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Consider the form and medium of performance of a musical work (or collection of musical works) as given in the uniform title in the main entry as well as from the description in determining whether to make a note.


Option Decision:

Do not apply the optional provision of the rule.


In giving the names of players in nonmusic sound recordings, caption the note "Cast."  Add the roles or parts of players, if deemed appropriate, in parentheses after the name (cf. 7.7B6).


Do not make the note "Analog recording" or "Digital recording."


If the individual works in a collection are identified in the title and statement of responsibility area, list the durations of the works in a note.  If the individual works are listed in a contents note (6.7B18), give their durations there.

In a statement of duration in the note area, separate the digits representing hours, minutes, and seconds by colons.  If a duration is expressed in seconds only, precede it by a colon.

500 ## $a Duration: 45:00.

500 ## $a Duration: 1:25:00; :48; 15:10.

500 ## $a Duration: ca. 1:15:00.

500 ## $a Duration: ca. 27:00; ca. 17:00.

If only the durations of the parts of a work are stated (e.g., the movements of a sonata), add the stated durations together, if desired, and record the total for the work in minutes, rounding off to the next minute.

Precede a statement of duration by "ca." only if the statement is given on the item in terms of approximation.  Do not add "ca." to a duration arrived at by adding partial durations or by rounding off seconds.

If the duration of a work is not stated on the item or if the durations of some but not all of the parts are stated, do not give a statement of duration for that work.  Do not approximate durations from the number of sides of a disc, type of cassette, etc.

LC practice:  Follow the guidelines stated above modified as follows:

Generally do not give more than six statements of duration in the note area.  If durations of more than six works in a collection are available from the item, generally do not give any durations in the note area.  More than six durations may be given, however, if in the cataloger's judgment they are especially important.


Give a note on the presence of container(s) only when the number of containers is not clear from the rest of the description.

See also LCRI 6.5B2, LCRI 6.5B1.


Make notes on accompanying program notes and/or inserts, only if they are important.


Transcribe titles in a contents note from the source in the item being cataloged that provides the best identification.  Use judgment in deciding what additional information to transcribe, taking into account the type of music and the length, complexity, and readability of the resulting note.

If the musical compositions in an item are all in the same musical form, and that form is named in the title proper of the item, do not repeat the form in the contents note (cf. 5.7B18).

Opus numbers or thematic index numbers may be added to the titles of individual musical compositions contained in an item if they are necessary to identify the compositions named (cf. 5.7B18, LCRI 5.7B18).

505 0# $a Me and my rhythm guitar ; Waiting for you (Johnny Powers) -- Huh huh oh yeah (Tracy Pendarvis) -- Love love memory (Mack Self) -- Dear John ; I'm movin' on/Golden rocket (Warren Smith) -- Mystery train (Vernon Taylor) -- Eight wheel (Edwin Bruce) -- Your lovin' man ; This kind of love (Vernon Taylor) ...

505 0# $a 1. BBC sound effects -- 2. Exterior atmospheres -- 3. Household -- 4. Interior backgrounds -- 5. Transport -- 6. Animals and birds -- 7. Human crowds, children, and footsteps -- 8. Comedy, fantasy, and humor ...

If two or more titles with statements of responsibility are being transcribed for one part of a multipart item, apply the punctuation conventions from 1.1G3 so that titles by the same person, body, etc., are separated by a space-semicolon-space and titles by different persons, bodies, etc., are separated by a period-space.  If no statements of responsibility are being transcribed, separate the titles with a space-semicolon-space in all cases.

505 1# $a -- v. 2. O Lord, look down from heaven / Jonathan Battishill. How beautiful upon the mountains : from Awake, awake, put on thy strength, O Zion / John Stainer. Justorum amimae : from Three motets, op. 38 / Charles Stanford. And I saw a new heaven / Edgar Bainton. As truly as God is our father / William Mathias. O Lorde, the maker of al thing / John Joubert. Save us, O Lord / Edward Bairstow. O Saviour of the world / Frederick Gore Ouseley. Viri Galilaei / Patrick Gowers. Lord, what is man? / Robin Holloway. Lo, the full, final sacrifice of Zion / Gerald Finzi --

505 1# $a v. 3. O how glorious / Basil Harwood. The Lord is my shepherd / Sir Charles Villiers Stanford. Hymn to the Mother of God / John Tavener. Expectans expectavi / Charles Wood. Faire is the heaven / Sir William Harris. Come, Holy Ghost, our souls inspire / Thomas Attwood. In exitu Israel / Samuel Wesley. At the round earth's imagined corners / Robert Saxton. Set me as a seal upon thine heart / William Walton. Turn back, O man / Gustav Holst. There is an old belief / Sir C. Hubert Parry. Give unto the Lord : Psalm 29 / Sir Edward Elgar

505 1# $a v. 1. At a Georgia camp meeting / K. Mills (Edison Band). Trombone sneeze : a humoresque cake-walk / A. Pryor (Sousa's Band). Silence and fun : a ragtime oddity / Mullen (Sousa's Band). The Brooklin : cake-walk / Thurban (Orch. Pathé-Frères). Red] onion rag / A. Holzmann (Roy Spangler) ...

505 1# $a -- v. 2. Forgotten melodies : op. 38, no. 2-8 ; Fairy tales : op. 51, no. 2-6 ; Sonata triad : op. 11 -- v. 3. Eight mood pictures : op. 1 ; Etude "of medium difficulty" ; Three improvisations, op. 2 ; ...

In a bibliographic record for an item containing a single musical work or excerpts from a single musical work, use judgment in deciding whether to list the movements or other component parts of the work, as instructed in LCRI 5.7B18.

For multipart items, when the number of discographic units (often called "volumes" by publishers) differs from the number of physical units (e.g., discs) or containers, include when necessary the number of physical units or containers in the contents note.

505 0# $a 1. Vom 6. Sonntag bis zum 17. Sonntag nach Trinitatis (6 discs) -- 2. Vom 18. bis zum 27. Sonntag nach Trinitatis (6 discs) ...

See also LCRI 6.5B1.

LC practice:  Follow the guidelines stated above modified as follows:

Generally do not give more than six statements of duration in the contents note.  If durations of more than six works in a collection are available from the item, generally do not give any durations in the contents note.  More than six durations may be given, however, if in the cataloger's judgment they are especially important.

505 0# $a vol. 1. Concerto no. 1 para piano e orquestra em mi menor, op. 11 (1830) (43:00) -- vol. 2. Concerto no. 2 para piano e orquestra em fá menor, op. 21 (33:00) ; Grande fantasia sobre temas populares poloneses : op. 13 (15:12) -- ...


Single Discs:

When applying rule 6.7B19 to include the label name and number in a note, make this note the first one.

Transcribe spaces and hyphens in the publisher's numbers on sound recordings as they appear.

On item:  S 37781

028 02 $a S 37781 $b Angel

(Note generated:  Angel:  S 37781)

On item:  ARL1-3715

028 02 $a ARL1-3715 $b RCA Red Seal

(Note generated:  RCA Red Seal:  ARL1-3715)

On item:  1 C 065-99 615

028 02 $a 1 C 065-99 615 $b Deutsche Harmonia Mundi

(Note generated:  Deutsche Harmonia Mundi:  1 C 065-99 615)

When a publisher's number appears in variant forms on a sound recording, its container, accompanying material, etc., transcribe only the form on the recording itself (e.g., the labels of a disc).

On disc:  S-37337

On container:  DS 37337

028 02 $a S-37337 ...

(Note generated:  Angel:  S-37337)

When two or more distinct publisher's numbers appear on a sound recording, its container, accompanying material, etc., transcribe each in a separate note.  Follow each number other than the first by an indication of its location, if appropriate.

500 ## $a Pape: FSM 43721.

500 ## $a Pape: POPR 790051 (on container).

Multi-Disc Sets:

Separate the first and last numbers of a sequence by two hyphens.

On item:  EES-101--EES-102

028 00 $a EES-101 $b Euphonic

028 00 $a EES-102 $b Euphonic

500 ## $a Euphonic: EES-101--EES-102.

When the item bears both a set number and numbers for the individual items (e.g., discs), give only the set number unless it does not appear on the individual items; in that case give the set number first, followed by the numbers of the individual items in parentheses.

500 ## $a Philips: 6769 042 (9500 718-9500 719)

When an item consists of two or more individual units (e.g., discs), however, do not transcribe numbers that represent in a truncated form the numbers of the individual units.

On discs:  LPX 18124

LPX 18125

LPX 18126

LPX 18127

LPX 18128

On container:  LPX 18124-28

500 ## $a Hungaroton: LPX 18124--LPX 18128.


On discs:  HMC 1235

HMC 1236

HMC 1237

On container:  HMC 1235.37

500 ## $a Harmonia Mundi France: HMC 1235--HMC 1237.

Matrix Numbers:

Give matrix numbers only if they are the only numbers shown on the item.  Follow each matrix number by the word matrix in parentheses.

500 ## $a Melodiíà: C10 06767 (matrix)--C10 06768 (matrix)

Apply the principles for multi-disc sets (above) when a disc(s) bears only matrix numbers, but a different or variant number appears on the container.

Matrix numbers on disc:  S10-17429


On container:  S10 17429 008 [a "set" number]

500 ## $a Melodiíà: S10 17429 008 (S10-17429 (matrix)--S10-17430 (matrix)).


Matrix numbers on disc:  S10-06513


On container:  S10-06513-14 [a truncation of the matrix numbers]

500 ## $a Melodiíà: S10-06513 (matrix)--S10-06514 (matrix).

See also:

6.7.  Note Area