Archival description of music manuscripts
- Creighton Barrett
- Rebecca Shaw (Unlicensed)
Introduction
The following guidelines supplement the Rules for Archival Description (RAD) and the archival description guidelines provided in Section 4 of the the University Archives Procedure Manual.
The archival description data entry form in the Archives Catalogue does not always present rules in the order in which they are presented in RAD. Guidance in this section is organized in accordance with the structure of the data entry form.
General guidance
- Archives staff should defer to the Rules for Archival Description for general guidance on the archival description of unpublished music manuscripts.
- Individual scores and parts should be catalogued at the item-level (e.g., Chopin's Impromptu, Op. 36). If the score and parts, or multiple parts, of a work are held by the Archives, these items should be grouped under a file- or series-level description (e.g., Mozart's Piano Concerto, K. 488 and Barry Guy's Nasca Lines).
- Unpublished music manuscripts that qualify for entry into RISM should be entered directly into RISM after they are described in the finding aid. See Instructions on using MusCat.
- Archives staff should consider the typical queries that involve music information retrieval when describing unpublished music manuscripts:
| Type of search | Search terms | Typical user | Cataloguing approaches to support search |
|---|---|---|---|
| Known-item searching |
| Researcher who wants to know if a specific score is available (usually performers). |
|
| Discovery searching |
| Researcher who wants to locate a variety of scores based on musical characteristics (e.g., instrumentation) and/or related archival material that contextualizes scores and musical activity. |
|
Title and statement of responsibility area
Example derived from Concerto para piano e orquestra by Heitor Villa-Lobos (MS-5-2, Box 6, Folder 1).
| RAD | Description | Dalhousie guidance | Example |
|---|---|---|---|
| 1.1B1 | Formal title proper. At all levels of description, when the chief unit being described bears a formal title proper, transcribe it exactly as to wording, order, and spelling, but not necessarily as to punctuation and capitalization. The transcribed title must be common to all the material being described at the level at which it is being described. | Mandatory. Transcribe the title directly from the source. If multiple titles are provided, transcribe the title given at the top of the score. | Concerto para piano e orquestra |
| 1.1D1 | Parallel titles. Transcribe parallel titles in the order indicated by their sequence on, or by the layout of, the chief source of information. | Optional. For scores and and sheet music with non-English formal titles, use this rule to create parallel titles in English even if the English title is not supplied in the chief source of information. Disregard guidance in RAD 1.1D1 to "not create parallel titles if they do not appear prominently with the formal title proper in the chief source of information." | Concerto for piano and orchestra |
| 1.1E6 | Other title information. If the formal title proper needs explanation, supply a brief addition as other title information, in the language of the formal title proper. | Optional. Only use this rule if the file or item has a formal title proper. Supply additional information in square brackets. | Concerto para piano e orquestra : [autograph manuscript] |
| 1.1F1 | Statements of responsibility. Transcribe explicit statements of responsibility appearing in conjunction with a formal title proper in or on the chief source of information. Give such statements in the form in which they appear there. | Mandatory. Disregard guidance in RAD 1.1F2. Always supply statements of responsibility in the title and statement of responsibility area. | Heitor Villa-Lobos |
| 1.8B1 | Variations in title. Make notes on variant titles appearing outside the prescribed source of information. Make notes on titles by which the unit being described has been traditionally known other than the title proper. | Optional. If the transcribed formal title omits the key signature or opus number, create a "Variations in title" note that includes this information in the title. If the work is known by another title, also enter this information here. | Concerto no. 1 for piano and orchestra |
Dates of creation area
Example derived from Concerto para piano e orquestra by Heitor Villa-Lobos (MS-5-2, Box 6, Folder 1).
| RAD | Description | Dalhousie guidance | Example |
|---|---|---|---|
| 1.4B1 | Date(s) of creation. Give the date(s) of creation for the unit being described. For items that are published, distributed, etc., see rules 1.4C-1.4G | Mandatory. Also include the place of composition, if known, and the creator (composer) of the manuscript. | 1945 Villa-Lobos, Heitor Rio de Janeiro (Brazil) |
Physical description area
The physical description area should always have an extent note, in all levels of description. Notes about other physical details and dimensions are optional, but encouraged at the file- and item-level of description. RAD specifies the punctuation for combining all three physical data elements:
extent : other physical details ; dimensions
AtoM provides a single text box for the physical description area. Staff must provide correct punctuation when recording physical description notes.
Example derived from Concerto para piano e orquestra by Heitor Villa-Lobos (MS-5-2, Box 6, Folder 1).
| RAD | Description | Dalhousie guidance | Example |
|---|---|---|---|
| 1.5B1 | Extent: For all levels of description, record in this area the extent of the unit being described (including specific material designation), other physical details or the dimensions when appropriate. For instructions regarding physical description for a particular class of material, refer to the .5 rules in the chapter that deal with that class of material. | Mandatory. At minimum, indicate the number of scores and/or parts and the number of pages per score/ part in parenthesis. Note that a "score" refers to a multi-instrument work with all instruments displayed together; a "part" refers to a single instrument work. For further information, see Section 5B of Descriptive Cataloguing of Rare Materials (Music) (DCRM(M)). For manuscript scores and parts, precede the appropriate term by "ms." | 1 ms. score (211 p.) |
1.5C1 3.5C1 | Other physical details: Give physical data (other than extent or dimensions) about each special class of material as instructed in the following chapters. At all levels of description, if appropriate and readily ascertainable, give any physical details other than extent or dimensions that are considered important. For example, give information about the material on which the unit being described is written if it is other than paper, the presence of seals, illustrations, maps, or the type of binding. | Optional. For file- and item-level descriptions of scores that include illustrations, optionally apply illustration rules in Section 5C of Descriptive Cataloguing of Rare Materials (Music) (DCRM(M)). | |
| 1.5D1 | Dimensions: Give the dimensions for each special class of material as instructed in the following chapters. | Optional. For file- and item-level descriptions of scores, optionally apply dimensions and format rules in Section 5D of Descriptive Cataloguing of Rare Materials (Music) (DCRM(M)). | 34 x 27.5 cm |
Archival description area
General Dalhousie guidelines for what to include in the Scope and content notes for music manuscripts in order to facilitate their entry into MusCat (see Instructions on using MusCat):
- If present, include information regarding the attribution of the composer and/or additional names and institutions to the manuscript. Also indicate the function of any additional people or institutions related to the manuscript (e.g., Arranger, Author, Co-composer, Composer cross-reference, Conceptor, Copyist, Dedicatee, Editor, Engraver, Former Owner, Illustrator, Librettist, Lithographer, Other, Performer, Printer, Publisher, Text Author, or Translator).
- If the manuscript is a sketch, fragment, or excerpt, indicate this here.
- If the manuscript is an arrangement, include this here.
- State whether the manuscript is an autograph manuscript.
Example derived from "In Flanders Fields" by Edith J. Archibald (MS-5-1, Box 2, Folder 5) (file) and "Nasca Lines," part 5 by Barry Guy (MS-5-16, Oversize Folder 3, Item 16) (item).
| RAD | Description | Dalhousie guidance | Example |
|---|---|---|---|
| 1.7D3 | Scope and content for a file: For the scope of the file give information on the subject matter, the time period, and the geographical area to which it pertains. For the content of a file, give information about the processes and procedures generating the file and/or about the transactions to which the file pertains. For the internal structure of the file, give information about the arrangement of the file and its documentary forms and their relationship. The scope and content is discretionary if the title of the file is clear enough. | Optional. If known, include information regarding the composition process of the music (e.g., inspiration for the composition, particular types of notation used, etc.). If the file includes multiple copies of instrument parts, ensure that the number of parts in the scope and content note. | File contains a manuscript of "In Flanders Fields" by Edith J. Archibald, which sets the words of the poem of the same name by Colonel John McCrae. The piece is for solo voice and piano in F Major and was written at Archibald's home on Inglis Street in Halifax, Nova Scotia. The piece is 5 pages long with extra blank pages. |
| 1.7D4 | Scope and content for an item: Give information on legal or donor restrictions that may affect use or reproduction of the material. | Optional. See above. If more information about the item is required to provide complete access to the item, include this in the scope and content note. | Item is a complete conductor's score for part 5 of Nasca Lines, in graphic notation. The conductor uses the score in conjunction with colour flashcards indicating instrument groups (blue for the string quintet; yellow for the wind quintet; red for the sax quartet; green for percussion, sythesizer, and electronic instruments; and purple for voice) and flashcards with graphic representations of geoglyphs from the Nazca Desert, Peru. The colour flashcards and flashcard for the monkey (indicating an improvisation style that features "fragmented/ active" articulations) are missing from Upstream's Music Score Library, but are reproduced on this score. Boxes for each instrument group have been coloured in with the appropriately-coloured marker. The score also features phrases from Alan Davies' texts. |
Notes area
Example derived from Concerto para piano e orquestra by Heitor Villa-Lobos (MS-5-2, Box 6, Folder 1).
| RAD | Description | Dalhousie guidance | Example |
|---|---|---|---|
| 1.8B9a | Physical description. Make notes on the physical condition of the unit being described if that condition materially affects the clarity or legibility of the records | Optional. Make notes on the physical condition of manuscripts, if significant. If the manuscript is in good condition, there is no need to indicate that here. | |
| 1.8B16c | Terms governing use and reproduction. Give information on legal or donor restrictions that may affect use or reproduction of the material. | Optional. For any files or items that include digital objects, include a statement regarding any limitations that affect use or reproduction of the material. | This work is in the public domain in Canada. Please obey the copyright laws of your country. It is your sole responsibility to verify whether the file available for download and viewing is in the public domain in your country or if downloading a copy constitutes fair use. |
| 1.8B21 | General note. Use this note to record any other descriptive information important, but not falling within the definitions of the other notes. | Optional. As applicable, provide the following information about the manuscript in order to facilitate addition of manuscripts to RISM (see Instructions on using MusCat):
Other general notes may also be added with information that does not fall into other notes fields, as deemed necessary by the manuscript. | Scoring summary: pf, orch Total scoring: pf (1), vl (2), vla (1), vlc (1), bc (1), arp (1), fl (2), fl.picc (1), ob (2), cl (3), cor inglese (1), fag (2), contra-fag (1), cor (4), tr (3), trb (4), tuba (1), timp (1), stck (2) |
| 1.8B20 | Related groups of records external to the unit being described. Indicate groups of records having some significant relationship by reason of shared responsibility or shared sphere of activity in one or more units of material external to the unit being described. | Optional. Reference other materials held by the Dalhousie University Archives that relate to the manuscript (e.g., records of the work's performance). | File originally included notes relating to the transcription of Villa-Lobos' piano concerto from records made at Dallas, Texas, stored inside the back cover of the bound autograph manuscript. See MS-5-2, Box 2, Folder 3. |
| 7.8B5b | Cast. List featured players, performers, presenters, or other on-screen personnel. | Optional. This note is borrowed from RAD's rules for Moving Images. If there is a known performance that used the manuscript, indicate the details of this performance (including the names of performers) here. | The concerto premiered on October 11, 1946 at the Teatro Municipal in Rio de Janeiro, featuring Ellen Ballon as the piano soloist with Heitor Villa-Lobos conducting the Orquestra do Teatro Municipal. |
| 1.8B16a | Restrictions on access. Give information about any restrictions placed on access to the unit (or parts of the unit) being described. | Optional. Complete if relevant. | |
| 1.8B11 | Alpha-numeric designations. If desirable, make a note of any important numbers borne by the unit being described other than publisher's series numbers or standard numbers. | Optional. For manuscripts, if the work has been assigned an opus (or other similar number, depending on the composer), include it here. | W453 |
| 1.8B14 | Language. Record the language or languages of the unit being described, unless they are noted elsewhere or are apparent from other elements of the description. Also note any distinctive alphabets or symbol system employed. | Optional. If textual elements of a score are provided in a language other than English, state so here. | Textual elements of score are written in Portuguese. |
Access points
Archival music scores and sheet music require a full suite of access points whenever possible.
Example derived from Concerto para piano e orquestra by Heitor Villa-Lobos (MS-5-2, Box 6, Folder 1).
| Access points | Description | Specific terms of interest | Dalhousie guidance | Examples |
|---|---|---|---|---|
| Subject access points | Terms used to classify archival material by subject matter | Mandatory. At a minimum, select "Music" from this list. Select "Musicians–Canada" when the score or sheet music is created by or related to a Canadian musician. | Music Musicians--Canada | |
| Place access points | Terms used to classify archival material by place of creation, production, publication, etc. | Select from list as applicable. | Optional. If known, include the place of the composer’s residence at the time of composition. Also include the place of the performance for which the scores or sheet music were used, if applicable. Whenever possible, place access points should correspond to date event notes provided in the Dates of creation area. | Rio de Janeiro (Brazil) Dallas (Tex.) |
| Genre access points | Terms used to classify archival material by genre or form | Mandatory. Select "Manuscripts" when the score or sheet music is an unpublished manuscript (handwritten or typescript). Select "Scores" when the description involves one or more musical scores. Select "Sheet music" when the description involves unbound songs and other pieces of music on eight or fewer pages. | Scores Manuscripts | |
| Name access points | Authorized name headings used to classify archival material by corporate bodies, persons, and families that are the subject of the material | Select name(s) from list as applicable | Optional. Names could include people to whom a work is dedicated, performers of the work, etc. Note than the composer of the work is included as a creator in the “Dates of creation area,” not as a subject name. | Ballon, Ellen |
Cataloguing resources
Archival description of notated music: a supplement to Describing Archives: A Content Standard (DACS). Working draft, February 2018. http://c.ymcdn.com/sites/www.musiclibraryassoc.org/resource/group/2b79fab4-0a05-4039-8779-d01ada0861c8/Archival_Description_Notated.pdf
http://rbms.info/files/dcrm/dcrmm/DCRMM.pdf
Music Library Association, Cataloging and Metada Committee. Types of composition for use in authorized access points for music: a manual for use with RDA. http://www.musiclibraryassoc.org/mpage/cmc_accpointsrda
Cataloguing first edition imprints of Chopin, Impromptu in F Sharp Major, Opus 36: http://chopin.lib.uchicago.edu/chopin-catalog/descriptions/36.pdf.