Damian Iseminger New England Conservatory Constructing Access Points for Works and Expressions.

Damian IsemingerNew England Conservatory

Constructing Access Points for Works and Expressions

Access Points for Works

Can represent: A single work Part or parts of a work A compilation of works

Access Points for Works

General instruction The authorized access point for the person, family,

or corporate body responsible for the work The preferred title for the work

Specific instructions RDA 6.27.1-6.27.2 (except for musical works,

legal works, religious works, and official communications)

RDA 6.28.1-6.28.2 (musical works) Format

RDA Appendix E

No “rule of three”

Works with shared responsibility Unless the work is considered a compilation, all

collaborations will have an authorized access point consisting of: The authorized access point for the person, etc.

indicated as being primarily responsible for the content OR the person, etc. first-named in the resource

The preferred title of the work Use of “Selections”

May be used when a compilation consists of two or more works

Person, Family, or Corporate Body Responsible for the Work

Access Points for Musical Works

Categories of Works

Musical works with lyrics, librettos, text etc. (6.28.1.2) Pasticcios, ballad operas, etc. (6.28.1.3) Works composed for choreographic movement

(6.28.1.4) Adaptations of musical works (6.28.1.5) Operas and other dramatic works with new text and

title (6.28.1.6) Cadenzas (6.28.1.7) Music and incidental music for dramatic works, etc.

(6.28.1.8) Other types (6.27.1)

Similarities Between RDA and AACR2

6.28.1.2 (Words) 6.28.1.3 (Pasticcio) 6.28.1.4 (Ballets) 6.28.1.5

(Adaptations) 6.28.1.7

(Cadenzas) 6.28.1.8

(Incidental)

21.19A 21.19B 21.20 21.18C 21.28 21.28

RDA AACR2

≈

≈

=

Roughly ≈

≈

≈

Changes in RDA from AACR2

New categories in Adaptations (6.28.1.5) c) Harmony or musical style of the original work

has been changed d) Performances of musical works involving

substantial creative responsibility for adaptation, improvisation, etc. on the part of the performer

Apply these conservatively and with caution! Librettos (6.27.1)

Author of the libretto used in the name portion of the authorized access point

No alternative present, as in AACR2

Individual Work Preferred Titles


Introduction

Instructions located in RDA 6.14 General rules for capitalization, form of numbers,

diacritics, initial articles, spacing of initials and acronyms and abbreviations in preferred titles located at 6.2.1 Capitalization instructions allow for the recording of

unusual capitalization six bucks for anabelle's firetruck

Initial articles Default position: record initial articles Alternative: omit initial articles, unless the title is to be

accessed under that article Die Meistersinger von Nürnberg BUT Los Angeles Street concerto

Introduction

Punctuation reflects the usage of the source of the preferred title On resource: Requiem in/for C

Preferred title: Requiem in/for C On resource: Sunny side [of my soul] up

YES: Sunny side [of my soul] up NO: Sunny side (of my soul) up

On resource: What is it? …what is it not? YES: What is it? …what is it not? NO: What is it? --what is it not?

Choosing the Preferred Title

Sources of information (6.14.2.2) After 1500: Resources embodying the work or

reference sources Before 1501: Modern reference sources, or, failing that,

use in this order: modern editions, early editions, ms. copies

Choosing (6.14.2.3) Composer’s original title in the language in which it

was presented Exceptions for

Better known title in the same language Long titles Numbered sequence (the Eroica exception)

Recording the Preferred Title

Manipulation (6.14.2.4) Remove

A statement of medium of performance Consider a due, a cinque or equivalent phrases in pre-twentieth

century works to be a statement of medium Key Serial, opus, and thematic index numbers Numbers (unless an integral part of the title) Date of composition Adjectives and epitaphs not part of the original work title

Consider the word concertant or its equivalent in pre-twentieth works to be an adjective, etc. if paired with a word denoting the number of instruments or voices, e.g. Duo concertant, Quartetto concertant

Sonata no. 3 for cello and piano in A major, op. 69

Recording the Preferred Title Transformation (6.14.2.5)

For preferred titles consisting solely of the name of one type of composition

Record “in a language preferred by the agency creating the data” and in the plural, unless the composer wrote only one work of that type No longer using “cognates” as in AACR2 Record the accepted form of name in English (LC-PCC PS

6.14.2.5) Konzert = Concertos Lieder = Songs Gesänge = Songs Morceaux = Pieces Stücke = Pieces

Recording the Preferred Title Best Practices recommendations

If a composition has a preferred title of a type, but the work is not of that type, do not consider it a type of composition. La valse : poème chorégraphique pour orchestre / Maurice

Ravel Preferred title: Valse NOT Waltzes

Do not consider titles such as “Double concerto” or “Tripelkonzert” to be types of composition

Compound titles consisting entirely of types should be treated as distinctive titles Humoreske-bagateller Consists of two types, but in this case “Humoreske” is

modifying “bagateller,” so treat as a distinctive title

Recording the Preferred Title No RDA instruction for “Trio sonatas”

May be used as a type title, but only if resources embodying the work or reference sources use the term or its equivalent in other languages Triosonate, D-Dur, für zwei Violinen und Basso

continuo (1701) = Trio sonatas BUT Sonate, F-Dur, für Flöte, Violin, und Basso

continuo (1705) = Sonatas

Complete and Incomplete Compilations


Complete Compilation Types Complete Works (6.14.2.8.2)

Record Works Complete Works of Various Types for One

Broad Medium (6.14.2.8.3) Chamber music Choral music Instrumental music Keyboard music Vocal music

Complete Compilation Types Complete Works of Various Types for One

Specific Medium (6.14.2.8.4) Piano music Violin music String quartet music

Complete Works of One Type for One Specific Medium or Various Media (6.14.2.8.5) Sonatas Songs Symphonies

Incomplete Compilations (6.14.2.8.6)

Main instruction Each work in an incomplete compilation should be

identified separately Alternative

Append Selections to one of the conventional collective titles formed according to 6.14.2.8.2--6.14.2.8.5

Individual works may also be recorded in addition to the collective preferred title

Best Practices recommends following the Alternative and if useful for identification and access, to record the individual works as well

Incomplete Compilations (6.14.2.8.6)

Changes from AACR2 Consecutively numbered works may no longer be

identified using inclusive numbering Identify separately, or Use Selections appended to a collective preferred title, or Use both methods Example

First, Second, and Third symphonies / Ludwig van Beethoven Record Symphonies. Selections NOT Symphonies, no. 1-3

Use of Selections Can never be used alone as a preferred title Use Works. Selections For two or more works

Additions to Musical Work Authorized Access Points

Categories of Additions

6.28.1.9 Preferred title consists solely of a type or

types of composition 6.28.1.10

Preferred title is distinctive, but the authorized access is the same or similar to another

6.28.1.11 The preferred title is collective and

represents works of one specific type

Types of Composition (6.28.1.9) Add to the authorized access point

Medium of performance Numeric designation Key

Exception to 6.28.1.9

Medium of performance omitted if The medium is implied by the preferred title The preferred title is for a set where the

medium is changeable from part to part within the set or is part of a series of works with the same title but different media

The composer made no designation of medium

The medium cannot be stated succinctly

Medium of Performance


Major Differences from AACR2 No rule of three

Medium statement may be as long as it needs to be

Instruction for Groups of Instruments eliminated Cello used instead of violoncello (LC/PCC) More detailed instructions for indeterminate

medium Fewer abbreviated terms

Unaccompanied instead of unacc. Accompanied instead of acc.

General Instructions

Order of elements (6.15.1.3) Voices Keyboard instrument if there is more than one non-

keyboard instrument Other instruments in “score order” Continuo

The number of multiple parts for a single instrument/voice is added, unless implied Trio for 2 violins and cello Medium statement: violins, cello

Continuo used for parts variously named as basso continuo, thorough bass, continuo, or figured bass

Score order

Instrumental Music for One Performer to a Part (6.15.1.4)

All instruments are recorded Specified instruments (6.15.1.6) Indeterminate instruments (6.15.1.13)

Exceptions Use percussion for multiple percussion instruments if

not specified by the composer in the title Use continuo in lieu of recording each continuo

instrument Consult 6.15.1.7 for individual instruments acting as

an accompanying ensemble Consult 6.15.1.5 for standard combinations of

instruments

Recording Instruments (6.15.1.6) Instrument names

cello instead of violoncello English horn instead of cor anglais contrabassoon instead of double bassoon timpani instead of kettle drums

Keyboard instruments Follow the LC-PCC PS and use an appropriate term

Omit designations of key and range flute NOT alto flute clarinet NOT clarinet in A

Omit alternative instruments from statement Medium for violin (or flute) and cello violin, cello NOT violin or flute, cello

Indeterminate Medium (6.15.1.13) One Family of Instruments, Collective

Term, Etc. Plucked instrument Bass instrument

Range or Type of Instrument Low instrument Male voice

Some Instruments, Etc. Unspecified Use unspecified instrument in combination

with specific medium terms

Prio

rity o

rder

Indeterminate Medium (6.15.1.13) Number of Parts or Voices

Use voices followed by the number in curved brackets

Only record if the medium cannot be ascertained and the composer wrote other works which use the same preferred title

Medium Unspecified Record unspecified Will not be used in authorized access points

because of 6.28.1.9 exception

Standard Combinations (6.15.1.5)

The entire medium statement, with the exception of accompanied soloists, must consist of a standard combination in order to use this instruction

Standard Combination

Instrumentation Term Recorded

string trio violin, viola, violoncello strings

string quartet 2 violins, viola, violoncello

strings

woodwind quartet flute, oboe, clarinet, bassoon

woodwinds

wind quintet flute, oboe, clarinet, horn, bassoon

winds

piano trio piano, violin, violoncello piano, strings

piano quartet piano, violin, viola, violoncello

piano, strings

piano quintet piano, 2 violins, viola, violoncello

piano, strings

Accompanying Ensembles with One Player to a Part (6.15.1.7)

Record a term for the appropriate instrument or family of instruments, followed by the word ensemble string ensemble guitar ensemble

Record instrumental ensemble when a more specific term is not available

Large Ensembles (6.15.1.8) and Soloists with Ensembles (6.15.1.9)

To name large ensembles, only use orchestra string orchestra band

Soloists with Ensembles Soloists

Record each solo instrument (6.15.1.6 and 6.15.1.13) Unless a standard combination (6.15.1.5)

Ensemble Record the ensemble

One player to a part (6.15.1.7) Large ensemble (6.15.1.8)

Accompaniment for Songs, Lieder, Etc. (6.15.1.12)

Preferred title implies a work for voice and keyboard stringed instrument alone But work for voice and another instrument(s) or

ensemble, or for solo voice Record the accompanying instruments followed by

accompaniment or if for solo voice use unaccompanied Song for voice and violin

Medium: violin accompaniment Song for voice and 2 violins, viola, and cello

Medium: string quartet accompaniment Song for solo voice

Medium: unaccompanied

Creating Medium Statements for Authorized Access Points

Group Exercises

ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER

1. The preferred title is Trios. The medium of performance is for clarinet (or violin), violoncello, and piano. piano, clarinet, cello 2. The preferred title for your work is Songs. The medium of performance is for soprano and orchestra. orchestra accompaniment 3. The preferred title is Rondos. The medium of performance is for glass harmonica, 2 violins, viola, violoncello, and double bass. glass harmonica, violins (2), viola, cello, double bass


4. The preferred title is Quintets. The medium of performance is for flute, clarinet, oboe, horn, and bassoon. winds 5. The preferred title is Songs. The medium of performance is for high voice, 2 violins, viola, and violoncello string quartet accompaniment 6. The preferred title is Rondo. The medium of performance is for a melody instrument and accordion. melody instrument, accordion


7. The preferred title for your work is Octet. The medium of performance is for flute, clarinet in B-flat (doubling on clarinet in A), 2 bassoons, trumpet in C, trumpet in A, tenor trombone and bass trombone. flute, clarinet, bassoons, trumpets, trombones 8. The preferred title is Variations. The medium of performance is violin, viola, violoncello, and piano. piano quartet


9. The preferred title is Trio sonatas. The medium of performance is for two violins, with a thorough bass consisting of organ, viola da gamba, and theorbo. violins, continuo 10. The preferred title is Overtures. The medium of performance is a large ensemble called wind orchestra. band 11. The preferred title is Sonatas. The medium of performance is for violin, piano, percussion, and contrabass. piano, violin, percussion, double bass


12. The preferred title is Suites. The medium of performance is for 6 violoncellos, contrabass, timpani, and piano. piano, cellos (6), double bass, timpani 13. The preferred title is Concertos. The soloist is a violin, accompanied by a string quartet. violin, string ensemble


14. The preferred title for your work is Concertos. The soloists are a violin, violoncello, piano and the accompanying ensemble is orchestra. piano trio, orchestra

15. The preferred title for your work is Mass. The medium of performance is for soloists (SATB), chorus (SATB), and orchestra. No medium of performance statement is constructed

Numeric Designations, Key, and Other Additions


Numeric Designation of a Musical Work (6.16)

Change from AACR2 Inclusive numbering may be recorded for

aggregate works identified by consecutive numbering in reference sources or thematic indexes

no. 1-6, op. 18 Inclusive numbering for the first six string

quartets by Beethoven, identified as an aggregate work in reference sources


Serial Numbers (6.16.1.3.1) For works of the same type and medium which are

consecutively numbered in reference sources Numeric designations

Use no. to precede the numeral if the work designation in English is “number” or its equivalent in another language, or no designation is present

If the preferred title will be in English, but the designation is NOT “number” or its equivalent, use the designation in its English form, abbreviating or not abbreviating it according to the source

In all other cases use the designation as it appears in the source Ordinal numbers

Use the English form (1st, 2nd, 3rd, etc.) for English titles Use 1., 2., 3., etc. for non-English titles

Choose one form of numbering if the form of numbering changes within a source used to determining the numbering


Opus Numbers (6.16.1.3.2) Abbreviate opus to op. Follow the opus number with the number within

the opus Add the publisher in curved brackets after the

opus number if the numbering for a composer is confusing or misleading

Thematic Index Number (6.16.1.3.3) Use in-lieu of the serial and opus number in an

authorized access point for selected composers Thematic Indexes Used in the LC/NACO Authorit

y File

http://bcc.musiclibraryassoc.org/BCC-Historical/BCC2011/Thematic_Indexes.htm

http://bcc.musiclibraryassoc.org/BCC-Historical/BCC2011/Thematic_Indexes.htm

Key (6.17)

May be recorded for any work if It is commonly identified in reference

sources It appears in the title proper of the first

manifestation of the work It is apparent from the resource described

Use the sharp and flat symbols and English terms for the mode

Other Additions (6.28.1.9.1)

Add one of the following in curved brackets if medium, numeric designation, and key cannot adequately differentiate the authorized access point from another

Year of composition Year of original publication Other identifying element

Prio

rity

ord

er

Distinctive Titles and Compilation Titles


Access Points with Distinctive Titles That Are The Same or Similar (6.28.1.10)

Add either A medium of performance statementOR A distinguishing characteristic of the work

If needed, add one or more of the following Numeric designation Key Year of composition Year of first publication Other identifying element

Compilations of the Same Type for the Same Medium (6.28.1.11)

Add the medium of performance for the compilation

For incomplete compilations, insert the medium statement between the preferred title and Selections Initial access point for compilation:Beethoven, Ludwig van, 1770-1827. Sonatas.

SelectionsWith addition of medium of performanceBeethoven, Ludwig van, 1770-1827. Sonatas,

piano. Selections

Part or Parts of Musical Works


Single Parts (6.28.2.2)

Combine the authorized access point for the whole work with the preferred title for the part

Consult 6.14.2.7.1 for how to construct the preferred title for a single part

Generally the same as in AACR2 25.32A1

Multiple Parts (6.28.2.3)

Main instruction Provide a authorized access point for each part Consecutively numbered parts may not be identified

using inclusive numbering Alternative

Append Selections to the authorized access point for the whole work

May also supply authorized access points for each part in addition to using a Selections authorized access point

Best Practices recommends only following the Alternative when it is not feasible to create separate access points for each part

Suites (6.14.2.7.2, 6.28.2.3)

If a composer assembles a group of excerpts from the same work and calls the grouping “suite,” use suite as the preferred title for the parts

For the authorized access point, append suite to the authorized access point for the entire work Appalachian spring suite / by Aaron

Copland Copland, Aaron, 1900-1990. Appalachian

spring. Suite

Unnumbered Parts Designated by the Same General Term (6.28.2.4)

If parts share the same part title within a work, add as many of the following in order to uniquely identify the part Medium of performance Numeric designation Key Date of composition Date of first publication Other identifying elements

If the above additions cannot be added, determine the number of the part within the set and add in curved brackets

Workflow: Individual Works and Compilations

Start with 6.28.1 Determine if the work falls into one of the categories in 6.28.1.2-

6.28.1.8 If not, consult 6.27

Construct the preferred title Individual titles use 6.14.2.1-6.14.2.6 Compilation titles use 6.14.2.8.1-6.14.2.8.6

Combine the authorized access point for the person, etc. responsible for the work with the preferred title

Consult 6.28.1.9-6.28.1.11 for any additions Use 6.28.1.9 for preferred titles which are a type of composition Use 6.28.1.10 for authorized access points with distinctive

preferred titles that are the same or similar to other access points Use 6.28.1.11 for an authorized access point that has a collective

preferred title

Workflow: Parts of Musical Works Start at 6.28.2

But if no authorized access point exists for the larger work, begin at 6.28.1

Single part Consult 6.28.2.2 Use 6.14.2.7.1 to determine the preferred title for the part

Multiple parts To use Selections to represent 2 or more parts, consult the alternative

at 6.28.2.3 Otherwise, consult 6.28.2.2 for how to form authorized access points

for each part Append the term Suite to the authorized access point for the larger

work, if such a designation was used by the composer for a group of extracts from a larger work.

Consult 6.28.2.4 to determine if any additions need to be made to the authorized access point for the part

Creating Work Authorized Access Points

Group Exercises

Provide an individual work access point: Falstaff (1893) commedia lirica in tre atti di Arrigo Boitomusica di Giuseppe Verdi Creator access points: Boito, Arrigo, 1842-1918

Verdi, Giuseppe, 1813-1901 Verdi, Giuseppe, 1813-1901. Falstaff

Provide an individual work access point: Sonatefür Pianoforte und VioloncellvonL. van Beethovenop. 69 Further information: in reference sources, this has a serial number associated with it of no. 3. The key is in A major. Creator access point: Beethoven, Ludwig van, 1770-1827 Beethoven, Ludwig van, 1770-1827. Sonatas, cello, piano, no. 3, op. 69, A major.

Provide an individual work access point: Work identified in the Schmieder thematic catalog as: 533. Präludium und Fuge E-moll Orgel Creator access point: Bach, Johann Sebastian, 1685-1750. Bach, Johann Sebastian, 1685-1750. Präludium und Fuge, organ, BWV 533, E minor

Provide a compilation access point: Sonatas for cello and pianoBrahms Further information: no. 1 is in E minor and is op. 38; no. 2 is in F major and is op. 99.Creator access point: Brahms, Johannes, 1833-1897.

Current way:Brahms, Johannes, 1833-1897. Sonatas, cello, piano, no. 1-2 Future way:Brahms, Johannes, 1833-1897. Sonatas, cello, piano.

Provide an individual work access point: J.S. Bach: Gelobet seist du, Jesu Christ, BWV 722 Further information: The work is a chorale prelude for organ. There are cantatas and other chorale preludes with this same title.Creator access point: Bach, Johann Sebastian, 1685-1750. Bach, Johann Sebastian, 1685-1750. Gelobet seist du, Jesu Christ (Chorale prelude), BWV 722.

Provide an individual work access point: Rapsodie sur un thème de Paganiniop. 43pour piano et orchestra S. Rachmaninoff Further information: the piece is a set of variations based on Paganini’s op. 1 Caprice, no. 24 for violin. Possible creators: Rachmaninoff, Sergei, 1873-1943

Paganini, Nicolò, 1782-1840 Rachmaninoff, Sergei, 1873-1943. Rapsodie sur un theme de Paganini

Provide a compilation access point: MOZARTGreatest Hits Further information: contains the overture to the Marriage of Figaro, the serenade Eine kleine Nachtmusik, the Jupiter symphony, and an aria from Don Giovanni

Creator access point: Mozart, Wolfgang Amadeus, 1756-1791. Mozart, Wolfgang Amadeus, 1756-1791. Works. Selections

Provide an individual work access point: Sonata in mi minore per violoncello e basso continuo, no. 5Antonio Vivaldia cura di Gian Francesco Malipiero Further information: research reveals that this is also number 40 in Peter Ryom’s thematic index.Creator access point: Vivaldi, Antonio, 1678-1741 Vivaldi, Antonio, 1678-1741. Sonatas, cello, continuo, RV 40, E minor

Provide a work access point: MOTETSA UNE, DEUX, ET TROIS VOIXAVEC SYMPHONIE, ET SANS SYMPHONIE Composé par Mr* CampraCinquiéme livre Further information: Campra wrote 4 earlier sets of motets, with designations similar to this one (livre with an ordinal number)Creator access point: Campra, André, 1660-1744 Campra, André, 1660-1744. Motets, 5th book

Provide a work access point: Douze PiècespourOrgue parEugène Gigout Copyright 1913 Further information: Gigout had 6 pièces pour orgue published in 1881 and 10 pièces pour orgue published in 1890Creator access point: Gigout, Eugène, 1844-1925 Gigout, Eugene, 1844-1925. Pieces, organ (1913)

Access Points for Musical Expressions

Musical Expression Access Points (6.28.3)

Authorized access point for the work is combined with attributes that identify the expression

Create Expression Access Points to represent classes of expressions, not a unique expression 6.28.3.1 LC-PCC PS

Do not further differentiate a musical expression access point from another musical expression access point of the same type

Identifying attributes of a musical expression may be recorded as separate data elements within a resource description in order to uniquely identify a expression

6.27.3 LC-PCC PS The only musical expression access points to create are for

the classes in 6.28.3

Musical Expression Access Points in Practice

Create Expression Access Points for the following Arrangements (6.28.3.2) Added Accompaniments (6.28.3.3) Sketches (6.28.3.4) Vocal and chorus scores (6.28.3.5) Translations (6.28.3.6)

Record additions in the following order Sketches Arrangements Vocal and chorus scores Language terms What about Selections?

Wagner, Richard, 1813-1833. Lohengrin. Selections. Vocal score. English NOT

Wagner, Richard, 1813-1833. Lohengrin. Vocal score. English. Selections

Arrangements (6.28.3.2)

Defined as When the medium of performance is

rewritten for another When the work is in a simplified version

No LC-PCC PS exists for this like the extensive LCRI for AACR2 25.35C

Popular music Only arranged if instrumental work re-written

for vocals or vice versa Use the designation arranged

Added Accompaniments (6.28.3.3) Authorized access point for the work is

used with no alterations LC-PCC PS details how subject access

should be provided for works with added accompaniments

Sketches (6.28.3.4)

Same instruction as AACR2 25.35B Add Sketches in curved brackets to the

authorized access point for the work

Vocal and Chorus Scores (6.28.3.5) Same instruction as AACR2 25.35D Use the Glossary definitions

Vocal score: A score showing all vocal parts, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted.

Chorus score: A score of a work for solo voices and chorus showing only the parts for chorus, at least in those portions of the work in which the chorus sings, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted.

Use the appropriate term in the singular for an individual work, in the plural for a compilation of works

Translations (6.28.3.6)

Only one language per access point May not use Polyglot RDA instructs that if a resource contains

multiple language expressions of the same work, to create separate expression access points for each language expression But this approach has significant problems,

due to the fact that the original language of expression is implied in the authorized access point for the work

Example of Problem (6.28.3.6)Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro [implied language: Italian]

Expression Access Points for a score of Figaro in Italian and English:

Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. ItalianMozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. English

But the bibliographic file looks like:Mozart, Wolfgang Amadeus, 1756-1791. Nozze di FigaroMozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. EnglishMozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. Italian

LC-PCC PS for 6.28.3.6

Only add the language to a work authorized access point when the language is different from the original language expression of the work

In MARC, provide access in the following manner

100 1# $a Mozart, Wolfgang Amadeus, $d 1756-1791, $e composer.245 13 $a Le nozze di Figaro = $b The marriage of Figaro / $c

Mozart ; translated by John Doe…700 12 $i Contains (work): $a Mozart, Wolfgang Amadeus, $d 1756- 1791. $t Nozze di Figaro.700 12 $i Contains (expression): $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Nozze di Figaro. $l English.

Creating Expression Access Points

Group Exercises

1. A recording by Leopold Stokowski and the Philadelphia Orchestra of J.S. Bach’s famous Toccata and Fugue in D minor. Work access point: Bach, Johann Sebastian, 1685-1750. Toccatas, organ, BWV 565, D minor Bach, Johann Sebastian, 1685-1750. Toccatas, organ, BWV 565, D minor; arranged 2. A recording by the Turtle String Quartet of John Coltrane’s A Love Supreme. Work access point: Coltrane, John, 1926-1967. Love supreme Coltrane, John, 1926-1967. Love supreme

3. A score for clarinet quartet of the Lennon-McCartney song When I’m Sixty-Four Work access point: Lennon, John, 1940-1980. When I'm sixty-four Lennon, John, 1940-1980. When I'm sixty-four; arranged

4. A Schirmer vocal score of Wagner’s Lohengrin in German with English and French translations. Work access point: Wagner, Richard, 1813-1833. Lohengrin Wagner, Richard, 1813-1833. Lohengrin. Vocal score [German]Wagner, Richard, 1813-1833. Lohengrin. Vocal score. EnglishWagner, Richard, 1813-1833. Lohengrin. Vocal score. French A recording in English of excerpts from Strauss’ Die Fledermaus. Work access point: Strauss, Johann, 1825-1899. Fledermaus. Selections Strauss, Johann, 1825-1899. Fledermaus. Selections. English

Damian Iseminger New England Conservatory Constructing Access Points for Works and Expressions.

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Transcript of Damian Iseminger New England Conservatory Constructing Access Points for Works and Expressions.