3 – General cataloging principles

3.1 – Cataloging language

Language

The section Language clarifies the use of English and other languages in Muscat.

Use of English vs. other languages

English terminology or standardized English abbreviations are required in some fields. When English is required, it is indicated in the guidelines for the applicable field.

In other fields, non-English languages are permitted.

Cataloging language

When English is not required, you may use what the guidelines refer to as your cataloging language. RISM allows the following cataloging languages: English, French, German, Italian, Portuguese, and Spanish.

Other languages are allowed as long as a summary is provided in one of the six cataloging languages. The guidelines always state when you cataloging language may be used.

In the guidelines that follow, the phrase “cataloging language” refers to the practice of using either one of these six languages or a different language plus a translation into one of the six.

Your cataloging language for Sources can be indicated in the field Cataloging language (040 $b).

Transliterations

National groups are responsible for determining what transliteration tables should be used when transliterating their language.

3.2 – Cataloging collections

Cataloging special types of sources

This section describes how to catalog special types of sources: collections, composite volumes, contrafacta, compilations, parodies, insertion arias, mixed materials (manuscripts and printed items stored together), music in periodicals, music in non-music publications, collected works (sometimes called “monuments”), librettos, treatises, keyboard arrangements, and sources from other RISM Series B publications.

Collections

In RISM, the word collection refers to any item (whether manuscript or printed) that contains two or more pieces. This includes both intentional collections or anthologies, as well as items that were not necessarily intended as collections by their creators (such as a piano sonata with a short march on the last page).

Collections in RISM have a parent/child hierarchy, meaning there is one main entry (parent record) that describes the collection as a whole, and individual entries (child or analytical records) that describe each piece therein separately.

Collection parent records may not contain collection parent records of manuscripts. There are no smaller collections within collections, even though the item itself may be structured this way. Instead, use a flatter hierarchy by means of child records and explain the structure, makeup, or organization of the item in a note. For example, if a collection consists of a single march followed by a set of six sonatas, you will create 1 parent record and 7 individual entries, one for each piece. Even if the six sonatas can be considered as a unit, they must be described separately. The parent record can explain the organization of the collection and notes in the child records can explain that each sonata is part of a set.

When cataloging collections, note that:

1. The collection main entry (parent record) should contain information that applies to the entire collection.
2. Any information that is relevant only for some sections of the collection should be entered in the child record.

If the works in the collection have different composers, scoring, source types, etc., then do not enter them in the parent record.

Composite volumes

A composite volume consists of items that were created separately but later bound together, typically by an owner or institution. There are many other names for such volumes in English: binders’ collection, binders’ volume, bound sheet music, bound-with, collectors’ volume, factitious volume, nonce volume, recueils factices, Sammelband, tract volume. Composite volumes include volumes in which individual printed items are bound together, as well as volumes in which printed items and manuscripts are bound together.

There are two ways to indicate a composite volume. The first, and simplest, way is to catalog the items separately and give the items the same shelfmark; a bound-with note is also helpful. The second is to use the template for a composite volume record.

The composite volume record serves as means to link all bound items to a single record, thus providing the user with a convenient overview of the entire contents of a bound item.

Records for a composite volume should be kept simple. In principle, the record simply describes the binding and serves as a means to connect the individual items to each other.

Do not confuse composite volumes with collections; see “Collections,” above, for the use in RISM. Furthermore, do not confuse composite volumes with printed editions: a printed edition is single bibliographic unit that was issued by the publisher as such. Both collections and printed editions can contain multiple pieces. In contrast to this, composite volumes bring together disparate units: for example, a printed collection of madrigals from 1604, a manuscript of a motet from 1620, and a printed edition of madrigals from 1614.

As with collection parent records, the information given in the composite volume record should be true for all of the components of the volume, and remember that detailed information related to the music belongs in the respective bibliographic records. Do not create separate records for multiple composite volumes that belong together, such as a set of partbooks bound by voice type; these should be described in the same record. In many cases, you will be leaving a lot of fields blank.

When describing a composite volumes creating the links, observe the following. As an example of a composite volume, see RISM ID no. 1001077677, a bound collection of 10 piano pieces by Chopin that were published ca. 1846-1857.

1. First, create the record for the composite volume, save, and note the RISM ID number.
2. For manuscripts: In the editing mode of the record for your manuscript, go to the field Parent record (773). Click the second button to search for the composite volume.
3. For printed music: In the holdings information for the printed edition, find the field Bound with (973) and click the magnifying glass. Find the record for the composite volume and select it.

Contrafacta

Contrafacta are vocal pieces in which the text is changed without significant change to the music, such as retexting a secular work with sacred text, or the other way around. The derivation is almost mechanical; there is little creativity on the part of the arranger, but there is a significant change in the musical purpose (such as from a theatrical context to a religious one).

Note that RISM considers contrafacta to be separate from parody and parody masses, which typically involve a more significant transformation of the musical material.

Take note of the following fields when cataloging contrafacta. RISM ID no. 300234487, a sacred contrafactum of an aria from Josef Mysliveček’s opera Il Bellerofonte, will be used as an example.

• Composer (100)
  Enter the composer of the original music.
• Mysliveček, Josef
• Standardized title (240)
  Use the standardized title of the original piece. Excerpts may be added. Do not use Arr.
• Il Bellerofonte. Excerpts
• Alternative title (730)
  If there is a new, distinct standardized title for the piece in hand, you can enter it here. Do not enter text incipits here.
• Subject headings (650)
  Add at least 3 subject headings (more if appropriate), in this order: Contrafacta – Current genre – Original genre.
• Contrafacta
• Sacred songs
• Operas
• Description summary (520)
  Add a short description in English that explains the situation as a benefit to other RISM users.
• Sacred contrafactum of an aria from Mysliveček’s opera Il Bellerofonte.
• Language of text (041)
  Fill out both of these fields:
  Language of text (041 $a): The current text of the source in hand
  Language of original text (041 $h): Language of the original piece
• Language of text: Latin
• Language of original text: Italian
• Text incipit (031 $t)
  You will enter two text incipits (use the + to add a new line):
  The text incipit of the current text
  The text incipit of the original text, if known, in square brackets.
• Alma redemptoris mater, quae pervia caeli
• [Giusti dei che ben vedete]
• Other fields
  All other fields, such as liturgical feasts and instrumentation, should refer to the source in hand, that is, the contrafactum itself, and not the original work on which it was based.

Compilations

Compilations are new, independent works made from parts of one or more other works and can also include new material. Frequently, the resulting work is of a different genre than the component parts, such as when arias or duets from an opera become a cantata, or excerpts from an opera become an instrumental suite. This also includes pasticcios. While the boundary between a compilation and a pasticcio is not always clear, pasticcios can be generally be characterized by one of these features: (1) arias, duets, or larger parts of dramatic works that are adapted to a new libretto; (2) several independent works combined to create a new work; or (3) collaborative compositions conceived as such from the beginning.

Compilations may be entered on a single record, or they may be entered as collections.

Take note of the following fields when cataloging compilations.

• Composer/Author (100)
  The composer is always Compilations.
• Additional personal name (700)
  The name of the compiler can be added with the function Editor.
  If you have a compilation, enter the composer(s) of the original material and select the function Composer cross-reference. Enter the composer(s) of the new material and select the function Co-composer.
  If you have a pasticcio, do not enter composers as a composer cross-references. Instead, enter all composers as a Co-composer.
• Standardized title (240)
  Enter the standardized title of the source in hand. For pasticcios, add Excerpts or Arrangement as appropriate.
• Language code (041)
  For the field Language of text, enter the language of the source in hand. If appropriate, the language of the original work can be entered in Language of original text.
• Subject heading (650)
  The first subject heading should be Compilations and/or Pasticcios. The second should be the genre of the source in hand. If you have excerpts, the genre of the excerpt can be added. Collaborative compositions is also an option.
• Description summary (520)
  Use this field to describe in general the nature of the source.
• Act 1 by Amadei, act 2 by Bononcini, overture and act 3 by Händel
• Alternate title (730)
  Enter the standardized title of the original piece(s), adding Excerpts or Arrangement as appropriate. You can also enter ossia titles.
• Catalog of works (690)
  You can enter the catalog of works number for both the compilation and the original works.
• Text incipit (031)
  Enter the text of the source in hand. If known, enter the original text in square brackets.
• General note (500)
  Always use a note for clarification, especially if the works of separate composers are involved. This ensures that the composers are matched to the works used in the compilation.
• Note on performance (518)
  Performances should be noted only as they relate to the compilation itself.

Examples of compilations

• 230001408: Cantata made from opera arias with newly composed recitatives
• 702000623: Suite made from parts of an opera
• 700007222: Several works by a single composer used to create a new cantata
• 702000642, 702000643: Several works by several composers used to create a new suite
• 452505748: An opera pasticcio consisting of 3 acts by 3 different composers

Parodies

A parody is a composition based on pre-existing material that results in a new work. In the 19th century, the term gains a satirical flavor.

The record 150205470 will be used as an example.

• Composer (100)
  Enter the composer of the music for the source in hand.
• Weyse, Christoph Ernst Friedrich
• Additional personal name (700)
  Enter the composer of the pre-existing material and select the function Composer cross-reference.
• Rossini, Gioachino
• Standardized title (240)
  Enter the standardized title of the source in hand.
• Dannemark hellige lyd
• Additional title (730)
  Enter the title of the pre-existing material. Add Excerpts as appropriate. Do not use Arrangement or Variations.
• Tancredi. Excerpts
• Subject heading (650)
  Enter Parodies as the first subject heading. Enter the genre of the source in hand for the second, and the genre of the pre-existing material as the third.
• Parodies
• National anthems
• Operas
• Language code (041)
  Enter the language for the source in hand in the field Language of text. Enter the language of the pre-existing material in the field Language of original text.
• Danish
• Italian
• Text incipits (031)
  Enter the text incipit of the source in hand. If the original text is known, enter it in square brackets.
• Dannemark hellige lyd
• [Di tanti palpiti]
• Other fields
  All other fields, such as performance information, should relate only to the source in hand.

Insertion arias

Operas that include insertion arias (also called suitcase arias or interpolated arias) should be cataloged with at least three records: a parent record (collection main record) for the opera as a whole, a record for the original movements of the opera (which will contain most of the incipits), and a record for each of the inserts.

Inserts that are separated from a larger work should be cataloged separately. A link to the work into which it was inserted can be indicated in the field Related source (787).

The usual rules apply when creating the parent record and the record for the main opera. Observe the following when cataloging the insert. Note that all fields (such as date of composition and scoring) pertain to the insertion only.

• Composer (100): Composer of the insertion
• Additional name (700): Composer of the larger work, such as an opera
• Standardized title (240): Title of the insertion, or the name of the opera followed by Excerpts
• Additional title (730): Title of the larger work, plus the subheading Inserts
• Subject heading (650): Enter three: Insertions, the genre of the insertion, and the genre of the larger work
• Related source (787): Indicate the larger work into which this piece was inserted and select the relationship type Insert in. Add a brief remark in the field Note to explain the nature of the insert, such as where it is located within the larger work.
• General note (500): Any additional information can be added to make the relationship of the insert within the larger work (if known) clear.

Mixed materials (manuscripts and printed items stored together)

It is not uncommon for manuscript and printed items to be found together in the same folder or with the same shelfmark: for example, a printed score with handwritten parts, or a group of printed parts together with some handwritten ones.

Always strive to catalog the printed material in a separate record, because it is possible that other libraries have copies of the same edition. Create one record for the printed item, add your holdings, and create another record for the manuscript materials. Use the field Related source (787) to point from one record to the other.

If it is not feasible to create an adequate record for the printed material, proceed as follows: Catalog your material using a manuscript template. In the material description section, describe the manuscript materials. Add an additional material group, and describe the printed materials.

Music in periodicals

There are two ways to catalog periodicals that contain music: as a collection or as a single work. In either case, the title of the periodical, with the issue number and year, is entered in the field Additional title (730).

Collections

Collections can be appropriate when the periodical consists of all or mostly music and the item was collected and preserved as a whole. Holdings are attached to the collection level. Individual entries are created for each piece in the issue.

Example

1001097294: January issue (precise year unknown) of the Kleine Pianoforte-Bibliothek, containing 5 pieces. There is one record for the collection parent record, and five individual entries for each piece.

Single works

Single works can be appropriate when works were included as insertions or additions to periodicals without a notated music focus. Frequently, such items are preserved outside of their original publication context (for example, a song was torn out of the periodical).

Examples

• 991018149: “The Pantheon” published in The Lady’s Magazine, August 1784
• 990042111: “L’amour folâtrant l’autre jour” published in Nouveau Mercure galant, May 1679

Music in non-music publications

RISM includes music found in printed publications that are not primarily music documents. The focus of the RISM record is nevertheless the music.

As an example we will use RISM ID no. 990026614, three songs by John Isaac Hawkins that were published in Charles Willson Peale’s Discourse introductory to a course of lectures on the science of nature (1800).

• Composer/Author (100): The composer of the music
• Additional Personal Name (700): The author of the book, with the function other
• Title on source (245): The title of the book
• Standardized title (240): A standardized title according to RISM rules, such as 3 Songs
• Physical description (300): A description of the music, such as 1 score: 5 p.

Individual entries are then created for each piece, following normal RISM rules. A General note (500) is useful to give more information such as the context of the music within the book or the total pagination of the book.

Collected works and monuments

Volumes that are part of collected works editions or monuments of music are treated like separate publications and are cataloged as one record per volume. Such volumes will usually consist of a parent record for the edition and individual entries for each piece contained therein. The name of the series is entered in the field Additional title (730).

Observe the following fields in particular when cataloging volumes in collected works. We will use RISM ID no. 1001200051 as an example, a volume of masses in the series Wolfgang Amadeus Mozart’s Werke.

• Title on source (245): Multiple title pages and half titles are frequently present. Choose one as the chief source of information and enter it as the Title on source. Make sure to indicate at the beginning of the field what page is being transcribed, for example [title page] or [p. iii]. Enter all other titles in the field Variant title on source (246).
• Variant title on source (246): Due to the prevelance of reprints and variant editions of collected works, it is best practice to include all other title pages or title indications in this field. This will ease identification by other users if they have in hand a copy with varying front matter.
• Additional title (730): Enter the name of the series, following the conventions of the series, including the volume number.

Librettos

Observe the following when cataloging librettos.

• Composer/Author (100): Enter the author of the libretto. Do not use this field for the composer of the music.
• Additional personal name (700): A useful function is “conceptor,” such as the author of a play that a libretto was based on. Only enter a composer’s name as a cross-reference if named on the source.
• Additional institution (710): Do not forget to index the name of the publisher (for printed librettos).
• Standardized title (240): The fields “Arrangement statement” and “Key or mode” are not relevant here. If the libretto includes notated music, indicate the key in the music incipit (031) only.
• Additional title (730): If the libretto was based on a book or play, the title of the original work can be entered here.
• Subject heading (650): If known, enter the name of the genre for which the libretto was written, such as “Operas” or “Cantatas”. “Librettos” is not necessary.
• Language code (041): Use the field “Language of text” only if the libretto contains notated music with words.
• Source type (593): Select the source type. For the content type, select “Libretto.”
• Physical description: Format, extent (300): Use the phrase “text document” to describe the format of the libretto. An example would be: 1 text document: viii, 27. p.

Treatises

When cataloging treatises, the field Format, extent (300 $a) should generally include “text document” as the format.

Appropriate subject headings for treatises include the following:

• Treatises
• Writings
• Music theory
• Theory of harmony
• Tutors (inst.): Includes methods and schools
• Tutors (voc.): Includes methods and schools
• Contrapuntal studies (inst./voc.)
• Solfeggios (voc.)
• Solfeggios (inst.)
• Scales (inst./voc.)

Additional subject headings may be added.

The boundry between treatises and method books can sometimes be a thin one, and it is up to the cataloger to decide whether to catalog methods as treatises or music editions.

Keyboard arrangements

Specify keyboard arrangements as follows.

• In the field Standardized title (240):
  • Select Arrangement next to Arrangement statement.
  • Under Scoring summary, enter the scoring of the arrangement, such as pf or V, pf. Do not enter the scoring of the original work.
• In the field Total scoring (594), enter the total scoring of the arrangement. Do not enter the scoring of the original work.
• In the field Physical description (300), use keyboard score if the work has been reduced for piano. Use vocal score if the work has been reduced for voice and piano.

Sources described in RISM Series B publications not yet in Muscat

There are currently no projects underway by the Editorial Center to systematically add sources described in RISM’s Series B publications. Nevertheles, RISM contributors are welcome to create new records for such sources. If you add items to Muscat that are described in a B volume, fill out the field RISM Series (510) in the Administration section and indicate what book the description was found in. The Editorial Center will see the new record and ensure all information from the book (including other holding libraries) is in the new record.

3.3 – Templates

Records and record types

A new record can be created in Muscat by either selecting the appropritate template or by copying an existing record. Links to both are on the Source page or the full record view.

Templates

Muscat offers templates for different sources. A template offers only those fields that are needed for the source in hand.

If you see that a record is in the wrong template, notify the Editorial Center to have the template changed.

Available templates

A record for a Collection (parent record) is used when the item contains multiple pieces. Each piece in the collection is then entered as an Item in a collection (child record) and linked to the collection record. Manuscripts and printed editions can also exist as Single items that are not part of collections.

A Composite volume consists of items that were created separately but later bound together, typically by an owner or institution. This includes volumes in which printed items are bound together, as well as volumes in which printed items and manuscripts are bound together.

Manuscripts are unique to a library and can only be owned by one institution. Printed materials have holdings, meaning that multiple libraries can own copies (exemplars) of an edition.

The libretto/song text template is used for documents that contain texts that clearly represent a sung musical performance. Most commonly, these are books that contain the words of an opera or other long vocal work, but they can also be collections of text-only books such as hymnals or Christmas songs. Such publications are sometimes known as songsters, pocket books (frequently labeled as such on the source), or tunebooks.

The treatise template is used for documents that explore theoretical aspects of music, including points of composition or performance.

Both librettos and treatises may contain notated music, and the line between a libretto or treatise and music might not always be a clear one.

The following templates are used in Muscat for Sources. Templates are encoded in the MARC record’s Leader, positions 6-7.

Handwritten materials:

• Music manuscript
• Collection (parent record) [LDR: dc]
  • Item in a collection (child record) [LDR: da]
• Single music manuscript [LDR: dm]
• Libretto/Song text
• Collection (parent record) [LDR: dc]
  • Item in a collection (child record) [LDR: ta]
• Single libretto/song text [LDR: tm]
• Treatise
  • Collection (parent record) [LDR: dc]
  • Item in a collection (child record) [LDR: ta]
  • Single treatise [LDR: tm]

Printed materials:

• Music edition
• Collection (parent record) [LDR: cc]
  • Item in a collection (child record) [LDR: ca]
• Single music edition [LDR: cm]
• Libretto/Song text
• Collection (parent record) [LDR: ac]
  • Item in a collection (child record) [LDR: aa]
• Single libretto/song text [LDR: am]
• Treatise
  • Collection (parent record) [LDR: ac]
  • Item in a collection (child record) [LDR: aa]
  • Single treatise [LDR: am]

Composite volumes:

• Composite volume [LDR: pc]

Copying existing records

There are two ways to copy a record.

From the template selection screen: Simply enter the RISM ID number in the field “Create from existing source.” You will then see a copy of the record in the editing mode and from there you can make any changes to the record that you need. The copied record will automatically receive a new RISM ID number upon saving.

From the full record view: When viewing any record in Muscat, you can click the “Duplicate” button in the sidebar on the right and a copy of the record in the editing mode will be displayed.

Catalogers may duplicate any record in Muscat, including records that were created by a different library. Editing permissions still apply, so catalogers will not be able to save a record for institutions that they do not have permissions for. Duplicating records saves time when cataloging one’s own collections (especially if the content is similar throughout), but catalogers can also take advantage of records created by other libraries, especially if a record has extensive music incipits, or in the case of cataloging reprints where the contents are the same or similar. Only one record at a time can be duplicated.

The Plaine & Easie code for any music incipit may be copied from the full record view of any record. Above the music incipit, simply click on the link PAE Code and you can copy and paste the music incipit code that is shown.

3.4 – Authorities

Authorities

The Authorities section of Muscat collects all authority files, controlled vocabulary, and indexes, and ensures that terminology is consistent throughout Muscat. Each of these is described in brief below. Full guidelines are included within each authority file.

Digital objects

The digital objects database collects all of the images (typically watermarks, handwriting samples, or bindings) and MEI incipits that are attached to records in Muscat. You can attach digital objects to sources, people, and institutions.

Institutions

The authority file for institutions (corporate names) describes non-persons that appear in connection with a source or other authority record in Muscat. This authority file contains both modern institutions (such as a library with a RISM library siglum) and historical corporate bodies (such as a publisher or an orchestra). Institutions can be linked in the field Additional institution (710 $a) in Sources, Related institution (710 $a) in Institutions, Associated institution (510 $a) in Personal names, and Additional institution (710 $a) in Secondary literature.

Liturgical festivals

The index of liturgical festivals collects religious holidays and feast days. Liturgical festivals can be linked in the field Liturgical festival (657 $a) in Sources.

Personal names

The authority file for personal names describes all people that are connected to a source or other authority record in Muscat. Personal names can be linked in the fields Composer/Author (100 $a) and Additional personal name (700 $a) in Sources, Person (700 $a) in Institutions, Related personal name (500 $a) in Personal names, Author (100 $a) and Additional personal name (700 $a) in Secondary literature, and Composer (100 $a) in Work nodes. RISM is a contributor to VIAF (Virtual International Authority File) so names contributed to RISM are sent to VIAF on a regular basis.

New names can be edited by the record owner for two months after creation. Catalogers are encouraged to fill out as much information in the authority record as they can, including links to VIAF, biographical information, and alternate spellings. After two months, control of the record goes to the Editorial Center. Additions are still welcome and can be communicated through the comment function or by sending an email to Alexander Marxen.

Places

The index of places collects the names of locations, including historical geographic names. The index is built from places entered in the following fields: Location of performance (651 $a) in Sources, Geographic name (551 $a) in Personal names, Related place (651 $a) in Secondary Literature, and Place (551 $a) in Institutions.

Secondary literature

The database of Secondary literature enables catalogs of works, thematic catalogs, books, articles, encyclopedias, online resources, critical editions, modern performing editions, etc. to be cited in Muscat records. Secondary literature is linked through the Short tile (210 $a) in the fields Catalog of works (690 $a) and Bibliographic reference (691 $a) in Sources, Literature (670 $a) in Institutions, and Source data found (670 $a) in Personal names.

Subject headings

All subject headings, musical forms, and genres are collected here. Some records include translations or explanations as to the scope of the subject heading. Subject headings are linked through the field Subject heading (650 $a) in Sources and Subject heading (650 $a) in Secondary literature.

Titles/Text incipits

The Title/Text incipits index collects the titles entered in Sources from the fields Standardized title (240 $a) and Additional title (730 $a), as well as the text incipits entered in the field Text incipit (031 $t).

Work nodes

The Work nodes serve as a link between sources in Muscat and external work authorities. Within Muscat, they group sources sharing the same external work authority ID number. A link to an existing, external work authority, preferably to the GND from the German National Library (DNB), is required to create a work node.

Work nodes are not exported as authority data, and work nodes do not have external ID numbers. They are linked in the source records through the field External work reference (Work node) (930), and link to the external authority through that authority’s work ID number.

Contact the RISM Editorial Center if you wish to create work nodes.

3.5 – Scope of printed music in RISM

Printed editions in RISM

The section Printed editions in RISM outlines some considerations that are particular to printed music, including the scope of printed editions in RISM, core records vs. copy-specific information, when to input a new record, standardized titles, multiple copies, record splits and mergers, and printed editions from Series B.

Scope of printed editions in RISM

RISM seeks to document printed music from the beginnings of music printing through around 1945.

In the course of the 20th century and up to today, we see a sharp increase in commercial music publishing and distribution. The amount of music considered “rare” or undocumented through other resources is much less when compared to previous centuries. Music published by modern commercial publishers, printed in large quantities, widely available, and meant for active use by library patrons would be better documented in cooperative library catalogs such as WorldCat.

RISM will consider printed music that falls outside of its scope on a case-by-case basis. Relevant cases could include defunct publishers or smaller, regional publishers of historical significance, or modern editions that are part of a collection with historical value, such as the private library of an individual.

Core records vs. copy-specific information

Muscat has a two-tiered structure for printed editions: a core bibliographic level and the holdings level. Information that is true for the edition as a whole is entered on a core bibliographic level, and information specific to a library’s copy is entered on the holdings level.

Information for the core level includes composer, publisher, title, instrumentation, plate number, and format. Information for the holdings level includes holding library, shelfmark, missing parts, handwritten additions, previous owners, bindings, and ownership stamps. MARC fields on the holdings record are linked through $3.

When to input a new record

RISM treats each manuscript as a unique item and therefore each manuscript has its own RISM record. Printed materials are different, however, in that multiple copies of the same edition can be described using the same record; here, libraries simply add their holdings information and note any copy-specific differences. Even though Muscat has records for over 125,000 printed editions and chances are high that records already exist for music published before 1800, catalogers might notice significant variations that mean a new record must be created.

The following offers guidelines as to which variations justify a new record and which do not. (This section draws heavily from Descriptive Cataloging of Rare Materials (Music)).

A new record is required if your item shows one or more of these differences when compared to the RISM record:

• Different content: Differences in the title or authors/contributors. Edition statement that indicates corrections, revisions, expansions, abridgments, or the inclusion of supplementary materials.
• Different publisher.
• Different setting of the printing type: Different plates (excluding replacement plates). Changes in the statement of extent. Change in bibliographical or musical format. Differences in music line-endings and catchwords (revealed by the comparison of multiple copies).
• Different publication status: An original title page has been canceled and replaced. A new label is covering the original publication, distribution, production, etc., statement and indicates a new publisher. Original sheets have been issued in a new publisher’s cover bearing more recent information than that provided on the title page. Series title page is new.
• Different plate and/or publisher numbers.

Do not create a new record if your item has one of these differences. If your item has more than one of these differences, you must decide if a new record is necessary.

• Different statement of printing: For example, “Fifth printing”
• Different printer or other manufacturer but same publisher
• Different printing date but same publication date
• Different publisher’s cover that does not provide evidence of a discrete publishing unit (for example, a change of color in publisher’s cloth)
• Different kind of binding from the publisher
• Different publisher’s advertisements or catalogs (unless they are integral to the publication)
• Corrections made in the course of a single press run (stop-press corrections)
• Presence or absence of an errata slip

These guidelines mean that a single record can be used to represent multiple impressions, states, and binding variants relating to a single edition or issue. In your holdings information, you can enter details about variants and information specific to your copy.

Examples

Example 1: You are looking at RISM ID number 1001031016: Beethoven, “Adelaide,” op. 46, no date, Bonn, N. Simrock, text in German and French. Spelling error on title page: “à une vois [!] Seule”.

1. Copy 1: Same publication information but spelling has been corrected. This alone would not warrant a new record, but there is an additional text language in Italian. New record required (different content/expansion). Result: 1001031017

2. Copy 2: As copy 1, but a price has been engraved on the title page. Do not create a new record (no evidence of discrete publishing unit). Add your holdings and mention the price in the holdings information.

3. Copy 3: As RISM ID number 1001031016 (but spelling has been corrected), but an additional publisher is named: “chez L. PLATTNER à ROTTERDAM.” New record required (different publication status). Result: 1001031022

Example 2: You are looking at RISM ID number 990044663: Mozart, Quartets, Bonn, Köln, N. Simrock.

1. Copy 1: Same title but a label has been stuck over the publication information: Köln, P.J. Simrock. You can see that the label is covering up the Bonn/Köln information. New record required (different publication status/label indicates a different publisher). Result: 1001141767

Example 3: You are looking at RISM 990024126: Gyrowetz, Symphonies, op. 9. The RISM record represents a set of multiple symphonies. Each symphony is available as a separate publication with separate plate numbers, issued as livres 1, 2, and 3.

1. Option 1, the quick solution: If your library only has one of the items in the set, add your holdings and in the field “Material held” note which symphony (livre) you have.
2. Option 2, a better solution, but takes more time: Notify the Editorial Center about this record and we will split the record into 3, one record for each symphony. Then, add your holdings to the record for the symphony you have.

Standardized titles for printed music

Distinctive titles

Printed music bears distinctive titles much more frequently than music manuscripts do. Observe the following for the field Standardized title (240) when cataloging printed music.

1. Spelling

Enter standardized titles using modern orthography, but do not overcorrect archaic usage or dialect/regionalisms. Frequent changes include v to u, i to j , y to i, and uu to w. Additional variations can be entered in the field Additional title (730).

Example

• RISM ID no. 991009151
• Title on source: Musicalische Grab=schrifft.
• Standardized title: Musikalische Grabschrift

1. Deriving a standardized title

Standardized titles should consist of the title of the print up to a natural break, frequently a comma, period, or a statement of the author, instrumentation, number, or imprint. Sometimes a distinctive title appears on a page other than the title page.

Examples

• RISM ID no. 990003743
  • Title on source: Vezzo di perle musicali modernamente conteste alla regia sposa effigiata nella sacra cantica; opera ventesima terza
  • Standardized title: Vezzo di perle musicali
• RISM ID no. 990006458
  • Title on source: Novo giardino de concerti a quattro voci, per cantare a due chori con due voci, e due tromboni, o altri stromenti, o voci, secondo la comodità de cantori … nel quale li contengono alquante antifone del cantico della Beata Virgine, di alcune solennità principali del anno, & altri motetti, con il basso principale per l’organo, opera undecima
  • Standardized title: Novo giardino de concerti

Generic titles

Standard RISM rules for generic titles apply (see Standardized title (240)), but bear in mind that even generic titles, especially in older imprints, are frequently cited in the literature as if they were distinctive titles. Use the field Additional title (730) to enter such titles in a standardized form. For guidance, refer to standard reference works such as Grove and MGG, and authority files from the Library of Congress or VIAF. If the title indicates that the item has an affiliation with another item, such as libro/Buch/livre or Teil/part/tomus, enter the component in the original language (but standardized spelling) and the Arabic numeral following the title.

Examples

• RISM ID no. 990048285
  • Title on source: CANTVS | IOANNIS PETRALOYSII | PRAENESTINI | Missarum cum quatuor, quinque, & sex vocibus. | LIBER DVODECIMVS. | Nunc primum in lucem editus. | VENETIIS, Apud Haeredem Hieronymi Scoti. MDCI
  • Standardized title: Missarum, liber 12
  • Additional title: 6 Masses
• RISM ID no. 993000147
  • Title on source: Ander Theil | Der Preussischen | Fest-Lieder/ | Von Ostern an biß Advent | Mit 5/ 6/ 7/ 8. Stimmen. | JOHANNIS ECCARDI MULHUSINI THURINGI, | vnd | JOHANNIS STOBAEI GRUDENTINI BORUSSI. | Beyder Chur: vnd Fürstlicher Brandeb. Capell= | meistern in Preussen. | DISCANTVS. | Gedruckt zu Königsberg durch Johann Reusnern An: 1644.
  • Standardized title: Preussische Festlieder, Teil 2

Multiple copies in one institution

If your institution owns multiple copies (exemplars) of the same printed edition, create separate holdings records for each copy.

Microfilm copies

Microfilm copies of printed editions are not added as separate copies but are described with the holdings information of the original copy on which the microfilm is based. Notify the Editorial Center if you wish to mention your microfilm copy but cannot edit the holdings record. Links to a description of the microfilm in your institution’s local catalog may be added if available. If the microfilm is available digitally, it can be added as a link to an external resource (856).

Example

• RISM ID no. 990052954, copy in B-Bc:
  Mikrofilm im Deutschen Musikgeschichtlichen Archiv (D-Kdma) vorhanden
• RISM ID no. 1000000576, copy in D-B:
  Digital copy of microfilm available from DiZbi.HAZU | Digitalna zbirka i katalog Hrvatske akademije znanosti i umjetnosti

Record splits and mergers

Background

RISM’s first cataloging projects from the 1950s to 1970s focused on printed music. Many shortcuts were taken related to the challenges of collating catalog cards from the worldwide network of RISM contributors, and the space limitations of printed books. The volumes published in RISM’s series A/I, B/I, and B/II frequently necessarily summarized multiple editions into a single entry and alluded to potential points of differentiation without further elaboration. At the same time, having multiple contributors at times resulted in the same edition unwittingly being described multiple times but from different access points.

Today, the online environment allows the flexibility to have one record describe one edition. This means that records that describe multiple editions should ideally be split, and multiple records that describe the same edition should be merged.

Record splits

A record must be split when there is evidence that multiple, distinct printed editions are described in one record. The implication of a distinct edition is that it was conceived as a unit by the publisher and was available on its own on the market. The result is that consumers (and later, libraries) were able to acquire the edition on its own, with or without the other editions in the series or set.

You can recognize the presence of distinct editions through conventions such as the following that will appear in the records.

The field Title on source (245) will often mention multiple parts or several keys:

• Concerto [A (B, Es)] à flûte principale … N|o 1 (2, 3)
• Sinfonie [C, F, A] à grand orchestre
• Concert pour la flûte traversière … libro I(-VI)
• Divine harmony. Six select anthems … (Divine harmony. The 2|d collection being select anthems …)

The field Plate number (028) will list multiple plates, with successive plate numbers in parentheses:

• 1192
• (1198)
• (1199)
• (1217)
• (1218)

The field General note (500) or the holdings information will mention multiple editions, usually in German or English:

• Multiple editions
• GB-Lbl (2 verschiedene Ausgaben)

In the holdings information there are usually indications that only a certain part or book is held, and the language of the indication will generally follow the language of the edition’s title:

• F-Pc K-733 [libro II]
• D-F Mus. pr. Q 55/349 [livre 1]
• CH-Bu [2., 3. Buch]

In cases of record splits, the RISM series number is carried over to all new records.

Record mergers

Catalogers should be aware that duplicates in the database can sometimes be found. Some duplicates originated in the printed RISM A/I or B series: pasticcios or other collaborative works were entered under multiple composers, an edition classified in the B/I series was also published in A/I, or an edition was simply entered twice within a long list. In addition, sometimes catalogers inadvertently create duplicate records.

Duplicate records are not allowed and must be merged when identified. When merging records, criteria are in place regarding what record will be the final record and what record will be merged. Preference is given to the A/I or B/I record (generally identifiable through a RISM ID number that begins with 990 or 993), and an older record is preferable to a newer record (identifiable through the record’s creation date). Holdings are transferred to the final record and when appropriate the edition is used as the examination copy. A note such as “This record was merged with RISM ID no. XXX” is always included to keep track of the old RISM numbers.

Procedure

Record splits and mergers can only be carried out by the Editorial Center and are done on an ad-hoc basis. If you notice a case when records should be split or merged, contact the Editorial Center.

Printed editions from Series B

The Editorial Center carried out automated imports for the entries in A/I and B/I. While further automated imports are not planned for other volumes in series B, it is welcome and desirable for RISM contributors to add editions found in B volumes by hand. When so doing, fill in the field RISM series (510) to indicate what series the edition is in. Notify the Editorial Center of such additions so that we can add other holding libraries in accordance with the descriptions in the B volumes.

3.6 – Material groups

Material groups

The section Material groups explains the levels of detail possible in the section Material description in Muscat.

Various fields and subfields are repeatable throughout Muscat, but the entire section Material description itself is repeatable and is called a Material group. By default, each source record in Muscat has one material group and each field belonging to the material group is indicated in the MARC encoding through $8, starting with $801 for the first material group. When further groups are added, the group numbering in the MARC encoding is continued.

The Material Description section offers flexibility in terms of the level of detail that can be supplied. Descriptions can be given in general terms, or information regarding source types, dates, copyists, etc. can be clearly differentiated. Some fields found elsewhere in a source template are also available here to allow further differentiation between elements related to the source in general and a material group in particular.

As an example, 1 score and 10 parts can be described in different ways. The simplest way is to state one score in the field Format, extent (300 $a) and repeat the subfield to state the ten parts. Alternately, the field Physical description (300) can be repeated to enter different dimensions for the score and parts.

For catalogers going into a lot of detail, creating one material group for the score and one material group for the parts allows you to assign different dates, copyists, watermarks, and other information specific to just that score or just those parts. Parts can even be described in smaller groups if necessary. It is up to the cataloger’s judgement to decide how to group material, whether based on source type, date, format, or other criteria.