4 – Cataloging guidelines for musical sources

4.1 – Library information

4.1.1 – Library siglum

Library siglum (852)

The field Library siglum is for information about the library or institution that holds the source (also known as the holding library).

Library siglum (852 $a)

Required field.

Enter the siglum of the holding library. This field is linked to the Institutions authority file. The name of the library is displayed in the field Library ($e).

Department (852 $b)

Enter more specific location information, in particular for large libraries, if not named in the siglum itself. Enter the name of the department in the local language. You may include a translation in square brackets in your cataloging language.

Examples

• Music Department
• Collezioni speciali
• Zakład Zbiorów Muzycznych [Music department]

Provenance (852 $z)

This field can be used to indicate the name of a special collection, such as a collection, bequest, gift, papers, archive, Nachlass, or similar, that the source belongs to.

Enter in the local language. You may include a translation in square brackets in your cataloging language.

Example

• Sammlung Hanns J. Eller

Ownership marks should be entered in the field Provenance note (561).

Material held (852 $q)

This field is available in the holdings information for printed music. If your copy is incomplete, enter the parts (using RISM abbreviations) or volumes you have. If you know your copy is complete, it is helpful if you write complete in this field. Use English terminology. Here, completeness refers to the presence of all expected parts or volumes; other degrees of incompleteness (such as missing pages) can be indicated in a note.

Missing parts should be entered in the field General note (500).

Examples

• vl
• Coro S, A, B only
• complete

Shelfmark (852 $c)

Required field.

Enter the shelfmark (also called call number) in this field. Transcribe as precisely as possible, including spacing and punctuation, but enter shelfmarks as a single line of text without line breaks. Enter shelfmarks consistently within any given library collection. Indicate superscript characters with | (the vertical pipe). If no shelfmark is present, enter the English phase [without shelfmark] in square brackets. The English phrase [no indication] can be used if the presence of a shelfmark is unknown. Enter additional shelfmarks in the field Other shelfmarks (591).

In records for printed music, the phase [no indication] has been automatically added by the Editorial Center in cases where a shelfmark is not available. RISM contributors revising their holdings should change [no indication] to the current shelfmark.

Examples

• Ms Mus 165/6
• Mus.ms. 743
• Th.mus.A 5
• P 7 G 359
• Vm|1 805
• [without shelfmark]

Former shelfmark (olim) (852 $d)

Enter old, invalid, or disused shelfmarks (olim) here. Enter one shelfmark per field.

4.1.2 – Other shelfmark

Other shelfmark (591)

The field Other shelfmark is for all valid shelfmarks in addition to the one specified in the field Shelfmark (852 $c).

Other shelfmark (591 $a)

Enter other shelfmarks here. Any shelfmarks that are currently valid should be entered. For example, some operas have separate shelfmarks for every act, or some partbooks have individual shelfmarks for each instrument. Enter shelfmarks in the manner indicated for the field Shelfmark (852 $c).

If the shelfmark in the field Shelfmark (852 $c) indicates a range of numbers (such as MS 1-3), the single shelfmarks can be entered individually here.

Shelfmarks that are no longer in use should be entered in the field Former shelfmark (olim) (852 $d).

4.1.3 – Local number

Local number (035)

The field Local number is for a number intended for use by a working group rather than the international project.

Local number (035 $a)

Use this field to indicate a number for local use, such as internal identification numbers or other local numbers such as OCLC control numbers.

Example

• (OCoLC)891760516

4.1.4 – Access restrictions

Access restrictions (506)

The field Access restrictions is for the terms and conditions of the holding institution.

Access restrictions (506 $a)

Enter any access restrictions as determined by the holding institution. Enter using your cataloging language.

Examples

• Consultation in the reading room.
• Reproductions upon request (charges may apply).

4.1.5 – Provenance note

Provenance note (561)

The field Provenance note is for information about the ownership of the item before it came into possession of the holding library.

Provenance note (561 $a)

Use this field for general notes about the provenance of the item as well as ownership marks. Enter using your cataloging language.

If ownership marks are present on the source, enter them exactly as they appear on the source, in quotation marks. Include the place on the source where the marks are found. Enter the standardized forms of personal names in the field Additional personal name (700) and institutions in Additional institution (710). Information about how the current holding institution acquired the item goes in the field Source of acquisition (541).

Examples

• Stamp on p. 2: “Stadtbibliothek Danzig”
• Oval stamp on p. 1: “Kapiteljski | arhiv | ŠAK”
• “Bayada Padrone” (name found at end)
• Originally owned and maintained by Nikolaos Mavropoulos, ms was sold by his heirs after his death.

4.1.6 – Source of acquisition note

Source of acquisition note (541)

The field Source of acquisition note is for information about how the holding institution acquired the source.

Method of acquisition (541 $c)

Enter information about how the item was acquired, such as gift, bequest, loan, purchase, or deposit. Enter using your cataloging language.

Source of acquisition note (541 $a)

Enter information about the person or institution (donor, seller, etc.) from which the institution acquired the source. Enter using your cataloging language.

Enter standardized forms of personal names in the field Additional personal name (700) and institutions in Additional institution (710).

Date of acquisition (541 $d)

Enter dates in the form YYYYMMDD. Replace unknown portions of the dates with a hyphen. Single years may be entered as YYYY. General dates may be indicated as on the source. Separate multiple dates with a comma.

Examples

• 17980215
• 183209–
• 1815
• Easter 1744

Accession number (541 $e)

Enter the accession number here.

4.1.7 – Parent record

Parent record (773)

The field Parent record links the record to a parent record or a composite volume.

Parent record (773 $w)

Enter the RISM ID number of the record for the parent or composite volume. The first button links to a parent record (also called main entry or collection record) for cases where the record is part of a collection. The second button links to a record for a composite volume in cases where the record was bound together with other items.

Always link to the next highest level.

Click the appropriate button and search for the RISM ID number of the parent record or composite volume.

MARC export note: Upon export, $a is generated which contains normalized data from the 100 $a and 240 $a of the linked record.

4.1.8 – Items in this source

Items in this source (774)

The field Items in this source lists the RISM ID numbers of all records linked to the record.

Items in this source (774 $w)

RISM ID numbers are added automatically from child records and displayed here.

MARC export note:
Upon export, $a is generated which contains normalized data from the 100 $a and 240 $a of the linked record.

4.1.9 – Related source

Related source (787)

The field Related source is used to indicate a relationship between the source in hand and another source in Muscat.

When you indicate a relationship to another source, a link will appear in the full record view of the related source. If both sources in question belong to your library, you have the option of indicating the relationship in one record or in both.

Relationship (787 $4)

Select the term that describes the relationship between the source in hand and another source. The relationships used are the unconstrained properties from the RDA Registry.

• Additional material [P60198]: The related source represents material that supplements the source in hand. Examples include: additional parts, instrumental parts, organ part, full score, vocal score, printed parts, etc.
• Arrangement of [P60242]: The source in hand is an arrangement or otherwise derived from the related source. Examples include: A contrafacta made from the related source. A chorale arrangement of the related source, such as a printed hymn book.
• Copied from [P60311]: The source in hand was copied from the related source, usually a printed edition. See also the field Series A/I and B reference (596).
• Correlated source [P60191]: The related source is directly relevant to the source in hand. Examples include: A concordant source (but do not attempt to link to all possible concordant sources). The source used to make a composer identification. A different version of the same piece (double chorus version, English version, full version, longer version, SATB version, version for soprano duet, etc.).
• Insert in [P60194]: The source in hand is a piece that was inserted into a larger work, such as a suitcase aria inserted into an opera.
• Published in [P60195]: The source in hand was published in the related source.

Note (787 $n)

Briefly describe the nature of the relationship. Additional details may also be given in the field General note (500). Write using your cataloging language.

Examples

• Additional parts
• Concordant source in US-Wc
• Composer identification based on manuscript in D-B
• SATB version
• Published in “Intabulatura di lauto, libro quarto” (Scotto, 1546).
• Inserted after Act II, Scene 3 of the opera

RISM ID number (787 $w)

Enter the RISM ID number of the related source or use the magnifying glass button to search.

4.2 – People and institutions

4.2.1 – Composer/Author

Composer/Author (100)

The field Composer/Author is for the identification of the main person involved as the author, in its broadest sense, of the source.

Name (100 $a)

Required field.

Enter the name of the person responsible for the work. This may be the composer (for music manuscripts and printed music), librettist (for librettos), or author of a work of music theory (for treatises).

This field is linked to the Personal names authority file through $0 and the life dates are displayed $d. Names not yet in the authority file may be added. In such cases, check the box “Confirm the insertion of a new value” and add the person’s life dates, if known, in the field Life dates (100 $d). The new name, including life dates, will be confirmed and edited by the Editorial Center.

If the source has multiple composers, select one to be entered in this field and the rest can be added in Additional personal name (700) using the function Co-composer.

If the source is anonymous but you can determine the composer, enter the composer’s name and select the appropriate attribution qualifier. If you cannot determine the composer, enter the name Anonymus but omit an attribution qualifier. The name Compilations is entered for pasticcios or compilations.

Attribution qualifier (100 $j)

Select an indicator to describe the level of certainty of the attribution if any of these situations apply. If not, leave blank.

If you enter the composer as Anonymus, do not enter an attribution qualifier.

• Alleged means the name is present on the source, but the attribution is questionable or doubtful.
• Ascertained means the name is partially present or entirely absent from the source, but attribution is (reasonably) certain and based on comparison with concordant sources, secondary literature, or other scholarly resources. This happens in most cases.
• Conjectural is a guess based on secondary evidence, such as secondary literature.
• Misattributed means the name is on the source but is incorrect. If the source is anonymous, leave this field blank.

Obsolete procedures: Older RISM cataloging guidelines allowed the attribution Verified. The attribution was used if the composer’s name appears on the source in the same form as the RISM name heading. This practice was discontinued with the introduction of Muscat. Doubtful used to indicate that the authorship was in question; this was removed and the remaining terms were clarified in 2024.

4.2.2 – Additional personal name

Additional personal name (700)

The field Additional personal name is to index all additional people involved with the source, apart from the name indexed in the field Composer/Author (100).

Name (700 $a)

Enter all additional personal names that appear on the source as well as names that can be inferred. This field is linked to the Personal names authority file through $0 and life dates are displayed in $d. Names not yet in the authority file may be added. Do not use Anonymus in this field.

Publishers named after people but acting out the function of publisher (Pleyel, André, etc.) are entered as an Additional institution (710).

In the case of parent records for collections or composite volumes, enter a name only if the name applies to all the works in the collection. Enter names associated with individual works in the child records.

Attribution qualifier (700 $j)

Select an indicator to describe the level of certainty of the attribution if any of these situations apply. If not, leave blank.

• Alleged means the name is present on the source, but the attribution is questionable or doubtful.
• Ascertained means the name is partially present or entirely absent from the source, but attribution is (reasonably) certain and based on comparison with concordant sources, secondary literature, or other scholarly resources. This happens in most cases.
• Conjectural is a guess based on secondary evidence, such as secondary literature.
• Misattributed means the name is on the source but is incorrect.

Obsolete procedures See the corresponding attribution field in the field Composer/Author (100).

Function (700 $4)

Required field if “Name” is filled out.

Assign each person an exact function. A person can be entered multiple times with different functions. A reduced list of functions is offered in the holdings information for printed items. The three-letter codes refer to the MARC relator code.

Keep in mind that when some people are named on sources, an institution is actually meant, such as with printers, publishers, or papermakers. In such cases, enter them as institutions.

• Arranger [arr]
• Assignee [asg]: The person to whom a license for printing or publishing has been transferred.
• Associated name [asn]: A person who has some connection with the source, but the exact function is unclear.
• Author [aut]: The person responsible for creating a work that is primarily textual in content, such as a book.
• Censor [cns]
• Choreographer
• Co-composer [ctb]: Use for composers who also contributed musically to the piece.
• Composer cross-reference [att]: Use to name a composer who is or was associated with the piece in some way. Examples include a composer to whom the piece is or was incorrectly attributed, or a composer whose melody is used in a set of variations.
• Conceptor [ccp]: The person responsible for the original idea on which a work is based, such as the author of a book or play that an opera was based on.
• Copyist [scr]: Use for copyist or scribe.
• Copyright holder [cph]
• Dedicatee [dte]
• Distributor [dst]
• Editor [edt]
• Engraver [egr]
• Former owner [fmo]
• Illustrator [ill]: The person contributing to a resource by supplementing the primary content with drawings, diagrams, photographs, etc.
• Librettist [lbt]: Author of the libretto to an opera, oratorio, or other stage work.
• Licensee [lse]: A person who is an original recipient of the right to print or publish.
• Lithographer [ltg]
• Other [oth]: All other functions.
• Papermaker [ppm]
• Patron [pat]: A person responsible for commissioning a work.
• Performer [prf]: Any performer, such as instrumentalist, vocalist, musician, conductor, dancer, or if the principal skill is unknown or unspecified.
• Printer [prt]
• Publisher [pbl]: Only enter the publisher as a person if the actual human is meant, such as a Beethoven manuscript that mentions Carl Friedrich Peters by name. (Peters functioning as the company that issues the printed music, on the other hand, is entered as an institution.)
• Text author [lyr]: An author of the words of a non-dramatic musical work (such as the text of a song), except for oratorios.
• Translator [trl]
• Type designer [tyd]: The person who designed the typeface.

4.2.3 – Additional institution

Additional institution (710)

The field Additional institution is to index any institution, organization, or other corporate body involved with the source, apart from the holding institution named in the field Library siglum (852).

Publishers named after people but acting out the function of publisher (Pleyel, André, etc.) are entered here. In the case of self-published music, enter the name of the person in its natural form, such as Bernhard Christoph Breitkopf.

Institution (710 $a)

Enter the names of all institutions that appear on or are associated with the source. This field is linked to the Institutions authority file through $0 and the city (Place) through $c. Names not yet in the authority file may be added.

Department (710 $b)

Enter, if necessary, the name of the unit of an institution, such as a department. Enter in the local language.

Attribution qualifier (710 $g)

Select an indicator to describe the level of certainty of the attribution if any of these situations apply. If not, leave blank.

• Alleged means the name is present on the source, but the attribution is questionable or doubtful.
• Ascertained means the name is partially present or entirely absent from the source, but attribution is (reasonably) certain and based on comparison with concordant sources, secondary literature, or other scholarly resources. This happens in most cases.
• Conjectural is a guess based on secondary evidence, such as secondary literature.
• Misattributed means the name is on the source but is incorrect.

Obsolete procedures See the corresponding attribution field in the field Composer/Author (100).

Function (710 $4)

Required field if “Institution” is filled out.

Assign each institution an exact function. An institution can be entered multiple times with different functions. A reduced list of functions is offered in the holdings information for printed items. The three-letter codes refer to the MARC relator code.

• Assignee [asg]: The institution to whom a license for printing or publishing has been transferred.
• Associated name [asn]: An institution that has some connection with the source, but the exact function is unclear.
• Bookseller [bsl]: A person or organization who makes books and other bibliographic materials available for purchase. Do not use “former owner” for this function.
• Copyist [scr]: A copyist workshop or a scribal school.
• Copyright holder [cph]
• Dedicatee [dte]
• Depositor [dpt]: The collection within the library to which the item belongs, such as “James Fuld Music Collection” or “Nachlass Armin Knab.”
• Distributor [dst]
• Editor [edt]: The organization contributing to a source by revising or elucidating the content, such as adding an introduction, notes, or other critical matter. An editor may also prepare a resource for production, publication, or distribution.
• Event place [evp]: The name of the concert house, opera house, theater, etc.
• Former owner [fmo]
• Licensee [lse]: An institution that is an original recipient of the right to print or publish.
• Other [oth]: All other functions. Use if the exact function is not on the list or is unknown, unclear, or unspecific.
• Papermaker [ppm]
• Patron [pat]: An institution responsible for commissioning a work.
• Performer [prf]: The institution or ensemble that performed the work, such as an orchestra.
• Printer [prt]
• Publisher [pbl]
• Type designer [tyd]: The organization that designed the typeface.

If you are unsure whether the institution is a publisher or a printer, select Publisher.

4.3 – Title and content description

4.3.1 – Title on source

Title on source (245)

The field Title on source is for a diplomatic transcription of the title as it is stated on the source.

Title on source (245 $a)

Required field.

Enter the title exactly as it appears on the source (the diplomatic title). In practice, this may include all information on the title page, such as the composer’s name or other indications. For printed music, include everything on the title page including the imprint. Do not omit information by using ellipsis.

Transcribe the title in its entirety. Do not abbreviate. Indicate line breaks with | (the vertical pipe) with a single space before and after. Indicate superscripts with | without a space before each superscript sign. Each character that is written in superscript must be preceded by a |, as in: 1|m|o . Repeated letters indicated by a macron diacritic may be written out: m[m]

Include information about where the title appears in square brackets at the beginning of the field. Always use terminology in English, followed by a colon. Enclose supplementary data in square brackets. Use an exclamation point in square brackets [!] or [sic] to indicate an unusual or incorrect spelling.

For printed music, you can indicate decorative elements in square brackets in English, such as:

• [in red ink:]
• [printer’s mark]
• [vignette]

If no title is available, enter, in English: [without title]

See also the list of Standard terms.

Examples

• [title page:] Vesperae | chorales unà cum | organo cantandae | pro | Choro Ingolstadiensi,
• [without title]
• [caption title, f. 1r:] Claver [sic] [illegible] von Wartensee | Frankfurt 9 Oct. 1829.
• [cover title:] XII | Divertimentous [!]
• [cover title:] Offertorium in C | a | Canto, Alto, Tenore, Basso | Violino 1|m|o et 2|d|o | Viola | Clarinetto 1|m|o et 2|d|o | Corno 1|m|o et 2|d|o | Fagotto 1|m|o et 2|d|o | Clarino 1|m|o et 2|d|o | Timpani | Organo et Violon | Jos. Eibler

4.3.2 – Variant title on source

Variant title on source (246)

The field Variant title on source is for other forms of the title that appear in places other than the information in Title on source (245 $a).

Variant title on source (246 $a)

If the source bears several titles which supplement each other and/or differ in the amount of information they contain, all the varying forms of the title can be entered here. Headings, caption titles, and titles on parts are examples of places that may have variant titles. Follow the guidelines as for the field Title on source (245 $a).

4.3.3 – Standardized title

Standardized title (240)

The field Standardized title is for the title in a standardized form. The standardized title brings compositions together under the same title which, despite having a variety of names, are the same or similar. Also called the “filing title” or “uniform title.”

MARC export note:
The field Standardized title is exported as MARC 130, with the same subfields as 240, when the record does not include a name in the field Composer/Author (100).

Standardized title (240 $a)

Required field.

Enter the title in a standardized form. The field is linked to the Title/Text incipit index through $0. Indicate questionable information with a question mark at the end (for example, Die Zauberflöte?). Do not use square brackets or parentheses. Put alternative versions of the title in the field Additional title (730).

A standardized title can be generated from the following, in order of preference:

1. Distinctive titles
2. Text incipits
3. Genres
4. Tempo markings

1. Distinctive titles

Distinctive titles include all kinds of stage works, oratorios, cantatas, and songs, and also certain kinds of instrumental music (such as character pieces from the 18th century with a distinctive, individual title).

Enter the distinctive title in standard spelling as in (1) New Grove, (2) MGG, (3) catalogs of works, and/or (4) other reference books. Do not omit initial articles (the, a, an, der, die, le, l’, etc.).

Popular names or nicknames (such as “Eroica” or “Nelson Mass”) do not count as standardized titles. Such names are entered in the field Additional titles (730 $a).

In English, sentence case is preferred. In French, the simplified French rules (Règles simplifiées) are preferred.

Examples

• Die Forelle
• Die Zauberflöte
• The beggar’s opera
• L’italiana in Algeri

2. Text incipit

Enter the text incipit as the standardized title for vocal pieces if there is no distinctive title.

If a source consists of a recitative and aria or a scena and aria, the text incipit of the aria is always used as the standardized title. Apply the same principles to a recitative and cavatina, scena and rondo, or similar combinations. If you have a single opera aria from an opera whose title is unknown, enter the text incipit of the aria.

With cantatas, on the other hand, the text of the first vocal piece functions as the standardized title, regardless of whether it is a recitative, aria, or chorus.

However, use the genre for masses, requiems, obsequies, litanies, and compositions for the divine office. The same is true for complete operas and oratorios whose titles are unknown.

When entering text incipits, use the orthographic rules of each respective language to dictate use of upper or lower case letters. Capitalize the names of the deity (God, Herr, Dio, Dieu, Signore, Lord, etc.). Omit punctuation marks and repetitions within the incipit. If the item is clearly a translation, enter the standardized title in the original language.

Make sure that the text incipit in this field is identical with the text incipit in the field Text incipit (031 $t). With Latin texts, use the text that precedes the comma (from the list in the appendix) as a standardized title but use the text incipit in its entirety for the text incipit.

Examples

• Der Mond ist aufgegangen
• Gloria [with text incipit: Gloria, in excelsis Deo et in terra pax]

3. Genre

Use the genre of the piece as the standardized title if you have neither a distinctive title nor a text incipit. In most cases, enter the genre in English and in the plural (such as Operas). Note that for some genres, a corresponding Subject heading (650) is used. Consult the appendix Standardized title – Subject heading in the Guidelines for assistance.

Examples

• Symphonies
• Allemandes

4. Tempo indications

Enter the tempo indication if the genre cannot be determined. If none of these options are available, use the following terms:

• Songs (vocal pieces)
• Pieces (a generic piece)
• Movements (a single movement of an instrumental piece without a tempo indication and of indeterminate character)

Examples

• Presto
• Lento

Special rules

Collections

In these cases, a number plus the genre is entered. Enter an Arabic numeral indicating how many works belong to the collection, followed by a genre that is as comprehensive as possible.

Examples

• 25 Arias
• 3 Instrumental pieces

Composite volumes

Enter a number corresponding to the number of items involved plus the English word “Items.”

Example

• 11 Items

Variations

Enter Variations as the standardized title here. In the field Additional title (730), enter the piece the work is based on, when known, and select Variations next to Arrangement statement.

Insertions

Enter the text incipit of the inserted piece as the standardized title here. In the field Additional title (730), enter the name of the opera or larger work and select Inserts next to Subheading.

Non-Latin scripts

If your source has a standardized title that uses non-Latin letters or characters (Cyrillic/Greek/Hebrew/Korean etc. alphabet, Chinese characters, etc.) enter the Standardized title using the original script. Translations or transliterations are optional and may be added in the field Additional title (730).

Arrangement statement (240 $o)

Select Arrangement if the work is an arrangement of another work.

Note that retextings and transpositions are not considered arrangements. In such cases, enter the name of the responsible person, if known, under Additional personal name (700). Although the works are not considered arrangements, the person is referred to there as “Arranger”.

Arrangements should also be distinguished from independent works (free elaborations), such as variations, paraphrases, parodies, and fantasies on themes from the original work.

Subheading (240 $k)

This field is for special form aspects as applicable. Select from the following:

• Excerpts: if only one or several sections of the complete work are present
• Fragments: if only fragments of the work are present
• Sketches: if only sketches of the work are present

Key or mode (240 $r)

Required if the key can be determined with certainty.

Select the key of the entire work (even for excerpts).

In the case of arrangements, enter the key of the original work. If the original key cannot be determined, enter the key of the source in hand; in this case, though, enter a corresponding note in the field General note (500).

If no key is indicated on the source, select a key only if it can be determined with certainty.

Do not enter a key for: operas, oratorios, and cantatas; recitatives without an ensuing aria; and works for which a key cannot be clearly established.

Do not translate modes into modern key names.

The following Western church modes are available:

• 1st tone (Dorian)
• 1st tone (Dorian), transposed
• 2nd tone (Hypodorian)
• 2nd tone (Hypodorian), transposed
• 3rd tone (Phrygian)
• 3rd tone (Phrygian), transposed
• 4th tone (Hypophrygian)
• 4th tone (Hypophrygian), transposed
• 5th tone (Lydian)
• 5th tone (Lydian), transposed
• 6th tone (Hypolydian)
• 6th tone (Hypolydian), transposed
• 7th tone (Mixolydian)
• 7th tone (Mixolydian), transposed
• 8th tone (Hypomixolydian)
• 8th tone (Hypomixolydian), transposed
• 9th tone (Aeolian)
• 9th tone (Aeolian), transposed
• 10th tone (Hypoaeolian)
• 10th tone (Hypoaeolian), transposed
• 11th tone (Ionian)
• 11th tone (Ionian), transposed
• 2th tone (Hypoionian)
• 12th tone (Hypoionian), transposed

The following Byzantine church modes are available:

• Ēchos prōtos (First mode of Byzantine music)
• Ēchos deuteros (Second mode of Byzantine music)
• Ēchos tritos (Third mode of Byzantine music)
• Ēchos tetartos (Fourth mode of Byzantine music)
• Ēchos plagios prōtos (First plagal mode of Byzantine music)
• Ēchos plagios deuteros (Second plagal mode of Byzantine music)
• Ēchos barys (Third plagal mode of Byzantine music)
• Ēchos plagios tetartos (Fourth plagal mode of Byzantine music)

Obsolete procedures: Older RISM cataloging guidelines allowed multiple key signatures to be entered in this field, separated by a semicolon. This practice was discontinued with the introduction of Muscat.

Scoring summary (240 $m)

Required field except for the following: operas and oratorios with the standard instrumentation V (X), Coro, orch

If you have sketches or collections, enter a scoring summary if it makes sense to do so.

Enter a brief scoring (instrumentation) summary of the overall medium of performance for the work here. Separate each element of the scoring summary with commas. Enter a maximum of four elements. A detailed description of the instrumentation is entered in the field Total scoring (594). The entire scoring summary goes in one line; repeat the field only to indicate alternative instrumentations (see below).

Use terms from the Abbreviations list. Write out any terms that are not contained in this list in full and in English.

Enter groups of instruments in the following order:

• Solo voices
• Chorus
• Solo instruments
• Strings
• Woodwinds
• Brass
• Plucked instruments
• Percussion
• Keyboard instruments
• Basso continuo

When more than one of the same voice or instrument is indicated, place the number in parentheses after the part designation, such as B (2). Use V to indicate an unknown vocal part and i for an unknown instrument. Also use V to group together several different vocal parts, such as V (8). Indicate an unknown number with (X).

Specify solo instruments only if they have a continuous solo function in relation to an orchestra, especially in a solo concerto. Do not list a part here if it only has occasional solo passages, such as an oboe solo in a section of a cantata.

In the case of arrangements, the scoring summary refers to the personnel required in the present source, not in the work on which an arrangement is based. If the instrumentation of the original work is known, specify it in the field General note (500). In the case of a Collection, only use the field if the particular scoring is applicable to all the works contained in the collection.

This field may be repeated in cases where alternative instrumentation is suggested, such as a song that is for either soprano or tenor. In such cases, enter each possible instrumentation in a separate field: for example, S, pf on one line and T, pf on the next.

If you have a figured bass, enter the instrument as usual, such as b, bc, org, etc. (but see the tables in the section Figured bass in scores and/or parts for guidance with related fields).

Omit the scoring summary if the performing forces are unknown or uncertain.

Examples

• A, Coro, orch
• Bariton, pf
• V (3), strings, bc
• V (4), Coro, orch, org for a mass
• cl, orch for a clarinet concerto

Use the following standard instrumentation when applicable.

String quartet

• vl (2), vla, vlc

String quintet (2 violas)

• vl (2), vla (2), vlc

String quintet (2 cellos)

• vl (2), vla, vlc (2)

String quintet (with double bass)

• vl (2), vla, vlc, cb

Piano trio

• vl, vlc, pf

Wind quintet

• fl, ob, cl, cor, fag

Flute quartet (all flutes)

• fl (4)

Flute quartet (flute with strings)

• fl, vl, vla, vlc

4.3.4 – Catalog of works

Catalog of works (690)

The field Catalog of works is used to refer to the number used in a thematic catalog or catalog of works to identify a work.

If you wish to cite information found in a catalog of works other than the catalog number, use the field Bibliographic reference (691).

Catalog of works (690 $a)

Enter the short title for the thematic catalog or catalog of works (for example, BWV). This field is linked to the Secondary literature database.

Number/page (690 $n)

Required field if “Catalog of works” is filled out.

Enter the catalog number from a works or thematic catalog, or the page number of the piece in that catalog. The RISM Editorial Center determines the appropriate citation style, in keeping with the style of the catalog. The citation style is explained in the corresponding entry in the Secondary literature database through $0. If the source contains only one movement of a work, indicate the number of the movement after a slash. Write deest if a particular composition is not listed in the composer’s catalog of works.

Examples

• A 14
• 385/9

4.3.5 – Opus number

Opus number (383)

The field Opus number is for the opus number as it appears on the source.

Opus number (383 $b)

Enter the opus number here if it appears on the source, preceded by op.. Separate individual movements with a slash.

If you determine the opus number from the secondary literature, enter it in square brackets. Make sure the literature is then cited as either a Catalog of works (690) or Bibliographic reference (691).

Examples

• op. 31
• op. 54/1
• op. [2]

4.3.6 – Additional title

Additional title (730)

The field Additional title is for alternatives to the Standardized title (240 $a), also in a standardized form. It is linked to the Titles/Text incipits index through $0.

Additional title (730 $a)

Enter markedly different titles rather than titles with alternative spellings. Multiple variants can be entered by repeating the field.

Types of possible alternatives are:

• Other titles of an opera (ossia titles)
• Translations of a title
• Alternate genres if there is uncertainty about the classification
• Titles of parody masses and titles of the Proper. Standardize names of saints according to the Liber usualis.
• Popular names of a composition (such as Nelson Mass, Jupiter Symphony)
• Works with no clear individual title (Festival Cantata, Fürstenlied)
• Titles, especially ones under which the item is widely known (particularly for printed editions)

Examples

• Standardized title: Don Giovanni
• Additional title: Der steinerne Gast
• Standardized title: Masses
• Additional title: Missa S Ursulae
• Standardized title: Masses
• Additional title: Deutsche Messe [= translation of the Latin text of the mass]
• Standardized title: Masses
• Additional title: Deutsches Hochamt [=paraphrased German church service]

In the case of variation sets, enter the name of theme in this field and select Variations in the field Arrangement statement (730 $o).

In the case of inserts, enter the title of the larger opera or work and select Inserts in the field Subheading (730 $k). For inserts, also note the guidelines under for the field Insertions (787).

Examples

• Standardized title: Variations

• Additional title: Ein Mädchen oder Weibchen [plus Variations in the field Arrangement statement (730 $o).]

• Standardized title: Consola amato bene
• Additional title: Una cosa rara [plus Inserts in Subheading (730 $k)]

Arrangement statement (730 $o)

Select Arrangement if the work is an arrangement of another work. Make sure that this field corresponds with the field Arrangement statement (240 $o) above. If the work is a variation set, select Variations.

Rule type (730 $g)

Indicate what cataloging rules or standards are used to formulate the additional title.

• RISM (default)
• RDA: Resource Description and Access
• RAK: Regeln für die alphabetische Katalogisierung (cataloging rules used in German-speaking countries)
• ICCU: Istituto centrale per il catalogo unico delle biblioteche italiane e per le informazioni bibliografiche (cataloging rules used in Italy)

Subheading (730 $k)

This field is for special forms aspects as applicable. Select from the following:

• Excerpts
• Fragments
• Inserts
• Sketches

Make sure that if you select Excerpts, Fragments, or Sketches in the field Subheading (240 $k) above, you also select Excerpts, Fragments, or Sketches here. For inserts, select Inserts. Further information can be entered into the field Contents note (505).

Key or mode (730 $r)

Catalog number/Opus number (730 $n)

Scoring summary (730 $m)

If you have an arrangement or compilation, use these fields to enter information about the original composition. These fields do not need to be filled out again if they are identical with the main work in question.

4.3.7 – Colophon

Colophon (597)

The field Colophon is for a transcription of the colophon in a printed edition. A colophon is different from the publication information found on the title page.

Colophon (597 $a)

For printed items, enter the colophon as it appears on the source, typically on the last printed page.

Example

• Vigilie maiores minoresqz ac vespere mortuorū:ānexis officijs | eorundem expliciunt feliciter. Anno dñi.M.cccc.xcij.kł.ij.aprilis

4.3.8 – Subject heading

Subject heading (650)

The field Subject heading is for the genre of the piece or other relevant keywords.

Subject heading (650 $a)

Required field.

Enter subject keywords or genre terms here. This field is linked to the index Subject headings through $0.

The keyword should apply to the entire work or the original work on which a piece is based, even in the case of arrangements, excerpts, or single movements. In the case of sections of larger vocal works, enter the genre of the excerpt in question (such as Arias, Marches) as well as that of the entire work.

Each record should be given a subject heading that relates to the standardized title. This field is particularly important for works whose genre is not named in the standardized title. Multiple subject headings may be entered; it is up to the cataloger to determine the appropriate order. Some kinds of pieces are best served with more than one subject heading, such as “Contrafacta” or “Inserts.”

Note that for certain types of genres used as standardized titles, a corresponding subject heading (650) is used. Consult the appendix Standardized title – Subject heading in the Guidelines for assistance.

4.3.9 – Periodical or series

Periodical or series (490)

The field Periodical or series is for the name of the periodical or series title of which the source is a part. It is linked to the Titles/Text incipits index through $0.

Periodical or series title (490 $a)

Enter the name of the periodical or series title.

Examples

• Oeuvres Complets de Piano
• Molenaar’s Muziekuitgaven voor Harmonie- en Fanfare-orkesten
• Nouveau Mercure galant
• The Lady’s Magazine
• Répertoire des Clavecinistes
• Journal d’ariettes italiennes

Number/volume (490 $v)

Enter the number, volume, or other sequential designation used in the title of the series. Use the numbering or volume designations as they appear on the source.

Examples

• mai 1679
• Aug., 1784
• 1. Suite
• 1779, N|o 10

4.3.10 – Description summary

Description summary (520)

The field Description summary gives a concise statement about the content of the source.

Description summary (520 $a)

Here you may enter brief, general information about the work or sections of it. Enter in English.

More detailed information about the contents of the item can be given in the field Contents note (505).

Examples

• 5 sonatas, 2 fantasies
• 5 motets, 2 masses, 1 Magnificat
• Opera in 3 acts
• 5 arias from the opera in 3 acts
• 2nd section of the motet
• 3rd version of the requiem

4.3.11 – Total scoring

Total scoring (594)

The field Total scoring is used to indicate all of the voices or instruments that are needed to perform the piece. “Scoring” is also known as performing forces, medium of performance, or instrumentation (which here includes vocal parts).

While the field Scoring summary (240 $m) gives the scoring of a work in brief, the Total scoring gives the scoring of a work in full. The Scoring summary must therefore always correlate with the details you enter in this full description of the scoring.

The total scoring should be as complete as possible, regardless of whether the source in hand is complete.

Voice/instrument (594 $b)

Required field.

Enter the voices or instruments using RISM abbreviations. Use the autocomplete in this field to help you. An alphabetical list of abbreviations can be found in the RISM instrument abbreviations list. General instrumental designations (such as strings) are always in English and individual instruments are in Italian whenever possible. Other specific, regional instruments should be written in the original language.

Use upper case for vocal parts and lower case for other instrumental parts. Solo instruments begin with iSol:.

If the full scoring requirements are not given, or if your source is incomplete, the total scoring should be ascertained from the title, the material itself, or other reference works. If the scoring is not known, write no indication. Any uncertainty can be mentioned in more detail in the field General note (500).

If you have a figured bass, enter the instrument as usual, such as b, bc, org, etc. (but see the tables in the section Figured bass in scores and/or parts for guidance with related fields).

For non-C instruments, standard tunings are listed in the abbreviation list. If the tuning in your source deviates from the standard tuning, list the tuning in the source (see: in A). For instruments that are normally in C, “in C” does not need to be listed. If in doubt, list the tuning. Instrument tunings should be given in English. See Appendix: Keys.

If you have a piece with an instrumentation that differs from the label on the source, such music for the Tenor 2 voice in a Quinta vox (V 5) partbook, use the more specific instrumentation if available. If the music is lacks such an indication but you are able to determine the actual voice with certainty, you are permitted to enter the actual voice. If there is any uncertainty, simply enter the part as on the source.

When trying to decide between similar terms, it is usually best to go with what is on the source. If the name of the instrument in your source deviates from the RISM abbreviation, you may write the term as on the source in the field General note (500).

List the scoring in the following order:

• Solo voices
• Chorus
• Solo instruments
• Strings
• Woodwinds
• Brass
• Plucked instruments
• Percussion
• Keyboard instruments
• Basso continuo

List parts from the highest to the lowest range. Enter one instrument per line. Add alternative scoring possibilities to the original requirements in parentheses.

Examples

• S
• A
• T
• B
• Coro 1: T
• Coro 1: A
• Coro 2: S
• iSol: pf
• vl
• vla
• vlc
• b
• ob (fl)
• cl in A
• tr
• org

MARC export note: The fields 594 $b and $c are concatenated and exported as 594 $a.

Number (594 $c)

Indicate the total number of parts here. If a piece includes two parts for the same instrument, enter the single instrument in the field Scoring and 2 in the field Number.

The number refers to the music, not to the number of people needed to play the music or the number of parts preserved in your source. For example, “Coro S” and “2” means that the soprano part is divided into soprano 1 and soprano 2. Likewise, “vl” and “2” means that the violins are divided into violin 1 and violin 2.

For incomplete sources or if the number is unknown, an X can be entered instead of a number.

Examples

• For a piece with violin 1 and violin 2:
  vl
  2
• Only 1 viola part:
  vla
  1
• Oboe 1 and oboe 2:
  ob
  2
• Only 1 clarinet part:
  cl
  1
• French horns present but it is not known how many: cor X

4.3.12 – Coded instrumentation

Coded instrumentation (598)

Coded instrumentation (598)

Do not use. Only used in migrated data.

4.3.13 – Named dramatic role

Named dramatic role (595)

The field Named dramatic role is to list the roles for dramatic music such as operas or oratorios. This field must be filled out if a name is entered in the incipit field Role (031 $e).

Write names in their natural order; do not place articles after the main name. Where possible, the role should be listed from highest to lowest. Use a question mark to indicate questionable information. Do not use commas.

Dramatic role named, standardized (595 $a)

The names of all the roles in a composition can be listed in this field, regardless of whether they are named on the source or derived from secondary literature. Use standardized spelling. Indicate additions by using square brackets. The voice part may be entered following the name of the role in parentheses, if known.

Examples

• Donna Flavia
• Theodor
• Zerbinetta (Mezzo-S)
• Ein Polizeikommisar (Bariton)
• Der Schornsteinfeger (Bariton)
• Doktor Zwingli (B)
• ?Achiar?
• Drei Knaben

Dramatic role named, original spelling (595 $u)

Enter the dramatic role that appears on the source if it differs in spelling from the standardized form given above.

Example

• Pappageno

4.3.14 – Language code

Language code (041)

The field Language code is for the language used in the source. Explanatory notes can be given in the field Language note (546). Contact the RISM Editorial Center if you need a language that is not on the list. Languages are listed in accordance with the MARC Code List for Languages.

Language of text (041 $a)

Required field if Text Incipit (031 $t) is filled out

Select the language(s) of the text in the source. For music, this refers to the language of the sung or spoken text, even if it is printed separately, and not other text such as prefaces or dedications. For treatises and librettos, this refers to the language of the text.

Language of original text (041 $h)

If the text in the source is a translation, select the original language here.

4.3.15 – Language note

Language note (546)

The field Language note is for explanatory information to supplement information entered in the field Language code (041).

Language note (546 $a)

Enter a note on the language(s) used in the source. If this field is filled out, an entry is also required in the field Language code (041). Enter using your cataloging language.

Examples

• Probably Italian
• Berner Dialekt
• Dedication in Latin. Preface in German.

4.3.16 – Fingerprint identifier

Fingerprint identifier (026)

The field Fingerprint identifier is used to assist in the identification of antiquarian books by creating groups of characters taken from specified positions on specified pages of the book.

Fingerprint (026 $e)

Enter the complete fingerprint identifier.

The recommended description standard is that issued by the Institut de Recherche et d’Histoire des Texte and the National Library of Scotland: Fingerprints: 1. Manual = Empreintes: 1. Guide du releveur = Impronte: Regole per il rilevamento (I.R.H.T, Paris, 1984). PDFs of the manual can be found on archived versions of the EDIT16 website (Main page | Rules | Examples).

A German translation was published as Wolfgang Müller, Fingerprints. Regeln und Beispiele nach der englisch-französisch-italienischen Ausgabe des Institut de Recherche et d’Histoire des Textes (CNRS) und der National Library of Scotland (Berlin: Deutsches. Bibliotheksinstitute, 1992) and is available online from the Universität Münster.

Example

• n?n, n;t, v.at BeDr C 1695R

For editions consisting of multiple volumes (such as partbooks), state which part was used to derive the fingerprint in a General note (500). Fingerprints from multiple partbooks may be entered.

Use the field General note (500) to explain any other special circumstances concerning the fingerprint, such as missing pages in the copy used for cataloging.

General note examples

• Fingerprint Prima Vox: urm; æ,-a t,en anlu C 1620R
• Fingerprint V 8: urm; j.su itit Alij C 1620R
• Fingerprint based on incomplete copy; pages B2–B4 are missing.

4.4 – Material description

4.4.1 – Source type

Source type (593)

Required field.

The field Source type describes the nature of the material as well as its contents.

Source type (593 $a)

The Source type describes material characteristics. The options offered are based on the template chosen. Select from the following:

For handwritten materials

• Autograph manuscript: Written completely or mostly in the composer’s hand. If you have entered Anonymus as the composer and wish to select autograph manuscript here, add an explanation in the General note (500).
• Possible autograph manuscript: Indicates a degree of uncertainty whether the manuscript is in the composer’s hand.
• Partial autograph: Significant portions of the manuscript are in the composer’s hand.
• Manuscript copy: The manuscript is in the hand of a person other than the composer. This is selected by default when a template for handwritten material has been chosen.
• Manuscript copy with autograph annotations: The manuscript is in the hand of a person other than the composer, but corrections or small additions are in the composer’s hand.
• Additional printed material: Printed material is present but will not be described in a separate record (see below).

For printed materials

• Print: This is selected by default when a template for printed material has been chosen.

In the holdings information, you can further select from the following:

• Print: This is selected by default.
• Print with autograph annotations: Handwritten annotations by the composer.
• Print with non-autograph annotations: Handwritten annotations not by the composer.
• Additional manuscript material: Manuscript material is present but will not be described in a separate record (see below).

For composite volumes

• Composite: This is selected by default.

For manuscript collections, select the source type that best represents the collection, or use multiple material groups to differentiate further.

Additional printed or manuscript material

Manuscript templates offer the option Additional printed material. In templates for printed items, the holdings information offers Additional manuscript material. This is to create a space in your record to briefly describe materials that accompany your main source but differ from the template type.

For example, you have a set of performing materials that comprises a handwritten set of parts and a printed score. You always have the option of describing the handwritten material in a template for manuscripts and the printed material in a template for prints, and including cross-references to the other records. While separate records for printed materials offer the fullest and most complete description, there might not always be enough information to describe a printed item fully or your preference might be to keep all your materials in one record. In such cases, you can indicate the additional materials and briefly describe them using these options.

If you are using a manuscript template, your first instance of the field Source type will match the template by default and pertain to the handwritten material. Add a second material group and select Additional printed material. Then describe your printed material as usual for this section.

If you are using a print template, in the holdings information select Additional manuscript material. Manuscript material can be described briefly in this section, or in the field General note (500).

Content type (593 $b)

The Content type describes the form of the material. Select from the following:

• Notated music
• Libretto
• Treatise
• Other: Use sparingly to describe other kinds of materials that accompany the musical source.

For composite volumes that contain more than one content type, you may also select:

• Mixed

Special cases

Collections

You may choose the combination of source type and content type that best summarizes the collection as a whole, or multiple material groups may be added for each kind of source. Keep in mind that differentiated information will always be provided in the child record.

Composers, arrangers, and copyists

In the case of autograph manuscripts and possible autograph manuscripts, do not create an added entry (700) with the composer’s name as the copyist. However, an exception is if the identity of the copyist is certain but it is uncertain if the copyist is also the composer. In such a case, enter the copyist’s name in the field Additional personal name (700) but add the same name to the field Composer/Author (100 $a) with the appropriate Attribution qualifier (100$j).

In some cases, such as with a partial autograph, an explanatory note in the field General note (500) may be appropriate.

If the arranger of a composition was also the copyist, select Manuscript copy and not Autograph manuscript.

Other forms of notation

Use Notated music as a Content type for documents that can be considered performance material, even if they do not use staff notation. This includes graphic notation, letter notation, number notation, and documents that only consist of performance instructions.

Photocopies

If your source is a mechanical reproduction (such as a photocopy) of a manuscript, follow these steps:

1. Select Autograph manuscript, Manuscript copy, etc. as it applies to the original source.

2. Select the type of reproduction in the field Special production technique (340 $d).

Typewritten or computer-generated material

If your source is typewritten or computer generated, follow these steps:

1. Select a template for a handwritten item.

2. Select Autograph manuscript if the composer or author created the document themselves. Select Manuscript copy if someone other than the composer or author created the document.

3. Select an appropriate printing technique from Special production technique (340 $d), such as Typescript for typewritten items or Computer printout for computer-generated materials.

4. Add an explanatory note in the field General note (500).

4.4.2 – Publishing, printing and production information

Publishing, printing, and production information (260)

The field Publishing, printing, and production information is for information relating to the publication, printing, distribution, issue, release, or production for all types of sources. In all subfields here, indicate editorial additions and completions with square brackets. Place a question mark after an uncertain piece of information.

For printed music: If the original publishing information is covered by a label showing later information or otherwise crossed out or altered (including stamps), and new information is provided in its place, enter the new information in this field. If you can read the original publishing information or if the original publishing information is otherwise available, you may also enter it by repeating the field. An explanatory note in the field General note (500) may be necessary to clarify the presence of a label or multiple imprints. If a label or stamp is somewhere else on the page, record it in the holdings information.

Place (260 $a)

For printed material, enter the place of publication as given on the source. Multiple places of publication can be entered by clicking on the plus sign (+) to the left of the text field. For manuscripts, enter the place where a manuscript was produced if it is indicated on the source.

If the place is not identified on a print, enter [s.l.]. For manuscripts, leave blank.

Publisher, copyist (260 $b)

For printed material, enter the name of the publisher, publishing company, importer, or distributor as given on the source.

For manuscripts, enter the name of the copyist as it appears on the source.

Always enter the standardized forms of the names in the fields Additional personal name (700) or Additional institution (710). Publishers named after people but acting out the function of publisher (Pleyel, André, etc.) are entered as institutions.

If the name of the publisher or distributor is not identified on a print, enter [s.n.]. (Do not index [s.n.] as an additional institution). For manuscripts, leave blank.

Date (260 $c)

Enter the date of the source. Use Arabic numerals (such as 1624 instead of MDCXXIV). Keep in mind that this field is for the date of the material source itself, not for the work notated in the source. If the source contains an obvious error (such as a typographical error), enter the correct date in this field.

For manuscripts: Always try to give a date, even if it is approximate. If you have a month, day, and year, write it in this form: YYYY-MM-DD.

You may indicate approximate dates in your cataloging language by using the following: ca. for circa, before, and after. Try to indicate the date as exactly as possible. If you are uncertain, use a date range that corresponds to a non-specific period, such as the eighteenth century or the end of the seventeenth century. See the table below.

For printed items: If you have a print but it is undated, either enter an approximate date in square brackets or enter [s.d.]. Make an effort to supply a reasonable date range for an undated print, such as by using the life dates of the composer or arranger as a terminus post quem, or the active years of a publisher.

Note that for manuscripts, dates are given without square brackets because manuscripts are rarely dated. Printed materials, by contrast, are more likely to include a date so any editorial guess should be in square brackets.

Other dates may be indicated as on the source. Use question marks to indicate uncertain information.

Examples

• 1875
• 1856 Christmas Day
• 1757-01-11
• 1782-03-27-1784-05-07
• ca. 1760
• before 1802
• after 1653
• Easter 1744
• Ostern 1626
• ?1745?
• [1771]

For approximate periods of time, enter a range of years based on the following standardized date ranges:

For the period	Enter this range of dates
beginning of the 18th century	1700-1710
middle of the 18th century	1740-1760
end of the 18th century	1790-1799
18th century, 1st third	1700-1732
18th century, 2nd third	1733-1765
18th century, 3rd third	1766-1799
18th century, 1st quarter	1700-1724
18th century, 2nd quarter	1725-1749
18th century, 3rd quarter	1750-1774
18th century, 4th quarter	1775-1799
18th century, 1st half	1700-1749
18th century, 2nd half	1750-1799
18th century	1700-1799

Obsolete procedures: Older RISM cataloging guidelines allowed certain coded date formats. This practice was discontinued with the introduction of Muscat. The obsolete date formats are the following, with their meaning in parentheses:

• 1782a (before 1782)
• 1782c (ca. 1782)
• 1782p (after 1782)
• 18.in (beginning of the 18th century)
• 18.me (middle of the 18th century)
• 18.ex (end of the 18th century)
• 18.1t (first third of the 18th century)
• 18.3q (third quarter of the 18th century)
• 18.2d (second half of the 18th century)
• 18.sc (18th century)
• 18/19 (18th or 19th century)

Furthermore, previous cataloging programs had two fields for dating. One was for numbers only and the second was a text field where numbers plus abbreviations such as +, ca., ante, post, and 18.sc or text such as Easter 1805 or ?1745? could be entered. Some legacy records, therefore, display two date indications, such as 1806 (1806 ca.). Dates written in the format XX.XX.XXXX are interpreted as DD.MM.YYYY.

Location of printer (260 $e)

Enter the location of the institution associated with printing, duplicating, etc. as given on the source.

Name of printer (260 $f)

Enter the name of the printer or press as given on the source. Enter the standardized forms of the names in the fields Additional personal name (700) or Additional institution (710).

4.4.3 – Physical description

Physical description (300)

Required field.

The field Physical description provides a clear declaration of the material preserved by stating the format (such as score or parts) and how many there are. If you have parts, this field is used in conjunction with the field Parts held and extent (590), in which the specific parts are named.

Format, extent (300 $a)

For all types of formats except parts, the field Format, extent (300 $a) is built up of three components: Number of items, Format, Extent.

Example

• 1 score: 35 p.

For parts, the field Format, extent (300 $a) is built up of two components: Number of items, Format. The specific parts are listed separately in the field Parts held (590).

Example

• 5 parts

Number of items

State the number of items held. Use X to indicate an unknown number of items.

Format

Use one of the following English terms, in the singular or plural as appropriate.

General

• part: The notation of a work for an instrument or voice regardless of the number of staves per system (includes piano, organ, piano four-hands, no matter how many staves). Use also for partbooks.
• score: Contains all the instruments and/or voices of a composition, as long as more than one performing force is involved. This includes works for voice and accompaniment.

Kinds of scores

• vocal score: A work with voices and instruments where the vocal part(s) are present with the accompaniment arranged for a keyboard instrument.
• keyboard score: A work for instruments where the instruments are arranged for a keyboard instrument (no vocal parts). Indicate the extent immediately following regardless of the number of staves per system.
• chorus score: A work for solo voices, chorus, and instruments where only the music for the chorus is present in score format, omitting any solo vocal parts; an accompaniment reduced for a keyboard instrument may or may not be present.
• particella: A sketch or draft of a composition in a short score format.
• short score: All other kinds of reduced, condensed, or short scores, or when the kind of reduced score cannot be determined.
• tablature score
• choirbook: A book in which all voices of a work are written separately so that the choir can read the music from one book. Choirbooks are input as with scores.

Special formats

• tablature part: The type of tablature, if known, should be named in the field General note (500).
• sketch: Use for sketches if the type of format cannot be more precisely determined.
• text document: Use for librettos, treatises, and other kinds of text documents. A note in General note (500) may be necessary.
• prompt book: A document (can be a short score or text) used by a prompter for a stage work.
• table book: parts arranged on a page so that all performers can read from it while seated around a table.

Other

• various: Use for collection parent records if the collection contains different kinds of formats (such as a full score and a keyboard score).
• other: Use if none of the above apply. In such cases, include an explanation in the field General note (500). The number of items or the extent is not required.

For conductor part(s), use part or parts here and enter conductor part in the field Parts held (590).

For texted scores, use with text, such as keyboard score with text. For texted parts, see Parts held and extent (590).

Extent

For all formats except parts, enter the number of pages, leaves, or gatherings. Choose among the following abbreviations: f for folio, p for page, lvs for leaves (sheets), and fds for folds (gatherings).

For collection parent records as well as for pieces that are not part of collections, the total extent is given, such as 35 p. If a piece is within a collection, the extent for that piece is given, such as p. 17-23.

Use only one method of foliation or pagination within a collection. When using recto and verso enumeration, use both r and v. Indicate other units (such as the conversion from folios to pages) in the field General note (500).

Do not indicate the extent for parts here. Extent is entered in the field Parts held (590).

Examples

• 1 score: 35 p.
• 1 score (2x): 2, 2 f.
• 1 short score: 8 f.
• 1 tablature score: p. 5-8
• 1 keyboard score: f. 2r-4v
• 1 choirbook: p. 45
• various: 101 p.
• 5 parts
• 1 part
• other: 10 p.

Examples of other foliations

Foreword is numbered I-VIII, followed by 25 pages of music

• VIII, 25 p.

1 folio is numbered, foreword is numbered I-VIII, followed by 25 pages of music

• 1 f., VIII, 25 p.

1 folio is unnumbered, foreword is numbered I-VIII, followed by 25 pages of music

• [1] f., VIII, 25 p.

Pages change from Roman to Arabic numerals

• XII p., p. 13-36

Blank pages or foliation irregularities can be mentioned in the field General note (500).

• f. [2] blank
• p. 272 occurs twice

Other physical details (300 $b)

The presence of illustrations and other supplemental elements can be mentioned here. Enter using your cataloging language.

Examples include:

• advertisements
• engraved title page
• frontispiece
• illustrations
• list of subscribers
• list of subscribers through praenumeration (common in Germany)
• portraits
• printer’s device
• printer’s mark
• vignette

Dimensions (300 $c)

Enter the dimensions of the source: height x width in cm. Fractions of centimeters may be indicated by either a comma or period. A second set of dimensions can be given in parentheses. If there are more than two different sets of dimensions, enter the English phrase Different sizes; further elaboration can be made in the field General note (500). Formats such as octavo, quarto, etc. should be indicated in the field Book format (340 $m).

Examples

• 25.5 x 30.5 cm
• 36 x 25.5 cm
• 25.5 (21.5) x 32 (28.5) cm
• Different sizes

For printed items, you may enter the dimensions of the printed area. Use English indications such as “printed area” or “plate mark.” Separate this measurement from the measurement of the source with a semicolon. If dimensions vary, measure the title page and the first page of music (including, when applicable, an indication of what was measured). Full dimensions of the item then go in the holdings information.

Examples

• 20 x 16 cm; plate mark 18 x 15,5 cm
• Plate mark, title page: 20.2 x 27.7 cm; plate mark, music: 20.4 x 28.2 cm
• Printed area, title page: 20.2 x 27.7 cm; printed area, music: 20.4 x 28.2 cm

4.4.4 – Parts held and extent

Parts held and extent (590)

The field Parts held and extent indicates which parts are held and their foliation/pagination.

Parts held (590 $a)

Required if source contains parts.

Enter parts held and number of parts with reference to the RISM instrument abbreviation list. If you wish, you may use the designations that appear on the source if they vary from the standardized RISM abbreviation.

The first letter of instrumental parts is in lowercase and vocal parts uppercase. The order for naming parts is as follows and from the highest to the lowest range:

• Solo vocal parts. Begin the field with Solo:
• Chorus vocal parts. Begin the field with Coro:
• Solo instruments
• Strings
• Basso continuo/thoroughbass
• Woodwinds
• Brass
• Other instruments

If no further details of the part designations are available, write the English phrase: no further indication

Special cases:

• Figured bass: If you have a figured bass, enter the instrument followed by .fig, such as b.fig, bc.fig, org.fig, etc. (but see the tables in the section Figured bass in scores and/or parts for guidance with related fields).
• Instrument not on the RISM instrument abbreviation list: write out the instrument in full.
• Unusual instruments, designations, or tunings (such as cor in D|x) may be written out in full; however, in the field Total scoring (594), try to standardize the instrument to RISM’s instrument abbreviation list if possible (such as cor in E|b).
• Keyboard part with text: Enter using English pf with text (or org with text, keyb with text, etc.). The same thing is entered in the incipit field Voice/instrument (031 $m).
• In partbooks of the 15th and 16th centuries, it is sometimes the case that a part appears in a partbook that differs from the partbook’s label, such as a Tenor 2 part that is printed in a Quinta vox (V 5) partbook. In this field, you can indicate where each part is found by using an equals sign.
  Example:
  Partbooks are S, A, T, B, V 5. V 5 contains a T 2 part.
  S, A, T, B, V 5 (= T 2)
  See also the field Total scoring (594) on how to enter the total instrumentation.

Extent (parts) (590 $b)

Enter the number of folios, pages, leaves, or gatherings. Use only one method of enumeration. Choose among the following abbreviations:

• f for folio
• p for page
• lvs for leaves (sheets)
• fds for folds (gatherings)

Indicate other units (such as the conversion from folios to pages) in the field General note (500).

You may also indicate single pages or folios within a manuscript collection, such as p. 5-6 or f. 4r-4v.

Examples

There are two different ways list the parts.

Example 1: One instrumental family per line with a comma separating the instruments. The field must be repeated for each family.

Parts held (590 $a): Solo: S 1, 2 (2x), A, T, B
Extent (parts) (590 $b): 3, 2, 2, 3, 3, 4 p.

Parts held (590 $a): Coro: S, A, T B
Extent (parts) (590 $b): 4, 4, 4, 4 p.

Parts held (590 $a): vl 1, 2, vla, vlc, b (= bc)
Extent (parts) (590 $b): 4, 4, 3, 4, 2 p.

Parts held (590 $a): ob 1, 2, cl 1, 2 in B|b
Extent (parts) (590 $b): 2, 2, 2, 2 p.

Parts held (590 $a): tr 1 and 2 in B|b
Extent (parts) (590 $b): 2 p.

Parts held (590 $a): org (incpl)
Extent (parts) (590 $b): 8 p.

Example 2: Everything on one line with a comma separating the instruments and a semicolon separating the instrument families (but this can be hard to follow if many parts are present)

Parts held (590 $a): Solo: S (2x), A, T, Bariton, B; Coro: S; vl 1, 2, vla, vlc, cb (incpl); fl 1, 2, ob; cor 1 and 2
Extent (parts) (590 $b): 2, 2, 2, 3, 3, 3; 3; 5, 5, 3, 2, 1; 4, 3, 4; 2 f.

Additional information

Additional information (brief remarks) about such things as the number or incompleteness of parts can be added in parentheses directly after the part designation. Use the following conventions:

• If you have multiple copies of the same part, write the number and then include the extent for each part. Example: S (2x)
• (= bc): part is a basso continuo part
• (incpl): part is incomplete
• Use a / (slash) to join two elements: bc (2x/incpl)
• If a part contains the music for multiple instruments, use and. Example: tr 1 and 2
• You can include the tuning: cl 1, 2 in B|b

4.4.5 – Special production technique

Special production technique (340)

The field Special production technique is for the physical description information for an item that required technical equipment for its production, and for the description of the page format.

Printing technique (340 $d)

Indicate the technique used in the production of the source here. If you need any term not on the list, contact the Editorial Center.

• Autography: Transfer printing (not to be confused with autograph manuscripts).
• Computer printout
• Engraving
• Lithography
• Offset printing
• Photoreproductive process (blueprint): Includes Cyanotype, diazo print, blueprint.
• Reproduction: Many types of mechanical reproductions are included here, such as photocopy, xerocopy, heliography.
• Transparency
• Typescript
• Typography: Includes music printed using movable type.
• Woodcut

Any additions or comments about the printing technique may be explained in the field General note (500 $a).

If a source includes multiple printing techniques, you may repeat the field to indicate each technique. Include a note in the field General note (500 $a) to explain.

Example

Engraved music that has a lithographed title page:

• Special production technique (340 $d): Engraving
• Special production technique (340 $d): Lithography
• General note (500 $a): Music engraved. Title page lithographed.

Book format (340 $m)

Select the format of the book. The book format results from folding a sheet to form a gathering of leaves. For example, a sheet folded once formats a folio, twice is a quarto, three times is an octavo. Select from the following:

• 2°: folio, fo
• 4°: quarto, 4to
• 8°: octavo, 8vo
• 12°: duodecimo, twelvemo, 12mo
• 16°: sextodecimo, sixteenmo, 16mo
• 18°: octodecimo, eighteenmo, 18mo
• 20°: vigesimo, twentymo, 20mo
• 24°: vigesimo-quarto, twenty-fourmo, 24mo
• obl. 2°: oblong folio
• obl. 4°: oblong quarto
• obl. 8°: oblong octavo
• obl. 12°: oblong duodecimo

4.4.6 – Plate or publisher number

Plate or publisher number (028)

The field Plate or publisher number is for the plate numbers and publisher numbers that appear on the item. They typically appear on printed items but can also be found on manuscripts that were copied from a printed music edition.

Publisher or plate number (028, indicators 20 for plate number; 028, indicators 30 for publisher number)

Select the kind of number from the drop-down menu. A publisher number is usually found only on the title page. A plate number is usually found at the bottom of each page; include such numbers even if the music was not printed from plates.

Number (028 $a)

Enter the publisher number or plate number exactly as it appears on the source.

Enter only one publisher number or plate number per field, but repeat the field if both kinds or multiple numbers are present. If the publisher number is identical with the plate number, the publisher number does not need to be entered separately. Enter all plate numbers found on the source, checking all pages in case multiple plate numbers are present. If a number range is given, enter the range as given on the source and also add each full number separately.

The statement “[without plate number]” in English is allowed and serves to convey to other readers that you checked the source for plate numbers but they are lacking.

Examples

• B. H. 4
• 424
• 5251.5252.
• 732a
• XLII
• M-210948
• [without plate number]

4.4.7 – Watermark description

Watermark description (592)

The field Watermark description is for both transcriptions and descriptions of watermarks.

Watermark description (592 $a)

Transcribe or describe the watermark uniformly and in English. Descriptions should be entered in square brackets while transcriptions, such as letters, should be entered directly.

Small capitals, ciphers/initials, and years must be transcribed exactly. Indicate line breaks with | (the vertical pipe).

Standardize your information with the help of watermark catalogs or databases, adding a reference in the field Bibliographic reference (691) when appropriate. See the list Standard Watermarks for the names of common watermarks.

Examples

• C & G HONIG
• GFA | VB [GFA above VB]
• IV [countermark:] VI
• [coat of arms]
• [3 crescents] | MA
• [EinederH 1960 260]

4.4.8 – Binding note

Binding note (563)

The field Binding note is for information related to the binding of the item or how it is bound.

Binding note (563 $a)

Here you can briefly describe the binding. Enter using your cataloging language. If a source exists unbound in fascicles, it can also be mentioned here.

4.4.9 – missing label in source

Bound with (973)

The field Bound with is used to link holdings from a printed edition to a composite volume in order to show that materials are bound together.

Bound with (973 $a)

Click the magnifying glass to select the record for the composite volume.

4.5 – Incipits

4.5.1 – Incipit

Incipit (031)

The field Incipit is used for musical information about the opening few measures of the piece and includes music incipits as well as text incipits. Incipits help identify works and facilitate the comparison of sources. Best practice for instrumental music is to include incipits from a high part and a low part, such as vl 1 and bass. For vocal music, include incipits from the highest voice and the first violin or the highest instrumental part.

If the notation you need is not available using the Plaine & Easie code, transcribe the music the best you can and include an explanatory note. You can attach an image of the incipit from the source for further clarification.

Keep in mind that incipit transcription is primarily used for searching and identification, not for replicating the visual appearance of the score. The Plaine & Easie Code is an intentional simplification of Western notation and not all details can (or should) be encoded.

For assistance with transcribing mensural notation, see “Basic Mensural Notation Reference” by Ted Dumitrescu (http://www.cmme.org/misc/refsheet.pdf)).

MARC export note:
Records that contain an incipit (anything in field 031) receive $2pe upon saving, indicating that the incipit was created using the Plaine & Easie code.

Work number, movement number, incipit number (031 $a, b, c)

Required field if any field in this section is used.

The incipit number consists of three digits, which stand for work, movement, and incipit.

The first digit is always a 1. The work number refers to the position of the incipit in the record in question, not its position in the source as a whole. Works in RISM are cataloged in separate records using a parent/child hierarchy, so the each record only has one work.

Movements refer to both the work as a whole but also significant sections of a work, whether they are technically movements (such as a symphony) or different sections (such as a recitative and aria). Movement numbers can be identical if multiple incipits are entered for the movement.

The incipit number is embedded within the hierarchy of the movement or work. Identical movement numbers but different incipit numbers mean that the incipits sound simultaneously, such as a vl 1 and bass.

Examples

• 1.1.1 = 1st work, 1st movement, 1st incipit
• 1.1.2 = 1st work, 1st movement, 2nd incipit (sounds at the same time as 1.1.1)
• 1.2.1 = 1st work, 2nd movement, 1st incipit
• 1.3.1 = 1st work, 3rd movement, 1st incipit

Periods between the numbers are automatically added by Muscat.

The three-figure incipit number must be unique within a record. Number incipits consecutively and with respect to the record in question. The incipit number may not imply any comment on the position of the item in a source. Numbering within the source should be reflected in the title description, and any particularities can be explained in a note. This means that the incipit for the fourth song in a song collection will be 1.1.1, as with all songs in the collection.

Consecutive numbering must be followed even if content is missing from the source. For example, if one song is missing from a collection of six songs, the work number of each incipit will still start with a 1. If the source is a three-movement symphony but the middle movement is missing, the incipits will be numbered 1.1.1 and 1.2.1 (not 1.3.1).

Title of movement, tempo (031 $d)

Enter the title of the movement and tempo or similar indications, if specified, as it appears on the source. Use | (the vertical pipe) with a single space before and after the sign to show a line break. Use square brackets to indicate supplements to the original; any such additions should be spelled consistently. Multiple titles or additional tempo markings can be added in separate fields. If you are entering multiple incipits for which the title or tempo indication is the same, enter it only for the first music incipit.

Obsolete procedures: Older RISM guidelines allowed the phrase “Without tempo” to indicate that a movement has several tempo indications, of which one or several are not known. Multiple tempo indications were entered after each other, separated by semicolons.

Voice/instrument (031 $m)

Enter the voice part or instrument using the list of RISM instrument abbreviations. Enter V for an unknown vocal part. Enter i for an unknown instrumental part. Indicate the tuning of an instrument in the General note field. If the instrument is a transposing instrument, you may enter it at notated pitch or at sounding pitch. In the field General note (031 $q), indicate which option you used.

Examples

• pf
• Coro T
• org with text

Obsolete procedures: Older RISM guidelines required music incipits for transposing instruments to be entered at sounding pitch.

Role (031 $e)

Enter the standardized dramatic role name here. If you fill out this field, make sure to also fill out the field Dramatic role named (595). Indicate any editorial additions with square brackets. Indicate any questionable information with a question mark.

Text incipit (031 $t)

A text incipit consists of the first few words of the piece or section and can be the first line, first phrase, or other group of words that make linguistic sense. Text incipits serve to identify the text used and do not necessarily need to match the length of music given in the music incipit. Text incipits can be included regardless of whether a music incipit is entered. Note that separate rules apply to texts in Latin (see below).

Text incipits are given in standardized form. Enter the text incipit using modern spelling. Refer to the index Title/text incipits to help standardize your entry. Enter new incipits if they are not in the index.

Do not put portions of the text in square brackets or supply missing words. Omit punctuation marks and repetitions in the text.

Accents should be used only as they appear in the dictionary or if they are grammatically correct. Write out numbers at the beginnings of texts as words. Upper- and lower-case letters follow the rules of the respective language, except that designations for God (Herr, Dio, Dieu, Signore, Lord, etc.) always start with a capital letter. If the text incipit is used as the standardized title (240), make sure that the length and spelling agree exactly.

Omit the text entirely if you cannot read it and add a note saying “Text illegible” or similar.

In Romance languages, continue the text directly after an apostrophe and without a space. An exception to this rule is when the first letter of a word is replaced by an apostrophe (for example: Fra l’amante e ‘l genitor).

Ascertained or derived texts that do not appear on the source can be given here. In such cases, put the entire text in square brackets. Among these texts are:

• Texts if a vocal part is missing
• Text incipits in the original language of the work when the source contains a translated version
• Texts of vocal compositions which became the theme of a variation or the basis of an instrumental arrangement

Non-Latin scripts: If your source has a text incipit that uses non-Latin letters or characters (Cyrillic/Greek/Hebrew/Korean etc. alphabet, Chinese characters, etc.) enter the Text incipit using the original script. Translations or transliterations are optional and may be added in additional text incipit fields. Add translations not on the source in square brackets. You may translate into any of the RISM languages.

Special rules for texts in Latin: Enter Latin texts, both sacred and secular. The field is linked to the file Title/text incipits. Within the file Title/text incipits, a term preceded by the indicator t means that you can get information about the exact liturgical context, variant versions, and other matters. If the text incipit is used as the standardized title, make sure that the spelling is identical, but remember that Latin text in standardized titles is only entered up to the comma. Use square brackets to enter Latin texts which are not named on the source but have been determined by research.

Standard Latin texts usually match the texts in the Liber usualis. In RISM, these texts usually contain a comma. For example, when you search for the text “Et in terra pax”, you will see about a dozen options, but only 1 has a comma and this source is used 4,800 times in the database. Therefore it is the one we want – presuming this matches your source. If your text incipit is only “Et in terra pax” then this means your source (1) contains only these words or (2) continues in a way that is different from the Liber usualis. This is of course possible, but in most cases you want the version with the comma.

Key or mode (031 $r)

Select the key or mode of the incipit from the list.

Obsolete procedures: Older RISM cataloging guidelines allowed multiple key signatures to be entered in this field, separated by a semicolon. This practice was discontinued with the introduction of Muscat.

Key signature (031 $n)

Enter x for sharp keys or b for flat keys, followed by capital letters of the pitches to be raised or lowered. If a piece is clearly in a certain key but a sharp or flat is not in the key signature, the missing sharps or flats may be added in square brackets.

If there is no key signature, leave the field blank.

Examples

• xF = F is sharp = G major or E minor
• bBE = B and E are flat = B-flat major or G minor
• xFC[G] = F and C are sharp in the source but the piece is clearly in A major, so the last sharp is added in square brackets

Time signature (031 $o)

Enter time signatures as fractions. The following are also allowed:

• c = common time or tempus imperfectum cum prolatione imperfecta
• c/ = cut time, alla breve
• 3 = proportio tripla; also 1, 2, etc.
• c3 = proportio tripla
• c3/2
• c. = tempus imperfectum cum prolatione perfecta
• o = tempus perfectum cum prolatione imperfecta
• o/ = tempus perfectum cum prolatione minore diminutum
• o. = perfect time, tempus perfectum cum prolatione perfecta

If the meter changes constantly, you can write the first time signature followed by the second, separated by a space.

If the incipit is without a time signature, add one and also add an explanation in the field General note (031 $q) such as “Time signature added.” Do not put the inferred time signature in square brackets.

Obsolete procedures: Older guidelines allowed a blank field here if the source lacked a time signature.

Examples

• 4/4
• 6/8
• 3/4 4/4

If the time signature in the source is obviously wrong, correct it to match the incipit given. Include an explanatory note in the field General note.

Clef (031 $g)

Select a clef from the list. The letter indicates the kind of clef. A hyphen means modern notation. A plus sign means mensural notation. The number refers to position on the staff line.

If no clef is on the source, select one from the list and include an explanatory note in the field General note (031 $q).

Validity (031 $s)

Do not enter anything into this field! (It is only used for old data.)

Music incipit (031 $p)

Enter the music incipit in encoded form using the Plaine & Easie code (see also https://www.iaml.info/plaine-easie-code). The incipit should be at least two bars (measures) or six notes long.

1. Octaves

’ = in the 1st octave above middle C
‘’ = in the 2nd octave above middle C
‘’’ = in the 3rd octave above middle C
, = in the 1st octave below middle C
,, = in the 2nd octave below middle C
,,, = in the 3rd octave below middle C

2. Rhythmic values

0 = longa
9 = breve
1 = whole note / semibreve
2 = half note / minim
4 = quarter note / crotchet / semiminim
8 = eighth note / quaver / fusa
6 = 16th note / semiquaver / semi fusa
3 = 32nd note / demisemiquaver
5 = 64th note / hemidemisemiquaver
7 = 128th note / semihemidemisemiquaver
7. = neumatic notation

Periods are used for dotted notes. Multiple periods can be added to a note.

4. = dotted quarter note / dotted crotchet
8.. = double dotted eighth note / double dotted quaver

3. Accidentals

x = sharp
xx = double sharp
b = flat
bb = double flat
n = natural

4. Note names

C, D, E, F, G, A, B

5. Grace notes and ornaments

g = acciaccatura (without rhythmic value, precedes the note name)
q = appoggiatura (with rhythmic value, precedes the note name)
qq…r = several appoggiaturas or ornaments which belong together (with rhythmic value)

6. Rests

The ‘-‘ (minus sign) is for a single-note rest. Use ‘=’ (equal sign) for a measure rest. For multiple measures of rest, follow the = with the number of measures and a bar line.

• Eighth-note rest
• 8-/
• One measure of rest
• -/
• =1/
• Multiple measures of rest
• =35/

7. Bar lines

/ = bar line
// = double bar line
//: = double bar line with repeat
:// = double bar line with repeat
://: = double bar line with repeat

8. Other symbols

t = trill (immediately follows the note)

• = tie (immediately follows the note; not to be confused with a slur)
  () = fermata/hold/pause (only a single note letter name or a single rest can be bracketed; accidentals, pitch indications, etc. must be outside the parentheses; see also 10. Special rhythms, below)

Do not enter slurs.

9. Beaming

{ = beginning of beaming
} = end of beaming

Example

{qq6’CDEDr}

10. Special rhythms

( = beginning of special rhythm
) = end of special rhythm

The total duration value of the group must be written before the (. The rhythmic value of the first note must be given after (, even if it is identical with that of the note immediately before the section of special rhythm. The number of notes in the group must be indicated before ). It is separated from the last note by ;.

Examples

• 8(3ABCDE;5) = quintuplet, five demisemiquavers/32nd notes, in the space of a quaver/eighth note.
• 8({3ABCDE};5) = quintuplet, five demisemiquavers/32nd notes, in the space of a quaver/eighth note, beamed

The triplet is a special case. Strictly speaking, it should be encoded as:
8(6ABC;3) or 8({6ABC};3).
Instead though, the following shortcut is permitted:
(6ABC)
({6ABC})

Do not forget the rhythmic value within the bracket!

11. Shortcuts

11.1. Repeated figures

! = beginning and end of passage
f = repeat indication
The figure will be repeated as often as f is repeated after the second !. This is only possible within a bar.

Example

• !{‘8ABAG}!ff = this figure will be repeated twice

11.2. Repeated bars

i = repeat last bar
‘i’ always goes between two bar lines.

Example

• ‘4ABAG/i/i/ = the bar will be repeated twice

11.3. Rhythmic patterns

When a certain rhythmic sequence is repeated several times, the rhythmic pattern can be given before the respective note letter names.

The rhythmic sequence ends as soon a different rhythmic value occurs. Make sure that all notes as indicated by the pattern are present at least once.

Example

• Instead of 8.A6B8C8.D6E8F the code can be 8.68ABCDEF

12. Change of clef

If the clef changes within the music incipit, use % to change the clef. Follow this with the new clef and a space.

Examples

• %C-1 ‘2A
• %C-1 $xFC ‘8B

13. Change of key

If the key changes within the music incipit, use $ to change the key. Follow this with the new key signature and a space. A key signature can only be changed once per measure. You can cancel the previous key signature with $n or move directly to the new key signature.

Examples

• $nBE $xFC
• $xFC

14. Change of time signature

If the time signature changes within the music incipit, use @ to change the time signature. Follow this with the new time signature and a space.

Examples

• @3/2 ‘1C

15. Abbreviations

Abbreviated forms of notation found within the music, such as tremolos or simile signs for repeats, must be written out in full using the actual notation.

Examples

• {‘8DDDD} = minim/ half tremolo on D

16. Chords

Enter chords from the highest to the lowest note, separated by a ^.

Example

• 4’’C^’G^E^C

Obsolete procedures: In older cataloging programs, the field for encoded notation began with the control character $ followed by the key signature ($xFC for $bBE), and then a character that was entered as a ³ (superscript 3) but displayed as an _ (underscore). Incipits with no key signature started directly with an _.

General note (031 $q)

Add any other comments, such as the pitch of transposing instruments, mistakes in the incipit, the text incipit with the original spelling and/or punctuation, or any adjustments you had to make. Enter using your cataloging language.

Obsolete procedures: Older RISM cataloging guidelines allowed the symbols ?, +, and t to represent standardized remarks. This practice was discontinued with the introduction of Muscat, and instead explanatory notes in natural language are put into the field General note (031 $q). The symbols were the following:

• ? = Error in the incipit could not be corrected.
• + = Error in the incipit has been corrected.
• t = The incipit has been transcribed into modern notation.

Scoring in movement (031 $z)

In this field, you can indicate the specific scoring for the particular movement in question (such as a movement within a complex vocal piece). List the scoring on one line using RISM instrument abbreviations and in the standard order (described in Scoring summary [240 $m]). Use a semicolon to separate instrument families.

Examples

• S (Enrico), T (Vanoldo); vl 1, 2, b; [winds]
• S 2 solo; Coro; ob obl; strings, bc

4.6 – References and notes

4.6.1 – Source of description note

Source of description note (588)

The field Source of description note specifies which physical item (exemplar) was consulted for cataloging a printed edition.

Copy examined for cataloging (588 $a)

Enter the library siglum and shelfmark of the printed edition consulted. You can also indicate if you used a copy for only a portion of the record, such as incipits or individual entries.

Examples

• I-Bc Q.51
• (incipits:) US-BETm LCM 242

If you use a secondary source as a basis for the record, fill out this field as usual but specify the secondary source in a General note (500) and link to it as a catalog of works or bibliographic reference.

Example

• Copy examined for cataloging (588): GB-Lbl h.11.a.(1.)
• General note (500): Record based on YouV using the description of the copy in GB-Lbl, shelfmark h.11.a.(1.).
• Catalog of works (690): YouV 2

Using incomplete copies

If your material is incomplete, add “(incomplete)” after your siglum and shelfmark, and include a General note (500) so it is clear to future readers that the record contains only partial information. Other cataloging-related information can be put in an Internal note (599) so that future holding libraries know what parts of the record can still be enhanced.

Example

Copy examined for cataloging (588): GB-Lbl 123 (incomplete)

• General note (500): Record based incomplete copy in GB-Lbl 123. Vl 1 part missing.
• Internal note (599): Note to future libraries: record created based on incomplete copy; check the extent of the vl 1 part and modify record accordingly.

4.6.2 – General note

General note (500)

The field General note is for any information on a source which could not be entered in other fields, to supplement the information given in encoded form elsewhere in the record, or to offer any other explanations that would help the reader.

General note (500 $a)

Enter all other notes here. Enter using your cataloging language. When quoting something on the source, use | (the vertical pipe) with a single space before and after the sign to show a line break. Additions to the original quotation should always be in square brackets.

When cataloging the holdings of a single library, try to keep the expressions used as uniform as possible.

What follows are examples of types of information that can be included as a note. This list is not exhaustive.

• Instrumentation
  If you have a figured bass in a score, indicate it here in the following manner: b = b.fig, bc = bc.fig, org = org.fig, etc. (see also the tables in the section Figured bass in scores and/or parts for guidance with related fields).
• Scoring of second Agnus Dei: S, A, T, T, B
• org = org.fig
• Missing parts
• Other parts missing
• Observations
• Evidence present of another copyist.
• The material consists of arias with paraphrased text from Jommelli’s opera.
• Original pagination: 1-12.
• fl 1 with autograph dynamics
• Origin of information ascertained from external sources, such as composer or dating
• According to FlotzingerL 1965, composer is Mozart.
• Printed music
• Designation marks
  • Designation mark: “Allgem. Choralbuch.”
• Signature marks
  • Signature mark: “F 2”
• Quotations from the source
• At foot of title page: “Performance in Baden Baden on 17 March 1832”
• Note on cello part, f. 8: “Wir streiken für neue Bögen”
• References to other RISM records
  Include the complete RISM siglum, the shelfmark, and the RISM ID number.
• Composer identified based on incipits in D-KPk 282 (RISM ID no. 450035504).
• Concordant tune at US-Wc M1.A1A (RISM ID no. 000118313) has title “Jove in his chair”.

4.6.3 – Contents note

Contents note (505)

The field Contents note is for information related to the contents of the source.

Contents note (505 $a)

The names of all the pieces within a collection or all the movements with a piece can be entered here. In addition, further information about the contents of the source which does not fit into any other category can be included here, such as:

• Information on different versions of the work
• Information on the structure of collections
• The number of verses in strophic songs
• General structural information about the source
• Information on the full scoring, if the material is incomplete

Enter using your cataloging language.

4.6.4 – Supplementary material

Supplementary material (525)

The field Supplementary material is for material that accompanies the source being described.

Supplementary material (525 $a)

Mention material that accompanies the source, such as program notes, reviews, etc. Enter using your cataloging language.

4.6.5 – Bibliographic reference

Bibliographic reference (691)

The field Bibliographic reference gives bibliographic references related to the work or the source. Cite secondary literature when it was used during the cataloging process itself or if it refers directly to the source in question. You can also enter references to modern editions connected with the source and references to watermark literature.

Note that information citing a catalog of works number is entered in the field Catalog of works (690).

Use this field if you wish to indicate that a printed edition is not mentioned in a volume from RISM series A/I or a B volume (deest).

Bibliographic reference (691 $a)

Enter the short title of the reference. This field is linked to the Secondary literature database. If the reference you wish to cite is not yet in the database, it must be added first before you can link to it.

Number/page (691 $n)

Required field if a bibliographic reference (691 $a) is filled in.

Enter the location within the item, frequently a number or page. Consult the full record for the item in the Secondary literature database for the preferred citation format. Use the following English abbreviations:

• vol.: volume
• fasc.: fascicle
• suppl.: supplement
• pt.: part
• p.: page or pages
• no.: number
• clm.: column

Examples

• vol. 2, pt. 2, p. 430
• vol. 5, p. 93; vol. 6, p. 12
• Suppl. 1: 1779-1780, clm. 695

4.6.6 – RISM series A/I and B reference

RISM series A/I and B reference (596)

The field RISM series A/I and B reference is for cross-references to printed editions in RISM, whether in the RISM database or in the printed A/I and B volumes. This field is most commonly used if the source clearly presents the same work, such as a manuscript copy of a printed edition. This field can also include cross-references to other printed editions, such as for references to other editions or cases where confusion with a different edition might arise.

Include a General note (500) to explain the connection between the source in hand and the source cited in the 596.

See also the field Related source (787).

This field may not be used to indicate that a printed edition is absent from RISM’s series A/I or a volume in the B series; use the field Bibliographic reference (691) instead.

RISM series A/I and B reference (596 $a)

Select the RISM series. Choose from the following list.

• A/I - Einzeldrucke vor 1800/Individual Prints before 1800
• B/I - Recueils imprimés, XVIe-XVIIe siècles
• B/II - Recueils imprimés, XVIIIe siècle
• B/III - The theory of music
• B/VI - Écrits imprimés concernant la musique
• B/VIII - Das deutsche Kirchenlied
• B/IX/1 - Hebrew notated manuscript sources up to circa 1840: A descriptive and thematic catalogue with a checklist of printed sources
• B/IX/2 - Hebrew writings concerning music in manuscripts and printed books from Geonic times up to 1800
• B/XIII - Hymnologica Slavica
• B/XV - Mehrstimmige Messen in Quellen aus Spanien, Portugal und Lateinamerika, ca. 1490-1630
• B/XVII - Die Triosonate: Catalogue Raisonné der gedruckten Quellen
• Other: References to printed editions that were originally cataloged in Muscat and not included in the printed volumes of the A/I and B series.

RISM series number (596 $b)

Enter the reference to the piece in the RISM series. Note that each volume has a different way of referring to sources; some have individual numbers while others require page numbers. For the citation style, see the form given for each volume in the Secondary literature database.

RISM ID number (596 $c)

Link to the record that corresponds to the citation in 596 $a and $b. Click on the magnifying glass to search. If the record is not yet in Muscat, contact the Editorial Center.

4.6.7 – Liturgical festival

Liturgical festival (657)

The field Liturgical festival is for religious events associated with the source.

Liturgical festival (657 $a)

Enter references to the liturgical use of the composition in this field. This includes liturgical festivals, feasts, celebrations, seasons, days, and other religious holidays. The field is linked to the index Liturgical festivals in $0. If you need a liturgical festival that isn’t yet in the index, contact the RISM Editorial Center.

Examples

• Nativitas Domini
• Mariae (B.V.) Visitatio
• Single Sisters Covenant Day (Moravian Church)

4.6.8 – Location of performance

Location of performance (651)

The field Location of performance is used if the source in hand can be associated with a specific performance. It should be filled out if the field Note on performance (518) is used.

Location of performance (651 $a)

Enter the location of performance(s) in this field in a standardized form. It is linked to the Places index through $0. When entering new geographical names that are not yet in the index, enter them in the local language.

For printed music, this field should be filled out in the core bibliographic record only in the case of occasional prints (that is, music written for a specific occasion). Locations specific to a certain copy of a printed edition should be entered in the holdings information.

Examples

• Praha
• Milano

Obsolete procedures: Older RISM cataloging programs had two fields for the location of a performance, one standardized and one as given on the item.

4.6.9 – Note on performance

Note on performance (518)

The field Note on performance is for information related to how the source in hand was used in a specific performance. Remarks about performances of the work in general (rather than the source specifically), if relevant, should be entered in the field General note (500).

Note on performance (518 $a)

Enter information about performances noted on or related to the source here. Enter using your cataloging language. For assistance with the names of performance venues, refer to the list Opera houses and concert halls.

Enter the city in standardized form in the field Location of performance (651). Enter the name of the venue in standardized form in the field Additional institution (710). Dates may be added using normal language in accordance with your cataloging language.

For printed music, this field should be filled out in the core bibliographic record only in the case of occasional prints (that is, music written for a specific occasion). Performances specific to a certain copy of a printed edition should be entered in the holdings information.

Examples

• First performance date: 6 September 1791, Prague, National theatre
• [at foot of title page:] “Performance in Baden Baden on 17 March 1832”

Obsolete procedures: Older RISM cataloging programs contained two fields for the date of performances, one in the format DD.MM.YYYY and one with other dates that do not fit that format.

4.6.10 – External resource

External resource (856)

The field External resource is used to link to an external resource that bears a direct connection to the source being described.

External resource URL (856 $u)

Enter the URL. Only enter one URL per field. All URLs must begin with http or https. Always use permalinks.

Note about external resource (856 $z)

This field is required when entering a link to an external resource.

Enter a brief description that explains why the URL is relevant to the source being described. Enter using your cataloging language.

Examples

• Digital copy
• Watermark on p. 4
• Project homepage
• Detail of binding
• Bibliographic record
• Link to record in Bach Digital
• Link to work in the Frescobaldi Thematic Catalogue Online
• Entry in the church registry

Link type (856 $x)

This field is required when entering a link to an external resource.

Select from the following:

• Digitized source: The link is to an external website which is a digitized copy of the resource being described. The preference is to link to institutional repositories but if one is not available then links to external repositories such as the Internet Archive or IMSLP are allowed. If a link to a digitized source is included in a record for a collection, it is not necessary to duplicate the same link in the individual entries.
• Example
  https://mirador.acdh.oeaw.ac.at/musikarchivspitz/A-SPD_A15/
• IIIF manifest (digitized source) and IIIF manifest (other): The linked object is a machine-readable JSON object. IIIF links should only be to the manifest, not to a digital surrogate. IIIF manifests do not display the image but rather consist of machine-readable text that must be processed by an internal document viewer such as diva.js before it displays a meaningful image. When viewing the manifest in a web browser, it will start with the curly bracket {. The document is embedded in the web page directly. In many cases, “manifest,” “iiif,” or similar appears in the link.
  IIIF manifest (digitized source) should be used when the manifest represents a digital surrogate of the source being described. IIIF manifest (other) should be used when the manifest represents an element other than the full source, such as a watermark.
• Example https://iiif.lib.harvard.edu/manifests/drs:2820650

In cases where both links to an external viewer and an IIIF manifest are available, repeat the field and list both links separately.

• Examples
  • External resource: http://nrs.harvard.edu/urn-3:FHCL.Loeb:537966
    Note: digitized version
    Link type: digitized source
  • External resource: https://iiif.lib.harvard.edu/manifests/drs:2820650
    Note: IIIF manifest
    Link type: IIIF manifest
• Other: Link to other resources that are not the resource being described.

Kinds of external resources

Link type 856 $x: Digitized source
Link only to the source being described in the RISM record. Only use permalinks. If permalinks are unavailable, you may link to a page where the link to the digitized source can be easily found (such as a bibliographic record in a library catalog). You may include portions of the digitized source (such as a few pages) if a fully digitized version is not available.

Link type 856 $x: Other
Other kinds of external resources can include the following. Make sure it is always clear to the user why a link is being included, such as in a General note (500).

• Details of sources
  Details of sources that only present certain aspects, such as a watermark, binding, title page, or cover.
• Catalog records/Databases
  Includes bibliographic entries in external catalogs or entries in external databases. External scholarly databases that provide useful information might be included, but consider whether they might be better linked as secondary literature.
• Electronic catalogs of works, online encyclopedias, digitized reference sources
  In general, use the fields Secondary literature (691) or Catalog of works (690) to refer to online reference works such as catalogs of works or encyclopedias. However, as a service to users, it might be helpful to additionally include a direct link to a certain place within the resource through the 856 field.
• Archival sources, historical sources
  Includes digitized municipal registers or documents, digitized correspondence, historical newspapers. Ensure that the relevance of the archival source is first clear in a General note (500), then include the direct link here. For historical newspapers, you should enter the name of the newspaper as secondary literature but you may link to the specific page where the article is found here; make sure information about the article, such as article title and date, is included in a note.
• Websites
  Includes project websites, websites of external funding agencies, or other relevant websites.
• Other RISM records
  Only link to another RISM record if the record has direct bearing to the source being described. Only use permalinks. It should be clear to the user why the record is relevant to the source. At a minimum, name the holding library, shelfmark, and RISM ID number in a note. Sometimes a connection to a different source might be better explained in a General note (500).
  If you refer to other RISM records elsewhere in you record, it is not required to link to them in this field.
  It is not necessary to link to all concordant sources in RISM here; indeed, this is a futile pursuit because the number of sources grows in Muscat daily.
• References to relevant sources in other libraries but not in RISM
  If you want to link to a source not yet in RISM, consider whether it is possible for your working group to first enter the digitized libretto, manuscript, or treatise, or add holdings to a particular print. The Editorial Center is happy to help you if you think a source should be in RISM. However, it is understandable if you are unable to create a new record for a source first.
• Other relevant sources
  Includes concordant sources, concordant works, concordant arias or sections of works, sources that served as the basis for the source being described. Such links can be to the digitized objects or links to external catalogs.

4.6.11 – External work reference (Work node)

External work reference (Work node) (930)

The field External work reference (Work node) is used to link the work described in the Sources record to a work in the Work nodes authority file.

External work reference (Work node) (930 $a)

Use the autocomplete or click the magnifying glass to select a work from the Work nodes authority file.

4.7 – Administration

4.7.1 – RISM ID number

RISM ID number (001)

The field RISM ID number is the permanent RISM identifier for the record. This number is automatically generated and cannot be changed.

In record imports, nine-digit RISM ID numbers are assigned. The first three digits of a nine-digit number indicate the contributing national group.

Obsolete procedures: In former RISM cataloging programs, the RISM ID number was entered by hand. The RISM ID number was nine digits in length and the first three digits indicated the national group. Some IDs started with three zeros, which may be ignored. This practice was discontinued with the introduction of Muscat.

4.7.2 – Cataloging agency

Cataloging agency (040)

The field Cataloging agency indicates the organization that created the original record.

Cataloging language (040 $b)

Indicate your cataloging language. Select from the following:

• English
• French
• German
• Italian
• Portuguese
• Spanish

4.7.3 – Record origin

Record origin (980)

The field Record origin is an administrative field to show where the record originated.

Origin (980 $a)

Select the origin of the record:

• Import: The record was imported from an external database
• Retrospective conversion: The record originated in a hard-copy publication and was converted to a machine-readable form
• RISM: The record was created in the RISM database (default)

Cataloging level (980 $b)

Select the cataloging level.

• Brief: The record includes the minimum fields required to save a record in Muscat.
• Standard: The record includes fuller information than a brief record but frequently lacks incipits. There are often fields that have not been filled out which could be added in a later phase of record enhancement.
• Full: The record contains information in nearly all fields that can possibly be filled out for the source in hand. Music incipits are included.

MARC export note: 980 $b is exported as 599 $b.

Material examined (980 $c)

Indicate whether you directly examined the material as you were cataloging it.

• Material examined: This is the default value for new records in Muscat.
• Material not examined: This can be used when the record was created using a description published elsewhere, such as in an electronic library catalog or printed catalog.

4.7.4 – Duplicated from

Duplicated from (981)

The field Duplicated from is an automated administrative field that is used when a record is duplicated from an already existing record in Muscat. When a record is duplicated from a record that itself was created from the duplication process, the field documents a maximum of five duplication occurrences: the original record and the most recent four.

Original record (981 $0)

When a cataloger duplicates a Source record, the RISM ID of the original record is automatically entered into this field.

Date (981 $d)

When a cataloger duplicates a Source record, the date and time of when the duplication took place is automatically entered into this field. The format is YYYY-MM-DD HH:MM:SS.

4.7.5 – RISM series

RISM series (510)

The field RISM series (510) is an administrative field that indicates that the source in hand was originally described in one of the publications belonging to RISM’s Series A/I or B.

This field was automatically filled out when entries from RISM’s book publications were imported. Automated imports were carried out for A/I and B/I.

This field is also used if records are entered by hand for sources described in RISM’s series, particularly Series B, but also Series A/I in cases where the original A/I record is split into multiple records. In cases of record splits, the RISM series number is carried over to all new records.

This field may not be used as a cross-reference to other sources or to indicate that a source is absent from a RISM publication. For the former, see RISM series A/I and B reference (596) and for the latter see Bibliographic reference (691).

Series (510 $a)

Select the RISM series that contains the description of the source. The following series are available:

• A/I
• B/I
• B/II
• B/IV
• B/VI
• B/VII
• B/VIII

Contact the Editorial Center if you wish to add sources from a series not on the list.

Number/page (510 $c)

Enter the reference to the piece in the RISM series. Note that each volume has a different way of referring to sources; some have identifiers while others require page numbers. For the citation style, see the form given for each volume in the Secondary literature database.

4.7.6 – Internal note

Internal note (599)

The field Internal note is used for information not intended for public display. Internal notes are not published in the RISM catalogs or available in the RISM open data.

Internal note (599 $a)

Enter local notes for internal use, including within your own working group. Notes may be entered in any language. Local notes can be used for remarks of all kinds, such as questions, comments, or research to be done. Delete notes after they have served their purpose. It is best practice to sign your note using your initials and the date.

Obsolete procedures: Older RISM cataloging guidelines contained codes and other standardized terminology to describe the nature of the comment:

• 005 From head office (Zentralredaktion)
• 006 To head office (Zentralredaktion)
• 007 Other
• 090 Combined pieces
• 791 New no.
• 792 Card index no.
• 942 Date of composition

This was typically followed by abbreviations indicating the editor.

4.7.7 – Initial entry in A/I

Initial entry in A/I (775)

The field Initial entry in A/I links to the RISM ID number that corresponds to the edition that was listed first in the RISM publication Einzeldrucke vor 1800/Individual prints before 1800 (A/I).

Initial entry in A/I (775 $w)

Do not edit this field.

In A/I, it was frequently the case that multiple editions of a single piece could be identified. These editions were listed together within the composer’s entry. Instead of listing full titles for each edition (titles which were frequently the same or similar), a space-saving shortcut was employed in which a full title was given for the edition at the start of the list, and a dash (-) was given to the subsequent editions for the rest of the list. An entry that started with a dash therefore meant that the full title should be inferred from the edition given in full at the start of the list.

In Muscat, the entry with the full title is called the “initial entry” and the entries that had dashes in A/I are called “following entries.” The arrangement in A/I is recreated by linking from the following entries to the initial entry. This linking is necessary because the following entries, in many cases, still lack full title information.

It should be noted that the listing in A/I, and therefore the linking in Muscat, did not and does not correspond to any hierarchy in a sense of first editions and reprints. Though chronological order was attempted when feasible, it was hardly consistent or indeed possible to determine.

4.7.8 – Contributing project

Contributing project (910)

The field Contributing project is used to show that a specific project substantially contributed to cataloging the source. This increases the visibility of cataloging projects and allows funding bodies to be named. This field can only be added in consultation with the Editorial Center.

Institution (910 $a)

The field Institution is for the name of the institution or cataloging project that contributed the cataloging data. Names of projects are taken from the Institutions authority file.

Project URL (910 $u)

Enter the URL for the website of the contributing project. All URLs must begin with http or https.

4.8 – Record actions

4.8.1 – missing label in source

Record status

The Record status indicates whether the records in Sources are published or unpublished. Only published records are available in the public RISM catalogs and open data. The status can be changed manually. The record status is applied to each record individually, regardless of the publication status of other records it may be linked to (such as in a collection).

The record status only applies to records created for musical sources, not for other areas of Muscat (such as authority files).

Published

Records from Muscat with the status Published are available in the public RISM catalogs and open data. All new Muscat records are automatically set to Published.

Unpublished

Records with the status Unpublished are withheld from publication. Some RISM contributors wish to keep this status until a project is complete, or individuals might want to wait until an item is fully cataloged before publishing it (such as with extensive records that have lots of incipits or individual entries).

Use this status judiciously. It is not good practice to unpublish records that were once publicly available, nor is it ideal to keep records unpublished for a very long time.

Multiple records can be published at once by adding them to a folder and publishing the contents of the folder.