[SPECIAL DOCUMENT TYPES]


AG: Individual blog posting

We treat blogs that publish articles by a variety of authors as periodicals, entering the individual articles with the document type AG.

We use the JID table for blogs. Search in Authorities/Journals. If the blog is not already there, create a new table entry for it. Choose "blog" in the "category" box. Then enter the JID in the journal citations page of the AG record. The only other boxes you will need to fill out on the citations page are serial date (day + month, e.g. "16 March") and medium (online).

Example:

JID 17302 = IASPM-US
Serial date: 1 October
Year: 2012
URL: http://iaspm-us.net/political-machinations-philip-gentry-how-much-was-that-doggie-in-the-window/#more-2816

BG: Blog main record

Use this for a blog whose separate entries are not entered, such as RILM’s blog, Bibliolore. A blog that presents the ongoing musings of one person is also a BG; the separate articles are not entered.

If the separate entries are entered they are AGs, not attached to a BG: The blog that contains them is treated as a periodical. See AG above.

BG vs. ER: A blog is a type of periodical. An ER may have open-ended posts, like a chat room, but its ongoing nature is not formalized like that of a blog.

BX Textbook: See BM

CP/CR/CS/CW

Each of these doc types shares a central characteristic: the publications they reflect consist of or contain significant scholarly commentary.

CP program notes for a performance. Screens are Main, Imprints, Electronic Resource, Sponsors, Reviews, and Notes, plus Abstract & Index.

Author/Function = Author or ed., as needed. This doc type is parallel to BM or BC, depending on whether there are analytics to be attached. Analytics are AC.

Usually these are large program books published by festivals or opera companies. There should be scholarly content beyond what is ordinarily expected in a concert program, and/or the performance(s) should be connected to a major anniversary for a composer, institution, or performing organization. Include the relevant performance information (dates, locations, organizations, etc.) in the abstract.

CR recording notes. Screens are Main, Imprints, Electronic Resource, Sponsors, Reviews, and Notes, plus Abstract & Index. See MR.

This doc type generally functions like a BM. It is not possible to attach analytics. Authors of individual contributions can be listed as x-authors on the Main Screen, and their contributions described in the abstract: A biography of the composer by John SMITH is included.

There should be scholarly and/or documentary content beyond what would ordinarily be expected with a commercial recording of works by major composers. Often such recordings are produced for anniversary celebrations or other special events, and the notes include biographies, comprehensive work lists, supplementary articles on the person’s life and musical milieu, interviews, and even analyses of individual works. http://iBis2.rilm.org/accession/1968/3643 is an example.

This doc type is also used for the booklets that sometimes accompany documentary films (See MP).

NB: Generally, the MR or MP to which the notes belong should be accessed as well, but if insufficient information is available, you may choose to describe the recording or film in the abstract instead. In such cases, include the title, label, and year of release for sound recordings or the title, director and/or producer, and year of release for films. If the MR or MP is accessed separately, make RILM references in the CR to the MR/MP, and vice versa, as in the example with CS/CW directly below.

CS commentary published separately from an edition. Use Main, Imprints, Electronic Resource, Sponsors, Reviews, and Notes. Author Function is author, editor, or translator, as needed. See also CW.

Title

Italicized, and not translated.

<Le sacre du printemps>: Critical edition

Author

The author of the commentary, not the composer. The composer and the work will be indexed.

Abstract and Index Screen

Include a RILM reference to the CW, and vice versa. Example: http://iBis2.rilm.org/accession/2007/23946/index.

Commentary volume to a facsimile edition of the MS held at the Bibliothèque Royale, Belgium (<B-Br> MS IV 90), cited as RILM 2007-25237. CW http://iBis2.rilm.org/accession/2007/25237 contains a RILM reference to the CS:

A facsimile edition of… A commentary volume is abstracted as RILM 2007-23946.

CW commentary published with an edition. Use Main, Imprints, Electronic Resource, Sponsors, Reviews, and Notes. Analytics are AC. Create analytics when there are lengthy or otherwise significant contributions by secondary authors that warrants their own abstracts and indexing. Commentaries published separately from the edition are CS.

Main Screen

Class 1 Class as if the item were an article about the music. Works by Western composers go in the 20s, collections of traditional songs go in the 30s, etc. A collection of guitar music from several historical periods would go in 21, not 44.

If the title of the edition is the title of the work itself, it should not be italicized in Title field and it should be translated in Title Translation.

Ex: Zenobia e Radamisto: Dramma in musica in tre atti = Zenobia e Radamisto: Music drama in three acts

However, if the work title is part of a longer title, use the <pointed brackets> to italicize it.

Ex: Mozart's <The marriage of Figaro>: Adapted for Covent Garden, 1819

Author

The composer = author. Other persons involved with the edition = editor, ed. and trans, ed. with comm., librettist, intro., etc. Choose from the drop-down menu under Function.

Titled essays by persons other than the editor should be accessed as analytics (AC).

For untitled essays, do not create an analytic. Click the X box next to Function for the relevant authors, and add explanatory information to the abstract, with the author surname capitalized: First LAST. See the example in the Abstract field below.

A collected works series may also include volumes describing editorial procedures and/or a thematic catalogue. Do not list the composer as the author of such volumes. Ex: A thematic catalogue of Rameau’s works is included in his Opera omnia, but someone else wrote the catalogue; Rameau should not appear in the author field.

If the volume contains the works of several composers, make them x-authors (X-authors) and add an explanation in the abstract. See the example in the Abstract field below.

Exception: When a critical edition of music is produced as a dissertation, the new doctor is the author, and the composer of the work is an x-author. The doc type is DD.

Language of Item

The language of the commentary, introduction, etc., not that of the work.

Other Languages

Use for editions with multilingual commentary.

Imprints

Series

For a general explanation of the creation and formatting of series and their numbers, see the SID and SN fields at IMPRINTS SCREEN.

A series presenting a composers’ complete works is typically called something like Collected works, Opera omnia, or Sämtliche Werke. In RILM, the name of the composer should always precede such a title.

Since collected works in a series are often issued over a period of time, they are usually organized into subsets. Each subset should have its own SID.

Jean-Philippe Rameau: Opera omnia. I: Musique instrumentale

Jean-Philippe Rameau: Opera omnia. II: Musique vocale religieuse

Jean-Philippe Rameau: Opera omnia. III: Musique vocale profane

Jean-Philippe Rameau: Opera omnia. IV: Musique dramatique

Jean-Philippe Rameau: Opera omnia. V: Fragments, œuvres incompètes et attributions douteuses

Jean-Philippe Rameau: Opera omnia. VI: Érudition

SN

The series number for volumes accessed with an SID should reflect only the individual volume.

For Jean-Philippe Rameau: Opera omnia. VI: Érudition, the SN should be 1, 2, 3, etc. (not VI:1 or 6:1).

PP

If pagination for the commentary is available, include it, before or after the general pagination, as necessary to reflect its position in the volume: 236, xviii.

Volumes

The number of volumes issued together as a single publication. The series number of the volume (SN) belongs with the SID.

Abstract & Index Screen

Do not duplicate information found elsewhere in the record. Do include additional pertinent information (e.g., the original date of publication for a facsimile edition).

If an essay by an x-author is included, write a sentence using our TOC typography:

The essay <Why was Giovanni Giornovichi not elected to the faculty of the Academia Philharmonicorum?> by Valentin O’KEEFE is included.

If composers have been entered as X-authors, the abstract will usually need work titles or a genre that covers them:

Sixteen keyboard works by Girolamo FRESCOBALDI and eight ricercars by anonymous composers are included.


EP Electronic Resource: Podcast

Use Main, Imprints, Electronic Resources, Notes, Abstract. Often these will be interviews. The narrator/interviewer is the author. The interviewee’s name goes in the abstract, with a description of the topics discussed. Fill in Imprints if the podcast is formally connected to a journal or other publication. Otherwise, just add the URL If the podcast is in a journal, use the journal title in the series field. You will likely need to create a new SID, because it is not possible to enter the JID (journal ID) in the SID field. If the podcast is connected with another publication suitable for RILM, access that as well, and make a RILM reference, as in the following example:

Swedish klezmer and Jewish identity with David Kaminsky

Author: Harvey, Trevor S.

SID: Ethnomusicology today

Series number: 2

Electronic Resources screen: URL = http://www.ethnomusicology.org/members/group_content_view.asp?group=156353&id=543235

In an interview, Kaminsky interrogates the discourse of two Swedish, non-Jewish chamber klezmer bands, drawing out the complexities of heritage, identity, and cultural ownership. As a musical tradition cultivated by Jews in the east European diaspora, but now widely played by both Jewish and non-Jewish musicians throughout America, Europe, and elsewhere, klezmer has specific interest for Kaminsky, who self-identifies as an American Jewish scholar. Published in conjunction with the article abstracted as RILM 2014-2706.



ER ELECTRONIC RESOURCES

Websites, databases, software, and CD-ROMs/DVD-ROMs. Analytics may be accessed as AC.

NB: ER is not used for stand-alone online articles (EA), online journals, or digital editions of dissertations, monographs, or collections. All of these have their own doc types, and the format can be reflected in the Media field or ISBN qualifier.

If you are accessing a website or database from a review, it will sometimes give the year the site was established. If so, double-check that by looking at the website. There may be a copyright statement that includes first and current years, at the bottom of the main page or in the imprint/colophon, or look for a section titled something like “About Us”). You can also try the steps presented at Digital Inspiration: http://www.labnol.org/internet/search/find-publishing-date-of-web-pages/8410/.

If you are unable to determine the year that a website or database was established, access it in the year of the review to be attached. It is arguably better to have an ER cover record in what may be the wrong RILM year than not have it in RILM at all. For CD-ROMs and DVD-ROMs, however, you should be able to locate a publisher and publication date.

Imprints If you cannot determine a publisher or a place of publication, use PID 1 = s.n., s.l.

Number Type/Number/Qualifier

Fill in ISBNs for CD-ROMs and DVD-ROMs, using the appropriate Qualifier.

Sponsors

Use for sponsoring institutions or collaborating organizations that do not match the imprint.

Electronic Resources

Don’t forget to include the URL for the main page of the website or database. This screen won’t be filled in for CD-ROMs.

Abstract & Index

Describe the contents of the website or CD-ROM overall.

A blog is a type of periodical. An ER may have open-ended posts, like a chat room, but it is not formalized like a blog.

JZ ZINE

A main record for a zine. No analytics can be attached. The abstract should describe the publication in general.

MR SOUND RECORDING

Main Screen

Class 1 Class as if the item were an article about the music; for example, a compilation of flute music from many cultures goes in 31, not in 45.

Title Try to find an online image of the CD cover, to verify exactly how the title should be transcribed and whether it appears in more than one language; journal reviews are not always reliable in this regard. Do not, include the series title and number, even if it appears on the cover; these go in the SID and Series Number fields.

If the title of the recording exactly matches the title of the composition recorded, do not italicize it in the Title field, and do translate it in the Title Translation field.

However, if the title of the recording simply begins with, or includes, a work title, italicize the work title. Ex: <An bè kelen>: We are one--Griot music from Mali

The Sound Recording screen is the place to enter the language(s) of the notes. The field on the Main Screen is for the language(s) of the recording. If several languages are recorded, use multiple languages; for a strictly instrumental recording, leave this field blank.

Language of Item For the main language of the performance.

Other Languages For other languages of the performance. If there are too many to list, or it’s unclear how many or what they are, use multiple languages in Language of Item and leave this field blank.

Language Translated From This will ordinarily be blank.

Language(s) of Summary If there is a summary included with the liner notes, enter the language on the Sound Recording page, in the Language(s) of Summary field (see below).

Author and Function fields Use author only for composers. The functions conductor, performer, perf, org., recorder, producer, translator, and compiler may also be used as necessary. When many performers are listed, list only the main ones—for example, for an opera recording, list only the conductor, the orchestra, and the singers in the leading roles.

Use comm. for the author(s) of the liner notes. Authors of supplementary essays are treated as x-authors (see X-AUTHORS). Tertiary functions such as photography should not be listed, unless the person is someone that RILM users are likely to search for.

Note that rec., comm. (recording and commentary) and rec., prod. (recording, producer) are options for field recordings. If it is impossible to put any name in the author field, make a title entry (see TITLE ENTRIES); for ethnographic recordings, use the applicable geographic region.


Sound Recordings Screen

Label Record labels are capitalized.

Media Type Choose from the drop-down menu. If there is an imprint, fill in Medium in that section instead.

Duration The format is minutes:seconds (e.g., 66:25).

Volumes This field is for the number of discs (or cassettes) in the set, not for the number of the volume within the series. It is not necessary to fill this in unless there are multiple items. This field is duplicated in the imprint section. If there is an imprint, put the number there.

Distributor Only fill this in if there is nothing to put in the Label field; i.e., for recordings not published by record companies.

CatNo Catalog number. Use letters before numbers only if they are needed to differentiate a series, and omit CD, since this information is given under Media type. For example, the Smithsonian/Folkways number SFCD 1014 should be entered as 1014, since SF stands for Smithsonian/Folkways, not for any particular series.

Year Recorded Fill this in if it is available in the liner notes, or if it is specified in a review; otherwise don’t worry about trying to find it.

Year Published If you are entering an imprint, put the year there instead.

Language(s) of Notes Enter the language(s) of any accompanying notes (written out, in English, no space between commas): English,French,German.

Notes Pagination Enter the total number of pages of the liner notes, in Arabic numerals.

Language(s) of Summary Enter the language(s) of any summaries contained on the packaging or in the liner notes (written out, in English, no space between commas): English,French,German.


Imprint

See IMPRINTS SCREEN for general information on these fields.

Fill in this screen only if the recording was not published by a record company, or if it is accompanied by a publication issued by a different publisher.

Special notes on imprints for Sound Recordings:

SID May be entered without a PID for recordings for which there is a studio or label but no publisher.

PID Not the label. PIDs are entered only when the item is published by an entity other than the record company, or when the recording is accompanied by a publication issued by a separate publisher. For self-publications, create a new PID using whatever function you entered in on the main screen for the person in question: compiler, producer, etc. If no publisher name is given, use s.n. (sine nomine). If you don't know the place, use s.l. (sine loco). Ex: PID = producer: Van Nuys; compiler: s.l. If neither is known, use PID 1 = s.n.: s.l

Medium Choose from the drop-down menu. Fill this in in preference to the Media Type field in the Sound Recording section.

Edition Do not fill in for first editions. If the item is a reissue or later edition, choose from the drop-down menu.

Volumes This field is for the number of discs in the set, not for separate volumes in a series; those numbers belong in the Series Number field. Enter a number only if there are two or more parts (CDs, cassettes, etc.).

PP Pagination belongs here only for a monograph or other publication issued with the recording. The number of pages in the liner notes/booklet goes in Notes Pagination in the SOUND RECORDINGS screen.

Year Automatically filled in when the accession is created.

Number Type Choose ISBN or LCCN (Library of Congress).

Number ISBN. Recordings available in multiple formats go into the same imprint as long as they were published in the same year with the same publisher/city combination. Differentiate these in the Qualifier field.

Qualifier Use tape or CD, as necessary. If the recording and accompanying monograph have separate ISBNs, use the following qualifiers: book, CD. If one ISBN covers both, use book & CD. For older recordings, use tape where needed.


Abstract Screen

The abstract for an MR should describe or list the contents of the recording. Background details and information about any accompanying materials may be included if they are needed for indexing (e.g., significant features that are not sufficiently reflected by the SPECIAL FEATURES).

Include performers treated as x-authors (e.g., Foday Muso SUSO).

List titles, instruments, or genres if a few are specifically featured, but avoid long lists. General designations (e.g., drum ensembles, dance music) are sufficient if nothing further is known, but specific titles, instruments, and genres allow for more complete and concise indexing.

If the recording comes with a booklet or CD-ROM, describe or list its contents in the abstract.


Analytics

If an accompanying booklet or CD-ROM includes article-length essays, make separate accessions (AC) for each item and generate the TOC in the cover record. If there is a TOC, the list or description of the contents of the recording goes in the TOC prefix instead of in the main abstract field.

MP MOTION PICTURE

Most MPs in RILM are ethnomusicological films; they constitute reports on research. We generally access them because they have been reviewed in core journals, but the presence of a review is not required. To be appropriate for RILM, films of Western classical music performances should either be documentaries on particular performers, performing organizations, or composers, or contain some other significant scholarly content. RILM also accommodates fictionalized films, such as Amadeus and Topsy-Turvy, when they have been reviewed in the scholarly literature, just as we do for literary fiction about musicians.

Main Screen

Class 1 Class as if the item were an article about the music or the persons or time period. Ex: a film about flute playing in many cultures goes in 31, not in 45; a documentary on John Cage goes in 20; and a documentary about a music festival in the 20th century goes in 29.

Title Try to find an online picture of the cover, to verify exactly how the title should be transcribed and whether it appears in more than one language; journal reviews are not always comprehensive in this regard. Do not, however, include the series title and number, even if it appears on the cover; use the SID and SID number fields instead. (See IMPRINT)

Language of Item The predominant language of the dialogue or narration. If subtitles are an integral part of the film (rather than a digitized option), put the information in the abstract, not here. The Films Screen is the place to enter the language(s) of any notes.

Other Language(s) For ethnographic and documentary films, this means languages other than that of the narration. If several languages are used, enter multiple languages. Some DVDs include subtitle options; list those here.

Author and Function Unless there is a composer, the function Author will not be used. Common functions include director and producer. The author of the narration is listed as comm. (commentary). Prod., comm. (producer and commentary) is an option for films based on ethnomusicological fieldwork.

Other functions, such as screenplay, may be included if the information is likely to be useful to users (e.g., if the screenplay is by a well-known author). Functions such as camera should not be listed, unless the person is someone that RILM users are likely to search for.

Film score is for deliberate scoring; soundtrack is broader, covering the use of music by Richard Strauss in Kubrick’s 2001: A Space Odyssey, as well as film sound designers.

Performers, groups, and performing organizations are listed as performer, performers, or perf. org., even if the names appear in the title field. Limit this to the main performers and organizations. These names may be repeated in the abstract if their roles require further clarification.

If it is impossible to put anything in the author field, make a title entry (see TITLE ENTRIES); for ethnographic films, use the applicable geographic region.


Films Screen

Studio ID and Studio iBis2 includes authority tables for studios. Use the magnifying glass icon to search for the studio name, using the % wildcard as necessary. If you do not find the studio, click on the blue Admin Card icon at the end of the field. It will take you to http://iBis2.rilm.org/studios/. Click Create New to make a new Studio ID.

Type in the name of the studio or production company and click SAVE. Then close the admin screen by clicking on the red X at top right. Return to the Films screen and look up the new Studio ID using the magnifying glass icon. Click SELECT to default it into the record, and click SAVE. The Studio ID and Studio should now appear.

Media Type Choose from the drop-down menu, as needed. Common choices are DVD, VHS, Blu-Ray disc, 16mm. Put this information in the Imprints screen instead, if there is an SID and/or PID.

You must fill in the Year field underneath if you want to save something from this drop-down menu. You do not need to enter a PID.

Distributor ID and Distributor Fill this in only if there is nothing to put in the Studio field; i.e., for films not published by film companies.

Catno Use letters before numbers only if they are needed to differentiate a series, and omit letters that simply stand for the publisher’s name. For example, the PBS number PBS B8263D should be entered simply as B8263D.

Duration The format is hours:minutes (e.g., 1:22).

Volumes Fill in if the item was issued on multiple videotapes, DVDs, etc. If the item was issued as part of the series, use the SN field in the Imprints Screen (see below).

Year Recorded Enter if known. A free-key field.

Year Published Matches RY (RILM Year) of accession. A free-key field.

Language(s) of Notes Supplementary notes are often issued with field recordings.

Notes Pagination Fill in if known.

Language(s) of Summary Fill in if a general summary is provided.


Imprints Screen

SID and SN Fill in if the film or video was published in a series.

PID Enter only when the film is published by a firm that is not the studio/film company and/or is accompanied by supplementary material issued by a separate publisher. The PP field is also used only in this case.

For self-publications, use whatever function you entered in Authors/Function for the person in question: director, producer, etc. If no publisher name is given, use s.n. (sine nomine). If no location is given, use s.l. (sine loco). If neither is given, use PID 1 = s.n.: s.l.

Number Type Choose ISBN or LCCN.

Number ISBN. Films available in multiple formats go into the same imprint as long as they were published in the same year with the same publisher/city combination. Differentiate these in the Qualifier field (see next heading).

Qualifier If the recording and accompanying monograph have separate ISBNs, use the following qualifiers: DVD, VHS, Blu-Ray disc, 16mm, or enter as needed.


Abstract Screen

The abstract should describe or list the contents of the film. Details and information about any accompanying materials may be included if they should be reflected in the indexing and are not clearly covered in the Special Features.

Include performers treated as x-authors (e.g., Foday Muso SUSO).

List works, instruments, or genres if a few are specifically featured, but avoid long lists. General designations (e.g., drum ensembles, dance music) are sufficient if that is all that is known about the item, but specific works, instruments, and genres allow more complete and concise indexing.

If a booklet or CD-ROM comes with the film, describe or list its contents in the abstract.

Include information on subtitles that are an integral part of the film (rather than a digitized option).

If you are copying and pasting the abstract, use the Remove Returns button to eliminate any invisible carriage returns, so that the text will wrap properly.


Analytics

If an accompanying booklet or CD-ROM includes article-length essays, make separate accessions (AC) for each item and generate the TOC in the Abstract Screen of the cover record. If there is a TOC, the list or description of the contents of the film belongs in the prefix field instead of in the main abstract field.

MD TECHNICAL DRAWING OF AN INSTRUMENT

Main Screen

Class 1 Choose the proper instrument class.

Author Name of artist

Function Choose Drawing

Special features Use 24 (technical drawing)

Drawing Screen is divided into two columns. Each of the fields is free keyed.

(1) The Instrument Drawn

Instrument Name of instrument, e.g., Lute (capitalized)

Maker Name of maker (first last), e.g., Matheus Buchenberg

Place Made City, in English form where possible (e.g., Rome)

Year, Century, or Period Made Century in Arabic. Abbreviate century to c. (e.g., early 17th c.; ca. 1859)

(2) The Technical Drawing

Collection/Museum Owner Use the formal name of the collection (e.g., Edinburgh University Collection of Historic Musical Instruments. Try to verify the name on an official website. In some cases, a lengthier description is needed (e.g., W.C. Retford Memorial Collection, ex Mrs P. White, The Bate Collection of Musical Instruments, Oxford).

Catalog/Inventory Number Drop any preceding letters that reference the name of the collection.

Year of Drawing Use n.d. if the date is not known.

Ratio Scale: The ratio between the object and its representation on paper (e.g., 1:3)

Sheets e.g., 1 sheet


Imprints Screen

Fill in SID and PID as necessary. Examples to date include Edinburgh University and Gemeentemuseum Den Haag. Sometimes the PID will duplicate the information in the Collection/Museum Owner field. If what is there is long and complex, the PID should reflect only the institution overall (e.g., PID = Oxford University for W.C. Retford Memorial Collection, ex Mrs P. White, The Bate Collection of Musical Instruments, Oxford).