any parameters given as preliminary rules are not necessarily intended to serve in place of the more specific rules which follow.

0.0.3.4. Citation of source materials throughout The IASA Cataloguing Rules Rules drawn from, or corresponding with, rules in other cataloguing standards or guidelines are sourced in The IASA Cataloguing Rules. For ease of use and comparison, an indication is given as to whether the rule is based on; developed, adapted, extended, extracted or extrapolated from the source or corresponding rules; or on rare occasions, is a variant rule.

A suitable basis for the description of sound recordings, videos and interactive multimedia can usually be found in the accompanying documentation and container packaging. This information is usually fuller than that which can be accommodated on the relatively small area of the label or, depending on the medium, other normally designated ‘chief’ source of information.

Also, information printed on labels and on accompanying documentation or containers is sometimes inaccurate. Where resources permit it is recommended that cataloguers should check information on older published items against extant scholarship, e.g. discographies (see also 0.F).

Moreover, in the case of unpublished and broadcast material, the best written information about content may not be available from written information on/in the item itself, or its accompanying documentation or container. Resources such as field notes, contents listings, interview summaries or transcripts, correspondence, broadcast programme schedules (published) or programme documentation (privileged information held by the broadcaster), as well as the audiovisual content of the item itself may be required to develop a description. For this reason, the terms ‘chief’ and ‘prescribed’ sources of information are not used in these rules.

0.A.1.1. Sources of information for Areas 1-3, 6 and corresponding areas in Analytic and multilevel description (Chapter 9)
Expanded from AACR2 1.0A1, 1.0A2, 1.1A2

Take information recorded in these areas, and corresponding areas in Analytic and multilevel description , from:

the item itself (including any permanently affixed labels, or title frames);

• accompanying textual material (e.g. cassette insert, CD slick, inlay or booklet, recording/project accompanying documentation such as correspondence, donor agreements, recordist’s worksheets, script, transcript, cue sheet);
• a container that is an original part of the item (e.g. sound cartridge, videocassette, sleeve, container for video); or from
• a secondary source such as reference or research works, a publisher’s or distributor’s brochure, broadcast programme schedule, abstract, index or other available finding aid, container which is not an original part of the item (e.g. a film can used to store a reel of film , tape box for storing audio tape), or the audiovisual content of the item itself.

If the information is taken from a secondary source, cite the source in a note, if appropriate (see 7.B.3).

Note: Title and performers from audio announcement

Note: Title and script writer from radio script. Performers and characters from back announcement on recording

Note: Title, performers and series from audition. Opening and closing theme and announcements missing. Assumed to be an episode of the radio serial "Dr Paul"

Note: Title from sleeve

Note: Description from field notes

Based on FIAF 0.3.8, 0.4

Enclose information in square brackets only when it is not available from any of the above sources of information, and where it is supplied by the archive or cataloguing agency on the basis that the information:
is known, or
is at least probable, and/or
in the case of title information, has been devised in the absence of a title in the sources of information, and/or constructed from available or known information.

Where this information is uncertain give a question mark after it.

Title: [Shark attack described by teenage male victim]

Title: [Clavichord? music]

0.A.1.2. Sources of information for Areas 5, 7 and 8, and Item/copy information according to Chapter 10
Based on ISBD (NBM) 0.5.2 para 2

Take information recorded in Areas 5 (Physical description), 7 (Notes), and 8 (Numbers and terms of availability) and as Item/copy information according to Chapter 10 from any appropriate source, including the item itself.

0.A.1.3. Sources of information for Area 4

For information recorded in Area 4, see 4.A.2.

0.A.1.4. Sources of information for items lacking collective title information
Based on ISBD (NBM) 0.5.1

In cataloguing an item comprising different works and lacking collective information pertaining to the whole item , treat the sources of information for the different works as if they were a single source. A common example would be a sound disc with a different label on each side

0.A.1.5. Sources of information for an item in several parts
Based on AACR2 1.0H2

Describe an item in several physical parts from information corresponding to the first part. If the first part is not available, use the first part that is available. If there is no discernible first part, use the part that gives the most information or best collective information (e.g. container). Show variations in the sources of information of subsequent parts in notes.

For kits, where the different components have individual sources of information, prefer the source that provides information that applies to the item as a whole and that includes a collective title.

0.A.1.6. Sources of information where the item is presented in different aspects
Based on AACR2 1.0H1 c)

If the information corresponding to the item presents the item in different aspects (e.g. as an individual item and as part of a multipart item), prefer the source that corresponds to the aspect in which the item is to be treated by the archive or cataloguing agency.0.A.1.7. Sources of information for recorded sound formats generated from the production process for a published sound recording

As with unpublished and broadcast materials, recorded sound formats from different stages of production (e.g. master tapes, metal mothers, test pressing s), may also be lacking in visible information.

Where the details for the corresponding published sound recording are available, base the information to describe a production format on the best available information which corresponds to the published sound recording. Include a note indicating the means of identification:

Note: Matrix numbers on metal mothers correspond with those on commercially released recording. Description based on details from published recording
(Example of two metal mothers corresponding to the two sides of a published disc)

Note: catalogue number and contents listing on master tape box corresponds with side B of commercially released recording. Description based on details from commercially released recording
(Example of one master tape corresponding to one side of a published disc).

Note: Test pressing with catalogue number only on plain white label. Description based on details from published recording and audition

Note: Promotional disc with "Not for sale" instruction pasted over commercial label. Description based on details from published recording

Note that a later release (publication) of the same sound recording will involve new recording rights, even if the publisher is the same. Moreover, a later release on a different label may also indicate a different publisher (and again different recording rights). Later releases, therefore, will normally require their own separate bibliographic descriptions.

0.B.1. Order of the elements of description

Developed from ISBD (NBM) 0.3.2
Developed from FIAF 0.2

The order of the elements of description is based as closely as possible upon the order prescribed in the ISBD (NBM). Elements are grouped into the following:

1. Title and statement of responsibility
2. Edition, issue, etc.
3. Publication, production , distribution, broadcast, etc., and date(s) of creation
4. Copyright
5. Physical description
6. Series
7. Notes
8. Numbers and terms of availability

The elements which appear in each area are set out in the following Outline. Not all areas will apply when describing individual items. For instance, Area 2 (edition) will not apply to unpublished items, while different parts of Area 3 (Publication, production , distribution, broadcast, etc., and DATe(s) of creation) will apply depending on whether the item is published, broadcast or unpublished, and Area 6 (Series) will only apply where the material described relates to a series.

Where analytic or multilevel description is employed, Chapter 9 (Analytic and multilevel description ) will apply. Where description of individual items/copies of the same physical item is employed, Chapter 10 (Item/copy information) will apply. For definitions of the terms, see the rules for each chapter and the Glossary.

0.B.2. Outline of the elements of description
Developed from ISBD (NBM) 0.3.2
Extracted from FIAF 0.2 (Area 4 element)

Precede each area, other than the first, with a period, space, dash, space (. - ) unless the area begins with a new paragraph. ISBD elements are underscored in the following list.

Area	Prescribed punctuation for preceding or enclosing the element	Element
1. Title and statement of responsibility area		1.1	Title proper
	.	1.2	Part, number, supplement or section of title proper
	[ ]	1.3	General material designation
	=	* 1.4	Parallel title
	:	* 1.5	Other title information
		1.6	Statements of responsibility
	/		First statement
	;		* Subsequent statement(s)
2. Edition, issue, etc. area		2.1	Edition, issue, etc. statement
	=	*2.2	Parallel edition, issue, etc. statement
		2.3	Statements of responsibility relating to the edition, issue, etc.
	/		First statement
	;		Subsequent statement(s)
	,	*2.4	Additional edition, issue, etc. statement
		2.5	Statements of responsibility following an additional edition, issue, etc. statement
	/		First statement
	;		* Subsequent statement(s)
3. Publication, production , distribution, broadcast, etc. and Date(s) of creation area		3.1	Place of publication... distribution, etc.
	;		First place * Subsequent place(s)
	:	*3.2	Name of publisher... distributor, etc.
	[ ]	*3.3	Statement of function of publisher... distributor, etc.
	,	*3.4	Date of publication... distribution, etc.
	(	*3.5	Place of manufacture
	:	*3.6	Name of manufacturer
	,)	3.7	Date of manufacture
		3.8	Date(s) of creation (unpublished/unbroadcast materials only)
4. copyright area	;	*4.1	Date of copyright or p notice
5. Physical description area and extent of item		5.1	Specific material designation
	:	5.2	Other physical details
	;	5.3	Dimensions of item
	+	*5.4	Accompanying materialstatement
	( )	*5.5	Detailed qualifying information for each element
6. Series area (Note: A Series statement is enclosed by parentheses. When there are two or more series statement s, each is enclosed by parentheses.)		6.1	Title proper of series or sub series
	=	*6.2	Parallel title of series or subseries
	:	*6.3	Other title information of series or subseries
		6.4	Statements of responsibility relating to the series or subseries
	/		First statement
	;		*Subsequent statement(s)
	,	6.5	International Standard Serial Number of series or subseries
	;	6.6	Numbering within series or subseries
	.	*6.7	Enumeration and/or title of subseries
	,	6.8	Dependent title following a section or subseries designation
7. Note area
8. Numbers and terms of availability area		*8. I	Numbers
	:	*8.2	Terms of availability and/or price

General notes on the framework:

i) Elements in italics are optional.
ii) Elements preceded by an asterisk (*) can be repeated when necessary.
iii) Areas 7 and 8 can be repeated when necessary.
iv) In the above outline, the terms "first statement....", "subsequent statements(s)...", and the like, denote the order in which these statements are to be given in the description and have no other connotation.
v) No provisions are included in The IASA Cataloguing Rules for the ISBD (G) Area 3 (Material (or type of publication) specific area), or the ISBD (ER) Area 3 (Type and extent of resource area).
vi) Whenever information normally associated with one area or element appears in the item is linked linguistically as an integral part of another area or element, it is transcribed as such.

Organisation of the description of a catalogue entry

Example

 

Based on AACR2 1.0C1

Precede each area, other than the first, or each occurrence of a note or number, by a full stop, space, dash, space (. - ) unless the area, note or number begins a new paragraph.

Precede or enclose each occurrence of an element of an area with standard punctuation as outlined above, and also prescribed at the head of each area.

Precede each mark of prescribed punctuation by a space and follow it by a space, except for the comma, full stop, hyphen and double hyphen and closing parentheses and square brackets. The comma, full stop, hyphen, double hyphen and closing parentheses and square brackets are not preceded by a space; the opening parentheses and square brackets are preceded by a space.

Precede the first element of each area, other than the first element of the first area or the first element of an area beginning a new paragraph, by a full stop, space, dash, space. When that element is not present in a description, precede the first element that is present by a full stop, space, dash, space instead of the prescribed preceding punctuation for that element.

Indicate an interpolation (i.e. data taken from outside the prescribed source(s) of information) by enclosing it in square brackets. Indicate a conjectural interpolation by adding a question mark within the square brackets. Indicate the omission of part of an element by the mark of omission (...). Precede and follow the mark of omission by a space. Omit any area or element that does not apply in describing an individual item ; also omit its prescribed preceding or enclosing punctuation. Do not indicate the omission of an area or element by the mark of omission.

When adjacent elements within one area are to be enclosed in square brackets, enclose them in one set of square brackets unless one of the elements is a general material designation , which is always enclosed in its own set of square brackets.

Skaterdater [GMD] / [produced by] Marshal Backlar
but
[London : BBC, 1979]

When adjacent elements are in different areas, enclose each element in a set of square brackets.

[2nd ed.]. - [London] : Thomsons, 1973

When an element ends with an abbreviation followed by a full stop or ends with the mark of omission and the punctuation following that element either is or begins with a full stop, omit the full stop that constitutes or begins the prescribed punctuation .

261 p. : 24 cm. - (Canadian Ethnic Studies Association Series ; v. 4)
not
261 p. : 24 cm.. - (Canadian Ethnic Studies Association Series ; v. 4)

When punctuation occurring within or at the end of an element is retained, give it with normal spacing. Prescribed punctuation is always added, even though double punctuation may result.

Quo vadis? : a narrative from the time of Nero

Based on AACR2 1.0D

The elements of description in the rules provide for a maximum set of information. This rule sets out three recommended levels of description each containing those elements that must be given as a minimum by archives and other cataloguing agencies choosing that level of description. Choose the level of description on the basis of the purpose of the catalogue or catalogues for which the entry is constructed, and the resources available to carry out the work.

Include the minimum set of elements for all items catalogued at the chosen level when the elements are applicable to the item being described and when, in the case of optional additions, the archive or cataloguing agency has chosen to include an optional element.

0.D.1. First level of description

Adapted from AACR2 1.0D1 For the first level of description, include at least the elements set out below:

Title proper / first statement of responsibility. - edition statement. - First publisher, etc., date of publication, etc. - copyright. - Extent of item . - Note(s). - Number(s).

0.D.2. Second level of description

Adapted from AACR2 1.0D2 For the second level of description, include at least the elements set out below:

Title proper [general material designation ] = Parallel title : other title information / first statement of responsibility ; each subsequent statement of responsibility - edition statement / first statement of responsibility relating to the edition . - First place of publication, etc. : First publisher, etc., date of publication, etc. - copyright. - Extent of item : other physical details ; dimensions. - (Title proper of series / statement of responsibility relating to series , ISSN of series ; numbering within the series . Title of subseries, ISSN of subseries ; numbering within subseries). - Note(s). - Number(s). 0.D.3. Third level of description
AACR2 1.0D3For the third level of description, include all elements set out in the following rules that are applicable to the item being described.

Based on AACR2 1.0E1, 1.0H1

In the following areas give information from the sources of information (see 0.A) in the language and script (wherever possible) in which it is presented:

Title and statement of responsibility
Edition, issue, etc.
Publication, production, broadcast, distribution, etc., and date(s) of creation Series

Where the sources of information have written, spoken, or sung in more than one language or script, prefer (in this order):

(i) information in the language or script of the written, spoken, or sung words if there is only one such language or script or only one predominant language or script.

(ii) information in the original language or script of the work if the words are in more than one language or script, unless translation is known to be the purpose of the publication, issue, etc., in which case use the source in the language of the translation.

(iii) information in the language and/or script of the archive or cataloguing agency, or that occurs first in the following list: English, French, German, Spanish, Latin, any other language using the roman alphabet, Greek, Russian, any other language using the Cyrillic alphabet, Hebrew, any other language using the Hebrew alphabet, any other language.

Replace symbols or other matter that cannot be reproduced by the facilities available with a cataloguer's description in square brackets. Make an explanatory note if necessary.

In general, give interpolations into these areas in the language and script of the other data in the area. Exceptions to this are:

a) prescribed interpolations and abbreviations
b) general material designations
c) other forms of the place of publication
d) statements of the function of the publisher, producer, distributor, broadcaster, etc.

If other data is Romanised, give interpolations according to the same Romanisation.

Give all elements in the other areas (other than the titles and quotations in notes) in the language and script of the cataloguing agency.

Varied from ISBD (NBM) 0.10
Varied from AACR2 1.0F1
See also: 9.0.B.2 If the written information in the sources of information is misspelt or inaccurate, supply the correct spelling or accurate word, and give a note indicating that the error has been corrected.Title: Greek salad
Note: The item incorrectly states: Greek salad

Based on ISBD (NBM) 0.10
Based on AACR2 1.0F1 Alternatively, in an area where transcription from the sources of information is required, transcribe the inaccuracy or misspelled word as it appears in the item . Follow such an inaccuracy either by [sic] or by i.e. and the correction within square brackets. Supply a missing letter or letters in square brackets.

Some of me pomes [sic] / by Pam Ayers

The Paul Anthony Buck [i.e. Brick] lectures

What your child really wants to know about sex and why / by Will[i]am A. Block

AACR2 1.0G1Add accents and other diacritical marks that are not present in the data found in the source of information in accordance with the usage of the language used in the context.

Extrapolated from AACR2, Appendix A
Based on ISBD (NBM) 0.8

These rules and their examples follow capitalisation standards from the ISBD (NBM), and Appendix A in the Anglo-American Cataloguing Rules. - 2nd ed. That is, to capitalise the first letter of the first word in an area, sentence, of a parallel, alternative or section title, and of the first letter of proper nouns and additional words according to the appropriate usage in the language in which the material is catalogued.

Extracted from FIAF 0.7 Alternatively, archives or cataloguing agencies may choose to follow any established standard rules for capitalisation.

Extracted from AACR2 0.14
Based on ISBD (NBM) 0.9The examples used throughout these rules are illustrative and not prescriptive. That is, they illuminate the provisions of the rule to which they are attached, rather than extend those provisions. Most examples are based on the description of existing items, but some fictitious examples have been included.

The terms, words or short phrases added to examples are in English in The IASA Cataloguing Rules. However, it is anticipated that when these rules are applied, these terms, words and short phrases will be given in the official language of the archive or cataloguing agency.

Abbreviations used are those prescribed in Appendix B of the Anglo-American Cataloguing Rules. - 2nd ed., and for playback speeds given in metric terms, from the Association for Recorded Sound Collections - Associated Audio Archives, Rules for Archival Cataloging of Sound Recordings.

Developed from AACR2 0.7Some rules are designated as alternative rules or as optional additions and some other rules or parts of rules are introduced by Optionally.

Rules or parts of rules flagged by the word Alternatively, acknowledge that different solutions to a problem, and differing levels of detail and specificity are appropriate in different contexts.

Rules or parts of rules flagged by the word Optionally indicate an optional addition or rule which may be applied to further enhance or clarify mandatory information.

Similar concepts may appear to be covered in more than one place in these rules. This is to provide the greatest level of flexibility for choosing appropriate policies, practices and procedures by archives and cataloguing agencies for similar or related information, in more than one possible area. For instance, some notes in Area 7 dealing with physical description, condition, conservation and preservation treatment, sound quality, copy being described, source of the material, would apply in the body of the cataloguing record if only one item or copy is described in each cataloguing record, while this information may be better handled according to Chapter 10 where more than one copy is held.

It is the archive's or cataloguing agency's choice to decide which alternatives and options to apply as policy, and which other alternatives or options to apply on a case by case basis.

1.A.1. Punctuation
Developed from ISBD (NBM) Area 1, Punctuation pattern Precede the title of a supplement or section by a full stop, space (. ).
Enclose the general material designation in square brackets ([]).
Precede each parallel title by a space, equals sign, space ( = ).
Precede each unit of other title information by a space, colon, space ( : ).
Precede the first statement of responsibility by a space, slash, space ( / ).
Precede each subsequent statement of responsibility by a space, semicolon, space( ; ).
For the punctuation of this area for items without a collective title, see 1G.

1.A.2. Sources of information
Expanded from AACR2 1.0A1, 1.0A2, 1.1A2
See also: 1.B.1.6, 1.B.7.1, 1.B.7.10 Take information recorded in this area from:

• the item itself (including any permanently affixed labels, or title frames);
• accompanying textual material (e.g. cassette insert, CD slick, inlay or booklet, recording/project accompanying documentation such as correspondence, donor agreements, recordist's worksheets, script, transcript, cue sheet);
• a container that is an original part of the item (e.g. sound cartridge, videocassette, sleeve, container for video); or from
• a secondary source such as reference or research works, a publisher's or distributor's brochure, broadcast programme schedule, abstract, index or other available finding aid, container which is not an original part of the item (e.g. a film can used to store a reel of film, tape box for storing audio tape), or the audiovisual content of the item itself.

If the information is taken from a secondary source, cite the source in a note, if appropriate (see 7.B.3).

Based on FIAF 0.3.8, 0.4Enclose information in square brackets only when it is not available from any of the above sources of information, and where it is supplied by the archive or cataloguing agency on the basis that the information:
is known, or
is at least probable, and/or
in the case of title information, has been devised in the absence of a title in the sources of information, and/or constructed from available or known information.  

Where this information is uncertain give a question mark after it.

1.A.3. Order of information
From AACR2 1.1A2

Give the data elements in the order prescribed in the following rules, even if this means transposing data. However, transcribe the data as found if case endings are affected, if the grammatical construction of the data would be disturbed, or if one element is inseparably linked to another.

AACR2 Glossary Title proper is the chief name of an item , including any alternative title but excluding parallel titles and other title information.

1.B.1. General rule

1.B.1.1. Transcription
AACR2 1.1B1
Extracted from AACR2 1.1B7 Transcribe the title proper exactly as to wording, order, and spelling, but not necessarily as to punctuation and capitalisation. Give accentuation and other diacritical marks that are present in the source of information. Urban hymns

Around the world in a day

Fourth symphony

Friede auf Erden, op. 13

Politisches Abendstudio

Tendens

The ghosts of Versailles

Highlights from Rigoletto

All my hummingbirds have alibis

Communism and the Cold War

Stockholm multimedia sightseeing

Maritime communications  

When no title at all can be found, supply or devise a title and enclose it in square brackets (see 1.B.7).

1.B.1.2. Title proper for musical performances
Adapted from AACR2 5.1B1 If a musical performance lacks a unique title, and the title merely consists of the name(s) of one or more type(s) of composition, or one or more type(s) of composition and one or more of the following: medium of performance
key
date of composition
number

treat type of composition, medium of performance, etc., as the title proper (see also 1.B.7.10). Rhapsody

Songs & folk music

Violin-Sonaten

Symphony no. 3, A major, op. 18

Scherzo for two pianos, four hands If, however, a musical performance has a unique title and the sources of information also give medium of performance, key, date of composition, and/or number, give the unique title as title proper and treat the following elements as other title information (see 1.E). Die Meistersinger von Nürnberg

Sinfonia mazedonia

Little suite

Georgia moon 1.B.1.3. Alternative Title
AACR2 Glossary
Developed from AACR2 1.1B1
See also: 1.C.2. An alternative title is the second part of a title proper that consists of two parts, each of which is a title. Either the parts are joined by the word or (or its equivalent in another language and/or script), or the alternative title is written within parentheses. Precede and follow the word or by a comma. Keep the parentheses. Capitalise the first word of the alternative title. Hallberg's surprise, or, Not even the old masters can feel safe

Dog days (City morgue blues)

Die Streichholzschachtel, oder, Ursprünge philosophischen Denkens

Ludwig, ou, Le crépuscule des dieuxDo not confuse alternative titles within parentheses with extended title information given in brackets, as is often the case with popular music. Give, however, the additional information in the parentheses Come back (before you leave)

(Do you get) Excited?

1.B.1.4. Punctuation marks
AACR2 1.1B1 If the title proper as given in the source of information includes the punctuation marks ... or [ ], replace them by - and ( ), respectively.Cha cha cha-
(Source of information reads: Cha cha cha...)

-for your exquisite delight
(Source of information reads: ...for your exquisite delight) < 1.B.1.5. Symbols that cannot be reproduced
Based on AACR2 1.1B1 If the title proper as given in the source of information includes symbols that cannot be reproduced by the facilities available, replace them with a cataloguer's description in square brackets. Make an explanatory note if necessary.En [pizza] i Jordbro
(Source of information shows a picture of a pizza) 1.B.1.6. Title proper from a secondary source
Based on AACR2 1.1B1If the title proper is taken from a secondary source of information, give the source of the title in a note, if appropriate (see 1.A.2 and 7.B.3). 1.B.2. Title proper including a statement of responsibility
AACR2 1.1B2
See also: 1.F.3, 1.F.13If the title proper includes a statement of responsibility or the name of a publisher, distributor, etc., and the statement or name is an integral part of the title proper (i.e. connected by a case ending or other grammatical construction), transcribe it as part of the title proper.Lucia Negro plays Robert Schumann

Best of John Lee Hooker & Canned Heat

Solyom spelar Mozart

Thank you ABBA

Prince live!

Heifetz in performance

Stéphane Grappelli en concert à San Francisco1.B.3. Title proper consisting solely of a name
AACR2 1.1B3If the title proper consists solely of the name of a person or body responsible for the item , transcribe such a name as the title proper.The Rolling Stones

Wolfgang Amadeus Mozart

Paul Hindemith

Gainsbourg 1.B.4. Abridging a long title proper
AACR2 1.1B4
See also: 1.E.3 Abridge a long title proper only if this can be done without loss of essential information. Never omit any of the first five words of the title proper (excluding the alternative title(. Indicate omissions by the mark of omission ( ...).Le fer et la hache pygmée ...
(Source of information reads: Le fer et la hache pygmée et le petit villageois)

Singende Muse an der Pleisse ...
(Source of information reads: Singende Muse an der Pleisse in 2

mahl 50 Oden, deren neuesten und besten musicalischen Stücke,

mit denen dazugehörigen Melodien) Optionally, transcribe the remainder of the title in a note (see 7.B.6).1.B.5. Title proper with special design
AACR2 1.1B5 If a letter or word appears only once but the design of the source of information makes it clear that it is intended to be read more than once, repeat the letter or word without the use of square brackets. African Art = Art Africain
(Source of information reads: African Art Africain) 1.B.6. Title proper including separate letters or initials
Expanded from AACR2 1.1B6 If a title proper includes separate letters or initials without full stops between them, transcribe such letters without spaces between them. GANIL

If such letters or initials have full stops between them, transcribe them with full stops and omit any internal spaces. L.S.O.

A poem by T.S. Eliot

E.T. If the sources of information of the item are inconsistent, which is often the case with audiovisual recordings, choose either full stops or not, but be consistent.

1.B.7. Supplied titles
Developed from AACR2 4.1B2
Expanded from NFSA MAVIS Data Entry Guidelines (various sections)
Developed from FIAF 1.1.2.2.5, 1.5.2.6
See also: 1.B.1.1

1.B.7.1. General rule Where the title cannot be established from any source of information according to 1.A.2, it is necessary to supply one.

Where a title is supplied on the basis that it is known, or has been positively or probably identified, enclose the title in square brackets, and include a note explaining the source of information (see 7.B.3). Where the information is uncertain give a question mark after it.

[String quartet, no. 12] / Shostakovich
Note: Title identified from audition and reading of score

If no title can be found in any source, and it is not possible to positively or probably establish the title, it is necessary to devise a title. Where a title must be devised by the cataloguer there are two types of titles to consider:

• devised descriptive titles for recordings which have no given titles
• uniform, standardised or conventional form titles for specific categories of recordings

Enclose all devised titles in square brackets.

Note that for some classes of material, it may be appropriate for an archive or cataloguing agency to always supply a devised uniform, standardised or conventional title (see 1.B.7.1.2). 1.B.7.1.1. Devised descriptive titlesDevised descriptive titles should describe the recording as succinctly as possible and may include the topic, place, person and date as appropriate. Enclose the devised title in square brackets: [Bid for the 2004 Athens Olympics]

[Malta's Prime Minister, Mr Mintoff, talks on the renewal of British bases on the island, 1972-03-27]

[President Nixon's visit to China, 1972-02-18--1972-02-28]

[Mémoire orale sur le mont Lozère] 1.B.7.1.2. Uniform, standardised or conventional form titles
See also: 1.B.7.1 Uniform, standardised or conventional form titles are constructed and supplied according to the requirements of the content. These may be applied when a large amount of similar material is being catalogued, or if the archive or cataloguing agency is also specifically designed to support a particular area of study or interest (such as a scientific, ethnographic or traditional materials archive). Enclose the whole title in square brackets. Following are suggestions for developing uniform, standardised or conventional form titles for different categories of material.

The categories of material following are broadcast news, advertisements, field recordings (oral histories, other interviews, recordings with traditional or ethnographic content, wildlife and bio-acoustic recordings), sound effects and mood music, musical works, musical/theatrical improvisations, edited recordings, excerpts, and incomplete recordings. 1.B.7.2. Broadcast news
See also: 06_02 Construct the title with television or radio station call sign, or station name if better known, followed by the term news, and date. Time of broadcast or bulletin name may be added where appropriate. Enclose the whole title in square brackets (see also 1.B.10). [2XX news. 1984-02-04]

[Imparja news. 1992-10-12]

[TCN 9 news. 1993-07-30. Daybreak]

[BBC news. 1972-06-30. 18:00] 1.B.7.3. Advertisements or commercials, elections and other political campaign advertisements, community service announcements, promos and station idsConstruct the title with the term Advertisement followed by product / service / campaign / organisation name, slogan and/or jingle and/or id number and/or advertisement description. Enclose the whole title in square brackets. [Advertisement. Coca cola : family size : things go better with Coke]

[Advertisement. Coca-cola : float with Coke]
(Descriptive text to identify different advertisements)

[Advertisement. Liberal Party of Australia NSW Division, election campaign : 1978 : NSW Referral Centre : action, not words, think Liberal]

[Advertisement. Liberal Party of Australia NSW Division, election campaign : 1978 : team : less talk, more action, vote Liberal]
(Election campaign advertisements)

[Advertisements. Aspro : 25 sec. commercials. Tks NA102/01-09]

[Advertisements. Aspro : 25 sec. commercials. Tks R6297/01-09]
(Identification numbers used to break conflicts in these collective titles)

[Advertisement. 5DN : 1974 station profile]

[Advertisement. 5DN : 1981 breakfast profile]
(Radio station advertisements)

[Advertisement. Road Safety Council : drinking and driving]

[Advertisement. Road Safety Council : holiday driving]

[Advertisement. Road Safety Council : seat belts]
(Community service announcements) Alternatively, for instance if the archive's or cataloguing agency's catalogue has means to retrieve all advertisements other than alphabetically by title (such as through a subject heading or other classification system), and there is no preference to commence the title with the form, place the term advertisement at the end of the title. [Coca-cola : family size : things go better with Coke : advertisement]

1.B.7.4. Field recordings, etc. Field recordings are normally the by-product of research by a collector who travels into the field for the purpose of documenting some aspect of life in that location. The focus of the research may be on the life and culture of a group of persons, or fauna in a particular region. The result of such a field trip will be a collection of recordings with accompanying written documentation. In addition, film may be shot, videos recorded and still pictures taken. For guidance on cataloguing material at the collection level, refer to the ISAD(G) : General International Standard Archival Description, Bureau of Canadian Archivists. Rules for Archival Description, or Hensen, Steven L. Archives, Personal Papers and Manuscripts : A Cataloging Manual for Archival Repositories, Historical Societies and Manuscript Libraries.

Recordings with the type of content indicated above may not necessarily be field recordings, for instance, an oral history recorded in a studio, recordings of wildlife in captivity, or a recording of traditional or ethnographic music made during a public performance by artists on tour. The following rules 1.B.7.5-1.B.7.8 provide guidance for devising suitable titles for these types of recordings. 1.B.7.5. Oral histories

Oral histories are in-depth interviews focusing on a person's life or career, or on an organisation's history or activities or part thereof. Construct the title with the term Oral history, the name of the interviewee(s) and the date of interview. Enclose the whole title in square brackets.

[Oral history. Interview with Leon Becker, 1990-08-14]

Alternatively, where the focus may be on the name or title of a project for which the interview was conducted, construct the title with the term Oral history, name or title of the project, and name of the interviewee and the date of interview. Enclose the whole title in square brackets. [Oral history. Memories of the British in India. Interview with Lady Squire, 1971-06-21]

If more than one oral history or interview has been recorded by the same person, it may be appropriate to include additional information such as the name of the interviewer to help readily identify the different oral histories or interviews.

Optionally, if the archive or cataloguing agency also places significance on the persons conducting the interviews, it may be appropriate to always include their name as a statement of responsibility. [Oral history. Interview with Leon Becker, 1990-08-14 / Graham Shirley, interviewer] Alternatively, should the archive or cataloguing agency have a method of retrieving all of its oral history recordings other than through the first words in the title (e.g. through a subject heading or some other classification system) then the term oral history could be relocated in the title, so allowing the inverted name of the interviewee as the filing point. [Becker, Leon : interviewed 1990-08-14 : oral history]

[Becker, Leon : interviewed by Graham Shirley, 1994-08-14 : oral history]

[Becker, Leon : interviewed by Phil Haldeman, 1994-01-20 : oral history]

Alternatively, where an archive deals with a variety of interviews, terms such as reminiscence or conversation may be used instead of oral history. 1.B.7.6. Other interviews including vox pops (vox populi) and promotional interviewsInterviews may also be conducted on any topic and may be in-depth, or brief. Vox pops are generally very short and are conducted by the broadcast media to record and use public opinion on a current topic in a broadcast. Promotional interviews are often broadcast to promote the work of a visiting or local celebrity, artist, or producer releasing a new recording, new film, appearing in or launching a new production, or competing in a forthcoming sporting event, etc. Commence a supplied title with the form, follow with the topic and date and name of the interviewer (and interviewee, if considered important). Enclose the whole title in square brackets. [Interview. Peter Burgis and James McCarthy] [sound recording] : [Australian musical composition between ca. 1920 and ca. 1950 / Verity James, interviewer, 1987-02-06]

[Vox pop. Frankfurt an der Oder floods, 1997 : eyewitness account of unidentified woman]

Alternatively, commence the title with the key topic and relocate the term designating the form within the title.

[Australian musical composition between ca. 1920 and ca. 1950] [sound recording] : [interview with Peter Burgis and James McCarthy / Verity James, interviewer]

[Frankfurt an der Oder floods, 1997 : eyewitness account of unidentified woman : vox pop] 1.B.7.7. Recordings of traditional societies and ethnic groupsConstruct the title with [Traditions. Locality. Name of the traditional society or ethnic group. Identification of the work]. [Traditions. Oceania. Solomon Islands. Malaita. `Are, `are. `Au tahana panpipe ensemble]

[Traditions. Oceania. Solomon Islands. Guadalcanal. Kongga. Hau kesa panpipe ensemble]

[Traditions. Australia. Northern Territory. Yuendumu. Walbiri language group. Rain dreaming ceremony = Ngapa]

Alternatively, where an archive or cataloguing agency deals only with ethnographic or traditional materials, or where this information is documented via a subject heading or other means of classification, it may not be necessary to commence the title with the term Traditions.

[Oceania. Solomon Islands. Malaita. `Au tahana panpipe ensemble] Optionally, where details such as place of recording and of the traditional society or ethnic group are presented elsewhere in the catalogue record (e.g. as subject headings, in specifically designated fields and/or through analytic or multilevel description) these details may also be omitted from the title for the recorded item. First level:
[Recordings of the Solomon Islands]

Second level:
[Recordings of Malaita]

Third level:
Segment 1[`Au tahana panpipe ensemble]

Segment 2[Wooden drums ensemble]

(Example of skeletal multilevel catalogue record) 1.B.7.8. Wildlife and bio-acoustic recordings Construct the title using all or some of the following: [Class. Family. Sub-Family. Tribe. Genus. Species = translation if required] [Insecta. Tettigoniidae. Conocephalinae. Copiphorini. Pseudorhynchus. mimeticus]
(Taxonomic name for a species of grasshopper)

[Aves. Elanus scriptus = Letter-winged kite]

Alternatively, give the translation only as the title, or additionally as a title added entry, if this is most useful for the clients of the archive or cataloguing agency and only a small number of such recordings are held in the collection.

Optional addition. Additional information elements which may be handled through notes or by the use of specified fields are place of recording (which may include locality; latitude and longitude; local and regional place name; grid applied by the archive or cataloguing agency) date of recording; name of recordist; sex of the recorded individuals; whether they are children, adolescents, adults; time of day; temperature; existence of other factors (e.g. wind, other environmental / ambient sounds); and for individuals recorded after capture, the date and place of capture of the individuals and subsequent preservation method of the individuals, if applicable, e.g. pinned, stuffed, alcohol (see 7.B.11 and 7.B.24). 1.B.7.9. Sound effects and mood musicSound effects and mood music are mostly used as production aids for radio, television and cinema. Construct the title with an appropriate term followed by a description of the effect or mood evoked and conclude with the real title of the original work if applicable. Enclose the whole title in square brackets. [Sound effect. Aeroplane. Jet take off]

[Sound effect. Fight. Two punches followed by heavy fall]

[Sound effect. Fight. Blow to head]
Note: Effect made by stick hitting cabbage head

[Sound effect. Car. Motor revs, tyres screech on acceleration]

[Mood music. Nuptial : Wedding march] / Mendelssohn ; arr. Wilson Additional descriptive information and access points may also be included as appropriate to assist in selecting a particular recording for use from many others with similar type of effect or mood. 1.B.7.10. Musical works
See also: 1.B.1.2 Where a title must be devised for a classical musical work and the work is identified, give all of the elements as prescribed for uniform titles in established codes, such as the Anglo-American Cataloguing Rules. - 2nd ed, Rules 25.25-25.35. Enclose such devised titles in square brackets. Note that a uniform title provides the means for bringing together all catalogue entries for a work when various manifestations (e.g. editions, translations) of it have appeared under various titles. A uniform title also provides identification for a work when the title, by which it is known, differs from the title proper of the item being catalogued. The need to use uniform titles varies from one catalogue to another and varies within one catalogue. [Trios, piano, strings, no. 2, op. 66, C minor]

[Le Nozze di Figaro. Voi che sapete. French] Alternatively, always give title proper information for classical music in square brackets and according to the appropriate uniform title structure applied by the archive or cataloguing agency.

For all other positively identified non-classical musical works requiring a supplied title (except recordings of traditional societies or ethnic groups described at 1.B.7.7, mood music described at 1.B.7.9 and improvised music described at 1.B.7.11), give the title of the smallest part of the whole work. and enclose it in square brackets. As appropriate, indicate the source of information in a note (see 1.A.2 and 7.B.3).

[Georgia on my mind]

[Singin' in the rain]

[You'll never walk alone]

not [Carousel. You'll never walk alone]

When it is not possible to identify the work, devise a descriptive title including indication of style or genre, and media (instruments and/or voices). [Classical style piano item in a major key]

[Lieder style song performed in German by baritone with piano accompaniment]

[Jazz item performed by piano, bass and drums]

[Jazz item (bebop) sung by soprano with electric piano accompaniment]

[Spanish guitar item]

1.B.7.11. Improvised music and stage performances If the item consists of a sequence of recorded improvisations under a given collective title, transcribe the title and supply a suitable descriptive phrase as other title information, in square brackets. Ra : [duo improvisations] / by Evan Parker and Paul Lytton
Note: Recorded at Moers Festival June 1976

The same rule will apply to items from unpublished collections. John Stevens tapes. Spontaneous Music Ensemble with Evan Parker live in Highgate : [improvised music]

If the recorded improvisation has no title, supply one in square brackets, and include a suitable descriptive phrase as other title information, in the same set of square brackets. [Improvised music : duo improvisation] / by Marilyn Crispell and Eddie Prevost

Alternatively, construct the title commencing with the phrase Improvised music. [Improvised music. Ra] / by Evan Parker and John Lytton

1.B.7.12. Edited recordings Where a recording has undergone significant editing of content (e.g. aural enhancement, such as equalisation or filtering or digital restoration; and/or where new content is added, such as a new mix with voiceover or new mix with synthesizer added) treat as a separate recording. The golden years in digital stereo : the blues, 1923-1933 / Robert Parker [recording engineer]

Melting pot : reggae dub mix ; Melting pot : club mix

When Johnny comes marching home : [digitally enhanced]

1.B.7.13. Excerpts In the case of excerpts copied from original recordings and prepared for commercial release or broadcast, a separate catalogue record is required. Use a suitable term or phrase to indicate that the excerpt is different in content from the original. As appropriate, this may be made in the title and may be either transcribed from the source of information or supplied. Give any further explanation in a note. Wonnga dance songs. Selected items

[Insecta. Tettigoniidae. Conocephalinae. Copiphorini. Pseudorhynchus. Mimeticus. 3 second excerpt]
Note: Edited using Soundedit Pro.

[Insecta. Tettigoniidae. Conocephalinae. Copiphorini. Pseudorhynchus. Mimeticus. 5 second excerpt]
Note: Edited using Soundedit Pro. Stock shot libraries maintained by broadcasters also contain short or long excerpts of original recordings for ready reference to use in news broadcasts, documentaries and other programmes. These may be of any content, on any topic, by any speaker, performer or subject, and may include broadcast news or on-location reports, speeches or actuality.

Where stock shot material is an excerpt, include indication of this in the title. [Gemini 10 astronauts John Young and Michael Collins most complicated flight yet : Tuesday, 1966-07-19 : excerpt]

1.B.7.14. Incomplete recordings

Where an original recording is incomplete, create a new catalogue record for it and indicate its incompleteness. Friday on my mind : [incomplete : first 40 seconds only] / the Easybeats
Note: Tape runs out before end of song.

After sundown : [fragment] 1.B.8. Titles in two or more languages or scripts
AACR2 1.1B8If the source of information bears titles in two or more languages or scripts, transcribe as the title proper the one in the language or script of the main written, spoken or sung content of the item. If this criterion is not applicable, choose the title proper by reference to the order of titles on, or the layout of, the source of information. Record the other titles as parallel titles (see 1.D.). Pongo och de 101 dalmatinerna [videorecording]
(The original title is One hundred and one Dalmatians, but since the film is dubbed into Swedish, the Swedish title is chosen as title proper)

1.B.9. Titles with supplementary, section, part or numeric information
See also: 1.C.2.

1.B.9.1. Titles with supplementary or section information
AACR2 1.1B9 If the title proper for an item that is supplementary to, or a section of, another item appears in two or more parts not grammatically linked, record the title of the main work first, followed by the title(s) of the supplementary item(s) or sections in order of their dependence. Precede the number or part information with a full stop and a space. 

Faust. Part one

The German pre-classics. Series A, Georg Philipp Telemann

Dr. Paul. Episodes 1-2

1.B.9.2. Titles with numeric information that is intrinsic to the title Do not confuse numeric information which is intrinsic to the title of the work with part or supplementary information. For instance, a sequel which is a work in its own right, or a unique work written in a standard form, has numeric information which is intrinsic to the title. In such cases, give the numeric information as a part of the title proper.  

Absolute music 14

Symphony no. 5

Concerto for piano and orchestra no. 2 in F minor, op. 21

Rocky IV

Under siege II

1.B.9.3. Titles consisting of a section, supplement, part, episode, etc., alone
Developed from NFSA MAVIS Data Entry Guidelines. Series and Serials (9/95) The title proper can consist of the title of a section, supplement, part, episode, etc., alone under some circumstances. For instance when commercial sound recordings are released as part of a series by the record company, but are marketed as separate items, or where a series of individual parts are self contained (i.e. when there is neither continuity in the story line nor in the cast of characters, and the parts are not intended to be viewed or auditioned consecutively).

Where such an item is part of a series, the series and volume or episode number (if applicable) may be recorded in Area 6 rather than as part of the title proper. Art music from the Far East
Series: (Musical sources)
(Commercially issued sound recording)

L'outil et le geste
Series: (Inventaire des campagnes ; 4)
(Episode from a documentary series where the episodes have individual titles, are self contained, and do not have continuing characters or story line)

Craig and Steve
Series: (Why can't they be like we were)
(An educational film from a series designed to encourage classroom discussion about different aspects of adolescent life. Each film deals with a separate topic and is able to be used in isolation) 1.B.9.3.1. Broadcast series
Developed and adapted from FIAF 1.1.2.2, 1.1.2.2.1
Developed and adapted from NFSA MAVIS Data Entry Guidelines. Series and Serials (9/95)
See also: 6.0.2 Generally the primary access point for episodes of broadcast series includes both the series title and the episode number and/or date of initial broadcast. In most cases individual parts or episodes may be almost meaningless without the title of the series or serial to which they belong. Give the title of the series followed by a full stop, space and the episode number or date of broadcast and/or episode title. If an episode title is given in addition to the episode number or date of broadcast, give it last and precede it with a space, colon, space. Dancing in the street. Episode 3
Series: (Dancing in the street ; episode 3)

Skippy. Episode 5 : Mayday
Series: (Skippy ; episode 5)

Bonanza. A fence around the waterhole
Series: (Bonanza)

Beaumanoir. Épisode 26 : Règlement de comptes
Series: (Beaumanoir ; épisode 26)

Matin Bonheur. 1992-10-12 : [Benjamin Asger]
Series: (Matin Bonheur ; 1992-10-12) (Broadcast magazine episode entirely on the topic of Benjamin Asger)

Alternatively, for instance in a catalogue where all episodes may be retrieved in the required order via the series title as an authority record (together with any numbering in the series statement), give the episode title only as the title proper, and give the series and episode number or broadcast date in Area 6 only. Mayday
Series: (Skippy ; episode 5)

A fence around the waterhole
Series: (Bonanza)

Règlement de comptes
Series: (Beaumanoir ; episode 26)

[Benjamin Asger]
Series: (Matin Bonheur ; 1992-10-12) An episode title is not necessary, however, for news and current affairs broadcasts which feature several stories, nor for quiz shows or variety programmes. BBC News. 1997-01-02. 18.00
Series: (BBC News ; 1997-01-02)
(News broadcast. The time of broadcast may be added as more specific identification)

Tournez manège. 1992-02-16
Series: (Tournez manège ; 1992-02-16)
(Daily game broadcast programme)

Sale of the century. 1997-07-15
Series: (Sale of the century ; 1997-07-15)
(Daily quiz broadcast programme)

In Melbourne tonight. 1997-09-01
Series: (In Melbourne tonight ; 1997-09-01)
(Variety broadcast programme) A broadcast series may sometimes be a series within a series, i.e. a subseries (see 6.H), or a series broadcast within a particular timeslot or season (see 1.B.9.3.2).

For the title proper of an episode of a subseries, give the subseries as a part of the main series. Also give the series and subseries information according to 6.G and 6.H.1. The air adventures of Biggles. Episodes 821-822. Desert broom. Episodes 38-39
Area 6: (The air adventures of Biggles ; episodes 821-822. Desert broom ; episodes 38-39)
(Radio transcription disc with two consecutive episodes of a subseries within a series)

Alternatively, give the subseries information only as the title proper, with the main series and subseries given according to 6.G and 6.H.1.

Desert broom. Episodes 38-39
Area 6: (The air adventures of Biggles ; episodes 821-822. Desert broom ; episodes 38-39)

1.B.9.3.2. Timeslot or season A timeslot or season is a regular programme time spot which may be used to broadcast material related by theme. Do not treat programmes broadcast in timeslots or seasons as subseries. Instead give the series title and, optionally, date and/or episode title as the title proper and give the title of the timeslot or season as a separate series, or, alternatively, in a note, if deemed significant. Meet the musician. 1989-07-22 : Kate Scott
Series: (Meet the musician ; 1989-07-22)
Series: (Canberra folk ; 1989-07-22)
(Programme broadcast in the Canberra folk timeslot)

The Sunday play. Love at a loss
Series: (The Sunday play ; 1995-05-21)
Series: (Fairest isle)
(Programme broadcast as part of the Fairest isle season)

Composer of the week. Lennox and Michael Berkeley
Series: (Composer of the week ; 1995-06-26)
Note: Broadcast as part of the Fairest Isle season Alternatively, give the episode title only as the title proper. Kate Scott
Series: (Meet the musician ; 1987-07-22)
Series: (Canberra folk ; 1987-07-22)

1.B.9.3.3. Broadcasters' production numbers
Adapted from FIAF 1.1.2.2.1

Do not confuse production numbers used by broadcasters to identify productions with episode numbers. Give production numbers for broadcast episodes of series and serials in Area 8. 1.B.10. Items with a collective title
Expanded from AACR2 1.1B10 If the source of information bears both a collective title and the titles of the individual works, give the collective title as the title proper and give the titles of the individual works in a contents note (see 7.B.25), or, alternatively, in separate analytic records linked to the host item with the collective title, or as a multilevel record (see Chapter 9). Lundell live
Note: Contents: Östra Svealand -- Herrarna -- Oh la la (jag vill ha dej) -- 67 -- Öppna landskap -- Maria kom tillbaka

The great piano concertos
Note: Contents: Concerto for piano and orchestra in A minor, op. 54 / Robert Schumann -- Concerto for piano and orchestra in A minor, op.16 / Edvard Grieg -- Concerto for piano and orchestra no. 5 in E flat major, op.73 / Ludwig van Beethoven -- Concerto for piano and orchestra no. 1 in B flat major, op. 23 / Peter I. Tchaikovsky -- Concerto for piano and orchestra no. 2 in C minor, op. 18 / Serge Rachmaninoff -- Concerto for piano and orchestra no. 1 in E flat major / Franz Liszt -- Concerto for piano and orchestra no. 21 in C major, K467 / Wolfgang Amadeus Mozart -- Concerto for piano and orchestra no. 2 in A major / Franz Liszt -- Concerto for piano and orchestra no. 2 in F minor, op. 21 / Frederic Chopin -- Concerto for piano and orchestra in G major / Maurice Ravel

El baúl de los cuentos
(Kit containing 8 printed volumes, 1 CD-ROM and 2 videocassettes)

In cases where a broadcast episode contains different stories, as with news and current affairs programmes, the titles of each story may be included in a contents note or handled as analytics, or as a multilevel record (see Chapter 9). 60 minutes. 1985-06-16
Series: (60 minutes ; 1985-06-16)
Note: Contents: Water babies -- Taken for a ride -- Day of the Jacko (Example with contents note)

For items without a collective title, see 1.G. 1.B.11. Simultaneous broadcast material
See also: see 7.B.12 Catalogue separately radio and television materials which have been simultaneously broadcast. Include a note in each catalogue record to show their relationship (see 7.B.12). Note that in these cases even though the performed realisation is the same, the technical production aspects of television and radio have different requirements, and also result in different manifestations. Don Juan / Christoph Willibald Gluck ; libretto Rainieri de Calzabigi ; producer Jan Sederholm. - Stockholm : Sveriges radio P2, 1987-01-02 (21:50-22:55)
Note: Simultaneous broadcast with Sveriges television TV1

Don Juan / Christoph Willibald Gluck ; libretto Rainieri de Calzabigi ; TV director Jan Sederholm ; choreography Regina Beck-Friis ; design and costume David Walker ; dramaturgist Margaretha Söderling. - Stockholm : Sveriges television TV1, 1987-01-02 (21.50-22.55)
Note: Simultaneous broadcast with Sveriges radio P2

ISBD (NBM) 0.2 General material designation is a term indicating broadly, the class of material to which an item belongs.

1.C.1.
Extracted and adapted from AACR2 1.1C1
See also: 5.B.1.2, 5.F.4 If general material designations are to be used, use terms from the list given below. As appropriate, apply these terms in the language and/or script of the archive or cataloguing agency.

sound recording
motion picture
videorecording
electronic resource
kit
text
visual projection

1.C.2.
Adapted from AACR2 1.1C2If an item consists of material falling within one category in the list, give the appropriate designation immediately following the title proper (or the last part of the title proper, see 1.B.9).

Skolvan [sound recording]

In the case of an item having no collective title, give the appropriate designation immediately following the first title (inclusive of part titles (see 1.B.9) and alternative titles (see 1.B.1.3), but exclusive of parallel titles (see 1.E) and other title information (see 1.D).

The art of the fugue, BWV1080 (Contrapunctus 1-9) [sound recording] = Die Kunst der Fuge = L'art de la fugue / Johann Sebastian Bach. Suites for harpsichord = Cembalo = Clavecin / Georg Friedrich Händel

1.C.3.
ISBD (NBM) 1.2.3When the item comprises a primary component with a subsidiary component(s) not of the same general material category (e.g. a sound disc accompanied by a leaflet) the general material designation refers only to the primary component.

Tradition chantée de Bretagne [sound recording] : les sources du Barzaz Breiz aujourd'hui
(1 Compact disc+ 1 book)

Piparsod un village indien [videorecording]
(1 videocassette + 1 book)

1.C.4.
Based on AACR2 1.1C4
See also: 5.F.4 If an item contains parts belonging to materials falling into two or more categories and if none of these is the predominant constituent of the item , give kit .

Stora popboxen [kit ]
(1 book + 2 CDs + 1 videocassette)

1.C.5.
Based on AACR2 1.10C1
See also: 5.F.4 When an item having no collective title proper comprises two interdependent components belonging to distinct material categories, the appropriate general material designation is given after each title

Life in the time of Charles Dickens [visual projection] / editor, Albert Ammerman. The time, the life, the works of Charles Dickens, and excerpts from Dickens on America [sound recording] / read by Ian Brett and Peter Howell

Optionally, make separate descriptions for each component, and link them with notes.

Il re Teodoro in Venezia [sound recording] / Giovanni Paisiello. - Roma : Discoteca di Stato, p 1994 : Istituto di Ricerca per il Teatro Musicale, c 1994. - 2 sound discs (CDs)
Note: Recording of the 1962 performance directed by Renato Fasano and broadcast by Radiotelevisione italiana, Tonino
Note: Also available with monograph of text and musicological comments: Il re teodoro in Venezia di Giovanni Paisiello. - 1 vol. - IRTEM, 1994
Area 8: Discoteca di Stato/Istituto Ricerca Teatro Musicale: IRTEM 993/1-2

Il re Teodoro Venezia di Giovanni Paisiello [text]. - Roma : Istituto di Ricerca per il Teatro Musicale, 1994. - 178 p
Note: Contains papers on and an analysis of the opera by Francesco Degrada, Carlo Marinelli and Paola Bernardi, the libretto, and a facsimile of the original libretto by Giovanni Battista Casti
Note: Also available with a sound recording of the 1962 performance of this work directed by Renato Fasano and broadcast by Radiotelevisione italiana, Tonino. - 1994. - 2 sound discs (CDs). - Discoteca di Stato/Istituto Ricerca Teatro Musicale: IRTEM 993/1-2

(Second note in each example shows the relationship between these two publications when packaged together)

Developed from ISBD (NBM) 0.2A parallel title is the title proper in dialect, another language and/or script; or a title in dialect, another language and/or script presented as an equivalent of the title proper; or the title proper repeated with other title information in dialect, another language and/or script.

1.D.1.
Based on AACR2 1.1D1Transcribe parallel titles in the order indicated by their sequence on, or by the layout of, the source of information.

Birds awakening in Normandy [sound recording] = Le réveil des oiseaux en Normandie

Kanu kalon-Breizh [sound recording] = [Chants profonds de Bretagne] (Compilation of recordings, sung in Breton. Text of the songs in Breton and French on the sleeve.)

1.D.2.
Adapted from AACR2 1.1D3Transcribe an original title in a language different from that of the title proper appearing prominently in the source of information as a parallel title .

Pongo och de 101 dalmatinerna [videorecording] = One hundred and one Dalmatians
(American film dubbed into Swedish. The original title appears on the title frames.)

If such an original title does not appear prominently in the source of information, give the original title in a note (see 7.B.5)

The road warrior [motion picture]
Note: Originally released in Australia under the title Mad Max 2

Varied from AACR2If the title proper is repeated with other title information (see 1.E) in another language and/or script, transcribe the repeated title proper as a parallel title .

Locked up [videorecording] : a mother's rage = Locked up : en desperat kamp för livet

1.D.3.
Based on AACR2 1.1D4Give parallel titles appearing in a secondary source of information in a note (see 7.B.5).

Trommelrhythmen der Malinke [sound recording]
Note: Parallel title: Rythmes de tambour des Malinke

Saa møj' en sørreli' Wies
Note: Parallel title: En meget sørgelig vise

(The label gives the title in dialect only.)

Based on ISBD (NBM) 0.2 Other title information is defined as a word or phrase appearing in conjunction with, and subordinate to, the title proper, parallel title , or other titles and which qualifies, explains, or completes the title to which it applies or which is indicative of the character, contents, etc., of the item .

1.E.1. Based on AACR2 1.1E1

Transcribe all other title information according to the instructions in 1.B. Precede other title information by a space, colon, space.

Movin' up [sound recording] : UK remixes

Magic guitar [sound recording] : 16 guitar hits

Music for dreams [sound recording] : a different ambient compilation

1.E.2. AACR2 1.1E2

Transcribe other title information in the order indicated by the sequence on, or the layout of, the source of information.

Army of Lovers [videorecording] : videovaganza 1990-1993 : the Ride the bullet story
(A pop video collection where Army of Lovers perform Ride the bullet and other songs)

1.E.3. Lengthy other title information

AACR2 1.1E3 If the other title information is lengthy, either give it in a note (see 7.B.5) or abridge it (see 1.B.4). Abridge other title information only if this can be done without loss of essential information. Never omit any of the first five words of the other title information. Indicate omissions by the mark of omission ( .).

1.E.4. AACR2 1.1E4

See also: 1.F.13 If the other title information includes a statement of responsibility or the name of a publisher, distributor etc., and the statement or name is an integral part of the other title information, transcribe it as such.

Texas girl & pretty boy [sound recording] : Mathilde Santing sings Randy Newman

1.E.5. Developed from AACR2 1.1E5

Transcribe other title information following the whole or part of the title proper or the parallel title to which it pertains.  

Pan in "A" minor [videorecording] : steelbands of Trinidad's Island

Pacific Heights [videorecording] = Pacific Heights : den objudne gästen
(Other title information in Swedish only)

Pierronet foltralet [sound recording] : tale = Petit Pierre le nigaud : conte

If there are no parallel title s and if other title information appears in more than one language or script, give the other title information that is in the language or script of the title proper. If this criterion does not apply, give the other title information that appears first. Optionally, give the other title information in other languages. Precede each parallel statement by an equals sign.

Variations on a Czech love song [sound recording] : for piano solo and woodwind choir = pour piano soliste et ensemble de bois

1.E.6. AACR2 1.1E6

If the title proper needs explanation, supply a brief addition as other title information, in the language of the title proper.  

H.C. Andersen [sound recording] : [selections]

Based on AACR2 Glossary
See also: 9.1.A.7.1 A statement of responsibility is a statement relating to persons responsible for the intellectual or artistic content of the item, to corporate bodies from which the content emanates, or to persons or corporate bodies responsible for the performance of the item .

Based on FIAF 1.6.1, para 2 Because responsibility for AV materials is most often complex and highly diverse, archives - particularly those with special interests - should determine the types of functions they wish to include in this area, and also if they want to present the functions in a given order.

1.F.1. Transcription
Based on AACR2 1.1F1 Transcribe statements of responsibility appearing in the source of information in the form in which they appear there. If a statement of responsibility is supplied by the cataloguer, enclose it in square brackets (see 1.F.2).

1.F.1.1. Sound recordings
Developed from AACR2 6.1F1 Transcribe statements of responsibility relating to those persons or bodies credited with a major role in creating the intellectual content of the sound recording (e.g. as writers of spoken words, composers of performed music, collectors of field material, producers having artistic and/or intellectual responsibility). If the participation of the persons or bodies named in a statement found in the source of information goes beyond that of performance, execution, or interpretation of a work (as is commonly the case with popular music, jazz, traditional music, etc.), give such a statement as a statement of responsibility. If, however, the participation is confined to performance, execution, or interpretation (as is commonly the case with classical music, readings of literary works, etc.), give the statement as a note (see 7.B.7).

Tabula rasa [sound recording] / Arvo Pärt

Burglar [sound recording] / Freddie King

Birds awakening in Normandy [sound recording] = Le réveil des oiseaux en Normandie / collected by Jean-Luc Hérelle

Freja! [sound recording] / Isa Edholm, producer ; Karin Svennem, editor
(Radio broadcast)

The search for meaning [sound recording] / Carolyn Jones, presenter
(Radio broadcast)

1.F.1.2. Motion pictures and videorecordings
Based on FIAF 1.6, 1.6.1 The following is presented as a brief guide for those occasions when a moving image format contains intellectual content which could also be represented in a sound recording - in particular a performance of music, or similar type of performing art. It is recommended that The FIAF Cataloguing Rules be consulted for more detailed guidance when cataloguing moving image materials.

Transcribe statements of responsibility relating to those persons credited with participation in the original production of a moving image who are considered to be of major importance, and who have some degree of overall responsibility for the work. Examples of important functions that indicate some degree of overall responsibility for the work include but are not limited to: director, producer, screenwriter, cinematographer, and animator. For basic guidance on transcribing the names of corporate bodies, including informally constituted groups such as collectives and communes credited with participation in the production or distribution of a moving image, see 3.B.2.3.

The Commitments [videorecording] / directed by Alan Parker

Everyone says I love you [motion picture] / written and directed by Woody Allen

Let's dance! [motion picture] / written, directed & produced by Paul-Anders Simma

1.F.1.2.1.
Developed from AACR2 6.1F1 For musical performances on film or video where the participation of the persons, groups, etc., named in a statement found in the source of information, goes beyond that of performance, execution, or interpretation of a work (as is commonly the case with popular music, jazz, traditional music, etc.), give the performer first in the statement of responsibility, before the director, etc.

Look sharp [videorecording] / Roxette ; directed by Doug Freel

Sexual revolution [videorecording] / Army of Lovers ; directed by Fredrik Boklund ; produced by Martin Persson

Elvis [videorecording] : the lost performances / Elvis Presley ; produced by Patrick Michael Murphy

1.F.1.2.2.
Developed from AACR2 6.1F1 For musical performances on film or video where the participation of the persons, groups, etc., named in a statement found in the source of information, is confined to performance, execution, or interpretation (as is commonly the case with classical music, readings of literary works, etc.), give the composer/author first in the statement of responsibility, followed by the producer, director, etc.

The four seasons [videorecording] = Die vier Jahreszeiten = De fyra årstiderna / music by Antonio Vivaldi ; produced by Henry Fueter ; directed by Niklaus Gessner

1.F.1.2.3.
Developed from AACR2 6.1F1 For opera, theatre, ballet and dance performances on film or video, give in the statement of responsibility also the names of the designers and the choreographers.

Aida [motion picture] / music Giuseppe Verdi ; original libretto Antonio Ghislanzoni ; produced by Staffan Rydén ; directed by ClAES Fellbom ; revised text and screenplay ClAES Fellbom ; costume designer Inger Pehrsson ; art director Lotta Melanton ; choreography Ann-Charlotte Lindström
(Filmed version of Verdi's Aida, shot in Lanzarote, Spain)

The ghosts of Versailles [videorecording] / music John Corigliano ; libretto William F. Hoffman ; production Colin Graham ; technical director Joseph Clark ; general director Joseph Volpe ; artistic director James Levine ; video director Brian Large ; audio producer Jay David Saks ; set and costume design John Conklin ; choreographer Debra Brown
(Stage performance from the Metropolitan Opera)

Highlights from Rigoletto [videorecording] : opera in three acts / by Francesco Maria Piave after Victor Hugo ; music by Giuseppe Verdi ; staged and directed by Jean-Pierre Ponnelle
(Stage performance from Staatsoper, Vienna)

1.F.1.3. Electronic resources
Based on Guidelines for Interactive Multimedia, H.I Transcribe statements of responsibility relating to those persons or bodies responsible for the entire content of an electronic resource (e.g. interactive multimedia developers, composers, authors, designers, performers, or others similarly named as having principal or equally shared responsibility for the creation of the whole electronic resource). If the statements of responsibility are lengthy, give them in a note.

All my hummingbirds have alibis [electronic resource] / composer, project director Morton Sobotnick

Elithockey 96 [elektronisk resurs] / idé, manus och projektledning Bright Ebenezer

Optionally, if considered important for a particular catalogue or cataloguing agency, give all other statements of responsibility, including those confined to the creation of specific parts of the electronic resource in a note. These include: musical or visual performers, ensembles, video graphic designers, guidebook editors, applications programmers, choreographers, narrators, script writers, costumers, set designers and sponsors for a specific part of a work.

1.F.1.4. KitsTranscribe statements of responsibility relating to those persons or bodies responsible for the entire content of the kit.  

The fabulous phonograph of Thomas Rome [kit] / Performing Arts Museum

Golden days of radio [kit] / Australia Post

For kits, where the different components have individual statements of responsibility, transcribe the statements of responsibility in an order corresponding to each of the components.

Fábulas Océano [kit] / ilustraciones María Pascual ; textos Víctor M. Armenteros, Jaime Rovira ; producción y dirección [de las cassettes] Gerardo Domal, Francioli Vázquez ; efectos de audio Sergio Bayard

1.F.2.
Based on FIAF 1.6.1
See also 1.F.1 If no statement of responsibility appears in the sources of information and is identified, supply one, and enclose it in square brackets. Give the source of information in a note, as appropriate.

The Jinns : concerto for piano with orchestra / [Cesar Franck]
Note: Composer confirmed from published score and audition of recording.

Based on and adapted from FIAF 1.6.4 Optionally, if the statement of responsibility appearing in the sources of information only gives surname, or surname and initials for a person, and the missing information is identified, supply the part of the name that is missing, and enclose it in square brackets.

Title / [William] Bell

Title / G[raham] Type 1.F.3.
AACR2 1.1F3 If a statement of responsibility precedes the title proper in the source of information, transpose it to its required position unless it is an integral part of the title proper (see 1.B.2).

Getting ready- [sound recording] / Freddie King
(Source of information gives the statement of responsibility before the title)

1.F.4.
AACR2 1.1F4
Transcribe a single statement of responsibility as such whether two or more persons or corporate bodies named in it perform the same function or different functions.  

Tillsammans [sound recording] / texter av Tove Jansson och musik av Erna Tauro

1.F.5.
Based on AACR2 1.1F5 If a single statement of responsibility names more than three persons or corporate bodies performing the same function, omit all but the first of each group of such persons or bodies. Indicate the omission by the mark of omission ( ...) and add et al. (or its equivalent in another language and/or script) in square brackets. Alternatively, the cataloguing agency or archive should decide on the number of names to be transcribed.

Bert - den siste oskulden [motion picture] / regi Tomas Alfredson ; manus Michael Hjort ... [et al.] ; producent Johan Mardell
(Source of information gives four screenwriters)

1.F.6.
Based on AACR2 1.1F6 If there is more than one statement of responsibility, transcribe them in the order indicated by their sequence on, or the layout of, the source of information. If the sequence and layout are ambiguous or insufficient to determine the order, transcribe the statements in the order that makes the most sense. 1.F.7.
Developed from AACR2 1.1F7 Include titles and abbreviations of title, nobility address, etc., if such data are considered to be necessary.  

The Scarlet Pimpernel / by Baroness Orczy

Do not confuse title, nobility address, etc., with similar titular phrases which form parts of names, which are common in popular music. Titular phrases which are parts of names should always be given.  

Born in Africa / Dr. Alban
not
Born in Africa / Alban

1.F.8.
AACR2 1.1F8 Add a word or short phrase to the statement of responsibility if the relationship between the title of the item and the person(s) or body(ies) named in the statement is not clear.  

Baijun ballads [sound recording] / [collected by] Chet Williams

1.F.9.
AACR2 1.1F9 Replace symbols or other matter that cannot be reproduced by the facilities available with the cataloguer's description in square brackets. Make an explanatory note if necessary.  

Chaos and disorder / [the Sign]
(The artist formerly known as Prince uses a sign as his name)

1.F.10.
AACR2 1.1F10 If an item has parallel titles but a statement of responsibility in only one language or script, transcribe the statement of responsibility after all the parallel titles or other title information.

Un divan à New York [motion picture] = A couch in New York = Det bor en fransk kvinna i min lägenhet / un film de Chantal Akerman

If an item has parallel titles and a statement of responsibility in more than one language or script, transcribe each statement after the title proper, parallel title , or other title information to which it relates.

Svärmor på vift, eller, Förbjudna vägar [film ] : lustspel i två akter / författad och iscensatt av Georg af Klercker = Mother-in-law on the loose, or, Forbidden ways : comedy in two acts / written and directed by Georg af Klercker = Belle-mère fait la noce, ou, Chemins interdits : comédie en deux actes / conçue et mise en scène par Georg af Klercker

If it is not practicable to give the statements of responsibility after the titles to which they relate, transcribe the statement of responsibility in the language or script of the title proper and omit the others.

1.F.11.
AACR2 1.1F11 If there are no parallel titles and a statement of responsibility appears in more than one language or script, transcribe the statement in the language or script of the title proper. If this criterion does not apply, transcribe the statement that appears first.  

Madame Bovary [videorecording] / réalisateur Jean Marais

Optionally, transcribe the parallel statements, each preceded by an equals sign.  

Madame Bovary [videorecording] / réalisateur Jean Marais = director Jean Marais

Underground [motion picture] / režija Emir Kusturica = r?lis?par Emir Kusturica = directed by Emir Kusturica

1.F.12.
AACR2 1.1F12 Treat a noun phrase occuring in conjunction with a statement of responsibility as other title information if it is indicative of the nature of the work.

Vi behöver varann : en jubileumsfilm / av Sven Stolpe

Characters from Dickens : dramatised adaptations / by Barry Campbell

If the noun or noun phrase is indicative of the role of the person(s) or body (bodies) named in the statements of responsibility rather than of the nature of the work, treat it as part of the statement of responsibility.  

Capoeira, Samba, Candomble [sound recording] / recordings and commentary by Tiago de Oliveira Pintora

Simple men [motion picture] = Begär, besvär och enkla män / a film by Hal Hartley

1.F.13.
AACR2 1.1F13 When a name associated with responsibility for the item is transcribed as part of the title proper (see 1.B.2) or other title information (see 1.E.4), do not make any further statement relating to that name unless such a statement is required for clarity, or unless a separate statement of responsibility including or consisting of that name appears in the source of information.  

Celidibache conducts Bruckner
but
Erasure ABBA : ABBA-esque / Erasure ; executive producer Verity White
(Name of performer has to be given again to make the statement of responsibility clear)

1.F.14.
Developed from AACR2 1.1F14 Where possible, give a statement of responsibility even if no person or body is named in that statement.

Tibetan monastery of Gyütö / Buddhist monks' voices

Samba rhythm / played on two berimbaus

Samba-de-roda / performed by an ensemble of drums, tambourins, agogô and berimbau

A statement of responsibility may include words or phrases that are neither names nor linking words.

Head, fingers & heart / performed by Arne Domnérus

Campanula patula : blomma av Dalarna : en jubileumsproduktion 1951-1991, 40 år / Gagnef musikskola, solister, körer och orkestrar framför musik från Gagnef

AACR2 Glossary
A collective title is a title proper that is an inclusive title for an item containing several works.

1.G.1.
AACR2 1.1G2, 6.1G1
See also: 5.B.4.3 If an audiovisual item contains more than one work and lacks a collective title, either describe the item as a unit or make a description for each separate work.

1.G.2.
Based on AACR2 1.1G3 If describing an audiovisual item without a collective title as a unit, transcribe the titles of the works in the order in which they appear in the sources of information. Separate the titles of the works by semicolons when they are all by the same person(s) or emanate from the same body(ies), even if the titles are linked by a connecting word or phrase.

Cadillac ; On the count 2 3 / Broder Daniel

Clock symphony, no. 101 ; Surprise symphony, no. 94 / Haydn

Fantasy for solo violin ; Piece for oboe and piano / Robin Bradley

Colgate Palmolive cavalcade. Episode 135 ; Protex programme. Episode 338
(Radio transcription disc with episodes from different series )

[Viva Berkenshaw ; Works of Liszt ; The virtuoso / performed by the Malvern Municipal Band]

1.G.3.
When the same information is repeated (e.g. the title or statement of responsibility appears on all labels of a multipart work) do not repeat this information in the transcription. Stevie to the rescue / Jill Mellion

or

Stevie to the rescue. Parts 1-8 / Jill Mellion

(Commercial release on 4 discs available in a special decorative album)

not

Stevie to the rescue. Part 1 ; Stevie to the rescue. Part 2 ; Stevie to the rescue. Part 3 ; Stevie to the rescue. Part 4 ; Stevie to the rescue. Part 5 ; Stevie to the rescue. Part 6 ; Stevie to the rescue. Part 7 ; Stevie to the rescue. Part 8 / Jill Mellion

but

Stevie to the rescue. Parts 1-2, 7-8 / Jill Mellion
(Two discs missing, and only two discs are being catalogued)

Life with Dexter. Episodes 001-002

not

Life with Dexter. Episode 001 ; Life with Dexter. Episode 002
(Radio transcription disc containing 2 consecutive episodes of a serial )

Beau ideal. Episodes 1, 3

not

Beau ideal. Episode 1 ; Beau ideal. Episode 3
(Radio transcription disc with non-consecutive episodes) 1.G.4.
AACR2 1.1G3, 6.1G2

If the individual works are by different persons or emanate from different bodies, or in case of doubt, follow the title of each work by its parallel title (s) and other title information, and statement(s) of responsibility. Separate the groups of data with a full stop followed by two spaces. Prelude, the afternoon of a faun / Claude Debussy. Peer Gynt (Suite) no. 1-2 / Edvard Grieg. Till Eulenspiegels lustige Streiche / Richard Strauss

Dreamboat / Linzer ; [performed by] Limmie & Family Cookin'. Made in heaven / Levine, Russell Brown ; [performed by] Limmie & Family Cookin'

Label side A:	Dreamboat (Linzer) Limmie & Family Cookin'
Label side B:	Made in heaven (Levine-Russell Brown) Limmie & Family Cookin'

1.G.5.
Developed from ISBD (NBM) 1.1.2.9 When the number of individual works is very large, the first three titles may be given followed by the mark of omission
( .). The complete list of titles may be given in a contents note (see 7.B.25) or separately described (see Chapter 9).  

Dixit Dominus, RV 594 ; Stabat mater, RV 261 ; Gloria in D major, RV 588 ...

Based on NFSA MAVIS data Entry Guidelines. Title Entry (3/97) Alternatively, for compilations of unpublished and broadcast items without a common theme, give the first title or the title of the predominant work followed by a suitable term to indicate that other works are in the compilation. The complete list of titles may be given in a contents note (see 7.B.25) or separately described (see Chapter 9).

There's only one of you ; [Other songs] / Jimmy Henney Combo
Note: Contents: There's only one of you -- Don't go home -- Sugar moon -- Padre

So happy today / Willa Hokin, soprano. [Other recordings]
Note: Except for Willa Hokin, all performers and presenters heard on this programme are unidentified.
Note: Contents: So happy today -- End of unidentified skit -- "It's all yours" radio programme theme song -- Spoken credits for "It's all yours"
(Incomplete details of a broadcast, where only one disc is held and remaining discs are missing. The title of the first song is given as title proper. All contents of the disc are given in the contents note.)

1.G.6.
Developed from FIAF 1.5.1.2 When a compilation of unpublished or broadcast works lacks a collective title and it is possible to supply a suitable collective title, do so. Enclose the title in square brackets. This may be based on a common subject or may be a fonds or collection name. Where a production or other control number would assist in differentiating between other similar compilations, for instance in stock shot libraries, include this information.

[Works by Fritz Hart]
(Compilation of works composed by Fritz Hart)

[Hawaiian Islands]
(A compilation of 26 films)

[Hutchinson, John. Bird calls collection]
(Preservation tapes of bird call recordings collected by John Hutchinson)

[Fonds Geneviève Massignon. French songs from Acadie. Canada. (1964-1972)]

[4BH historic events compilation. Tape S59]

Similarly, in the event that the archive or cataloguing agency may create compilation tapes from various original recordings, e.g. as ready reference material for audition by clients, include a suitable term to indicate this.

[The French Revolution : excerpts]

[French singers from 1958 to 1976 : edited broadcast excerpts]

[The Gulf War : edited broadcast excerpts]

[Best conceived radio commercials of 1959-1960 : in-house compilation]  

Developed from FIAF 1.5.2.4.1

In the case of a collection of unedited material which does not relate to a specific theme, construct a form title commencing with the term Unedited.

[Unedited. MacMillan Collection. Assorted scenes]

[Unedited. Kleine collection footage]

Alternatively, if a more specific entry is required in the title, move the term Unedited to another more suitable position.

[MacMillan Collection. Assorted scenes. Unedited]

[Kleine Collection. Unedited footage]

Developed from ISBD (NBM) 0.2 Edition: All the copies of an item produced from substantially the same master copy and published or issued by a particular publishing agency or group of agencies. Provided that these conditions are fulfilled, a change in identity of the distributor of the item does not constitute a change of edition.

For sound recordings, all the copies of an item produced from the same fixing of the sound from the same takes. Note, however, that some reissues are different publications (see 2.B.1).

Edition statement: An edition statement is a word or phrase, or a group of characters indicating that an item belongs to a particular edition, issue, release, transmission, version or variation. The edition statement may include statements of responsibility and parallel and additional edition statements.

Developed from ISBD (NBM) Area 2, Punctuation patternPrecede this area by a full stop, space, dash, space (. - ).

Precede a parallel edition statement by a space, equals sign, space ( = ).

Precede the first statement of responsibility relating to an edition statement by a space, diagonal slash, space ( / ).

Precede each subsequent statement of responsibility by a space, semicolon, space ( ; ).

Precede a statement relating to an additional edition statement by a comma, space (, ).

2.A.2. Sources of information
Expanded from AACR2 1.0A1, 1.0A2, 1.1A2

Take information recorded in this area from:

the item itself (including any permanently affixed labels, or title frames);

• accompanying textual material (e.g. cassette insert, CD slick, inlay or booklet, recording/project accompanying documentation such as correspondence, donor agreements, recordist's worksheets, script, transcript, cue sheet);
• a container that is an original part of the item (e.g. sound cartridge, videocassette, sleeve, container for video); or from
• a secondary source such as reference or research works, a publisher's or distributor's brochure, broadcast programme schedule, abstract, index or other available finding aid, container which is not an original part of the item (e.g. a film can used to store a reel of film , tape box for storing audio tape), or the audiovisual content of the item itself.

If the information is taken from a secondary source, cite the source in a note, if appropriate (see 7.B.3).

Based on FIAF 0.3.8, 0.4 Enclose information in square brackets only when it is not available from any of the above sources of information, and where it is supplied by the archive or cataloguing agency on the basis that the information is known, or is at least probable. Where this information is uncertain, give a question mark after it.

AACR2 1.2B, 6.2B

2.B.1. Transcription

Based on AACR2 1.2B1, 6.2B1
Based on ARSC 4.B.1
See also: 2.0 Transcribe a statement relating to an edition of an audiovisual item that contains differences from other editions of that item , or to a named reissue of an item . Omit reissues where they differ from the original in terms of publisher or label name and catalogue number or matrix number , as these are different publications. Use standard abbreviations and numerals in place of words. Do not give an edition statement for first edition, issue, etc.

2nd ed.

Expanded from AACR2 1.2B2 If the edition statement consists solely or chiefly of characters that are neither numeric nor alphabetic, give the statement in words in the language and script of the title proper and enclose them in square brackets.

[Three asterisks] ed.

If the edition statement consists of a letter or letters and/or a number or numbers without accompanying words, add an appropriate word or abbreviation, and enclose it in square brackets.

3e [éd.]

[State] B

2.B.2. Doubtful edition statement

Expanded from AACR2 1.2B3 In case of doubt about whether a statement is an edition statement, take the presence of such words as edition, issue, release, transmission, version or variation (or their equivalents in another language and/or script) as evidence that such a statement is an edition statement, and transcribe it as such.

Western blood / The Sandmen. - New version

The bell witch / Mercyful Fate. - Limited ed.

Dos mundos cantan. - Ed. especial a beneficio de la I.T.E.A.F.

Censored version

Restored version

English language dubbed version

Versión Windows 95

2.B.3.

Explanatory phrases appended to the edition statement may be given in a note (7.B.9).Froggie moore / Spikes Brothers. - Édition limitée
Note: Édition limitée, realisée pour les souscripteurs Association Francaise des Collectionneurs de Disques de Jazz

Autumn almanac = Almanacco d'autonno. - New releases 1991
Note: Consist of previously released material; for this recording

20-bit technology was used for 'high definition sound'

Shorter version
Note: Shorter version of the 1969 motion picture of the same name

Spanish version
Note: Spanish version of the 1956 motion picture entitled: Jenny's birthday book which was based on Jenny's birthday book / by Esther Averill

Reconstructed version
Note: Reconstructed version. The second part is completed with text and still pictures

Short version
Note: Short version of Tendens. Original version broadcast 1988-06-05

2.B.4.

Optional addition. Supplied edition statement
Developed from AACR2 1.2B4, 6.2B3 Where an edition statement cannot be established from any source of information according to 2.A.2, but the item is known to contain significant changes from other editions, supply a suitable brief statement in the language and/or script of the title proper and enclose it in square brackets. Where such edition information is supplied, include a note stating the means of establishing the edition information (see 7.B.3).

[New ed.]

[Budget ed.]

[Pirated ed.]

[Unauthorised ed.]

[Allegedly a pirated ed.]

Note that IASA does not condone the practice of making unauthorised, pirated, bootleg, etc., recordings. It is recognised, however, that sometimes an unauthorised or suspected unauthorised recording may be received by an audiovisual archive.

When cataloguing such material, any information to be recorded about the illegality of the item should be confirmed to be correct as far as possible, and supported in a cataloguer comment (see 7.B.35), to eliminate any future implication of liability for the archive or cataloguing agency.

2.B.5.

AACR2 1.2B6, 6.2B5 If an item lacking a collective title and described as a unit contains one or more works with an associated edition statement(s), transcribe each edition statement following the title and statement(s) of responsibility to which it relates, separated from them by a full stop.

My very first prayer time book / by Mary Fletcher ; illustrations by Treyer Evans. Rev. ed. Now I lay me down to sleep / text and pictures by Rex Catto

2.C.1. Transcription

AACR2 1.2B5, 6.2B4If an edition statement appears in more than one language or script, transcribe the statement that is in the language or script of the title proper. If this criterion does not apply, transcribe the statement that appears first.

2.C.2. Optionally, transcribe the parallel statement(s), each preceded by an equals sign.

Students' ed. = Éd. pour les étudiants

AACR2 1.2C, 6.2C

2.D.1. Transcription AACR2 1.2C1, 6.2C1

Transcribe a statement of responsibility relating to one or more editions, but not to all editions, of a given work following the edition statement if there is one.

Guía para conocer los árboles / F. Masclans. - Ed. actualizada / por Oriol de Bolòs

Schachiapang : a modern revolutionary Peking opera / [performed by the Peking Opera Troupe of Peking]. - Deluxe ed. / rev. collectively by the Modern Peking Opera Troupe of Peking

2.D.2. Extrapolated from AACR2 1.2C3 and 1.2C4

Optionally, give parallel statements of responsibility relating to the edition.

2.D.3. Doubtful statements of responsibility AACR2 1.2C2

In case of doubt as to whether a statement of responsibility applies to all editions or issues, etc., or only to some, give such a statement in the title and statement of responsibility area.

AACR2 1.2D, 6.2D

2.E.l. Transcription AACR2 1.2D1, 6.2D1 ISBD (NBM)

2.4.1
If an item is a revision of an edition (a named reissue of a particular edition containing changes from that edition), or belongs to an edition which is equivalent to the first named edition, give an additional edition statement.

2nd ed., rev. issue

2.E.2. Adapted from AACR2 1.2D3, 6.2D1

Optionally, give additional edition statements naming an unchanged reissue, if the item is considered to be of particular importance to the archive or cataloguing agency.

Italian version, reissued

2.F.l. Transcription

ISBD (NBM) 2.5.1Statements of responsibility relating to an additional edition statement are transcribed in accordance with the provisions of 2.D.

2nd ed., reissued / with an afterword by the course convenor

3.0.A. Scope

This area covers the description of public release information for audiovisual items, and the description of date(s) of creation for unpublished audiovisual items.

3.0.B. Definitions

3.0.B.1. Published

The term published here generally means (commercially) issued, mass-produced items available for the public. Note that material available through some computer networks, e.g. the Internet , is also included in this definition.

3.0.B.2. Production

Here production applies to a film , or television or radio programme prepared for public release. In addition, production details also sometimes occur on published sound recordings produced from the late 1980s on.

3.0.B.3. Distribution

Distribution is conducted by an agent or agency having exclusive or shared marketing rights for an item.

3.0.B.4.

All of the above usually bear reasonable identifying information, or would be released with good publicity information which may assist with identification.

3.0.B.5. Broadcast

Broadcast is a form of publishing through public dissemination of programme(s). Broadcasts, however, are not mass-produced and may or may not include sufficient written information for their identification.

3.0.B.6. Unpublished

Unpublished items are generally created for internal or private use and are not intended to be mass-produced, published, produced, distributed or broadcast. These may or may not include sufficient written information for their identification.

3.0.B.7. See also Appendix D, Glossary, for further information about publication, release, issue; published (item); unpublished (items); broadcast; distribution; Internet ; production company (for sound recordings); production company (for film , television and radio); sponsor; commercial sponsor.

3.0.C. Functions of names
Extrapolated and adapted from FIAF 3.7

Depending on the particular case of the material being catalogued the names relating to the functions of publishing, producing, distributing, broadcasting, or manufacturing will either:

(i) have prominence as the publisher, etc., e.g. where a record or production company or sponsor has control over the artistic and/or intellectual content of the item (the item being either a television or radio programme, published sound recording or video, or a separately catalogued commercial or advertisement, etc.);

(ii) be better described as the manufacturer, e.g. where a record or production company is commissioned to manufacture a product, and as such has limited or no control over the artistic and/or intellectual content (see also 3.G section and "Unesco (Philips)" example in 3.D.6); or

(iii) be best described in a note, or, alternatively omitted, e.g. where a commercial sponsor has paid for one or more advertisement(s) to be broadcast during a programme (and the programme as a whole is being catalogued).

3.A.1. Punctuation

Developed from ISBD (NBM) Area 4, Punctuation pattern

Unless commencing with a new line, precede this area by a full stop, space, dash, space (. - ).
Precede a second or subsequently named place of publication, production , distribution, broadcast, etc., by a space, semicolon, space ( ; ).
Precede the name of a publisher, producer/production company, distributor, broadcaster, etc., by a space, colon, space ( : ).
Enclose a supplied statement of function of publisher, production company, distributor, broadcaster, etc., in square brackets. Precede the first bracket by a space and follow the last bracket by a space ( [ ] ).
Precede the date of publication, production , distribution, broadcast, etc., by a comma, space (, ).
Enclose details of manufacture (place, name, dates) in parentheses ( ( ) ).
Precede the name of a manufacturer by a space, colon, space ( : ).
Precede the date of manufacture by a comma, space (, ).

. - Place : name [function], date

. - Place : name [function], date (Place of manufacture : Manufacturer, date of manufacture)

. - Place : name [function 1], date ; place : name [function 2], date

Unpublished materials only:
Unless commencing with a new line, precede date(s) of creation by a full stop, space, dash, space (. - ). Do not include any other information in this area for unpublished materials.

3.A.2. Sources of information
Expanded from AACR2 1.0A1, 1.0A2, 1.1A2
See also: 3.C.3

Take information recorded in this area from:

• the item itself (including any permanently affixed labels, or title frames);

• accompanying textual material (e.g. cassette insert, CD slick, inlay or booklet, recording/project accompanying documentation such as correspondence, donor agreements, recordist's worksheets, script, transcript, cue sheet);

• a container that is an original part of the item (e.g. sound cartridge, videocassette, sleeve, container for video); or from

• a secondary source such as reference or research works, a publisher's or distributor's brochure, broadcast programme schedule, abstract, index or other available finding aid, container which is not an original part of the item (e.g. a film can used to store a reel of film , tape box for storing audio tape), or the audiovisual content of the item itself.

If the information is taken from a secondary source, cite the source in a note, if appropriate (see 7.B.3).

Based on FIAF 0.3.8, 0.4

Enclose information in square brackets only when it is not available from any of the above sources of information, and where it is supplied by the archive or cataloguing agency on the basis that the information is known, or is at least probable. Where this information is uncertain, give a question mark after it.

Developed from RAD 1.4A1
Based on AACR2 1.4B1, 1.4C8, 1.4D9, 1.4F9, 1.4F10, 6.4C1, 6.4C2
3.B.1.

Use this area to record:

either

a) information about the place, name and date of publishing, (commercially) releasing or issuing, producing, distributing and broadcasting (and, optionally, manufacturing) activities,

or

b) Date(s) of creation of an unpublished item .

3.B.1.1. Do not record here the date(s) of creation for published, produced, distributed, broadcast, etc., items. For such items give the date(s) of creation in a note.

3.B.1.2. Do not record here a place, name or date of publisher, producer, distributor, broadcaster, etc., for unpublished items. For such items give only the date(s) of creation here.

3.B.1.3. Make notes on the publication, production , distribution, broadcast, etc., information which is considered as important and which is not given in this area (see 7.B.12).

3.B.1.4. For treatment of analytic entries subsequently linked to a host item , see 9.1.A.3.

3.B.2. Published, produced, distributed, broadcast items

3.B.2.1. Reproductions and reissues AACR2 1.4B5

If the original publication details are covered by a label which contains publication details relating to a reproduction , re-publication etc., give details of the reproduction or re-publication here. Give the details of the original in a note if they can be ascertained readily (see 7.B.12).

Chicago : Standard
Note: Also published on the Columbia label in the US. A label for Standard in Chicago is pasted over the Columbia label.

Sydney : Palings
Note: Also published on the Sun label in Canada. A sticker label for Palings in Sydney covers the Sun label.

3.B.2.2. Fictitious publication information
Adapted from AACR2 1.4B6
Adapted from ARSC 5.B.5

If the sources of information are known to have fictitious publication, production , distribution, broadcast, etc. details, give them in the conventional order. Supply the real publication, production , distribution, broadcast, etc., details as a correction if they are known.

Belfast [i.e. Dublin : s.n.], 1982

Camden, N.J. : Standard [i.e. Victor Talking Machine Company]

3.B.2.3.AACR2 1.4B4
See also: 1.F.1.1

Give the names of places, persons or bodies as they appear, omitting accompanying prepositions unless case endings would be affected. Use abbreviations as instructed for place names in AACR2.

Berolini

... : Im Deutschen Verlag

but

Paris

not

À Paris

... : University of Leeds, Dept. of Spanish

not

... : University of Leeds, Department of Spanish

AACR2 1.4C, 6.4C

3.C.1. AACR2 1.4C1, 6.4C1

Transcribe the place of publication, production , distribution, or place from which the broadcast was made, etc., in the form and grammatical case in which it appears.

Köln

Lugduni Batavorum

Den Haag

Based on FIAF 3.2.1

For motion pictures and videorecordings, give the name of the country, rather than the local place, which relates to the function of the corporate body to follow.

Italy : Ambrosio [producer]

If the name of a place appears in more than one language or script, give the form in the language or script of the title proper. If this criterion does not apply, give the form that appears first.

3.C.2. AACR2 1.4C2
Supply another form of the name of a place if such an addition is considered desirable as an aid to identifying the place.

Lerpwl [Liverpool]

Christiania [Oslo]

3.C.3. Adapted from AACR2 1.4C3

If the name of the country, state, province, etc., is available from the sources of information (see 3.A.2), transcribe it after the name of the place if it is considered necessary for identification, or if it is considered necessary to distinguish the place from others of the same name. Supply the name of the country, state, province, etc., if it does not appear in the sources of information but is known and is considered necessary for identification or distinction, using the English form of the name if there is one. Use abbreviations according to AACR2. Alternatively, use the form in the language and/or script of the archive or cataloguing agency.

City and country, etc., appear in source of information:
Tolworth, England

Carbondale, Ill.

City alone appears in source of information:
Waco [Tex.]

London [Ont.]

Perth [W.A.]

3.C.4. AACR2 1.4C4

If a place name is found only in an abbreviated form in the sources of information, transcribe it as found, and add the full form or complete the name in square brackets.

Mpls [i.e. Minneapolis]

Rio [de Janeiro]

3.C.5. AACR2 1.4C5

If two or more places in which a publisher, producer, distributor, broadcaster, etc., has offices are named in the sources of information, give the first named place. Give any subsequently named place that is given prominence by the layout or typography of the source of information. If the first named place and any place given prominence are not in the home country of the cataloguing agency, give also the first of any subsequently named places that is in the home country. Omit all other places.

Toronto
(Source of information reads: Toronto, Buffalo, London.
Cataloguing agency in Canada)

Montréal ; Toronto
(Toronto given prominence in typography)

Toronto ; Buffalo
(Source of information reads: Toronto, Buffalo, London
Cataloguing agency in the United States)

New York ; London ; Sydney
(London given prominence by typography. Cataloguing agency in Australia)

For items with two or more places relating to two or more publishers, production companies, distributors, broadcasters, etc., see 3.D.8-3.D.9.

3.C.6. AACR2 1.4C6

If the local place of publication, production , distribution, broadcast, etc., is uncertain, supply the probable place in the main language of the source of information followed by a question mark. Enclose this supplied information in square brackets.

[Hamburg?]

If no probable local place can be given, supply if possible the name of the country, province, state, etc. If in such a case, the country, province, state, etc., is not certain, follow it by a question mark. Enclose this supplied information in square brackets.

[Canada]

[Manitoba?]

If no place or probable place can be given, give s.l. (sine loco) in square brackets, or, if applicable, its equivalent in a non-roman script.

[S.l.]

Paris : BMG Video [publisher] ; [s.l.] : Gemini programs [producer] ; [Paris] : Ariola France [distributor], 1994

3.C.7.AACR2 1.4C7

Optionally, give the full address of the publisher, production company, distributor, broadcaster, etc., after the name of the place. Enclose the full address in parentheses. Do not give the full address for major trade companies.

London (108 Gloucester Ave, London, NW1 8HX)

3.C.8. AACR2 1.4C8

Do not record a place of publication, production , distribution, broadcast, etc., for an unpublished item. Do not record s.l. in such a case. For unpublished materials, see 3.H.

3.D.1. AACR2 1.4D1, 6.4D1

Give the name of the publisher, producer (production company), broadcaster, etc., and, optionally, the distributor, following the place(s) to which it relates.

New York : RCA Victor

New York ; London : McGraw-Hill

London : Sussex Tapes ; Wakefield : Educational Productions

London : Gandalf Records : Distributed by Middle Earth Co.

[London] : Warner

3.D.2. Published sound recordings
Expanded from AACR2 6.4D2

If a sound recording bears both the name of the publishing company and the name of a subdivision of that company or a trade name or brand name used by that company (e.g. company label or record label name), give the name of the subdivision or the trade name or brand name as the name of the publisher.

Note that record companies often publish recordings under various labels (brand or trade names). This is often done to specifically target different market groups.

[London] : Ace of Diamonds
(Source of information reads: Decca Record Company. Ace of Diamonds)

A manufacturing company is assumed to be the publisher in the absence of any other publishing company.

Do not confuse the name of the manufacturer of the blank tape (e.g. AGFA, BASF, TDK) or blank disc (e.g. Audex Royal, Byer, for lacquer disc s) for a record label when cataloguing unpublished or broadcast recordings. If considered necessary, the name of the manufacturer of the blank may be recorded in a note.

3.D.3.
AACR2 6.4D3

If, however, a trade name appears to be the name of a series rather than of a publishing subdivision, give it as a series title. In case of doubt, treat the name as a series title (see Area 6).

London : Walt Disney Productions
(Disney storyteller)
(Source of information reads: Disney Storyteller. Walt Disney Productions)

Australia : Sound Heritage Assoc.
(Soundabout Australia)
(Australia's Heritage in Sound)
(CD label reads: Soundabout Australia. Sound Heritage Association Ltd. Title page of booklet reads: Australia's Heritage in Sound, at top; The Soundabout Australia Series, at bottom)

3.D.4. Published motion pictures and videorecordings
From FIAF Area 3, Introduction

"All corporate names, with the exception of copyright owner, may be recorded in this area regardless of function. Since the ways in which corporate names may relate to moving image materials are complex and highly diverse, archives - particularly those with special interests - should determine the types of functions they wish to include in this area, and these functions may vary from institution to institution. At a minimum, include the functions of production and release/distribution. Functions other than copyright which are not included here may be included in the notes. Distributor names should be included in this area whether they are personal or corporate.

When chosen for inclusion, functions should be listed in the following order: production, cooperation/in association with, sponsor (other than commercial sponsors for television), presenter, studio, laboratory, distribution/release, network or station on which aired. Accompany each name which represents a different function with a place, name and a date." (from The FIAF Cataloguing Rules for Film Archives. Area 3. Introduction)

For further information regarding the application of this area to film materials, refer to The FIAF Cataloguing Rules for Film Archives, Area 3.

3.D.5. Form of name
AACR2 1.4D2

Give the name of the publisher, producer, distributor, broadcaster, etc., in the shortest form in which it can be understood and identified internationally.

: BBC

[Sydney, N.S.W.] : ABC Records

: BIS
(Source of information reads: Grammofon AB BIS)

: Columbia Phonograph Co.

not

: Columbia

: Columbia Graphophone (Aust.)

not

: Columbia

: Columbia Graphophone Record

not

:Columbia

but

: Columbia

(Early releases of recordings by Columbia predominantly displayed the full name of the company or subdivision or product on the label. Later the brand name or trade mark Columbia predominated)

If the shortest form of the name of the publisher, producer, distributor, broadcaster, etc., is in more than one language or script, give the form that is in the language or script of the title proper. If this criterion does not apply, give the shortest form in the language or script that appears first.

: Yleisradio

not

: Yleisradio Oy

not

: Yleisradio Company

Optionally, give the shortest form in each language or script. Precede each parallel statement by an equals sign. If the shortest form is the same in all languages or scripts, give it only once.

: Statens Mediesamling = State Media Archive

but

: Høst

not

: Høst & Søns Forlag = Host & Son Publisher

3.D.6.
Based on AACR2 1.4D3
See also: 3.0.C

In giving the name of a publisher, producer, distributor, broadcaster, etc., retain:

a) words or phrases indicating the function (other than solely publishing) performed by the person or body.

[Australia] : Philips, p 1978 : distributed in Australia by Phonogram

but

: Unesco (Philips)
(Source of information does not provide a linking phrase for these two names: Unesco as the publisher and Philips as the manufacturer)

b) parts of the name required to differentiate between record labels, publishers, producers, distributors, broadcasters, etc., or to identify subsidiary companies.

: ABC Records
: ABC for Kids
: JJJ
(Three of the record labels used by the Australian Broadcasting Corporation to market published sound recordings with ABC for Kids identifying sound recordings for children and JJJ identifying popular music recordings of the style broadcast from the ABC's pop radio station Triple J)

but

: Australian Broadcasting Corporation

not

: ABC Video
(published videocassette with moving image content)

3.D.7.
AACR2 1.4D4

If the name of the publisher, producer, distributor, broadcaster, etc., appears in a recognisable form in the title and statement of responsibility area, give it here in the shortest possible form.

Rádiófónia [sound recording] : Készült a Telefonhirmondó megindulásának 100. évfordulóján / Magyar Rádió ; Antenna Hungária RT ; Matáv RT. - [Budapest] : MR, p 1993 (Biem Artisjus)
(Here MR for Magyar Rádió appears as the label)

If in such a case the publisher, producer, distributor, etc., is a person, give the initials and surname of the person.

The waterdragon [electronic resource] / composed and recorded by Dorian Dowse. - [Sydney] : D. Dowse

3.D.8.
AACR2 1.4D5

If an item has two or more publishers, producers, distributors, broadcasters, etc., describe it in terms of the first named and the corresponding place(s). In the following cases, add subsequently named broadcasters, publishers, distributors, etc., and their corresponding places (if they are different from the place(s) already named):

a) when the first and subsequently named entities are linked in a single statement.

[Germany] : Saarlaendischer Rundfunk ; Italy : co-production with Eco, 1995
(Here Saarlaendischer Rundfunk has co-produced the recording with Eco)

Personal Record specially made for Olds Motor Works (Columbia Phonograph Co.)
(Here Personal Record is the label name used by the Columbia Phonograph Company for this recording)

b) when the first named entity is a distributor, releasing agency, etc., and a publisher or producer is named subsequently.

Sydney : distributed by Desert Stream Resources : Christian Life Centre and Firepower Ministries International, c 1996
(Here the description follows the layout on the label with the joint producers/copyright holders following the name of the distributor)

c) when a subsequently named entity is clearly distinguished as the/a principal publisher, producer, broadcaster, etc. by layout or typography.

Sydney : EMI ; Canberra : National Library of Australia, [1981]
(Second publisher given equal prominence by typography on album cover)

d) when the subsequently named publisher, producer, distributor, broadcaster, etc., is in the home country of the cataloguing agency and the first named publisher, producer, distributor, broadcaster, etc., is not.

Paris : Gauthier-Villars ; Chicago : University of Chicago Press (Cataloguing agency in the United States)

New York : Dutton ; Toronto : Clarke, Irwin
(Cataloguing agency in Canada)

Follow this rule for multipart items when the publisher, producer, distributor, broadcaster, etc., or its name changes in the course of publication, production , distribution, broadcast, etc.

3.D.9.
AACR2 1.4D6

Optionally, give the name and, when appropriate, the place of a distributor when the first named entity is a publisher, producer, etc.

Djursholm : BIS ; New York : distributed by Qualitron Imports

3.D.10.
AACR2 1.4D7

If the name of the publisher, producer, distributor, broadcaster, etc., is unknown, give s.n. (sine nomine) or its equivalent in square brackets, if applicable, in a non-roman script.

Paris : [s.n.]

3.D.11.
AACR2 1.4D8

In case of doubt about whether a named agency is a publisher, producer, broadcaster or a manufacturer, treat it as a publisher, producer or broadcaster.

3.D.12.
AACR2 1.4D9, 6.4D4

Do not record the name of a publisher, producer, distributor, broadcaster, etc., for unpublished items.

Do not give s.n. in either case. For unpublished materials, see 3.H.

AACR2 1.4E, 6.4E

3.E.1.
AACR2 1.4E1, 6.4E1

Add to the name of a publisher, producer (production company), distributor, broadcaster, etc., one of the terms below:

publisher
producer (use for a producing entity other than a production company)
production company
distributor
broadcaster

unless:

a) the phrase naming the publisher, producer (production company), distributor, broadcaster, etc., includes words that indicate the function performed by the person(s) or body (bodies) named

or

b) the function of the publishing, producing, distributing, broadcasting, etc., agency is clear from the context.

Montréal : National Film Board of Canada [production company] ; London : Guild Sound and Vision [distributor]

New York : Sunflower ; [London] : Virgin Records [distributor]

[London] : EMI Records [production company] : PMI [publisher] ; Neuilly-sur-Seine : EMI-France [distributor], 1994

but

New York : released by Beaux Arts

and

Rabat : Radio Maroc

3.E.2.

Alternatively, if the same company performs several functions and the place name and date are identical for each, the statements of function may be combined within one set of square brackets. Separate functions with a comma, space.

Chicago : Encyclopedia Britannica Educational Corporation [production company, distributor]

3.E.3.

Alternatively, if two or more companies perform the same function, and the place names and dates are identical for each, they may be listed together followed by a space, colon, space.

Paris : France 2 : Société française de production [production companies], 1992

For guidance on transcription of date information for published, produced, distributed, etc., items, see 3.F.1. For guidance on transcription of date information for broadcast items, see 3.F.2.

3.F.1. date of published, produced, distributed, etc., items AACR2 1.4F, 6.4F

3.F.1.1. AACR2 1.4F1, 6.4F1

For published, produced, distributed, etc., items, give the date (i.e. year) of publication, production , distribution, etc., of the edition, issue, release, revision, etc., named in the edition area. If there is no edition statement, give the date of the first publication, production , distribution, etc., of the edition to which the item belongs. Give dates in Western style Arabic numerals. If the date found in the item is not of the Gregorian or Julian calendar, give the date as found and follow it with the year(s) of the Gregorian or Julian calendar. Specify the name of the calendar, e.g. Jewish, Chinese, in a note.

, 1975

, 4308 [1975]

, [4308 i.e. 1975]

, 5730 [1969 or 1970]
Note: dated in accordance with the Jewish calendar

, anno 18 [1939] not anno XVIII

, 2628 [1968]
Note: dated in accordance with the Chinese calendar

3.F.1.2. Varied from AACR2 1.4F2

Give the correct date for the item. If the date in the sources of information is incorrect, enclose the correct date in square brackets. If necessary, explain the discrepancy in a note.

, [1967]
Note: date given on sleeve as 1697

, [1987]
Note: date of publication erroneously given as 19857 on sleeve

3.F.1.3. AACR2 1.4F3

Give the date of the particular re-publication of a recording as the date of publication, production, etc., only if the re-publication is specified in the edition or issue area. In this case give only the date of the named re-publication here. Optionally, include a note about the original publication date (see 7.B.9).

, 1987
Note: Reissue of discs first published between 1936 and 1942
(This reissue is a compilation album)

, 1971
Note: Originally published as a sound disc in 1963, reissued as a cassette in 1971
(Here the reissued cassette is the item being catalogued)

3.F.1.4. AACR2 1.4F4

If the publication or production , etc., date differs from the date of distribution, add the date of distribution if it is considered to be significant by the archive or cataloguing agency. If the publisher or producer, etc., is different from the distributor, give the date(s) after the name(s) to which they apply.

London : Educational Records, 1973 ; New York : Edcorp [distributor], 1975

Toronto : Royal Ontario Museum, 1971 ; Beckenham [England] : Edward Patterson [distributor]
(Distribution date known to be different but not recorded)

London : Columbia Graphophone Co., 1921, [distributed 1923]

If the publication or production date are the same as the distribution date, give the date after the last named publisher, producer or distributor.

New York : American Broadcasting Co. [production company] : released by Xerox Films, 1973

3.F.1.5. Expanded from AACR2 1.4F5

Optional addition. Give the latest date of copyright or p notice following the date of publication, production, distribution, etc., if the date of copyright (videos) or p notice (sound recordings) is different.

, 1967, c 1965

, [1981], p 1975

Where the p notice or copyright date extends over two consecutive years (e.g. different years apply to each side of a recorded sound disc), give the earlier year followed by a slash and the later year.

, p 1985/1986

, c 1977/1978

Where the p notice or copyright date extends over two years that are not consecutive (e.g. different years apply to each side of a recorded sound disc), give the earlier year followed by a comma, space, and the later year.

, p 1985, 1987

3.F.1.6. AACR2 1.4F7

If no date of publication, production , distribution, copyright or manufacture is available from the sources of information, supply an approximate date of publication, production , distribution, etc. (see 3.A.2).

Optionally, give an approximate date of publication, production , distribution, etc., if it differs considerably from the date of copyright, p notice or manufacture.

, [1982?], c 1949

3.F.1.7. AACR2 1.4F6

If the dates of publication, production, distribution, etc., are unknown, give the date of copyright or p notice, or, in its absence, the date of manufacture (indicated as such).

, c 1967

, p 1983

, 1979 pressing

3.F.1.8. Optional addition. If applicable, also give the date of legal deposit with an appropriate abbreviation in the language or script of the archive or cataloguing agency.

L.D. 1985
(English)

D.L. 1996
(Spanish)

DL 1992
(French)

3.F.1.9. AACR2 1.4F8

If two or more dates are available for the various parts of the multipart item (e.g. when an item is published or produced in parts over a number of years), give the earlier and later or earliest and latest dates separated by a hyphen.

, 1968-1973

In describing a multipart item that is not yet complete, give the earliest or earlier date only, and follow it with a hyphen and four spaces.

, 1968-

Optionally, when the item is complete, add the latest or later date.

, 1968-1980

3.F.1.10. Based on AACR2 6.4F2

If the date(s) of recording are available in the sources of information, give it (them) in a note (see 7.B.11). Show more than one date as a range of dates.

[New York] : Music Guild, 1971
Note: Recorded in 1961

[London] : HMV, p 1987
Note: "Originally recorded by EMI Records [sic] Ltd between

1933-06-08 and 1942-07-08" (sleeve)

New York : CBS
Note: Recorded in New York City between 1923-02-16 and 1933-11-24

3.F.2. date of radio and television broadcasts

3.F.2.1. Based on RAD 8.4F
Based on FIAF 3.5.1

For broadcast sound recordings, television videos and kine scope films and production films, record the date of the transmission which applies to the first date of broadcast.

Optionally, standardise presentation of calendar dates to YYYY-MM-DD.

: RSCH & Associés, [broadcast] 1992-10-26

Paris : France 2 [broadcaster] : Société française de production [production company], 1992-10-12

Optionally, include the time of broadcast, either as start time or as start and end times.

, 1993-10-23 (18:00)

[Sydney] : ABC Classic FM [broadcaster, producer], 1997-01-19 (20:30)

, 1997-08-12 (22:15-23:00)

3.F.2.2. Based on RAD 8.4F2
Based on AACR2 6.4F2

When available, record other dates (e.g. date(s) of original recording, production date(s) or re-broadcast date(s)) in a note (see 7.B.11-12).

, [broadcast] 1968-01-02
Note: Recorded 1967-12-15, re-broadcast 1968-01-03

London : BBC Transmission Service, 1954-
Note: broadcast by the ABC in Australia from 1956

[London] : BBC [broadcaster], 1951-03-11
Note: Recorded 1951-03-07

[London] : BBC [broadcaster], 1949-02-25
Note: Recorded 1949-02-25

[London] : BBC [broadcaster]
Note: BBC recording made in July 1949 and believed to have been dubbed from an unknown earlier source. Original BBC broadcast date unknown

3.F.2.3. If a date of broadcast is recorded in this area, do not also record here a date of publication, distribution, etc., nor any information about publishers, distributors or manufacturers. Instead give date of publication, distribution or manufacturing in a note (see 7.B.9 or 7.B.33, as appropriate).

3.F.2.4. If a b is subsequently published, and the publication is being catalogued, give the complete details of the publication here, and the details of the broadcast in a note (see 3.C-3.F.1 and 7.B.9).

[Muscat : Omani Ministry of information, producer, 1994]. - 2 sound discs (CD) + booklet (77 p.)
Note: broadcast by the Suedwestfunk, Baden-Baden, 1993-08-11 (22:05-23:30)

[Sydney] : Columbia, p 1993
Note: Originally broadcast in Australia between 1946 and 1956
(A published 2 CD set of episodes of selected radio dramas)

3.F.2.5. Developed from AACR2 1.4F8

If two or more dates are found on the various parts of the multipart work (e.g. when a work is broadcast in parts or episodes over a period of time), give the earlier and later or earliest and latest dates separated by a hyphen.

, 1968-1973

If actual dates are known for broadcast material prefer the dates to years only, and separate the dates by a double hyphen.

[Australia] : Australian Broadcasting Corporation ; [broadcast] 1949-02-28--1976-09-30
(Elements of data from an entry for a serial cataloguing record)

In describing a multipart item that is not yet complete, give the earliest or earlier date only, and follow it with a hyphen and four spaces (for a year) or a double hyphen and ten spaces (for an actual date, if suggested format is followed).

, 1968-

, 1997-01-12--

When the item is complete, add the latest or later date.

, 1968-1980

, 1997-01-12--1997-02-02

AACR2 1.4G, 6.4G

3.G.1. AACR2 1.4G1, 6.4G1

If the name of the publisher, producer, distributor, broadcaster, etc., is unknown and the place and name of the manufacturer are available from the sources of information, give the place and name of the manufacturer.

[S.l. : s.n.], 1970 (London : High Fidelity Sound Studios)

3.G.2. AACR2 1.4G2

In recording the place and name of the manufacturer, follow the instructions in sections 3.C-3.D.

3.G.3.AACR2 1.4G3

If the date of the manufacture is given in place of an unknown date of publication, production , distribution, broadcast, etc., (see 3.F.1.7), do not repeat it here.

3.G.4.AACR2 1.4G4, 6.4G2

Optional addition. Give the place, name of manufacturer, and/or date of manufacture if they are found in the sources of information and differ from the place, name of publisher, producer, distributor, broadcaster, etc., and the date of publication, production , distribution, broadcast, etc., and are considered important by the archive or cataloguing agency

London : Arts Council of Great Britain, 1976 (Twickenham : CTD Printers, 1974)

[Sydney] : Official Congress Record, 1928 (Parlophone)

[Hayman Island, Qld.] : Royal Hayman Hotel Souvenir, 1950 (Sydney : A.R.C.)

[Newhaven, Conn.] : Yale Dramatic Association ; distributed by Culters Record Shop, 1958 ([s.l.] : RCA Victor)

3.H.1. The date(s) of creation of an unpublished items are the date(s) of recording or capturing the sound (i.e. of the recording session); shooting the film or video, or of a person creating a computer program, etc.

3.H.2. Based on AACR2 6.4F3, 4.4B1

Give the date(s) of creation for the unpublished item being described either as a single date or range of dates (i.e. inclusive dates and/or predominant dates). Always give inclusive dates when applicable.

Optionally, standardise presentation of calendar dates to YYYY-MM-DD.

1967-04-15

1934

1984-12-17--1984-12-27
Note: Oral history interview conducted on 17, 19, 21 and 27 of December 1984

3.H.3. RAD 1.4B2 AACR2 1.4F10

Give the date or inclusive dates of unpublished fonds or collections (including those containing published items but not published as collections). When providing predominant dates specify them as such preceded by the word predominant (or its equivalent in another language and/or script).

1952

1947-1958

1923-1985; predominant 1972-1983

3.H.4. Alternatively, enter date(s) of creation in a note instead. Include additional information in the note, as necessary (see 7.B.11).

Note: Recorded 1928

Note: Recorded 1972-09-10

Note: Recorded Sydney, early 1973

Note: Premiere performance recorded 1988-11-14--1988-11-15, Queanbeyan Bicentennial Hall, N.S.W.

3.I.1. A reproduction itself may be unpublished, broadcast or published. Apply this rule only when the reproduction itself is unpublished and where a separate catalogue record is made for the reproduction .

An example of this situation may occur when a catalogue record is prepared for a preservation, dubbing master or reference copy created in-house by an archive or collecting institution, and where the purpose of that copy is for internal use only, and not for broadcast, publication or other public distribution. This may occur with in-house compilations, or (according to the institution's practice and policy), if a new catalogue record is created for each one-to-one copy of identical content.

In these cases do not also give the place and name of the archive or collecting institution in this area, as this would mislead users to believe that the item is a published or broadcast item. Instead, give information about place and name of the archive or collecting institution in Area 7.

3.I.2. Based on RAD 1.4B3

Here give the date(s) of creation of the unpublished reproduction . As necessary, include explanatory term(s). Give the date(s) of creation of the original in a note.

Dubbed flat 1989-07-15
Note: Recorded 1956

Re-recorded and enhanced in 1992
Note: Recorded Melbourne Town Hall, 1936-02-06

Reference dat copied 1995-02-16--1995-02-18
Note: Compilation of edited selections from field recordings made in various locations in Poland between 1965 and 1966

Dubbed flat 1986
Note: This copy prepared by the NFSA, Canberra
Note: Recorded in NSW, 1956-1958

not

Canberra : NFSA ; dubbed flat 1986
Note: Recorded in NSW, 1956-1958

Playback copy dubbing 1996
Area 7: Reference copy dubbed by the NSA, London

not

London : NSA, p 1996

4.0.1. Copyright can be defined as the legal right to control the use of the intellectual property in a work and in the authorised forms in which the work exists. The copyright owner has the right to control, or at least to receive appropriate payment for, the reproduction of his works. copyright endures for a limited time which varies between territories. This is not the case with traditional ownership (see 4.0.5) which may not necessarily be limited by a statutory period. copyright may also include moral rights, for instance of authors, composers and performers, to be named and to prevent their works being distributed with another name or to have their work changed in any unauthorised manner. Moral rights presently apply in the legislation of some countries.

4.0.2. Sound and audiovisual recordings usually involve a multiplicity of rights. In the case of published recordings they may include:

1. performances of published pieces of music which involve specific mechanical rights (mechanical rights are "generally understood as being the author's right to reproduce literary, dramatic or musical works in the form of recordings (phonograms or audiovisual fixations), produced mechanically in the widest sense of the word including electro-acoustic and electronic procedures. The mechanical rights in musical works with or without accompanying words are usually administered by authors' societies or other appropriate organizations. Some copyright laws provide for compulsory licenses to be granted to producers of phonograms of musical works and any words pertaining thereof." WIPO Glossary, p. 157);
2. the exclusive moral rights of authors in the words and of composers in the titles that have been recorded;
3. the performances themselves, which involve performer rights;
4. a recording right which is owned by the record company which released the recordings.Beyond these rights in the recorded item s there are other rights attached to the artwork, accompanying documentation (e.g. sleeve notes) and design which are associated with the packaging of the recording.

4.0.3. broadcast recordings may involve similar rights to published recordings but with the addition of the broadcasting company as a rights owner in the programme as broadcast.

4.0.4. Unpublished recordings, including private recordings made for private purposes which might be donated to an audiovisual archive or library, will normally be covered by official recording or deposit agreements made between the recordist and the person or persons being recorded or between the collecting institution and the donor. Such agreements will typically include statements relating to access, ranging from unrestricted access to prohibition on any form of access whatsoever. Reference to such agreements must therefore be made, not in this area, but in the Notes area (see 7.B.29).

4.0.5. Traditional material (traditional ownership)A related issue which is not always subject to legislation concerns materials from traditional societies. This involves an ethical dimension to the rights (i.e. which may be broader than the legal definition of 'moral rights' mentioned in 4.0.1). This is particularly the case with recordings of certain traditional societies. Ownership of the content of such sound or audiovisual recordings may remain the intellectual property of the person(s) who have been recorded or who have authorised the performance. In such cases archives must strive to document this information sensitively, accurately and responsibly.

4.0.6. Copyright therefore obtains at many levels for sound recordings and in different ways depending on the type of recording. For published videos, for instance, it is the copyright date rather than the date of the p notice which applies. Furthermore, each statement may represent different provisions depending on the territory in which the rights are administered. It will therefore be impossible, with present means available, to express these different layers with any clarity in the approach to descriptive cataloguing adopted by these cataloguing rules unless it is decided to adopt a multilevel or analytic approach (see Chapter 9). If not, it is recommended that archives and cataloguing agencies limit the information stated in Area 4 to one specific copyright layer: for published and broadcast recordings this will be the owner of the recording (as associated with the stated p notice) or broadcast rights; for unpublished recordings this will consist of the name of the recordist together with a statement of any access restrictions imposed by the person or persons recorded. In addition, since enforcement of copyright applies to a period of time after the rights holder's death, it is strongly recommended that dates of birth and death are included when indexing with the names of contributors such as interviewees, performers, authors and composers.

4.0.7. Alternatively, copyright and p notice information relating to a published recording or group of recordings may be adequately documented instead as part of Area 3 (see 3.F.1.5-3.F.1.7).

4.A.1. Punctuation Based on FIAF 4.1.1 Precede this area by a full stop, space, dash, space or start a new paragraph (. - ) The punctuation should follow the order and format of copyright documentation for countries which have registration systems. For countries that do not have registration systems, precede the date by a space, semi-colon, space ( ; ) 4.A.2. Sources of information See also: 0.A.1.3, 9.0.B.2, 4.A.2.1. For published sound recordings, take the information from the container packaging and/or the label. For recorded music, copyright ownership statements are normally to be found on the packaging preceded by a p within a circle and a date expressed as a year (normally only the symbol and the date appear on the label). Note that copyright statements preceded by a small c in a circle, ©, which appear on the packaging refer almost invariably to aspects of the packaging itself or to accompanying documentation such as sleeve notes. Do not include such statements here for sound recordings. 4.A.2.2. If there is no p notice or similar sign visible on the published item leave this area blank. 4.A.2.3. For broadcast recordings, take the information from any relevant source. 4.A.2.4. For published videorecordings (where the copyright date rather than the p notice normally applies), take the information from the title frames or from the packaging. 4.A.2.5. For unpublished recordings, take the information from any relevant source, though typically this will be held in documentation accompanying the recording or the collection to which it belongs, for example a deposit agreement form.

4.B.1. The first element of the copyright statement is the word copyright followed by a colon and a space. 4.B.2. Give the name of the copyright owner as it appears in the sources of information. Enclose any information about supposed or unspecified rights holders in square brackets. Where available include the date of copyright or p notice. Do not include any indication of country unless it is relevant to copyright registration (see 4.C). Copyright: Black Saint Copyright: HAT HUT Records Ltd Copyright: [various British and American radio stations - see individual item s] Copyright: BBC Copyright: Richard Margoschis Copyright: Willow Music ; p 1987 4.B.3. If it is evident that the item is not protected by copyright (e.g. the period for which copyright endured on the item has expired), give:  Copyright: [public domain] 4.B.4. If copyright in the item is unknown, either give no statement at all or give:  Copyright: [unknown]

Based on FIAF 4.3. If the cataloguing agency operates in or on behalf of a country which has a national registration or legal deposit system, enter the copyright registration information (including the name of the country) in the same order and format as it appears in national bibliographies or registration listings. If further clarification is required (e.g. of inaccuracies), give such additional information in a note (see 7.B.13).

Copyright: US : CBS Records Inc.; DCRE 1988; DPUB 27Jul88; DREG 26Sept88; SR-96-555

Copyright: US : Jenson Publications Inc.; DCRE 1981; DPUB 2Jan81; DREG 23Feb81; PA-102-784

Use the term copyright to indicate consistently in the catalogue the significance of the statement to follow. Qualify it with a suitable explanatory term for the material such as traditional ownership. Give any extended contextual information in a note (see 7.B.13).

Copyright (traditional ownership): Traditional Owners of the Waake Land Holding Estate

Copyright: Central Land Council

Note: The people who are the traditional owners of these songs hold the right to authorise their performance, and/or access to and/or copying of the recordings. Songs were sung by Traditional Owners of the Waake Land Holding Estate for the Aboriginal Land Commissioner as evidence of land ownership of the Waake Land Holding Estate for the Kaytej/Warlpiri/Warlmanpa Land Claim, heard before the Aboriginal Land Commissioner in 1981.

Recordings were made of this performance by Grace Koch on behalf of the Central Land Council

(In this example the traditional ownership of the content of the recording is by the Traditional Owners of the Waake Land Holding Estate. Additionally there is copyright in the physical recording. Here Grace Koch, employed by the Central Land Council to participate in the land claim case, recorded the performance as part of the evidence during the proceedings. Therefore the Central Land Council owns the recording rights)

Rules Area 5: Physical description 5.0. Introduction The rules in this chapter cover the physical description of sound recordings in all media, i.e., discs, tapes, wires, cylinders, sound recordings on film or video formats, and digital audio files. This chapter also briefly includes basic physical description for moving image and electronic resource format s (local access files). For detailed physical description of moving images together with sound the FIAF Cataloguing Rules for Film archives should be used. For detailed physical description of electronic resources the ISBD (ER) should be used. In the early years of sound recording many different format s and speeds for cylinders and shellac discs existed. Specialised archives should give physical description for these early formats as precisely as is necessary for the archive's or cataloguing agency's requirements, e.g. for cylinders duration, diameter, groove characteristic, speed, or, for sound discs diameter and speed. information relating to superficial design features such as picture disc or sound postcard should be given in a note (see 7.B.14.1). At the time of writing these rules, technology for digital audio files and mass storage systems is still evolving. Therefore the given formats, technical data, or other physical characteristics of future systems may have been unknown at the time of preparing these rules. It is therefore recommended that the cataloguing agency or archive secure at least a minimum of information and description of the physical characteristics in this area for local access files, to be able to obtain and configure the necessary equipment to play back or reproduce the audiovisual content correctly. Also, where either local or remote access files are described, the system requirements and/or mode of access should be documented as a note (see 7.B.0) for the same reason. Note that equipment devised to control mechanical instruments (like wooden pin cylinders for flute organs, metal pin discs for musical clocks, punched paper tapes for street organs, rolls for player piano) are not covered by these rules.

 

5.A.1. Punctuation

Developed from ISBD (NBM) Area 5, Punctuation patternPrecede this area by a full stop, space, dash, space (. - ) or start a new paragraph.
Precede other physical details (i.e., other than specific material designation and extent, or dimensions) by a space, colon, space ( : )
Precede dimensions by a space, semicolon, space ( ; )
Precede each statement of accompanying material by a space, plus sign, space ( + )
Enclose detailed qualifying information for each element in parentheses ( () ).

5.A.2. Sources of information

Take information recorded in this area from any appropriate source. Take explicitly or implicitly stated information from the item itself.

5.B.1. Extent of item and specific material designation
Based on and expanded from ISBD (NBM) 5.1.1 & Appendix D
Expanded from AACR2 6.5B1, 7.5B1, adapted from AACR2 9.5B1
Extracted and expanded from ISBD (ER) 5.1.1-5.1.2The first element of the physical description area names and numbers the physical unit or units constituting the item , adding other measures of extent as appropriate. The specific material designation identifies the particular class of material to which the item belongs and is given in the language and/or script of the archive or cataloguing agency.

sound cartridge
sound cassette
sound cylinder
sound disc
sound tape reel
sound wire reel
sound track film reel

videocartridge
videocassette
videodisc
videoreel

film cartridge
film cassette
film loop
film reel

electronic chip cartridge
electronic tape reel
electronic tape cassette
electronic disk
electronic tape reel
electronic optical disc

5.B.1.1. Extent of item Based on AACR2 1.5B1, 6.5B1, 7.5B1

Precede the specific material designator with an Arabic numeral to indicate the number of physical units (i.e. carriers) for the item .

2 sound cassettes

1 sound disc

1 sound track film reel

3 film reels

3 videocartridges

1 electronic disk

1 electronic optical disc

5.B.1.2. Based on AACR2 6.5B1, 7.5B1 Optional rules Optionally, where the general material designation is applied in the title (see 1.C.1) omit the term sound, film , video or electronic from the specific material designation, unless it is required to make the specific material designation understandable, as with sound track film .

Area 1: A whiter shade of pale [sound recording]
1 disc 5.B.1.3. Optionally, where the specific material designation would normally be associated with a particular medium, but the item actually contains another medium, precede it with the appropriate term for the medium contained in the item .

Area 1: St Matthew Passion [sound recording]
2 sound videocassettes (U-matic) : digital

(U-matic video is sometimes used as a format for digitally recorded sound)

5.B.2. Specific type of format Adapted from ISBD (ER) 5.1.3
See also: 5.C.2.4, 5.D.6 The identification of a specific type of format may be given in the language and/or script of the archive or cataloguing agency as a qualifier.

Following is a list of terms for specific types of formats. The list is not exclusive. Additional terms may be applied as appropriate.

Betacam
Betamax
CD
CD-I
CD-R
CD-ROM
DAT
DCC
Digital S
diskette
DV
DVCPro
DVD
Exabyte
Hi8 (High 8)
lacquer
mini disc
MOD
S-VHS
U-matic
VCR
VHS
Video 8
Video 2000
VLD

2 videocassettes (U-matic)

1 sound disc (CD)

7 sound discs (lacquer)

1 electronic optical disc (CD-ROM)

1 sound cassette (DAT)

2 sound discs (metal mother)

1 videocassette (Hi8 )

1 videocassette (VHS)

1 sound cassette (Exabyte)

5.B.3. Further qualification of specific type of format In turn these specific types of formats may be further qualified as appropriate to the requirements of the archive or cataloguing agency.  

1 videocassette (VHS PAL )

1 sound videocassette (VHS Longplay, 122 min.)

1 electronic disk (diskette, 1.44 MB)

3 videocassettes (betacam SP)

5.B.4. Playing time (duration), fractional extent of item , and time code

5.B.4.1. Playing time (duration) Expanded from AACR2 1.5B4, 6.5B2, 7.5B2
Give the playing time of the recording in parentheses as follows. Where the format is qualified with more specific information, precede the duration with a comma and a space.

a) If the playing time is stated on the item , give it as stated.

1 sound tape reel (40 min.)

3 sound discs (CD, 2 hr., 45 min.)

b) If the playing time is not stated on the item but is readily ascertainable, give it.

1 videocassette (30 min.)

Note that archives with specific needs, e.g. broadcasters, may require exact duration for the content. In these cases give the exact duration of the content.

1 sound disc (3 min., 21 sec.)

c) Optionally, if the playing time is neither stated on the item nor readily ascertainable, either give an approximate time or omit this information.

1. sound wire reel (ca. 21 min.)

2 sound cassettes (DAT, ca. 3 hr., 30 min.)

d) Optionally, if the parts of a multipart item have a stated uniform playing time or an approximate uniform playing time, give the playing time of each part followed by each. Otherwise, give the total duration.

31 sound cassettes (30 min. each)

11 sound cassettes (ca. 90 min. each)

2 sound discs (1 hr.)

7 discs (lacquer, 2 hr., 10 min.)

1 sound videocassette (U-matic, 62 min.)

5.B.4.2. Multiple recordings and playing times (durations)
Expanded from AACR2 6.7B10

See also: 7.B.14.1 Give the duration of each part contained in an item without a collective title and described as a unit, or give the durations in a note (see 7.B.14 and 7.B.25).

sound cassettes (84 min. ; 95 min)
or
2 sound cassettes
Note: Durations: 84 min. ; 95 min.

1 sound disc (CD, 35 min. ; 27 min)
(CD without a collective title and containing two piano sonatas)

5.B.4.3. Fractional extent of item
Expanded from AACR2 6.5B3, 7.5B2 If the description is of a separately titled part of an item lacking a collective title (see 1.G.1), express the fractional extent in the form:

on side 3 of 2 sound discs
on reel 3 of 4 sound tape reels
on sides 1-3 of 2 sound discs
(if the parts are numbered or lettered in a single sequence)
or
on 1 side of 2 sound discs
on 1 reel of 3 sound tape reels
(if there is no sequential numbering)
or
starts at 43 min., 35 sec. on 1 sound cassette (DAT)
track 3 on side 2 of 1 sound disc
(if specific locational information for the recording on the carrier is available, and this information is required by the archive or cataloguing agency).

Add the duration of the part to such a statement (see also Chapter 9).

on 1 side of 1 sound cassette (25 min.)

on side 5 of 7 sound discs (15 min., 12 sec.)

starts at 3 min., 17 sec. on 1 sound cassette (DAT, 4 min., 12 sec.)
(time code of the start ID is given for this audio file)

5.B.4.4. Time code

Optionally, give the time code of the start ID and the end ID of an audio file as shown in the display on the recording/playback machine.

1 m 00 s - 43 m 20 s
(= 42'20" playing time of item 1 on a DAT-cassette)

43 m 35 s - 1 h 19 m 45 s
(= 36'10" playing time of item 2 on a DAT-cassette)

Expanded from AACR2 6.5C1
Extracted from AACR2 7.5C1 Give the characteristics in the following order:

Type of recording (sound recordings and sound track films)
Playback or projection speed (all formats)
Groove characteristic (cylinders and analogue discs)
Track configuration (sound track films)
Number of sound tracks (sound recordings)
Playback mode (sound recordings)
Sound characteristics (films, videos, and electronic resources)
Colour (films, videos, and electronic resources)
Recording and reproduction characteristics (sound recordings)

5.C.1. Type of recording (sound recordings and sound track films)

5.C.1.1. Sound recordings
Expanded from AACR2 6.5C2 Give, for a disc or a tape, the type of recording (i.e., the way in which the sound is encoded on the item ).

1 disc (27 min.) : digital

4 tape reels (56 min.) : analogue

1 sound videocassettes (U-matic, 62 min.) : digital

Optionally, when available, qualify with the SPARS-Code. These three recording industry codes often appear on CDs and indicate the encoding on the three generations of 1. recording; 2. mixing/processing; and 3. reproduction .

A = analogue
D = digital
X = unknown

AAA
(analogue recording, mixing and reproduction )

AXD
(analogue recording, unknown mixing, digital reproduction )

DDD
(digital recording, mixing and reproduction )

1 sound cassette (DAT, 58 min.) : digital (ADD)

Where the codes alone would not indicate the sound quality of the final production , include a note in Area 7 with further detail, if it is known (or according to Chapter 10, if more than one copy is being described).

1 sound disc (CD, 64 min.) : digital (DDD)
(Digital recording 16 bit PCM, 44.1 kHz, editing 16 bit PCM 44.1 kHz, issued on CD 16 bit PCM, 44.1 kHz. An example of a high quality DDD. The normal expectation of DDD is that it would be high quality sound)

1 sound cassette (DCC, 29 min.) : digital (DDD)
Note: Mini disc recording, edited on SADIE, published on digital compact cassette.
(A low grade DDD. Here it is appropriate to note the detail if known, to explain the poorer sound quality, as this example is not what would normally be expected of DDD)

1 sound cassette (DAT, 58 min.) : digital (ADD)
Note: Original 78 rpm shellac disc, electrical playback processed with CEDAR DC1, DAT reproduction .

5.C.1.2. Sound track film
AACR2 6.5C2
ARSC 6.G.1 Give, for a sound track film, the type of recording (e.g. optical, magnetic), or the name of a unique recording system (e.g. Phillips-Miller).

3 sound track film reels (45 min.) : magnetic

5 sound track film reels (57 min.) : optical

2 sound track film reels (29 min.) : Phillips-Miller

5.C.2. Playback or projection speed (all formats)
Based on AACR2 6.5C3, 7.5C5 Give the playback or projection speed of the item .

5.C.2.1. Cylinders
ARSC 6.G.2 For cylinders, give the generic playback speed in revolutions per minute (rpm ).

1 sound cylinder : 160 rpm 5.C.2.2. Analogue discs
Expanded from AACR2 6.5C3 For analogue discs, give the playback speed in rpm . Examples of common playback speeds for analogue discs follow.

16 2/3 rpm
33 1/3 rpm
45 rpm
78 rpm

Optionally, round the playback speed to the nearest full figure.

17 rpm (= 16 2/3 rpm )
33 rpm (= 33 1/3 rpm )

Note that many pre-electric coarse groove discs require playback speeds less than or in excess of 78 rpm . Include the correct speed where known or make an explanatory note if the statement is in any way speculative.

1 sound disc : analogue, 81 rpm
Note: Playback speed ascertained from audition. 5.C.2.3. Sound tape and wire reels
Adapted and expanded from AACR2 6.5C3
Adapted from ARSC 6.H.2

For sound tape reels give the playback speed in centimetres per second (cm/sec). Round the playback speed to the nearest full figure, if appropriate. Give the generic playback speed for sound wire reels. Standard playback speeds for sound tape reels follow.

4,75 cm/sec
9,5 cm/sec = 3 3/4 ips
19 cm/sec (= 19,05) = 7 1/2 ips
38 cm/sec (= 38,1) = 15 ips
76 cm/sec (= 76,2) = 30 ips

4 sound tape reels (56 min.) : analogue, 76 cm/sec

1 sound wire reel : 19 cm/sec

5.C.2.4. Video formats For videorecordings, do not give the playback speed. Instead, give the specification of the video format either in this area (see 5.B.2-5.B.3) or in a note, if further detail is required. By specifying the video format, the correct playing equipment and speed can be chosen.

1 videocassette (VHS-C, 130 min., 30 sec.)

5.C.2.5. Films and sound track film s
AACR2 6.5C3, 7.5C5 For films and sound track films give the playback or projection speed in frames per second (fps) (see also 5.C.2.6).

5 sound track film reels (57 min.) : optical, 25 fps

5.C.2.6. Formats with pre-determined playback or projection speeds
AACR2 6.5C3, 7.5C5 Do not give the playback speed if it is standard for the type of item (e.g. 4,75 cm/sec for an analogue tape cassette; 24 fps for a sound film; 16 fps for a silent film ), or for discs where the playback machine is programmed to revolve at standard speed (e.g. for CDs, mini discs). 5.C.3. Groove characteristic (cylinders and analogue discs)

5.C.3.1.
ARSC 6.C.3 Optionally, for cylinders, give one of the following groove characteristics: coarse groove (100 groove s per inch; e.g., Edison 2-minute cylinders), microgroove (200 groove s per inch; e.g., Edison 4-minute cylinders), and other.  

1 sound cylinder : 160 rpm , microgroove

5.C.3.2.
AACR2 6.5C4 Give the groove characteristic of an analogue disc if it is not standard for the type of disc.

1 sound disc (38 min.) : analogue, 78 rpm , microgroove

5.C.4. Track configuration (sound track films)
AACR2 6.5C5 For sound track film s give the track configuration (e.g. centre track, edge track):

1 sound track film reel (10 min.) : magnetic, 25 fps, centre track

5.C.5. Number of sound tracks (sound recordings)
Expanded from AACR2 6.5C6 If readily ascertainable, for cartridges, cassettes, or tape reels, give the number of sound tracks, unless the number of tracks is standard for the item (e.g., the standard number of tracks for a cartridge is 8, and for an analogue cassette 4). If necessary, include the direction of play (i.e. unidirectional or bidirectional). A list of examples of the numbers of tracks which may occur on sound tape formats follows.

1 track
2 track
4 track
8 track
16 track
24 track
32 track

Note that this information is more commonly recognised in relation to sound tape formats, but that it may also apply to other sound formats. Where this occurs, and is known, this information may be included here, in the physical description for the item, as required.

5.C.6. Playback mode (sound recordings)
Expanded from AACR2 6.5C7 Give the playback mode if the information is readily available, using one or more of the following terms as appropriate. Some types of playback mode follow.

mono
stereo
binaural stereo (also known as dummyhead)
joint stereo (for a DATa reduced file)
quadrophonic
surround sound

1 sound disc (47 min.) : analogue, 33 1/3 rpm , stereo

2 sound tape reel s (65 min.) : analogue, 38 cm/sec, binaural stereo

2 sound cassettes (90 min.) : analogue, 2 track unidirectional, stereo

1 sound tape reel (20 min.) : analogue, 19 cm/secs, 2 track, mono

1 sound cassette (DAT, 5 min., 15 sec.) : 1 track, joint stereo

1 sound tape reel (28 min.) : digital, 38 cm/sec, 24 track

2 sound videocassettes (Hi8 , 12 min.) : digital, 16 track
Note: This 16 track recording is on 2 simultaneously running Hi8 -cassettes. The first 8 tracks are recorded on tracks 1-8 of cassette 1, and the second 8 tracks on tracks 9-16 of cassette 2

5.C.7. Sound characteristics (films, videos and electronic resources)
Adapted from AACR2 7.5C3
Extracted from ISBD (ER)5.2.2
Adapted from FIAF 5.5.3 For motion pictures, videorecordings or electronic resources, give sd. (sound) or si. (silent) to indicate the presence or absence of sound. Give the precise description of the sound characteristics (e.g. stereo) in a note. 1 videotape reel (15 min) : sd.

Optionally, include the precise description of the sound characteristics in parentheses following the abbreviation sd.

1 videocassette (VHS SECAM , 35 min.) : sd. (stereo)

5.C.8. Colour (films, videos and electronic resources)
From AACR2 7.5C4
ISBD (ER) 5.2.3 For motion pictures, videorecordings and electronic resources, give col. or b&w to indicate whether an item is in colour or black and white. Give b&w for a sepia print (motion pictures and videorecordings). For electronic resources indicate the use of monochrome (e.g. white, green or amber phosphor on a dark background) with b&w. Give a succinct statement to indicate that an item is in a combination of colour and black and white, or alternatively, give this in a note instead. (see 7.B.14.1).

1 videocassette (VHS, 8 min.) : stereo, col.

1 film reel (34 min.) : sd., col. with b&w sequences

1 electronic optical disc (CD-I) : sd., col.

5.C.9. Recording and reproduction characteristics

5.C.9.1. Sound recordings
Expanded from AACR2 6.5C8 Optionally, for sound recordings, indicate known recording and reproduction characteristics (e.g., Dolby processed, NAB standard). Give any details of noise reduction, emphasis , sampling frequency and quantisation (number of bits), bit rate reduction, and file format in a note (see 7.B.14.2). Note that the last three of these relate to digital materials and may also extend to media other than sound recordings.

2 sound cassettes (90 min.) : analogue, stereo, 4 track, Dolby processed, NAB standard
Note: Noise reduction: Dolby B

1 sound tape reel (30 min.) : digital, 38 cm/sec, 36 track, Telcom processed
Note: Noise reduction: Telcom C4

1 sound cassette (DAT, 35 min.) : mono, AES/EBU standard
Note: Sampling frequency and quantisation : 44,1 kHz, 16 bit

1 sound disc (mini disc, 12 min.) : stereo, data reduced
Note: Bit rate reduction: ISO/MPEG , layer 3, 128 kb/sec

5.C.9.2. Motion pictures, videorecordings and electronic resources
From AACR2 7.7B10 a)
Developed from ISBD (ER) 7.5.3 As appropriate for motion pictures, videorecordings and electronic resources, give any special characteristics of the sound component in a note (see 7.B.14.1) rather than in Area 5.

Note: Magnetic sound track

Note: Dolby stereo, mono compatible

Expanded from AACR2 1.5D2, 6.5D1, 7.5D1

Extracted from ISBD (ER) 5.3.3 Give the dimensions of the item . Prefer metric dimensions, or use imperial dimensions if these are customary for the archive or cataloguing agency. If the item extends over more than one physical unit, and they differ in size, give the smallest or smaller and the largest or larger size, separated by a hyphen. Optionally, if the item is in a container, name the container and give its dimensions after the dimensions of the item .

5.D.1. cylinders

Based on ARSC 6.C.4 Give the dimensions in 0,1 centimetres which differ from the following standard sizes. Give the dimensions in this order: outside diameter, inside diameters at edge and run-off, and length.

5,5 cm	Outside diameter
4,7 cm	Inside diameter at edge*
4,4 cm	Inside diameter at run-off**
10,5-10,8 cm	Length

*Edge is the end of the larger inside diameter

**Run-off is the end of the smaller inside diameter

1 sound cylinder : 160 rpm , microgroove ; 5,5 cm x (4,7-4,4 cm) x 10,6 cm

1 sound cylinder : 160 rpm , coarse groove ; 12,5 cm x (11,2-10,8 cm) x 11,7 cm

5.D.2. Sound discs

Expanded from AACR2 6.5D2 Give the diameter of a disc. Discs may occur in a variety of diameters, however, a list of the more common diameters follow.

8 cm
12 cm
17 cm
20 cm
25 cm
30 cm
41 cm 

1 sound disc (1 side, 3 min., 50 sec.) : stereo, 45 rpm ; 17 cm

1 sound disc (50 min., 35 sec.) : stereo, 33 1/3 rpm ; 30 cm

2 sound discs (metal mothers) : 33 1/3 rpm ; 33 cm

4 sound discs : stereo, 33 1/3 rpm ; 25-30 cm diam. in box 32 x 32 x 2,5 cm

Optionally, omit the diameter, if it is standard for the disc (e.g. 12 cm for a CD).

1 sound disc (CD, 64 min., 17 sec.) : stereo

5.D.3. Sound tape and sound wire reels

Expanded from AACR2 6.5D6 Give the diameter of a sound tape or sound wire reel . Give the width of the sound tape on the reel if other than the standard width (1/4 in. = 0,6 cm).

1 sound tape reel (35 min.) : 9,5 cm/sec, stereo ; 18 cm, 1/2 in. tape

1 sound tape reel (20 min.) : analogue, 38 cm/sec, quadrophonic ; 25 cm, 1/2 in. tape

1 sound tape reel (28 min.) : digital, 19 cm/sec, 24 track ; 20 cm, 2 in. tape

5.D.4. Sound cartridges

Expanded from AACR2 6.5D4

Adapted from ARSC 6.H.6 Give the dimensions of a sound cartridge if other than the standard dimensions (5 1/4 x 3 7/8 in. = 13,3 x 9,8 cm). Give the width of the tape if other than the standard width (1/4 in. = 0,6 cm).

1 sound cartridge : 9,5 cm/sec, mono ; 18,5 x 9 cm, 1 cm tape

5.D.5. Sound cassettes

Expanded from AACR2 6.5D5 Give the dimensions of a sound cassette if other than the standard dimensions (analogue cassette: 3 7/8 x 2 1/2 in. = 9,8 x 6,3 cm; DAT: 2 7/8 x 2 1/8 in = 7,2 x 5,4 cm). Give the width of the tape if other than the standard width (analogue cassette and DAT tape: 1/8 in. = 3,2 mm).

1 sound cassette (85 min.) : analogue, mono ; 18,5 x 9 cm, 0,6 cm tape

5.D.6. Videocassettes, videocartridges and videoreels

Adapted from AACR2 7.5D3 Do not give the dimensions of the container, or the diameter of the reel . Instead, give the gauge (width) of the video tape in inches or millimeters. Also give the specific type of video format either in this area (see 5.B.2-5.B.3) or in a note, to assist with selection of the necessary playback equipment.

1 videoreel (30 min.) : sd., b&w ; 1/2 in.

1 videoreel (28 min.) : sd., col. ; 5 cm tape

5.D.7. Videodiscs

AACR2 7.5D4

Give the diameter of a videodisc. 1 videodisc : sd., col. ; 30 cm

5.D.8. Films and sound track films

AACR2 6.5D3, 7.5D2 Give the gauge (width) of a film or a sound track film in millimetres. Examples of gauges follow. If 8 mm, state whether single, standard, super or Maurer

8 mm
15 mm
16 mm
17,5 mm
35 mm
70 mm

5 sound track film reel s (57 min.) : optical ; 17,5 mm

1 film cassette (21 min.) : sd., col. ; standard 8 mm

5.D.9. Electronic resources (local access files)

Extracted from ISBD (ER) 5.3 Give the diameter of the disk/disc or reel ; the length of the face of a chip cartridge; the length and height of a tape cassette when other than the standard size (10 x 7 cm) and the width of the tape when it is other than the standard width (4 mm).

1 electronic disk : col. ; 14 cm

1 electronic tape reel ; 26,7 cm

1 electronic chip cartridge : sd., col. ; 9 cm

1 electronic tape cassette : col. ; 19 x 9 cm, 7 mm tape

Adapted from AACR2 1.5E1
See also: 5.F Give details of accompanying material in one of the following ways:

a) make a note (see 7.B.18)

or

b) give the number of physical units in Arabic numerals and the name of the accompanying material at the end of the physical description. Give any additional information regarding the content of the accompanying material in a note.

2 sound discs (CD) + 1 booklet (77 p., [7 p.] : col. ill.)
Note: Booklet contains notes in English, German and Arabic

3 sound discs : 33 1/3 rpm ; 30 cm + 1 booklet (26 p. : col. ill. ; 30 x 30 cm)
Note: Booklet contains notes in English and libretto in Italian and English

2 sound discs (CD) + 1 complete study score (32 p. ; 12 x 12 cm)
or
c) make a separate entry
or
d) make a multilevel description according to the principles described in 9.2-9.2.C.

AACR2 1.10

5.F.1. AACR2 1.10A

This rule applies to items that are made up of two or more components, two or more of which belong to distinct material types (e.g. a sound recording and a printed text).

5.F.2. AACR2 1.10B

If an item has one predominant component, describe it in terms of that component and give details of the subsidiary component(s) as accompanying material following the physical description (see 5.E) or in a note (see 7.B.18).

47 slides : col. ; 5 x 5 cm. + 1 sound cassette

3 v. : ill. ; 30 cm.
Note: Sound disc (12 min. : analogue, 45 rpm , mono ; 17 cm) in pocket at end of v. 3.

5.F.3. Based on AACR2 1.10C

If an item has no predominant component, apply the following for the physical description of that item.

5.F.4. Based on AACR2 1.10C1

If a general material designation is used (see 1.C.1) for an item without a collective title, give the appropriate designation after each title (see 1.C.5); or, for an item with a collective title, follow the instructions in 1.C.4.

5.F.5. Based on AACR2 1.10C2

Apply whichever of the following three methods as appropriate to the item being described:

a) Give the extent of each part or group of parts belonging to each distinct class of material as the first element of the description (do this if no further physical description of each item is desired). Optionally, if the parts are in a container, name the container and give its dimensions.

12 slides, 1 sound cassette, 1 booklet, 1 map ; in box 16 x 30 x 20 cm

b) Give a separate physical description for each part or group of parts belonging to each distinct class of material (do this if further physical description of each item is desired). Give each physical description on a separate line. Optionally, if the parts are in a container, name the container after the last physical description and give its dimensions.

Hot deserts [kit ] / Ruth Way. - London : Toronto : Visual Publications, [1975?]
1 film strip (39 fr) : col. ; 35 mm
1 sound cassette (ca. 18 min.) : analogue, mono.
4 study prints : col. ; 29 x 88 cm folded to 29 x 44 cm
1 v. (15 p.) ; 22 cm
1 folded sheet (4 p.) : 22 cm
All in container 33 x 47 x 5 cm

c) For items with a large number of heterogeneous materials, give a general term as the extent. Give the number of such pieces unless it cannot be ascertained. Optionally, if the pieces are in a container, name the container and give its dimensions.

various sound cassettes

30 various sound discs (CDs)

42 various pieces ; in box 20 x 12 x 6 cm

6.0.1. Definition

A series is a group of separate items related to one another by collective features (marks). The items may be intended for use in the sequence they are produced or not, and may be numbered or unnumbered, in production , broadcasting or other forms of publication. Such a group of item s may be a finite series (complete) or an open-ended series (ongoing and therefore incomplete).

6.0.2. Scope

The series statement is used to identify and index items belonging to the same series . It may also be applied to serials incorporating broadcast programs and timeslots (the content of timeslots being related because it is broadcast in the regular timeslot) (see also 1.B.7.2 and 1.B.9.3.1-1.B.9.3.2).

This area is used when all parts of the item are published or broadcast (or are intended to be published or broadcast) in the same series or subseries. In other cases, e.g. where a publisher's series varies from the commonly used series title, the series or subseries statement(s) may be given in a note (see 7.B.19).

When an item belongs to more than one series and/or subseries, the area is repeated. The order of the statements is determined by the order of preference of the sources for the area; in the case of these being of equal value, the order follows the sequence of information found in the chosen source.

Archival series is a different type of series from that defined above. For full guidance on this type of series see the ISAD(G): General International Standard Archival Description, and Rules for Archival Description.

Note, however, that where material in a named or identified collection is catalogued at the level of the individual item , it is the practice for some audiovisual archives and libraries to record the collection title (and series in collection, if applicable) in this area of the cataloguing record (see 6.J).

6.A.1. Punctuation

Based on ISBD (NBM) Area 6, Punctuation pattern

Precede this area by a full stop, space, dash, space (. - ).
Enclose each series statement (see 6.I) in parentheses (()).
Precede each parallel title in a series or sub series by a space, equals sign, space ( = ).
Precede other title information in a series or subseries by a space, colon, space ( : ).
Precede the first statement of responsibility in a series or subseries by a space, slash, space ( / ).
Precede each subsequent statement of responsibility in a series or subseries by a space, semicolon, space ( ; ) unless the statements are considered to form a single phrase.
Precede the International Standard Serial Number (ISSN ) of the series or a sub series by a comma, space (, ).
Precede the numbering within a series or sub series by a space, semicolon, space ( ; ).
Precede the title of a subseries by a full stop, space (. ).
Precede the Dependent title following a section or subseries designation (see 6.H.2) by a comma, space (, ).

6.A.2. Sources of information

Expanded from AACR2 1.0A1, 1.0A2, 1.1A2 Take information recorded in this area from:

• the item itself (including any permanently affixed labels, or title frames);
• accompanying textual material (e.g. cassette insert, CD slick, inlay or booklet, recording/project accompanying document ation such as correspondence, donor agreements, recordist's worksheets, script, transcript, cue sheet);
• a container that is an original part of the item (e.g. sound cartridge, videocassette, sleeve, container for video); or from
• a secondary source such as reference or research works, a publisher's or distributor's brochure, broadcast programme schedule, abstract, index or other available finding aid, container which is not an original part of the item (e.g. a film can used to store a reel of film , tape box for storing audio tape), or the audiovisual content of the item itself.

If the information is taken from a secondary source, cite the source in a note, if appropriate (see 7.B.3). Based on FIAF 0.3.8, 0.4 Enclose information in square brackets within the parentheses enclosing each series statement only when it is not available from any of the above sources of information, and where it is supplied by the archive or cataloguing agency on the basis that the information is known, or is at least probable. Where this information is uncertain, give a question mark after it.

AACR2 1.6B, 6.6B

6.B.1. AACR2 1.6B1

If an item is issued or broadcast in a series , transcribe the title proper of the series as instructed in 1.B.

Area 1: Nils Karlsson Pyssling
(Astrid Lindgren läser själv)

Area 1: Three tenors
(Great voices of the century)

Area 1: Friede auf Erden, op. 13
(Europäische Chormusik aus fünf Jahrhunderten)

Area 1: Die Streichholzschachtel, oder, Ursprünge philosophischen Denkens
(10 Minuten Denken, oder, Philosophie im Alltag)

Area 1: Konzert für Klavier und Orchester, F-Dur, KV 459 (Konzertsaison 1995/96)

Area 1: Introduktion till Windows 95
(Datautbildning på video)

6.B.2. Based on AACR2 1.6B2

If different forms of the title of the series (other than parallel titles) appear, choose the form which predominates or appears to be most consistently used in the sources of information, or the form cited in a scholarly reference work, if there is one available.

AACR2 1.6C

See also: 6.H.3

6.C.1.AACR2 1.6C1

Follow the instructions in 1.D when transcribing the parallel titles of a series

Area 1: Beredskapsswing
(Svensk jazzhistoria = Swedish jazz)

Area 1: Nuntii latini. 1993-08-09
(Nuntii latini = Latinankieliset uutiset = News in Latin)

Area 1: Le bulletin d'info en français. 1988-05-28
(Le bulletin d'info en français = Nachrichten in französischer Sprache)

Area 1: Nordamerika
(I djurens vilda värld = Really wild animals)

AACR2 1.6D

See also: 6.H.3

6.D.1.AACR2 1.6D1

Give other title information of a series only if it provides valuable information identifying the series. Follow the instructions in 1.E when transcribing other title information of a series.

Area 1: Den medeltida balladen
(Musica Sveciae : folk music in Sweden)

Area 1: Philippe Monte
(Reflexe : Stationen europäischer Musik)

Area 1: Velfærdsspioner
(Den nye bølge : om radioteatret i 1960'erne)

Area 1: Isthmus Crypticus
(Æon Flux : animeret cyber-serie fra det 3. millennium)

AACR2 1.6E

See also: 6.H.3

6.E.1.AACR2 1.6E1

Transcribe statements of responsibility appearing in conjunction with the series title only if they are considered to be necessary for identification of the series. Follow the instructions in 1.F when transcribing a statement of responsibility relating to a series.

Area 1: Marriage of Figaro
(Historical records / Jack L. Caidin)

Area 1: Thou art so like a flower
(The Columbia history of music by ear and eye / by Percy Scholes)

Area 1: Josef Strauss
(Die goldene Zeit der Wiener Musik = The Golden Age of Viennese Music / Leitung Robert Stolz)

Area 1: Bryggeren : 1864-1867
(Bryggeren : dansk tv-serie / af Kaspar Rostrup)

AACR2 1.6F.

See also: 6.H.3

6.F.1. Based on AACR2 1.6F1

Give the International Standard Serial Number (ISSN ) of a series if there is such a number (see also 6.H.4). Precede the ISSN with a comma, space.

(Western Canada series report, ISSN 0317-3127)

AACR2 1.6G

See also: 1.B.9.3.1, 6.H.3

6.G.1. Extracted from AACR2 1.6G1

Give the numbering of the item within the series in the terms given in the sources of information.

Area 1: Greatest hits of 1963
(20 years of pop music ; no. 8)

Area 1: Kalaallit Nunaat
(Greenland calling ; vol. 1)

Area 1: Beredskapsswing
(Svensk jazzhistoria = Swedish jazz ; vol. 4)

Area 1: Den medeltida balladen
(Musica Sveciae : folk music in Sweden ; no. 1-2)

Area 1: Livsmod
(Radiodokumentar ; 2:2)

Area 1: Dad and Dave from Snake Gully. Episodes 51-52
(Dad and Dave from Snake Gully ; episodes 51-52)

(Consecutive episodes on each side of a radio disc)

Area 1: ABC News. 1983-10-31. Midday

(ABC News ; 1983-10-31. Midday)

Area 1: Hvem har du med i dag?
(Hej Lasse : fjernsyn for dig ; 9:14)

Area 1: Saps at sea
(The Hal Roach library ; 28)

Area 1: Filosofi
(Calis applikation ; 4)

6.G.2.Developed from AACR2 1.6G2

If the parts of a multipart item are separately numbered within a series , give the first and last numbers separated by a hyphen if the numbering is continuous. Otherwise, give all the numbers, separated by a comma and a space.

Area 1: Elverhøj
(Dansk dramatisk diskotek ; 3-6)

Area 1: Fransk
(Norstedt-Richter's sprogplader ; 2, 3, 5, 6)

6.G.3.AACR2 1.6G3

If the item has a designation other than a number, give the designation as found.

Area 1: Vesterbro - et gennembrud
(Aalborg-bogen ; 1983/84)

Area 1: Dancing in the street. Episode 3
(Dancing in the street ; episode 3)

Area 1: Skippy. Episode 5 : Mayday
(Skippy ; episode 5)

Area 1: Beaumanoir. Episode 26 : Règlement de comptes
(Beaumanoir ; episode 26)

Area 1: Matin Bonheur. 1992-10-12 : [Benjamin Asger]
(Matin Bonheur ; 1992-10-12) (broadcast magazine episode entirely on the topic of Benjamin Asger)

AACR2 1.6H, Glossary

See also: 1.B.9.3.1, 6.A.1 A subseries is a series within a series (i.e. a series that always appears in conjunction with another, usually more comprehensive, series of which it forms a section). Its title may or may not be dependent on the title of the main series.  

6.H.1.Expanded from AACR2 1.6H1

If an item is one of a subseries and both the series and the subseries are named in the sources of information, give the details of the main series (see 6.A-6.G) first and follow them with the name of the subseries and the details of that subseries . Precede the subseries with a full stop and a space.

Area 1: Ungarske folkesange
(Béla Bartók complete edition. Vocal music)

Area 1: Der Gefangene ; Heimatlos ...
(Europäische Chormusik aus fünf Jahrhunderten. Ungarische Chormusik)

Area 1: Konzert für Klavier und Orchester, D-dur, KV 537, "Krönungskonzert"
(Konzertsaison 1995/96. Sonderkonzert ; 2)
(Here the title of the main series is Konzertsaison 1995/96)

Area 1: Die Zeitung
(Der Kurztext in der Morgenmusik. Human touch)

Area 1: The air adventures of Biggles. Episodes 821-822. Desert broom. Episodes 38-39
(The air adventures of Biggles ; episodes 821-822. Desert broom ; episodes 38-39)
(Radio transcription disc with two consecutive episodes of a subseries within a series )

6.H.2.Based on AACR2 1.6H2

See also: 6.A.1 If the subseries has an alphabetic or numeric designation and no title, give the designation.

Area 1: Music for amplified toy pianos
(Works for piano, toy piano & prepared piano. 1944-1960 ; vol. 3)

If such a subseries has a title as well as a designation, give the title after the designation, and precede the title by a comma and a space.

(Viewmaster science series. 4, Physics)

6.H.3.AACR2 1.6H3

Give parallel titles, other title information, and statements of responsibility relating to subseries as instructed in 6.C, 6.D, and 6.E.

6.H.4. Based on AACR2 1.6H4

See also: 6.F Give the International Standard Serial Number (ISSN ) of a subseries if there is such a number. In that case, omit the ISSN of the main series. Precede the ISSN with a comma, space.

(Janua linguarum. Series maior, ISSN 0075-3114)
not
(Janua linguarum, ISSN 0446-4796. Series maior, ISSN 0075-3114)

6.H.5. AACR2 1.6H5

Give the numbering within a subseries as instructed in 6.G.

Area 1: Naga-uta "Urashima"
(Music of the Orient. Japan ; 1-2)

Area 1:Sonater for orgel
(Musica prae classica. Das Orgelwerk ; Folge 5)

Area 1:Josef Strauss
(Die goldene Zeit der Wiener Musik ; III. Die grosse Zeit des Wiener Walzers ; 2)

Area 1: Die Zeitung
(Der Kurztext in der Morgenmusik. Human touch II / Uwe Koschel ; written by Andreas Reikowski ; 5)

AACR2 1.6J

6.I.1.AACR2 1.6J1

The information relating to one series , or series and subseries, constitutes one series statement . If an item simultaneously belongs to two or more series and/or two or more series and subseries , give separate series statements and enclose each statement in parentheses. Follow the instructions in 6.A-6.H in recording each series statement

Area 1: Interview med Klaus Lynggaard
(Forfatterportrætter - mennesket bag teksten ; 1) (AV-forfatterportrætter)

Area 1: Nordamerika
(I djurens vilda värld = Really wild animals) (National Geographic - children's video)

Extracted from FIAF 6.9

If parts of an item belong to different series and this relationship cannot be stated clearly in this area, give details of the series in a note (see 7.B.19).

Where a broadcast programme has been transmitted as part of a different series at different times, create a separate catalogue record for each transmission, record the series statement for that transmission, and include a note about the other known transmission(s) (see 7.B.9).

See also: 6.0.2, 9.0.A.3 This area may also include a collection statement, or collection and series in collection statement, in a bibliographic record for items which have been created or collected as a special collection or as a series within a collection. This information may be applicable where unpublished or broadcast items belong to a formed collection or require the application of a collection name. Instances may be where a collection of items is acquired through the results of a field expedition by a researcher, or of an oral history project by a person or institution, or where a broadcast archive, or part thereof, is acquired by a larger audiovisual archive.

(Mike Yates Archive)

(India Office Library and Records interviews. Memories of the British in India)

This technique for collocating items in named or identified collections and series in collection(s) in this area, is a variant method from that usually employed by archives using multilevel, archival fonds or collection level description. For further information about multilevel description , see 9.2, and for full guidance on archival fonds and collection level description refer to the ISAD(G): General International Standard Archival Description, and Rules for Archival Description.

7.A.1. Punctuation
AACR2 1.7A1

Precede each note by a full stop, space, dash, space (. - ) or start a new paragraph for each. Separate introductory wording from the main content of a note by a colon followed but not preceded by a space (: ).

7.A.2. Sources of information
Based on AACR2 1.7A2

Take information recorded in this area from any appropriate source. Use square brackets only for interpolations within quoted material.

7.A.3. Form of notes

7.A.3.1. Order of information
Based on AACR2 1.7A3

If data in a note correspond to data found in Areas 1-6, give the elements of the data in the order in which they appear in those areas. In addition to notes relating to these areas, there may be notes relating to the description of the item which do not correspond to any specific area.

7.A.3.2. Identification of separate parts of contents to which a note refers

If a note only refers to a certain title on the item, provide sufficient information to identify the title in the note (e.g. give the title or the beginning of the title in parentheses after the note).

7.A.3.3. Combining information from different areas of description in a note

Notes relating to different areas of description may be combined when appropriate (see examples in 7.B.9 and 7.B.14.1).

7.A.3.4. Language of notes

The notes are normally entered in the language and/or script of the archive or cataloguing agency. Notes made in other languages may, if desired, be transcribed straight from the item, or other sources of information.

7.A.3.5. Date of creating a note

The notes are accurate at the time the item is catalogued, but not binding for all time. In cases of ambiguity or inaccuracy at the time of the cataloguing, the note should indicate when it was created.

Berlin Symphony Orchestra assumed to be the orchestra, for the purpose of cataloguing prepared on 1997-10-03

7.A.4. Quotations
Based on AACR2 1.7A3

Give quotations from the item or from other sources in quotation marks. Follow the quotation by an indication of its source, as necessary. Do not use prescribed punctuation within quotations.

"The purpose of the anthology, the first documentation on record from The Swedish Rock archives, is to present a survey of early Swedish rock 'n'roll."-Accompanying booklet

7.A.5. Formal and informal notes

7.A.5.1. Formal notes
AACR2 1.7A3

Use formal notes employing an invariable introductory word or phrase or a standard form of words, when uniformity of presentation assists in the recognition of the type of information being presented, or when their use provides economy of space without loss of clarity.

7.A.5.2. Informal notes
AACR2 1.7A3

When making informal notes, use statements that present the information as briefly as clarity, comprehension and grammar permit.

7.A.6. Citing other editions
AACR2 1.7A4

In citing another edition of the same work, give enough information to identify the edition cited.

Reissue of: Caedmon TC1125 (1952)

7.A.7. Citing other works
Based on AACR2 1.7A4

In citing other works and other manifestations of the same work (other than different editions with the same title) always give sufficient information to identify the work being cited.

First published on: Columbia 330SX-7692

Translation of: La maison de Claudine / Colette

Adaptation of: Hamlet / by William Shakespeare

Continues the radio serial : The Lawsons

7.A.8. Notes relating to reproduced material
Based on AACR2 1.7A4

When describing a reproduction , give notes relating to the reproduction and then the notes relating to the original. Combine the notes relating to the original in a note, giving the details in the order of the areas to which they relate.

The tapes are copies made in 1989. - Originally recorded in Kuala Lumpur in 1956

AACR2 1.7B1, 6.7B

Make notes as set out in the following subrules and in the order given there. However, give a particular note first when it has been decided that note is of primary importance.

7.B.0. System requirements and/or mode of access
See also: 5.0

7.B.0.1. System requirements (mandatory for local access electronic resources)
Based on ISBD (ER) 7.5.1
See also: 7.B.0.2

Give system requirements that are conditional for use of the item in a note for all local access electronic resources. System requirements are given as the first note. These requirements may include one or more technical specifications, usually given in the following order, preceded by the term System requirements (or its equivalent in another language and/or script) followed by a colon and a space. Precede each characteristic, other than the first, by a semicolon and a space. Optionally, include phrases like or higher, or later.

the name, model and/or number of the computer(s)
the amount of free memory
the name and version of the operating system
the software requirements
peripherals
hardware (internal) modifications

System requirements: Macintosh LC III; 25 MHz 68030; 8 MB RAM; System 7.1; 640x480 256 colours; double-speed multisession CD-ROM

System requirements: Multimedia PC or Compatible PC (MPC) 386 SX; 8 MB RAM; Windows 3.1; VGA 256 colours screen; double-speed CD-ROM drive

System requirements: Macintosh LC III or higher; 8 MB RAM; System 7.1 or later; 14 inches 256 colours screen; double-speed multisession CD-ROM drive

System requirements: PC type 486, 66 MHZ; 8 MB RAM; 1 MB on hard drive; Windows 3.1 or Windows 95; VGA screen with 2 MB video card; double-speed drive CD-ROM

System requirements: Macintosh LC III; 8 MB RAM; 1 MB of disk space; System 7.0; VGA screen with 1 MB video card; CD-ROM drive

System requirements: BinHex 4.0 to convert binary file

System requirements: UNIX workstation with Mosaic software

System requirements: Philips Interactive compact disc (CD-I) player with monitor

When the item consists of two or more different physical carriers (e.g. an interactive multimedia item consisting of an electronic disk and a videodisc), a separate system requirements note may be made to highlight distinctive system features associated with each physical carrier.

System requirements for electronic disk: Macintosh; at least 1 MB; System 6.0.5 or later; HyperCard version 1.0 or later; hard disk drive; RS232 cable connector (from Macintosh to videodisc player)
(Note for physical carrier no. 1)

System requirements for videodisc: Videodisc player (Pioneer 2200, 4200, 6000A, 6010A, 8000)

(Note for physical carrier no. 2)

Alternatively, the archive or cataloguing agency may choose to make a single note for system requirements of both physical carriers.

System requirements: Macintosh; at least 1 MB; System 6.0.5. or later; HyperCard version 1.0 or later; hard disk drive; videodisc player (Pioneer 2200, 4200, 6000A, 6010A, 8000) RS232 cable connector (from Macintosh to videodisc player)
(Single note for different physical carriers: electronic disk and videodisc)

7.B.0.2 Mode of access (mandatory for remote access electronic resources)
Based on ISBD (ER) 7.5.2

Give mode of access in a note for all remote access electronic resources. Give mode of access as a note following the System requirements note (see 7.B.0.1), when applicable, and precede it by the term Mode of access (or its equivalent in another language and/or script) followed by a colon and a space. In the absence of a system requirements note, mode of access is given as the first note.

Mode of access: www.alb.se

Mode of access: World Wide Web. URL: http://www.tunes.com/

Mode of access: Computer university network

7.B.1. Nature, scope or artistic form
Based on AACR2 6.7B1

Make notes on the nature, form, genre, or other intellectual category to which an item belongs, unless it is apparent from the rest of the description.

Opera in two acts

Field recording of bird song

Play for child actors

Excerpts from a live recording of a musical production

Language programme

Radio drama

Television series

Music video

Instrumental dance music

7.B.2. Language
Based on AACR2 6.7B2

Give the language(s) of the spoken or sung content of a recording unless this is apparent from the rest of the description.

Sung in French

In French, introduced in English

In Serbo-Croat

Spoken in French and Occitan
(The speaker mixes both languages )

Songs are sung in Fulani
(Sub-Saharian-African language)

Language: Kaytetye
(Australian Aboriginal language)

7.B.3. Notes on sources of information
Expanded from AACR2 1.7B3
See also: 0.A.1.1, 1.A.2, 1.B.1.6, 1.B.7.1, 1.B.7.10, 2.A.2, 2.B.4, 3.A.2, 6.A.2.

Optionally, give a note on the source of information used when cataloguing, if it is a secondary source of information, if the sources of information are inaccurate, conflicting or ambiguous, or, if the information is supplied by the cataloguer.

Title from accompanying typewritten notes

Title from cue sheet

Title from handwritten notes

Title from script

Title from announcement by programme presenter

Title given by the collector

Title from spoken announcement

Title proper from list made by the donor

Title from viewing

Area 1: [Bride arrives at church, ca 1930s]
Title proper devised following viewing

Title from publisher's catalogue

Title, performers and series from audition. Opening and closing announcements missing. Assumed to be an episode of the radio serial "Dr Paul"

Area 1: Greek salad
The item incorrectly states: Greek sallad

All descriptions of tracks on this recording based on the inventory supplied by David Stewart

The cataloguing is based on the cataloguing made at the Radio archive

The item incorrectly states John Smith as baritone. Accompanying documentation states John Jones as baritone. John Jones confirmed from audition

7.B.4. Variations in title
FIAF 7.2.4

Provide notes which give titles other than those chosen to appear in the title and statement of responsibility area.

Cover title: Bad luck

Variant title: The M-Rock experience

Duplicate with title: Kender du Einar?

Russian title (transliterated)

Also with title in Japanese letters

Repeat broadcast 12 Dec., 1994, with the title: Now and then

Sometimes with the title: Önskesångaren

This song is also known as Yannig Skolan by the collector

Title on label differs from vocal announcements

Swedish release title: Producenterna

Also with the title: Someone is hiding

Spine title: Elvis in Fun in Acapulco

Title on label: Bobby Brize I

Temporary variation in title: The journal

7.B.5. Parallel titles and other title information
AACR2 6.7B5
See also: 1.D.2, 1.D.3, 1.E.3

Give the title in another language and other title information not recorded in the title and statement of responsibility area, if they are considered to be important.

Conventional Swedish title: Figaros bröllop

Original title: Il buono, il brutto, il cattivo

Parallel title: Mad about money

Subtitle on cover: The four seasons variations

Swedish release subtitle: The ultimate experience

The repeat broadcast of part 1 has the subtitle: Trotset mot öknen

7.B.6. Continuation of title

Optionally, complete the transcription of the title proper and/or other title information if it was abridged in the description in Area 1.

Area 1: Le fer et la hache pygmée ...
Title continues: ... et le petit villageois

Area 1: Singende Muse an der Pleisse ...

Title continues: ... in 2 mahl 50 Oden, deren neuesten und besten musicalischen Stücke, mit denen dazugehörigen Melodien

7.B.7. Statements of responsibility
Developed from AACR2 6.7B6, 7.7B6
See also: 1.F.1.1, 7.B.25, 9.1.A.7.1

7.B.7.1. Composer, author, director, etc.

Make a note on a composer, author, director, producer, designer, programmer, etc. who is not given in the statement of responsibility area, and who is considered important. Also make a note on a composer, author, director, etc. already given in the statement of responsibility area if clarification is needed.

Arranger: Bengt Hallberg

Words and music: Cornelis Vreeswijk

Words: Nils Ferlin ; music: Leif Strand

Words and music: Docenterna (unless otherwise stated)

Words: Dan Andersson ; music: see contents note

Director: David Block (unless otherwise stated)

Adapted for radio by Sture Hellgren

The programme series is edited by Seppo Korhonen

All recordings collected and edited by David Stewart for inclusion in the National Film and Sound Archive's collection

Credits: Lil Trulsson, cinematographer ; Harald Hamrell, sound editing ; Madeleine Grive, translation

Credits: Hjalmar Olsson, script and production ; Marcus Edström, illustrations and design ; Ulf Söderberg, music and sound ; Peter Brandström, Henrik Edström programming ; David Isitt, translation into English

As necessary, follow the name with the title of the recording

Recording producers: Thomas Winter (Sinfonia concertante), Michael Petersen (Concerto)

If appropriate, make a note indicating that the name(s) of the composer, author, director, etc., are not available.

Words and music: information unavailable

7.B.7.2. Performers, cast, participants, etc.

Make a note on performers and the medium or role in which they perform, or on cast, participants, etc. if they have not been named in the statements of responsibility area and if they are judged necessary. Also make a note on performers, cast, participants, etc. already given in the statement of responsibility area if clarification is needed, e.g. to specify what instrument a performer is playing.

Ulf Wakenius, Georg Wadenius, guitar

Frances Smith, descant

Maria Callas (Carmen) ; Nicolai Gedda (Don José)

Performer: Fred Åkerström (unless otherwise stated)

Other performers: Göran Lagerberg, bass ; Åke Eriksson, drums

Performers: see names in brackets in contents note

Performer: Janos Solyom ; for other performers: see names in brackets in contents note

Performer: Freskkvartetten

Tomas Bolme (Asterix), narrator ; Beatrice Järås (Honette)

Reader: Kristina Lugn

Janne Schaffer, Rune Gustafsson, guitars ; Björn J:son Lindh, keyboard ; Christian Veltman, bass ; Per Lindvall, drums

Cast: Richard Gere, Julia Roberts

Derek G. Holroyde, commentator

Luciano Pavarotti, tenor ; Ingvar Wixell, baritone ; Edita Gruberova, soprano

Anita Jansson, narrator in sign-language

Swedish voices: see names in brackets in contents note

Participants: Bengt Grafström, programme leader ; Gösta Ekman, actor ; Hasse Gustafsson, reporter

Performers: Gerd Andersson, dancer ; Erik Saedén, singer ; Radiosymfonikerna ; Thomas Schuback, conductor

With the co-operative participation of the local people, the musicians and the interpreters in Kuwde, North-Togo

Participants: Martin Berggren, Lena Nydahl, narrators ; David Isitt, Mavis von Proschwitz, narrators in English

Where the name of a corporate body is given here, optionally include the names of individuals and their instruments or voices if clarification is necessary (e.g. if it is appropriate to highlight the names of individual performers; if members of an ensemble are not always the same persons; if the ensemble has a non-distinctive name based on the name of the leader). This is usually applied to classical music or jazz ensembles, but may be applied in any situation where it is considered useful.

Freskkvartetten (Lars Fresk, Curt Appelgren, violins ; Lars-Gunnar Bodin, viola ; Per-Göran Skytt, violoncello)

The Jones Boys (Thad Jones, trumpet ; Jimmy Jones, piano ; Eddie Jones, bass ; Jo Jones, drums) joined in the final riffs by Reunald Jones, trumpet and Quincy Jones, fluegelhorn

Sometimes it is not possible to determine the actual names of performers. In these cases give the best information available.

Performances by members of the Djapu, Enindilyagawa, Garadjari, Nunggubyu, Walbiri, Wik-ngatara, Worora, and Wunambul language groups

Performers: various named and unnamed native vocalists and instrumentalists

Songs and instrumental music performed by various groups (Azande, Babinga, Dakpa, Linda and Ndokpa)

7.B.7.3. Other names and information about names

Make notes relating to any other persons or bodies connected with a work that are not named in the statements of responsibility.

Engineered by Ralph Ortner at National Recording Studios, Canberra ; original art work on sleeve by Kate Scott

Recorded by Cathy Bromley

For unpublished sound recording items, such as oral histories, ethnographic field recordings, etc., more detailed description may be given here when necessary and/or available, about participants, informants or contributors, etc. Such information may include place of residence of the informant and/or singer, age (if available) and profession.

Jessica Manning, aged 78, midwife in Seattle during The Depression

Frank Higgins, head of the Department of Music at Burwood College, Melbourne

Wilfrid Thomas, BBC broadcaster

If considered necessary, give information extending beyond identifying a person or corporate body, and their role or function in the recording in an appropriate note such as the summary (see 7.B.24) or as an other note (see 7.B.34).

7.B.8. Attribution and conjectures
Extrapolated from AACR2 1.7A3, References

Make notes on persons or organisations to whom the recording being described has been attributed, and cite the sources if appropriate.

Bill Smith assumed as singer. From audition

Composition attributed to Jim White. From correspondence<

7.B.9. Edition, issue and history
Developed from AACR2 6.7B7
See also: 2.B.3, 6.I.1, 7.A.3.3

Make notes relating to the edition or issue being described, to the edition or issue of the work being performed, or to the history of the recording. Do not give a title of an original work here, if it is identical with one given in Area 1. Name the type of work instead. Where the edition statement (see 2.B) indicates a reissue, re-publication or a particular adaptation, etc., give sufficient information here to identify the original.

Based on the comic book by René Goscinny

Previously issued: 1985

Previously issued: 1985-1986

Previously unissued material

Partly previously unissued material

Previously issued: 1967 (Baby love), 1969 (I long for you)

Reissue of: Caedmon TC 1125 (1952)

Reissue of : Armen-Dastum SCM 013

Recorded in Vienna in 1961. Previously released as Westminster WST 17035
(Example of a combination note)

Previously broadcast in the series The great philosophers

Music from the motion picture: Änglagård

Music from the TV-series: Nilecity 105,6

Music from the film : Mød mig på Cassiopeia

Based on the novel by Ernest Hemingway

Based on: The millstone / Margaret Drabble

Short version of work originally released in 1965

Edition statement: Short version
Short version of Tendens. Original version broadcast 1988-06-05

The programme was never broadcast

7.B.10. Material of recording
See also: 10.B.7.1

As appropriate, provide information about the recording process itself, the original recording, or characteristics of the recording equipment including the type of tape recorder, microphones and sound tape designation. Normally this applies to unpublished material, but occasionally also to published material.

Recorded with AIWA cassette recorder and Telinga microphones (stereo microphone parabolic reflector combination)

Recorded with Beyer dynamic mics into Nagra IV recorder and onto Zonal 575 tape

7.B.11. Place, date and circumstance of recording
Developed and expanded from AACR2 6.7B7
See also: 1.B.7.8, 9.1.A.7.3

Give available details of the place and date of recording. Include appropriate contextual information about the recording event in special circumstances. As preferred by the archive or cataloguing agency, present date information in a standard format of YYYY-MM-DD, or as text. Optionally, give the name of the recordist here.

Alternative rule. For recordings which are neither published nor broadcast, give the date of recording (creation) in Area 3 (see 3.H.1-3.H.3).

Recorded: 1956-11-15

Date recorded 1990-07-04

Recorded on April 4, 1958

Recorded: 1955-1987

Originally recorded between 1959 and 1969 in Australia at Aurukun, Darwin, Delissaville, Derby, Groote Eylandt, La Grange and Yuendumu

Recording of concert in Royal Albert Hall (London), June 7, 1976

Recorded New York City, 1928-06-21

Recorded in Stockholm 1998-04-07 by Jens Lindgren
(Example of a combination note)

Recording of speech given at Uppsala University, 1988-05-12

Recording of speech given at Sergels torg, Stockholm, Oct 7, 1968, interrupted by demonstration

Recorded during world premiere performances 10-12, 17-19 Nov. 1988 at the Queanbeyan Bicentennial Hall

Recorded at the Edinburgh International Festival

Recorded during Holy Week celebration

Recorded during the seasonal festival

Recorded at the dedication of a new encampment

Include a statement to indicate that the recording is live or a live relay.

Live recording at Wembley Arena

Live relay from the opening ceremony of the Atlanta Games

Optionally, for field, wildlife, ethnographic or laboratory recordings, also record the details of the location (e.g. village, market, laboratory, home, farm, homestead) or environment or habitat (e.g. forest, tropical region, grasslands, sea-coast, shrubland and waste, flowing freshwater).

Place recorded: sea-coast coastal lagoon

Recorded by David Stewart 4 km. South West of Quilpie, Qld. on 4 July 1990
(Example of a combination note)

Recorded in the home of interviewee

Recorded in the village of Rahoúla (Greece), 1979-01-06

Optionally, for wildlife recordings, also include grid details of longitude and latitude. Enter geographical coordinates as numbers. Enter altitudes in metres.

Latitude 41 [degrees] 30'N; Longitude 120 [degrees] 30'E; Altitude c 600m

Optionally, for wildlife recordings enter a statement about the habitat based on a reputable topographical reference work.

Forests - Temperate - Coniferous mesophytic
Optionally, for wildlife recordings, give also additional information pertinent to the particular recording such as the season or occasion, specific time or part of the day or night, and temperature (see also 7.B.24).

Recorded during the dry season

Recorded at twilight at the Old North Bridge Concord (Mass.) 1968-06-29

Recording time 4 a.m.

Recorded: 1982-03-27 at 06:21

Recorded: 1978-07-14, 20:00-22:00

Alternatively, include place, date and/or circumstance of the recording in the summary (see 7.B.24).

If fundamental information is not available or does not exist, provide an estimate of recording details if feasible, or, if appropriate, acknowledge that the information is missing.

Recorded 1950s?

Recording details unknown

7.B.12. Publication, production, distribution, broadcast, etc.
AACR2 6.7B9
See also: 1.B.11, 3.B.1.3, 3.B.2.1,

Make notes on publication, distribution, production, broadcast etc., details that are not included in the publication, production, distribution, broadcast, etc. area and that are considered to be important.

Licensed from Cooking Vinyl, p 1992

Promotional CD

Demo cassette

Original production : 1967 ; digitally remaster ed: 1994

Distributed in Australia by CBS

Live broadcast

Repeat broadcast. First broadcast Sept. 4, 1990, 10.00-10.30

From the Danish Radio

From the BBC Transcription Service

Area 3: Melbourne : Dahlmont
Also published on the Vocalion label in England. A sticker label for Dahlmont in Melbourne covers the Vocalion label

Indicate if the recording is a simultaneous broadcast (or simulcast) in a note, and include details of the corresponding transmission by the broadcasting partner (see also 1.B.11).

With simultaneous radio broadcast on BBC Radio 3

Simultaneous broadcast with Sveriges television TV1

7.B.13. Copyright
FIAF 7.2.9
See also: 4.D, 4.C

Provide notes to clarify information found in copyright notices or to indicate the sources of information, other than the item itself or the published records of the copyright agency.

7.B.14. Physical description

7.B.14.1. General rule
Based on AACR2 6.7B10
See also: 5.0, 5.B.4.2, 5.C.8, 5.C.9.2, 7.A.3.3, 10.B.5, 10.B.7.1, 10.B.7.2, 10.B.7.4, 9.1.A.5.2

Make notes on important physical details that are not included in the physical description area, especially if these affect the use of the item . Do not give notes on physical details that are standard to the item being described.

Recorded on one side only

Same recording on both sides

Picture disc

Red vinyl

Flexi disc

Flexi disc, recorded on both sides

Test pressing

In 2 containers

Acoustic recording

Impressed on rectangular surface 20 X 20 cm

Vertically cut from inside outward

Vertically cut from centre to edge

Inside start

Shape(d) disc

Recorded on Tandberg TDC, 112 kbit/sec/channel
(Example of a combination note)

Programme of 20 min. which is repeated several times

Sequence of 4 min. which is repeated several times

Video has stereo sound
(Music video)

Colour with introduction in b&w
(Music video)

Magnetic sound track
(Motion picture)

Dolby stereo, mono compatible
(Motion picture)

Based on AACR2 6.7B10, last para

If it is not given in Area 5, give the duration of each part contained in an item without a collective title and described as a unit (see 1.G; see also 5.B.4.2 and 7.B.25).

Durations: 84 min. ; 95 min.

Where (parts of) the content is missing from the recording, indicate this in a note.

Some of the tapes have been erased. Only five minutes of excerpts remain

Lacks third reel

Lacks last 15 min. of recording

Beginning and end of the opera is missing

Newsflash recorded over first three minutes of speech

Final ten minutes of programme lost due to overrun of previous news bulletin

7.B.14.2. Recording and reproduction characteristics
See also: 5.C.9.1

Optionally, give the following details, as appropriate, in the order set out here:

Noise reduction
Sampling frequency and quantisation
Bit rate reduction
Format of file

7.B.14.2.1. Noise reduction

Optionally, give the noise reduction characteristics. Precede this information with the term noise reduction and a colon. Some of the commonly applied noise reduction standards are:

Dolby A
Dolby B
Dolby C
Dolby S
Dolby SR
dbx
Telcom C4 (514 nWb/m)
Telcom C4 (320 nWb/m)

Noise reduction: Dolby B
Noise reduction: Telcom C4 (320 nWb/m)

Optionally, give emphasis for linear audio files in a note. The predominant types of encoded audio signal emphasis are, according to IEC Standard:

a) Emphasis not indicated. Receiver default to no emphasis with manual override enabled.

b) No emphasis , receiver manual override disabled.
(This is the equivalent of ARD standard)

c) 50/15 ms emphasis . Receiver manual override disabled.
(Here the frequency is defined as a time constant.)

d) CCITT J.17 emphasis (with 6,5 dB insertion loss at 800 Hz). Receiver manual override disabled.
(Here the frequency is defined as a Hertz.)

Area 5: starts at 3 min., 17 sec. on 1 sound cassette (DAT, 4 min., 12 sec.) : stereo

50/15 ms emphasis

7.B.14.2.2. Sampling frequency and quantisation

Optionally, give the technical data of a linear audio file in the following order: sampling frequency and quantisation (number of bits). Precede this information with the term sampling frequency and quantisation and a colon. Some commonly applied sampling frequencies and quantisations are:

48 kHz, 16 bit

44,1 kHz, 16 bit

Area 5: 43 m 35 s - 1 h 19 m 45 s on 1 cassette (DAT, 36 min., 10 sec.)

Sampling frequency and quantisation : 48 kHz, 16 bit

7.B.14.2.3. Bit rate reduction

Optionally, give the data of a bit rate reduced audio file in the following order: format of reduction, process of reduction and data rate. Precede this information with the term bit rate reduction and a colon. Examples of some commonly applied bit rate reductions are:

ISO/MPEG , layer 1, 384 kb/sec
ISO/MPEG , layer 2, 384 kb/sec
ISO/MPEG , layer 2, 256 kb/sec
ISO/MPEG , layer 2, 196 kb/sec
ISO/MPEG , layer 3, 128 kb/sec

Note that the standard ISO/MPEG also has different levels (MPEG -1, MPEG -2, MPEG -3). Give the precise information if necessary.

Bit rate reduction: ISO/MPEG -1, layer 2

Area 5: on 1 electronic disk (diskette, 1.44 MB, 4 min) : stereo, data reduced

Bit rate reduction: ISO/MPEG 1, layer 2

7.B.14.2.4. Format of file

Optionally, for audio files, give the type of file which describes the format of the recording. Precede the file type format with the term File type and a colon. Some of the file types in use are:

Broadcast Interchange Format
Broadcast Wave Format
Synthesizer File Format - Commodore/AMIGA
Musicam (for data reduced files)
Open Media Framework
Sound-Apple Macintosh
Wave

File type: Wave

File type: Musicam

7.B.15. Physical condition
See also: 10.B.7.4.

Make notes on physical condition of the item being described (including any containers and/or labels), if that condition materially affects the clarity of playback of the content, or legibility of written information on the label(s) or container(s). This information may vary between different copies of the same recording. A list of suggested terms to assist in the description of the physical condition of discs, cylinders and magnetic tapes and wire recordings is at Appendix C.

Fungus growth on grooves

Emulsion flecking

Records heavily pitted

Several tracks scratched through by recording operator

archive's copy scratched but playable

Temporary dropouts on this copy

Label is illegible

7.B.16. Quality of the recording
See also: 10.B.7.4.

Here any significant details about the quality of the recording are noted, e.g. background noise, dropouts. Describe any background sounds that may be obtrusive or of added interest. Where background or playback noise (e.g. on a field tape recording) cannot be filtered out this note may relate to all copies held.

Background noise due to this being recorded in a hall adjacent to a practice room which was being used by a rock band for rehearsal

Other species heard in background include cuckoo and nuthatch

Insects, wind noise, and conversations are audible in the background

Pitch and tempo of recording varies due to original recorder's weak batteries at the time the original recording was made

Phone interview

Recorded with a constant audible hum

Pre-echo due to print-through

Temporary picture disturbances

Temporary dropout

Optionally, determine and give a value judgment on the sound quality of the recording being described

Sound quality is excellent (or good, fair, poor - as appropriate)

Broadcast quality

Depending on the results of restorative work (e.g. electronic editing, declicking or preparation of a preservation tape copy of a scratched original disc), or if multiple copies of a published recording are held, this note may vary between different copies of the same recording

7.B.17. Conservation / preservation
See also: 10.B.7.3, 10.B.7.4.

Make a note if the physical item being described has received any specific conservation or preservation treatment. This information may vary between different copies of the same recording.

Tape dubbing made (35-59, 93-118 only)

Tape respooled: 1996-05-11

disc washed in ultrasonic bath: 1989-10-06

Lacquer sprayed to 'bare' areas of disc: 1994-02-06. Grooves carved into new lacquer; and dub to preservation tape made:

1994-02-07
(Treatment to make a preservation copy of remaining sections of a lacquer disc where part of the original recorded surface has flaked off and been lost.)

Lacquer flakes 'cemented' to disc: 1997-04-16. Dub to preservation tape made: 1997-04-17

(Reconstruction and copying treatment to preserve content of a lacquer disc , where parts of the original recorded surface have flaked off but were retained with the disc until it could be treated.)

Tape reels transferred from original acetate discs

Preservation, dubbing master , working duplicate and access copies made

(Example of a combined note on preservation treatment (copy made) and an available access copy)

7.B.18. Accompanying material
Based on AACR2 6.7B11
See also: 5.E, 5.F

Make notes on the existence and type of accompanying material, lyrics, commentary and language (see also 5.E).

Lyrics on cover

Lyrics on inner sleeve

Libretto in booklet

Lyrics in booklet

Lyrics in French and English on cover

Lyrics on sheet

Text and notes on sheet

Libretto and notes in Swedish and Italian in booklet

Notes in booklet

Notes in German, English and Arabic in booklet

Lyrics and notes in English, French and Swedish in booklet

With record company catalogue of selected releases

Notes on handwritten sheet held

Typed cue sheet held by archive

Programme script held by archive

Transcript held in documentation library

Typed summary held in documentation library

Filed with the transcript are 6 photographs

Supplementary materials: chronology of events, a map showing the location of the recorded performance

Handwritten musical notation of the beginning of each item by collector is included

Handwritten field notes included in container

Still photographs held by archive

Slides included in container

Maps held by archive

Manuscripts held by the documentation Library

Text of the song in Breton, translation in French

With teacher's guide

With student booklet in English

With student material in German (6 booklets and teacher's guide)

With learner's diskette

Données vidéographiques, iconographiques et sonores

Contient une analyse scientifique des oeuvres

Accompanying material to Sound Affects, no. 5 (1995)

Published with the book: Vild med heste / af Jette S. Gram

7.B.19. Series
Based on AACR2 6.7B12
See also: 6.0.2, 6.I.1

Optionally, make notes on series data that are not given in the series area (e.g. publisher's series which varies from the commonly used seriestitle; series in which the work was previously issued).

Originally issued in the series : Klassiker för barn

Publisher's series on container: Ethnic Folkways Records
(Container bears variant form of publisher's series )

Originally broadcast in the series : Soul corner

broadcast as part of the Fairest Isle season

Originally issued in the series : Disney classics

7.B.20. Dissertation
AACR2 2.7B13, 6.7B13

If the item being described is a dissertation or thesis presented as part of the requirements for an academic degree, give either the term Thesis or Diss. followed by a brief statement of the degree for which the author was a candidate (e.g. (M.A.) or (Ph.D.), or, for thesis to which conventional abbreviations do not apply, (doctoral) (master 's)), the name of the institution or faculty to which the thesis was presented, and the year in which the degree was granted.

Thesis (Ph.D.)-University of Toronto, 1974

Thesis (M.A.)-University College, London, 1969

Thesis (doctoral)-Freie Universität, Berlin, 1973

7.B.21. Audience
AACR2 6.7B14

Make a note of the intended audience for an item if this information is stated in the item , its container or accompanying textual material.

Intended audience: First-year undergraduates

Intended audience: G.C.E. "A" level students

Intended audience: Children

Intended audience: Youth

Intended audience: Immigrants

Intended audience: Elderly

Intended audience: Elementary grades

For children aged 7 to 10

7.B.22. References to existing descriptions

ACR2 1.7B15

Optionally, give a brief bibliographic citation for works which describe or contain references to the material being catalogued.

Reference: Discography of the recorded insects sounds / D.C.F. Rentz and J. Balderson. - Canberra : CSIRO, 1989. - (CSIRO Division of Entomology report ; no. 44). - p.27

Reference: Australian jazz on record, 1926-1980 / Jack Mitchell. - Canberra : NFSA, 1988. - p.79

Reference: Vogue Productions discography : the Vogue sessions, 1945-1958 / Michel Ruppli. - Paris : AFAS, 1992. - p.35

Part of collection described in collector's Thesis (Ph.D.)-UCLA: The classical tassnif : a genre of Persian vocal music. - 1983

7.B.23. Other formats
Based on AACR2 6.7B16

Give the details of other formatc etc. in which the content of the item has been issued. Give the year of publication if it differs from the item being described. For describing the archive's holdings of the same content on another format, see 7.B.30.

Issued also as CD: ELAP 4624

Issued also as mini disc: 1111-MD

Issued also as DCC: 1111-DCC

Issued also as gramophone record: 1212-LP , and music cassette: 1212-MC

Issued also with the phonogram number: 1212-CD

Issued also as a promotional CD: PCD 12

Issued also by EMI: EMI 2233556

Issued also as laser disc

Issued also as laser disc , 1989

7.B.24. Summary
Expanded from AACR2 6.7B17
See also: 1.B.7.8, 7.B.7.3, 7.B.7.3, 9.1.A.5.2

Give a brief objective summary of the content of an item unless another part of the description provides enough information. Begin the note with the term Summary (or its equivalent in another language and/or script) followed by a colon and a space. If the item consists of more than one title, more than one summary can be given.

Summary: Set of jazz improvisations inspired by folk traditions

Summary: information on Stockholm

Summary: information on IFK Göteborg, with music

Summary: Review of the collection of short stories Neighbors by the American author Raymond Carver

Summary: Interview with the former Hong Kong correspondent Hans Granquist. Topics include early career, the years in Hong Kong and the homecoming

Summary: Talking about Australia and New Zealand. The language tour of the YLE Radio and Television come to Australia and New Zealand to find out what kind of people the Australians are. In the programme Australians themselves from different parts of the country are asked this question

Summary: Lesley Taylor, b. 1913, speaks about his life as an opal miner and buyer

Summary: Bill Flannagan, b. 1914, speaks about his involvement with BBC in his early days, and now with the "Over 60s radio" at 5UV, Adelaide, Australia

Summary: A.B. Neilsen talks about his career as an exhibitor of films in his theaters; the developments of sound on film and popular early films such as "The jazz singer", "The sentimental bloke", and "On our selection"; the dangers of fire from nitrate film and other issues dealing with theaters

Summary: Interviewed shortly before her sudden death, major British artist Helen Chadwick outlines her background, education and working methods. She discusses the motifs and ideas which became her trademark through a series of exhibitions in the UK and abroad such as "Effluvia" at the Serpentine gallery in London in 1994; and through publications such as "Enfleshings" (1989)

Title: Cuckoo/Station House Opera

Summary: To the music of bowed cellos and sawn wardrobes, the company nail each other to the furniture and elevate the floor, proving that nothing is stable other than instability

Title: Pan "A" minor : steelbands of Trinidad

Summary: On the Island of Trinidad, the arrival of the first biscuit tins and kerosene pans led to the invention of a unique style of music, the steelband

Title: Bourrées d'Aubrac

Summary: The bourrée is a French regional folk dance. Here we see about ten of them, danced to the accordion or local bagpipes and hear one song bourrée. Recorded in four villages of Aubrac

Optionally, include the tape counter numbers, or start time position on the item to indicate the beginning of different sections of a lengthy recording. Optionally, conclude the summary with the total duration.

Optionally, give a brief summary or precis followed by a detailed summary if required.

Brief summary: Lady Squire is interviewed about her life in India, Persia and Afghanistan, as the wife of Sir Giles Squire of the Indian Political Services

Interview summary: Family and educational background; securing of a teaching job in India at Hyderabad school; teaching in Hyderabad (Deccan), life at the school, subjects and contacts with the pupils, teachers' living conditions and life outside the school; vacation in Kashmir; marriage to Sir Giles Squire; Lady Squire's health in India, general levels of health; Indore, character of station; character of political service work; memories of a shoot; experiences stationed in Kathiawar; her children and their education; the servants, their quality and work organizing of shopping and supplies in Kabul; Indian friends, welfare and voluntary work, particularly the leprosy unit in Mehed; her opinion of the Indian independence movement; anti-British outburst of a doctor friend; unable to accept presents from Indians; her contact with Moral Rearmament movement; Mehed, modernizing efforts of Shah, inco-operative attitude of people to British; strength of Islam in Kabul; memories of the Quetta Earthquake and its aftermath; highlights of Lady Squire's time in the East, camel excursion in Baluchistan; feeling of safety in India; unpleasant incidents with Congress supporters during Quit India movement; her interest in the sights of India; prohibition of entry into mosques in Meshed, though not in Kabul

Optionally, for wildlife recordings include information in the summary concerning whether the individual is male, female, adult, juvenile or adolescent and what it is doing (e.g. flying, feeding young); and whether it is wild or in captivity. Also temperature and existence of wind or other environment sound) may be included here (see also 7.B.11).

Summary: Adult female mudlark calls as she feeds chicks. The recording is the third of this group made in Namadgi National Park (A.C.T.), on 1989-11-17 at 17:02 hours. Compared with earlier takes, the wind has dropped and cannot be heard on this recording. Temperature at the time of recording is 17 deg. C. (Duration: 25 sec.)

7.B.25. Contents
Expanded from AACR2 6.7B18
See also:1.B.10, 1.G.5, 5.B.4.2, 7.B.14.1

List the titles of individual works contained in, or the parts of, a recording. Give alternative titles in brackets immediately after the title proper. Separate each item in the contents note with a space, double dash, space.

Add to each title any statements of responsibility not included in Area 1 and/or 7.B.7 and which are considered necessary. Where composers, etc, and performers are both given in the contents note, it is recommended that the composers be given first, followed by the performers. The performers are always given in brackets.

Optionally, include the duration (if it is available), or include tape counter numbers, or start time position on the recording.

Optionally, give uniform titles for classical music here.

Optionally, if composer, author, director, etc., has already been given in Area 1 and/or 7.B.7, give only variant composers, authors, directors, etc., here.

Contents: The golden age of rock 'n' roll -- Born late 58 -- Trudi's song -- Pearl 'n' Roy -- Roll away the stone -- Marionette -- Alice

Contents: Dog days (City morgue blues) -- Stranger in paradise

Contents: Dancing queen / B. Andersson, S. Anderson, B. Ulvaeus -- Lay all your love on me / B. Andersson, B. Ulvaeus

Contents: Big bad wolf / C. Högberg (Jerry Williams) -- If I only knew / S. Banks (Lone Rangers)

Contents: D'ya like scratchin'? : special version -- She's looking like a hobo -- Buffalo gals : DJ cut - special stereo -- World's famous (radio I.D.) -- Hobo scratch -- Would ya like more scratchin'? : New York City remix

Area 1: Chamber music / Benjamin Britten
Contents: Fanfare for St. Edmondsbury / (Bo Nilsson, Jan-Olov Hjelm, Rolf Tilly, trumpets) -- Suite, violoncello, no. 1, op.72 / (Frans Helmerson)

Contents: Louise. Depuis le jour / G. Charpentier (Mary Garden, soprano, with orchestra) -- Tosca. Vissi d'arte / Puccini (Maria Jeritza, soprano, with piano)

Contents: The history of democracy (7 min.) -- Democracy in the future (13 min.) -- Democracy here and now (23 min.)

Contents: Cadenza / improvisation (Manfred Schoof Sextett) -- Gewisse kristallinische Gebilde / improvisation (Manfred Schoof Sextett) -- Virtue / improvisation (Manfred Schoof Sextett)
(Recording of collective improvisations performed by Manfred Schoof Sextett)

Innehåll: Romskij cocek / trad., arr. D. Lundberg -- Goce's dance / trad., arr. H. Hurtig, D. Lundberg -- Cigansko skopsko oro / trad., arr. O. Ronström -- Mahala / trad., arr. O. Ronström, H. Hurtig -- Razijin cocek / trad., arr. D. Lundberg

Contents: Tis pretty to be in Ballinderry / trad. -- Captain Coulson / trad. -- Ta Me'Mo Shui / trad. -- What brought the blood / trad. -- The blighted lover / trad. -- The twisting of the rope / trad. -- The blackbird / trad. -- Old Ardboe / trad. -- The old man rocking the cradle / trad. -- Siubhan Ni Dhuibhir / trad. -- Dobbin's flowery vale / trad. -- Going to Mass last Sunday / trad.

Innehåll: Livgardets dragoners marsch (Dragonerna komma) / A. Ericson -- Björneborgarnas marsch / anon. -- Svea banér / J.C.F. Haeffner -- Herzog von Braunschweig / anon. -- Kungliga gardets marsch / anon. -- Der Dessauer / anon. -- Stabstrumpetaren / S. Rydqvist -- Stridskola Nords marsch = Der Coburger / anon.

Innehåll: 1. Pianosonat nr 30, E-dur / Ludwig van Beethoven -- 2. Introduktion och allegro för stråkkvartett och stråkorkester / Edward Elgar -- 3. Symfoni nr 29, A-dur / Wolfgang Amadeus Mozart.

Innehåll: Pojken och den lilla fågelungen = The song of the birds (1935) / directed by Dave Fleischer --Hurra för våren = To spring (194-?) / directed by Hugh Harman, Rudolf Ising

Contents: Split personality / directed by Joel Silver (Joe Pesci, Jacqueline Alexandra) -- People who live in brass hearses / directed by Russell Mulcahy (Bill Paxton, Brad Dourif, Michael Lerner) -- Dead wait / directed by Tobe Hooper (Whoopi Goldberg, James Remar)

Optionally, for medleys, give the title of the medley first (or if there is no title, the term Medley) followed by a colon and a space, and then the parts of the medley. Separate the parts by a space, semicolon, space.

Contents: King Creole / J. Leiber, M. Stoller -- Let's medley: Let's twist again / K. Mann, D. Appell ; C'mon let's go / R. Valens ; Let's have a party / J.M. Robinson ; Let's dance / J. Lee -- Jeannie = Jeannie's coming back / T. Norell, Oson, A. Bard, K. Almgren

For ethnomusicological recordings, include voice type (e.g. male, female, men women, adult(s), child(ren), and whether soloist, choir, group), and description of instrument.

Contents: Praise song for hunters / for male soloist and a small men's choir (3 min., 50 sec.) -- Funeral lament / woman's voice (2 min., 03 sec.) -- Song for grinding karite nuts / Two female voices, a mortar and two pestles (2 min., 23 sec.) -- Dinaba, origin myth / A male soloist and a men's choir; two calabash, rattles & four pair of metal castanets (12 min.)

Contents: Side 1: 1-3. Rain dreaming ceremony : 3 excerpts -- 4. A re-singing of the Rain dreaming songs after the ceremony -- 5. Rain-making song -- 6. Balgan songs -- 7. Djabi song : the Windmill of Wallanie Plains -- Side 2: 1. Wongga dance song series : selected items -- 2. Brolga bird plan songs -- 3. Women's wu-ungka songs -- 4. Morning star, Pigeon, and Rain songs -- 5. Stingray, Dolphin, Curlew, and Shark songs

Title: [Cantal-St Urcize]
Contents: (00) Biographical information on the musician -- (3:52) How to learn and play the cabrette (local bagpipe) -- (6:32) En passant par le bois (Regret) (category of song) / cabrette (local bagpipe) -- (9:12) Bourrée avec picotage "La Mouraillado" / cabrette (local bagpipe) -- (11:55) Les garçons de la montagne : bourrée (traditional dance) / cabrette (local bagpipe)
(Here start time positions on the tape precede the entry for each recorded item).

Alternatively, provide a partial contents to highlight items of particular interest

Partial contents: Complainte pour Ste-Catherine -- Tell my sister -- Swimming song -- Jigsaw puzzle of life

Includes performances by Charlie Mingus: Stormy weather -- Abstractions

Optionally, if the recording contains many short works, make a summary of the contents.

Contains 37 children songs

Contains 42 songs from Dalecarlia

Contains folk music from Finland

Contains another 15 films

7.B.26. Numbers
Based on ISBD (NBM) Area 8
Varied from AACR2 6.7B19

All numbers should be given in Area 8, or its equivalent in Chapter 10.

7.B.27. "With" notes
Based on AACR2 6.7B21

If the title and statement of responsibility area contains a title that applies to only a part of an item lacking a collective title, and, therefore, more than one description is made, make a note beginning With: and listing the other separately titled works in the item in the order in which they appear there.

With: The Truman story

With: Frilly follies -- The shy mouse -- The night hawk

7.B.28. Copy being described
Based on AACR2 1.7B20, 6.7B20
See also: 10.B.7.2, 10.B.7.4

Give important descriptive details of the particular copy being described. This information may vary between different copies of the same recording (see also Chapter 10).

Label autographed by performer

7.B.29. Restrictions and terms governing use
Based on AACR2 1.7B20, 6.7B20
Developed from FIAF 7.2.22, 7.2.23
See also: 10.B.4.2

Restrictions on any access to or use of material may apply to the content of a recording regardless of the number of copies held (e.g. original recording and preservation copy); while a published recording will have restrictions until, through age, its status becomes public domain.

Give information regarding any restrictions on or rights to access and use (copying, broadcasting, publishing) the materials (or any portion thereof) if not apparent from publication, production, distribution, broadcast, etc., details, or information about copyright on the item .

Only to be used in the library

Permission of the collector is required for copying, broadcast or re-publication

Permission of the institution is required for copying, broadcast or re-publication

Permission of the depositor is required for access to material

Permission of the repository is required to cite, quote, or reproduce

Restricted to use by graduate students only

No access to the material is allowed without prior clearance from the depositor

This tape contains ceremonial chants. Access is only available to members of the [name] tribe

Access allowed

If there is a time limit on the restriction on access, the date when it will become available for access is entered here.

Cannot be consulted until 1999

No access to this material is allowed until 2005

Accessible after 2010

Embargo on all access until 20 years after the death of the source

Optionally, commence this note with the term Restrictions followed by a colon and a space.

7.B.30. Availability
See also: 7.B.23

If all or part of the material being described is available (either in the institution or elsewhere) in another format, make a note to indicate this. If only part of the physical item being described is available in another format, indicate which part.

Reference copies available

Access copies available for research use at the Département de la Musique et de la Parole, Musée des Arts et Traditions Populaires

Available as a cassette reference copy (C 3618)

Digital recording of repeat broadcast Oct. 5, 1994, 10.00-10.30 is available

Reference copy held on CD

Reference copies on CD-R

Original recordings made on DAT held in the Drama Department. Access and archive copies are on VHS archive also holds this recording on LP and cassette

7.B.31. Location of related materials
Based on FIAF 7.2.25

When the location of related materials in other institutions is known, give the location of such related materials.

La Phonothèque du Conservatoire Occitan possède les originaux

Bibliothèque nationale de France holds dubbed copies

The Musée des Arts et Traditions Populaires, Paris, holds stills

Also available on CD-R at the Audiovisual Department of the Bibliothèque nationale de France

Sound recordings for this collection held in the Sound archive. Manuscripts and still photographs held in the Documentation Section

7.B.32. Source of acquisition
Based on FIAF 7.2.24
See also: 10.B.3.2.

Give the provenance or method of acquisition of the item in a note. Cite date of receipt, method of acquisition (gift, purchase, deposit, loan, etc.) and source of the material. This information may vary between different copies of the same recording. Note that some archives may choose to maintain this information as non-public information (see also 10.B.2.2-10.B.2.3)

Déposé au Département de la Musique et de la Parole, Musée des Arts et Traditions Populaires, par le collecteur en 1965

Received 1984-05-10 as legal deposit from the record company

Received 1983-02-10 at Maison Méditerranéenne des Sciences de l'Homme-Médiathèque (Aix-en-Provence) as gift from the collector

Dubbed from tapes held by the Yale Oral History archives

Dubbed from tapes held by the Phonothèque du Conservatoire Occitan

7.B.33. Publications
Adapted from OHCM 2.7.B.15

Optionally, give a citation to or information about a recording based on the use, study, or analysis of the material described. If necessary, use appropriate introductory wording (e.g. Publications: or Portions published in:) in order to clarify the nature of the citation.

This song was subsequently issued on a CD in 1989: Traditions chantées en Bretagne : les sources du Barzaz Breiz aujourd'hui. Vol. 1. ArMen-Dastum: SCM 013

The text of the song has been transcribed and published in : Laurent, Donatien, "Aux sources du Barzaz Breiz aujourd'hui", ArMen, 1978

7.B.34. Other notes
See also: 7.B.7.3

Make notes on the notes, notes on the catalogue record and notes that cannot be made anywhere else in this area.

Published sound recording on the occasion of Help-the-children-day

Contents information missing

Contents information insufficient

Programme information missing

Programme information insufficient to identify episode details

No dubbing made

Includes spoken announcement

Opens and closes with applause

The cataloguing is based on the cataloguing made at the Radio archive

5 identical copies of this item are held

With spoken introduction by broadcaster

Applause follows conclusion of performance

7.B.35. Cataloguer comment
Adapted from FIAF 7.2.27
See also: 02_B4

Although normal standards in cataloguing require impartiality of the cataloguer, some archives have found it useful to provide a space where catalogers may record a more subjective evaluation of the content. For instance, cataloguer comment notes may be of assistance when preparing an exhibition or broadcast programme, or to be used by future scholars or researchers to prepare lectures or produce publications.

Record a subjective comment of the contents commencing with the term Cataloguer comment followed by a colon and a space. A cataloguer comment should be brief but informative. The note must include some form of identification of the cataloguer which will be meaningful at least to the originating archive: the cataloguer's initials will usually suffice.

This is a permissive, not a prescriptive rule: a cataloguer comment should be used internally only, and be excluded from any published or public catalogue.

Cataloguer comment: Performer becomes increasingly intoxicated as the recording progresses (AP)

Cataloguer comment: The commentary accompanying this item could be considered sexist and patronising, and is perhaps indicative of male attitudes towards women during the 1950s (HML)

Area 1: Great white wonder / Bob Dylan

Cataloguer comment: These white labelled discs are believed to be an example of the 1969 bootleg release of this double album (OJ)