II.C.3
SPECIAL COLLECTIONS CATALOGING PROCEDURE
ANP (and other) SOUND RECORDINGS
rev. 10/98
Reviewed Nov 17, 1998 by Richard Lindemann
[Editor's note: these procedures were originally drafted for ANP
tapes but apply also, as appropriate, to all magnetic sound
recordings processed in Special Collections.]
Pre-cataloging activity
Prior to being cataloged, all ANP tapes whose condition
warrant it (usually reel-to-reel) are duplicated for preservation
purposes by having a "real-time" cassette duplicate copy
recorded. In addition, each recording is dubbed "high-speed"
onto a listening copy cassette tape (or, when high fidelity
warrants it, the listening copy is dubbed in "real-time").
Commercially published tapes are listening copies per se and are
never duplicated (unless their condition warrants preservation
duplication).
Catalogers describe the archival original and make added
item records on INNOPAC for the preservation and listening
copies.
Catalogers assign accession numbers to ANP tapes by applying
available numbers found in the appropriate tape number binders
(SPL- ;SPC- ;SPT- ;SPM- ). These accession numbers form the
suffix to call numbers that are subsequently assigned [see 090
below]. In instances where a set of recordings forms a series of
separate events for which shelf list clustering is desirable,
distinct recordings can be grouped together by assigning the same
base accession number and adding sequential suffix letters (e.g.
SPL-1305a, SPL-1305b, etc.; see QD452.5.U6 A75 SPL-1305a, etc.
for an example of this practice)
Unpublished recordings
For unpublished recordings that are received with manuscript
collections or from other sources, it is sometimes difficult to
determine how many tapes to describe in a single bibliographic
record. Special Collections practice has varied in the past, but
use the following guideline for new records:
Each bibliographic record describes a single event.
Examples include the National Poetry Festival (Allendale,
Michigan, 1971) and the San Francisco Renaissance Conference
(UCSD, 1982). One event may have generated one tape, multiple
tapes, or only a portion of one tape. In some cases, multiple
SPL- numbers have been assigned to different recordings from a
single event. In all such cases, make only one bibliographic
record. See, for example, the record describing the National
Poetry Festival (SPL-367 through SPL-372).
In some cases, a single physical tape contains readings from
multiple events; i.e., events occurring at different times and/or
places. In such cases, make a separate bibliographic record for
each event. In the record for the event that occurs first on the
tape, make a "with" note (field 501) listing all of the other
events. In the records for the other events, make a "with" note
listing only the first event. For an example, see SPL-950.
Published recordings
These cataloging guidelines focus on issues which arise
primarily in cataloging unpublished recordings; for published
recordings, follow AACR2 and LCRIs, incorporating aspects of the
following procedures as appropriate. No copies are made from
published (i.e., commercial) recordings except in extreme cases
for preservation reasons.
Cataloging guidelines
Constant data record: SPANPTAP (for ANP recordings), or: SPRAUD
(for UCSD Archives recordings), or: SPMAUD (UCSD MSS recordings).
FF Code all subfields. Always use encoding level I.
007 Code all subfields. Typical coding is given below for
cassettes and reels; modify as necessary for recordings that
have different characteristics than those given here.
Cassette: 007 s |b s |d l |e s |f n |g j |h l |I c |j a |k
n |l n |m c
|c is not used for cassettes; |e is coded s (stereo), m
(mono) or u (unknown); |m is coded c (standard Dolby) or
omitted entirely. All other subfields (a,b,d,f,g,h,i,j,k,l)
never change.
Reel-to-reel: 007 s |b t |d o |e s |f n |g c |h m |I c |j
a |k n |l n |m c
|c is not used for reel-to-reel tapes; |d (speed) is usually
either o (7 ? ips) or m (3 3/4 ips); |e is either s
(stereo), m (mono) or u (unknown); |g (size) is usually
either c (7 in.) or b (5 in.); |h is usually m (1/4 in.); |I
is usually c (quarter track) or ___ (half track); |m is
either c (standard Dolby) or omitted entirely. All other
subfields do not change. Reel-to-reel 007 coding varies, so
pay attention to the characteristics of each tape.
028 When in doubt as to whether a commercial recording contains
a publisher's number or a series, treat as a publisher's
number in 028.
033 UCSD does not use.
090 Enter the call number following LC Classification and shelf
listing procedures, followed by the SPL-# as a suffix.
Ex.: 090 PS3557.I95|b A6 SPL-1324
If the listening copy is in more than one part (i.e., on
more than one physical cassette), give the inclusive number
of parts.
Ex: 090 ... SPL-1324 pt.1-4
When downloading to INNOPAC, create item records for all
versions (listening, archival, and digital master). For any
copy that is in more than one physical part, give also the
inclusive number of parts (delimited by |d)[see 949 below
for examples].
1xx Main entry is usually for the principal performer. Follow
AACR2 (21.23) in assigning access points.
For recordings of poetry "conferences," enter under the name
of the conference only if there is substantial evidence that
the conference actually has a formal name meeting the AACR2
criteria for a conference name, and if the recording is
extensive enough to comprise the conference "proceedings"
(i.e., not just one or two readings out of many). If in
doubt, do not enter under the name of the conference.
240 Use a uniform title only when there is a true one-to-one
correspondence between the material on the recording and a
published work. For example, use a u.t. if a recording
consists of a poet reading an entire published poem in
translation. Do not use "form" uniform titles such as
Works, Selections, Poems, etc.
245 Title and statement of responsibility usually are devised by
the cataloger and entered in square brackets. Record the
GMD in |h. Follow the following standard patterns for
titles whenever appropriate.
Ex: [Poetry reading, Feb. 3, 1988 |h [sound recording] / |c
Ed Sanders].
Ex: [Lecture, Feb. 3, 1988 |h [sound recording] / |c Jerome
Rothenberg].
Ex: [Interview with Jack Hirschman, Feb. 3, 1988 |h [sound
recording] /|c conducted by Chuck Cody].
If the event has a specific title, use it as the title
proper, without square brackets. If one work is read, or
selections from a single work/collection are read, enter
under the title of the work/collection, without brackets.
If any other works are read, (including single, uncollected
poems or poems from a different collection) prefer the form
titles devised by the cataloger.
Ex.: B.P. Nichol Memorial Reading, May 31, 1989 |h [sound
recording] / |c [Steve McCaffery ... et al.]
Ex.: Oxata |h [sound recording] : |b a short Russian novel :
reading, May 23, 1990 / |c [Lyn Hejinian]
Ex.: A short guide to the high plains |h [sound recording] /
|c [Tom Clark ; read by Ed Dorn, Feb. 29, 1942]
but
Ex.: [Poetry reading, Nov. 15, 1989 |h [sound recording] /
|c Bernadette Mayer].
(Mayer reads poems from her collection Sonnets, as well
as some of her newer, uncollected poems.)
Add the date to the title only when the specific day is
known; otherwise, give the year in the 518 field. Note that
the date is entered as part of the title proper (|a) in form
titles, and as other title information (|b) for true titles.
For readings by more than one poet, enter names in |c
following AACR2. For more than 3 poets, those not named in
the 245 should be listed in a 5xx field and traced in the
700 field at the discretion of the Manuscripts Librarian.
Do not list and trace names exhaustively unless instructed
to do so.
260 Enter only the date, in square brackets, since these are
unpublished materials.
300 Take physical description data from the taping/indexing
worksheets or from the orginal recording. Do not guess at
data not explicitly given on the worksheets, such as mono.
vs. stereo. Ignore |c subfield for standard cassette tapes.
NOTE: Remember that the 007 field and the 300 field should
agree.
If the playing time is not given on the worksheet, do not
attempt to guess the time.
306 UCSD does not use.
440 For recordings in the ANP poetry series, trace New writing
series or UCSD poetry reading series, as appropriate. Other
non-commercial recordings are unlikely to be in series.
For commercial recordings, be careful to treat a particular
publisher's data consistently as either a publisher's number
or a series (see also field 028).
500 Construct a "title supplied by cataloger" note when
applicable.
Give provenance notes in 500, not 590, since these are
unique archival materials (for commercially published
recordings, use 590 for provenance notes).
Ex: 500 Provenance: Jerome Rothenberg.
Also use this field for contents or physical conditions
information such as the following:
Ex: 500 Readings by UCSD students.
500 Selections from Three poems, Self-portrait in a
convex mirror, and Houseboat days.
500 Intermittent gaps in recording.
500 Recording has background noise.
500 Recording ends while event still in progress.
500 Recorded from a WBAI radio broadcast.
500 Recording speed changes halfway through the
recording.
501 When multiple events are on the same physical tape(s),
describe in a "With: " note and make a separate
bibliographic record for each separate event. For an
example, see SPL-950.
518 Record place of capture, if known. Record date if not
already recorded in the 245.
Ex: 518 Recorded at the University of California, San
Diego, 1986.
Ex: 518 Recorded at Max's Kansas City, New York City.
Ex: 518 Recorded in the early 1960s at Paul Blackburn's
home, New York City.
540 Terms governing reproduction, if applicable. When written
permissions have been obtained to allow general duplication
of a recording for private research use, include the
following note:
504 Duplication permitted for private research use only.
In cases where recordings comprise multiple performers or
participants, create this note ONLY when all principal
individuals have granted their permission for duplication.
Such written releases are not needed from individuals who
are making brief introductions, but they are required from
both interviewers and interviewees, from all members of
discussion panels, and from every participant or performer
recorded in bibliographically collective or noncollective
entities.
541 Record date of acquisition, if known.
Ex: 541 Acquired |d 1990.
590 Enter holdings data for the archival, digital and listening
copies:
Ex: 590 Archival original is SPT-10, digital master is
SPM-10. Listening copy SPL-10 is on four tape
cassettes.
Ex: 590 Archival originals are SPB-223 and 223A; digital
masters are SPM-390 and SPM-391. Listening copies
SPL-390 and SPL-391 are each on one tape cassette.
Ex: 590 Archival originals are SPC-157 and SPC-158;
digital masters are SPM-350 and SPM-351.
Listening copies are on pt. 2-3 of SPL-390,
continuing on pt. 1 of SPL-391.
6xx Topical subjects are seldom appropriate. Add name/title
headings as appropriate for discussions of a person's
literary work, interviews, etc.
7xx Trace up to 5 readers/names routinely. For works involving
more than 5 readers, trace names and construct notes at the
direction of the Manuscripts Librarian.
Except for "|e former owner" in cases when tapes are
acquired as part of manuscript collections, do not assign
relator terms unless instructed to do so.
Make author-title added entries for major works that are
read (either in their entirety or selections). Never trace
cataloger-devised titles.
730 Always make the following entries:
793 0 UCSD SPL |n ####.
When applicable, also assign appropriate collection name
headings, e.g.:
793 0 Archive for New Poetry.
793 0 UCSD Archives.
949 Use the appropriate macro or constant data record to create
the necessary coding for successful export. Typically, the
only variable among "listening" and "archival original"
copies are the "status" value ("o" for SPL; "p" for
"archival" SPT-/SPC-) and the call number suffix change
between "SPL" and "SPC or SPT" for the listening and
archival master recordings. When the SPL copy comprises
multiple cassettes, record those part numbers as a group on
a single item record in the call number string as: |b ... |d
pt.1-#.
Array 949s in the following sequence: SPL, SPM (when
present), SPC/SPT.
Ex. 949 090 |t 34 |l cpf |s o |b [call no.] SPL-####
949 090 |t 34 |l cpf |s p |b [call no.] SPC-####
or
949 090 |t 34 |l cpf |s o |b [call no.] SPL-#### |d pt.1-3
949 090 |t 34 |l cpf |s p |b [call no.] SPC-####
949 090 |t 34 |l cpf |s p |b [call no.] SPT-####
Statistics
Count 1 original for each title cataloged; count additional
copies of each recording (i.e, digitals and masters) as added
copies.
2C3 rev 10/98