WEBVTT

1
00:00:01.169 --> 00:00:07.500
And take it away, Matt.

2
00:00:07.500 --> 00:00:14.128
Okay, good afternoon Matt from Florida State University. This is the.

3
00:00:14.128 --> 00:00:24.390
Advanced catalog or advanced scores with Morris Levy. Many of you probably went to the morning session or the earlier session.

4
00:00:24.390 --> 00:00:30.089
For basic scores, and we're picking up after that.

5
00:00:30.089 --> 00:00:40.409
If you have any questions, please put them in the chat and when it comes to Q, and a time with Morse, I'll give more of those questions.

6
00:00:40.409 --> 00:00:44.460
And more, so if you want to take it away.

7
00:00:46.710 --> 00:00:51.780
Okay, do I have the control.

8
00:00:51.780 --> 00:00:56.520
I'm passing it in now and you are in control.

9
00:00:56.520 --> 00:01:01.530
I am in control. Well, thank you all. Um.

10
00:01:01.530 --> 00:01:04.709
I'm trying a new background.

11
00:01:04.709 --> 00:01:08.819
Tell me if you, you'll like it that's not.

12
00:01:08.819 --> 00:01:18.540
It's not too bad, I suppose look worse if I had a white shirt on, but we'll see if this is a oh, thank you. Haley.

13
00:01:18.540 --> 00:01:22.859
So so welcome, I don't know if some of you.

14
00:01:22.859 --> 00:01:30.180
Uh, we're able to catch the basis, of course.

15
00:01:30.180 --> 00:01:37.680
But, if not, that's okay, this is a different kind of class from the basics. This class.

16
00:01:37.680 --> 00:01:46.439
Thank you all for coming. My name is Morris Levy. Let me forward this.

17
00:01:46.439 --> 00:01:50.040
My name is Morris leaving. I am I.

18
00:01:50.040 --> 00:01:55.469
The head of graphic services, graphic initiatives.

19
00:01:55.469 --> 00:02:03.930
At the Ohio State University, I've been here for 2 years prior to that for 11 years.

20
00:02:03.930 --> 00:02:15.509
I was the senior music catalog at Northwestern University where I managed the cataloging team for the music library.

21
00:02:15.509 --> 00:02:19.710
And before that for 6 years.

22
00:02:19.710 --> 00:02:26.639
I worked at the hotel library for Harvard, at Harvard University, working in their special collections.

23
00:02:26.639 --> 00:02:29.849
Uh, for, uh, working with.

24
00:02:29.849 --> 00:02:35.699
Dance materials, ballet, materials and opera materials. So, um.

25
00:02:35.699 --> 00:02:39.300
For 18 years, I have been a music catalog.

26
00:02:39.300 --> 00:02:43.860
For the last 2 years as head of the graphic initiatives.

27
00:02:43.860 --> 00:02:48.419
At Ohio State, I am running the print cataloguing.

28
00:02:48.419 --> 00:02:53.069
Program here, so it's fun for me.

29
00:02:53.069 --> 00:02:57.629
To come back to my roots and talk about music cataloging again.

30
00:02:57.629 --> 00:03:05.490
And I hope that you will find this advance or is a.

31
00:03:05.490 --> 00:03:09.870
Helpful, um, I had a lot of fun putting it together.

32
00:03:09.870 --> 00:03:13.500
The last time.

33
00:03:13.500 --> 00:03:17.819
That this course was taught an advanced scores clock.

34
00:03:17.819 --> 00:03:25.259
Class was taught was in 2008, so it's actually been quite a while since we've had a.

35
00:03:25.259 --> 00:03:34.379
Both the basic scores and at advance scores. So, as you can imagine things have changed a lot from 2008. that was before already a.

36
00:03:34.379 --> 00:03:43.680
And 2008, so we've in in looking at the materials from the previous course, which was sought by route the pack in.

37
00:03:43.680 --> 00:03:46.770
A, if you are a music catalog, are you.

38
00:03:46.770 --> 00:03:50.699
Probably know that name, he worked at Indiana for many years.

39
00:03:50.699 --> 00:03:54.389
And had summer seminars.

40
00:03:54.389 --> 00:04:05.460
For students, we weren't at Indiana. Who's a wonderful teacher? A wonderful cattle logger, but it was a very different class than what we're going to do today.

41
00:04:05.460 --> 00:04:11.610
So today's workshop, we're going to be looking at access points for music titles.

42
00:04:11.610 --> 00:04:16.980
And in discussing that, we'll be looking at types of composition terms.

43
00:04:16.980 --> 00:04:20.430
Medium of performance terms.

44
00:04:20.904 --> 00:04:33.475
We'll be reviewing the LC classification for music, and if we have time, we'll be looking at compilations. I also say it looks like I forgot in the workshop.

45
00:04:33.475 --> 00:04:36.805
We'll also be talking about creating subject headaches.

46
00:04:37.108 --> 00:04:41.098
For music scores.

47
00:04:41.098 --> 00:04:44.639
So, let's get to it.

48
00:04:47.994 --> 00:05:00.653
So, if you attended the basics class, you'll know that we talked about the preferred title for a musical work. This is in the preferred title. We.

49
00:05:01.559 --> 00:05:12.149
Are recording the authorized access point it is core, which means if it is needed, it must be.

50
00:05:12.149 --> 00:05:15.538
Recorded it is.

51
00:05:15.538 --> 00:05:20.579
Possibly the most complicated element of a music resource, the graphic record.

52
00:05:20.579 --> 00:05:25.139
Um, there are many many aspects.

53
00:05:25.139 --> 00:05:34.798
To creating a preferred title, and we'll be going over many of them. If you're fortunate.

54
00:05:34.798 --> 00:05:38.548
Someone has already done the work for you, so.

55
00:05:38.548 --> 00:05:44.819
When you are cataloguing the score and are looking for that preferred title.

56
00:05:44.819 --> 00:05:50.939
Please as your 1st option search, the National Authority file for existing authority.

57
00:05:50.939 --> 00:05:55.889
Authorized access points, it will save you a lot of time and if you.

58
00:05:55.889 --> 00:05:59.488
Even if that particular, uh.

59
00:05:59.488 --> 00:06:10.528
Title is not there. It's very likely that there will be titles upon which you could model the creation of your preferred title.

60
00:06:11.579 --> 00:06:20.488
So, the example that we used earlier this afternoon afternoon for me.

61
00:06:20.488 --> 00:06:23.819
Um, is this, uh, work.

62
00:06:23.819 --> 00:06:29.129
For piano by the composer and.

63
00:06:29.129 --> 00:06:34.048
Dry fantasy, stupid, translated as 3 fantasy pieces.

64
00:06:34.048 --> 00:06:37.408
So, following the rule.

65
00:06:37.408 --> 00:06:42.959
614 2, 5, 1, we have the title proper.

66
00:06:42.959 --> 00:06:47.369
His drive fantasy sticker, but, uh.

67
00:06:47.369 --> 00:06:51.838
The rule tells us to omit the word dry.

68
00:06:51.838 --> 00:06:56.848
And so any number that proceeds it, so.

69
00:06:56.848 --> 00:07:01.288
The preferred title here is simply fantasy.

70
00:07:01.288 --> 00:07:11.218
So, in choosing the preferred title for a musical work, created after 1500.

71
00:07:11.218 --> 00:07:18.809
Which, for most of us is what we would be working with, uh, Jews as the preferred title.

72
00:07:18.809 --> 00:07:25.588
The title or form of title in the original language, by which the work is commonly identified.

73
00:07:25.588 --> 00:07:31.559
Either through use and manifestations, abiding the work, or in the reference sources.

74
00:07:31.559 --> 00:07:44.338
Very straightforward, correct you can say this there is a lot of information built into this and we will be exploring.

75
00:07:44.338 --> 00:07:49.949
What that means so, for example.

76
00:07:49.949 --> 00:07:55.259
Actually, we could even use the previous example. Um.

77
00:07:55.259 --> 00:08:01.259
Which is that.

78
00:08:01.259 --> 00:08:04.439
Was a German and.

79
00:08:04.439 --> 00:08:09.598
Composer, therefore, the reason his title appears.

80
00:08:09.598 --> 00:08:13.588
Uh, prominently titled in German could be.

81
00:08:13.588 --> 00:08:19.769
Because the score was published in Germany, but in fact, it is the title by which.

82
00:08:19.769 --> 00:08:24.298
Uh, he would have used and that it is best known.

83
00:08:24.298 --> 00:08:29.999
Using the German title, so that is why we use the German form.

84
00:08:29.999 --> 00:08:35.759
As opposed to the English form. Likewise.

85
00:08:35.759 --> 00:08:40.048
For the Meister singer for newburg.

86
00:08:40.048 --> 00:08:43.259
Probably should not be D.

87
00:08:43.259 --> 00:08:54.119
In any case the basis for the preferred title of a work by regard Wagner originally written in German.

88
00:08:54.119 --> 00:09:07.109
So the opera was written in German, the preferred title should be the German form of the title, even though it's been known under other titles, as it's been published.

89
00:09:07.109 --> 00:09:13.499
In France, and in, uh, English speaking countries so it might be known as.

90
00:09:13.499 --> 00:09:19.019
Oh, I see. Yes, it is plural. So that's correct. The master seniors.

91
00:09:19.019 --> 00:09:25.139
Of Nurenberg the French title and others, but the preferred title.

92
00:09:25.139 --> 00:09:32.908
Should be the German is, that is what it would be logical from a German composer and an opera that is in German.

93
00:09:32.908 --> 00:09:37.259
9 to 5.

94
00:09:37.259 --> 00:09:45.208
The basis for a preferred title of a work by Dolly Parton also published under the title 9 to 5.

95
00:09:45.208 --> 00:09:51.869
So, in this case, it would be a question of what is the most.

96
00:09:51.869 --> 00:09:57.239
Prominent usage predominant usage of.

97
00:09:57.239 --> 00:10:11.933
Uh, that of that title, as we find it in scores or sound recordings or in reference works, possibly even on sites, like all music dotcom.

98
00:10:12.923 --> 00:10:13.793
However, it is.

99
00:10:14.158 --> 00:10:20.158
Prominently use is prominently appears most often using the numbers.

100
00:10:20.158 --> 00:10:31.048
Rather than spelling them out so the preferred form would be using the numbers rather than spelling them out. But spelling them out version could is a variant.

101
00:10:31.048 --> 00:10:37.019
But the preferred title, uh, would be 9 the numeral 2 5.

102
00:10:37.019 --> 00:10:44.278
The numeral likewise, this land is your land what do Guthrie.

103
00:10:44.278 --> 00:10:49.318
In composing, it used other titles like God bless America.

104
00:10:49.318 --> 00:10:57.298
And this land, but it appears in most sources as this land is your land. So that is the.

105
00:10:57.298 --> 00:11:00.958
Preferred title based on usage.

106
00:11:00.958 --> 00:11:04.798
The predominant usage.

107
00:11:04.798 --> 00:11:14.879
Has been in later titles as it is released on records and in sandbox as this land is your land.

108
00:11:19.828 --> 00:11:23.639
Uh, the concept a door.

109
00:11:23.639 --> 00:11:28.078
Is the preferred title of a work by a Bach.

110
00:11:28.078 --> 00:11:35.219
From foreign found in reference sources so it's unlikely that we would find.

111
00:11:35.274 --> 00:11:42.083
A original score of box box didn't publish very much of his music during his lifetime.

112
00:11:42.653 --> 00:11:56.183
And so we would look in resources such as the madic catalogs or encyclopedias like the grove music online to see how that work appears. Most often.

113
00:11:56.578 --> 00:12:01.649
Um, and in this case, uh, that is the form that we often see it in.

114
00:12:01.649 --> 00:12:07.168
And so that would be now and again, this is not itself.

115
00:12:07.168 --> 00:12:10.918
The preferred title, this is how the basis.

116
00:12:10.918 --> 00:12:23.158
For a preferred title, and we'll be going a little farther along into explaining why this would not be the preferred title itself, but the basis of a preferred title.

117
00:12:23.158 --> 00:12:29.399
Likewise, brevis a work by Mozart.

118
00:12:29.399 --> 00:12:32.399
Which has been published on their other titles.

119
00:12:32.399 --> 00:12:36.089
The mess.

120
00:12:36.089 --> 00:12:41.879
Spout and NASA 1 word and other titles.

121
00:12:41.879 --> 00:12:52.918
But it most appears in reference sources as the piece of brevis, and is going to be the basis upon which we create a preferred title.

122
00:12:59.489 --> 00:13:04.798
Um, in recording a preferred title, there are.

123
00:13:04.798 --> 00:13:09.359
In the section for omissions.

124
00:13:09.359 --> 00:13:14.609
We would look at other bits of information.

125
00:13:14.609 --> 00:13:21.869
Uh, to make distinctions between different preferred between preferred titles.

126
00:13:21.869 --> 00:13:30.928
That may match, but we have to make a distinction between 1 and another so things that we could add.

127
00:13:30.928 --> 00:13:37.798
Uh, oh, pardon me? Pardon me? I'm, I'm, I'm getting ahead of myself. Omissions.

128
00:13:37.798 --> 00:13:42.208
So these are in, in creating.

129
00:13:42.208 --> 00:13:46.408
In creating a preferred title, um.

130
00:13:46.408 --> 00:13:50.609
Omissions is what is the information that we would not include?

131
00:13:50.609 --> 00:14:01.589
When creating a preferred title, so a statement of medium of performance. So I don't believe.

132
00:14:01.589 --> 00:14:10.589
Necessarily that we had an example here of that, but statement of media performance. So if we had a title.

133
00:14:10.589 --> 00:14:14.519
That was Sonata for.

134
00:14:14.519 --> 00:14:19.109
Piano when we were creating the preferred title.

135
00:14:19.109 --> 00:14:28.408
We are not likely to we, we are asked to omit the medium of performance, which in this case would be for piano.

136
00:14:28.408 --> 00:14:36.839
This is even true if it's a compound word as we kind of saw earlier oftentimes German.

137
00:14:36.839 --> 00:14:44.009
German will create compound words so severe so not.

138
00:14:44.009 --> 00:14:48.328
Which would be piano Sonata so, um.

139
00:14:48.328 --> 00:14:53.158
Even though that is 1 word we are asked to remove.

140
00:14:53.158 --> 00:14:56.428
The word it's laveer. Yeah, no.

141
00:14:56.428 --> 00:15:02.099
And just work with Sonata, we're also asked to remove key.

142
00:15:02.099 --> 00:15:06.928
So, if we have a work titled.

143
00:15:06.928 --> 00:15:10.558
Symphony in B, flat of.

144
00:15:10.558 --> 00:15:14.639
In creating the preferred title, we would not include.

145
00:15:14.639 --> 00:15:18.688
B, flat the in the flat.

146
00:15:18.688 --> 00:15:25.798
We would also omit any cereal Opus or index numbers.

147
00:15:25.798 --> 00:15:30.869
Now, we may include it later when we're creating the access point.

148
00:15:30.869 --> 00:15:38.729
But in just creating the preferred title, just the preferred title itself, we would not include that information in the preferred.

149
00:15:38.729 --> 00:15:42.629
Title cardinal and ordinal numbers as well.

150
00:15:42.629 --> 00:15:45.869
So, such as.

151
00:15:45.869 --> 00:15:50.818
The 3rd piano Sonata when we are creating the preferred title.

152
00:15:50.818 --> 00:15:59.879
We would remove the ordinal 3rd as well as the medium of performance piano.

153
00:15:59.879 --> 00:16:03.328
Result simply being Sonata.

154
00:16:03.328 --> 00:16:11.308
And a date of composition, so again, all of this information may appear at a later point.

155
00:16:11.308 --> 00:16:16.469
In the access point itself, but when we are creating the preferred title.

156
00:16:16.469 --> 00:16:20.969
We are asked to omit that information.

157
00:16:20.969 --> 00:16:27.448
From the preferred title, which in Mark speak would be the 240 some field a.

158
00:16:29.038 --> 00:16:35.489
So here are some examples of this before the admission. So, uh, work.

159
00:16:35.489 --> 00:16:39.989
Called, um, lose for Trump it.

160
00:16:39.989 --> 00:16:44.249
B, or C.

161
00:16:44.249 --> 00:16:55.019
And piano, actually, it's if I'm translating or and piano, the preferred title would simply be blues.

162
00:16:55.019 --> 00:17:01.379
The trumpet would be the medium of performance actually.

163
00:17:01.379 --> 00:17:06.358
The B, flatter C is also part of the medium performance.

164
00:17:06.358 --> 00:17:10.919
And so all of that would be removed you would just have.

165
00:17:10.919 --> 00:17:15.689
Here's the example that we saw earlier the concert.

166
00:17:15.689 --> 00:17:23.308
Indoor, um, it would omit the key the key. So all we would have is concert now.

167
00:17:23.308 --> 00:17:30.509
Again, we're still building this and we'll explain later that even concert.

168
00:17:30.509 --> 00:17:36.509
Is not the preferred tidal ultimately, but it is what we're working with.

169
00:17:39.598 --> 00:17:42.689
Here we have.

170
00:17:42.689 --> 00:17:47.009
Uh, for Venezuelan WALTERS.

171
00:17:47.009 --> 00:17:52.259
Translated and we.

172
00:17:52.259 --> 00:17:57.989
Omit the number from that leaving the preferred title.

173
00:17:57.989 --> 00:18:01.378
Venezuelan well, so is, um.

174
00:18:01.378 --> 00:18:06.358
And, forgive me for not trying. My French is terrible.

175
00:18:06.358 --> 00:18:09.898
And a 3rd Nocturne.

176
00:18:09.898 --> 00:18:13.769
So, in this case, we had the 1st case.

177
00:18:13.769 --> 00:18:25.318
We had a cardinal number indicating how many parts there were a 2nd, we have an ordinal the 3rd, and that is also admitted omitted.

178
00:18:25.318 --> 00:18:32.669
From the preferred title, um.

179
00:18:32.669 --> 00:18:39.959
Here's 1, where the preferred title before as, as we are working through this.

180
00:18:39.959 --> 00:18:49.949
Preferred title is 2 pieces with interlude for soprano base flute and piano. We omit all of the information.

181
00:18:49.949 --> 00:18:53.578
About the medium performance, and we had to omit.

182
00:18:53.578 --> 00:19:00.719
The cardinal number 2, so we simply have pieces with interlude as preferred title.

183
00:19:00.719 --> 00:19:05.669
Here we have 1 strike.

184
00:19:05.669 --> 00:19:09.838
Uh, 1995, um.

185
00:19:09.838 --> 00:19:14.368
19th, um.

186
00:19:14.574 --> 00:19:28.884
And a title before the emission, so we omit the year in this case, we admit the year, because the year is the year of publication. It's not necessarily a year.

187
00:19:28.884 --> 00:19:36.713
That is essential to the title. And we admit the strike, which is strings.

188
00:19:38.459 --> 00:19:46.078
Sometimes you may find a piece, let's say that's referring to a specific date. So, if the, let's say the title.

189
00:19:46.078 --> 00:19:51.298
Were strike quartet, 1941.

190
00:19:51.298 --> 00:20:01.588
And this may be referring to, let's say the beginning of World War 21939, beginning of World War 2, but it was compose.

191
00:20:01.588 --> 00:20:07.618
Years later, that would be an essential part of the preferred title.

192
00:20:07.618 --> 00:20:15.179
And you would want to keep that date in the preferred title but since there's only a, since we know.

193
00:20:15.179 --> 00:20:21.148
Or presumes that the 90 95 is a date of composition that we remove.

194
00:20:21.148 --> 00:20:34.318
From the preferred title demento for fluids elbow and Clara that Opus 37 again.

195
00:20:34.318 --> 00:20:41.098
Uh, we remove the medium performance and the office number leaving divert demento.

196
00:20:41.098 --> 00:20:44.788
As the basis for our preferred title.

197
00:20:49.169 --> 00:20:55.169
Now, here we go to the question that I had brought up earlier.

198
00:20:55.169 --> 00:20:59.608
Now, we'll talk about types of composition.

199
00:20:59.608 --> 00:21:06.328
Before I do that. Is there any chat Matthew that, uh.

200
00:21:06.328 --> 00:21:09.749
Any questions that have come up at this time.

201
00:21:09.749 --> 00:21:13.229
No more it's not yet. All right.

202
00:21:13.229 --> 00:21:16.919
Then we'll keep the marching forward.

203
00:21:16.919 --> 00:21:21.689
Again, if you do have questions, please put them in the chat.

204
00:21:21.689 --> 00:21:26.038
And as Matthew said, we will take a pause.

205
00:21:26.038 --> 00:21:31.979
Occasionally through the presentation to answer questions that you might have.

206
00:21:31.979 --> 00:21:35.818
So preferred title consisting.

207
00:21:35.818 --> 00:21:39.088
Solely of the name of 1 type of composition.

208
00:21:39.088 --> 00:21:42.929
The choice of language is a.

209
00:21:42.929 --> 00:21:48.568
Basically, we prefer English or English speaking. Uh.

210
00:21:48.568 --> 00:21:56.159
Country and we are cataloguing in this country in English. Therefore we would use.

211
00:21:56.159 --> 00:22:11.159
The English cognate form, or if the same name is used in English, you look at some examples there what we mean by that and we would record.

212
00:22:11.159 --> 00:22:21.328
The preferred title in the singular unless the composer wrote more than 1 work of that type with the same preferred title. Um.

213
00:22:21.328 --> 00:22:28.769
So, what do we mean.

214
00:22:28.769 --> 00:22:33.328
We look at this example, which is in French.

215
00:22:33.328 --> 00:22:39.479
We omit the medium of performance and we're just left with tour.

216
00:22:39.479 --> 00:22:43.528
But they need.

217
00:22:43.528 --> 00:22:47.189
Of what door in English is cortex.

218
00:22:47.189 --> 00:22:52.679
They mean, the same thing, and they are cognates of 1 another. So.

219
00:22:52.679 --> 00:22:55.739
We would use the form or tech.

220
00:22:55.739 --> 00:23:01.858
As the preferred title for this work.

221
00:23:01.858 --> 00:23:06.509
We don't know the composer, so we don't necessarily know if this composer.

222
00:23:06.509 --> 00:23:17.878
More than 1, but from the title does not indicate that it is the 2nd or the 3rd quartet that he's composed. So we will.

223
00:23:17.878 --> 00:23:22.499
At least for now, make the assumption that we should keep this in the singular.

224
00:23:29.068 --> 00:23:33.568
So, we have in the title.

225
00:23:33.568 --> 00:23:37.199
The form is in the plural.

226
00:23:37.199 --> 00:23:42.719
We also, which means that this score as several.

227
00:23:42.719 --> 00:23:45.868
Can charity girl in the score.

228
00:23:45.868 --> 00:23:49.199
The title as a.

229
00:23:49.199 --> 00:23:54.028
Needed performance listed we removed the medium performance um.

230
00:23:54.028 --> 00:24:01.229
And the same name for the type of composition is used in Italian in English. There is.

231
00:24:01.229 --> 00:24:04.528
No, English equivalent of.

232
00:24:04.528 --> 00:24:12.538
The concerto, Grosso or the charity girl. So that is what we will use in the preferred title.

233
00:24:16.828 --> 00:24:22.648
Pieces in this case we have again a French title.

234
00:24:22.648 --> 00:24:27.028
Title after omissions is.

235
00:24:27.028 --> 00:24:32.939
But we will use the English cognate now.

236
00:24:33.564 --> 00:24:43.374
You might not see much of a difference between the French and the English, but 1 has an accent and the other doesn't. So, 1 is the cognate of the other.

237
00:24:43.374 --> 00:24:49.013
Although the only difference is the accent in the French will remove the accent and use the English for.

238
00:24:49.378 --> 00:24:54.659
For the preferred title, um.

239
00:24:54.659 --> 00:25:00.388
Serenade get serenade for string quartet or string orchestra.

240
00:25:00.388 --> 00:25:04.648
The composer only wrote 1 serenade.

241
00:25:04.648 --> 00:25:11.878
So, when we look a little farther into examining this 1, um.

242
00:25:11.878 --> 00:25:15.179
We see that he only wrote 1 serenade.

243
00:25:15.179 --> 00:25:27.088
Um, it's for 2 different orchestrations or options for orchestrations 1 for just 4 players and 1 for an entire orchestra of strings instruments.

244
00:25:27.088 --> 00:25:36.689
But it is the same work therefore, we record it in the singular as opposed to the plural saying he wrote a serenade for string quartet.

245
00:25:36.689 --> 00:25:44.128
And a serenade for string orchestra, they are the same work and so therefore he wrote only 1.

246
00:25:50.638 --> 00:25:56.939
Here's an example where after doing the research, we find that the composer wrote multiple quartet.

247
00:25:56.939 --> 00:26:09.179
So, even though the title appears in the singular after doing our research, we discovered that he wrote several and so we use quartets.

248
00:26:09.179 --> 00:26:13.048
And Here's our example, the consent, um.

249
00:26:13.048 --> 00:26:19.138
We use the cognate for concert. We use the English.

250
00:26:19.138 --> 00:26:22.949
Form which itself is, uh.

251
00:26:22.949 --> 00:26:26.249
The, but the plural.

252
00:26:26.249 --> 00:26:33.778
For in the Italian would be charity, but the English.

253
00:26:33.778 --> 00:26:38.638
Form is what we use for the plural concertos.

254
00:26:38.638 --> 00:26:42.449
And.

255
00:26:42.449 --> 00:26:46.499
And the composer wrote many of them, so.

256
00:26:46.499 --> 00:26:50.729
Uh, we'll use the plural concertos.

257
00:26:50.729 --> 00:26:54.929
So, if you're wondering.

258
00:26:54.929 --> 00:27:03.358
How do I know if it's a type of composition or if the title is distinctive.

259
00:27:03.358 --> 00:27:06.388
Is it a type or is it a distinctive form?

260
00:27:06.388 --> 00:27:11.068
Well, the music library association on its web page.

261
00:27:11.068 --> 00:27:14.999
As the authorized form.

262
00:27:14.999 --> 00:27:22.769
Authorized list of types of composition so if you are creating.

263
00:27:22.769 --> 00:27:27.479
A authorized access point for a title.

264
00:27:27.479 --> 00:27:36.959
This is where you would go to find out that information about whether it is a type. Now, again, if, if we go back to the.

265
00:27:36.959 --> 00:27:40.679
The senior.

266
00:27:40.679 --> 00:27:53.159
That clearly is a distinctive title that is, does not feel like at the type, but there are many types of composition that you would find in classical music. And this is the resource.

267
00:27:53.159 --> 00:27:56.338
Refining those here is an example.

268
00:27:56.338 --> 00:28:00.929
For.

269
00:28:00.929 --> 00:28:05.429
And you see that it.

270
00:28:05.429 --> 00:28:08.669
List calls itself a type. It didn't.

271
00:28:08.669 --> 00:28:13.169
Nice bold letters. Um, it says these are the languages.

272
00:28:13.169 --> 00:28:17.189
In which this word appears.

273
00:28:17.189 --> 00:28:25.798
So it is a word that would appear in English, French, Hungarian, and Italian and Spanish compositions. Um.

274
00:28:25.798 --> 00:28:33.659
But it also says if it uses the German form or the, uh.

275
00:28:33.659 --> 00:28:40.229
An additional Spanish form. Oh, excuse me if you use a German form Aria.

276
00:28:40.229 --> 00:28:43.558
E, that you should use the English form.

277
00:28:43.558 --> 00:28:57.929
Aria so again, a bit like, our concerto can charity, uh, using our E would indicate that, um, it is a plural so therefore, please use arias.

278
00:28:57.929 --> 00:29:02.878
And the area for the, uh, English.

279
00:29:02.878 --> 00:29:06.479
Did you have something to say, Nathan? I heard your.

280
00:29:06.479 --> 00:29:12.689
Mike is on oh, I apologize. I will mute. Okay. That's fine.

281
00:29:12.689 --> 00:29:17.219
Huh.

282
00:29:17.219 --> 00:29:22.769
So, Matthew, at this point, how are we doing.

283
00:29:22.769 --> 00:29:26.878
We're doing well, we don't have any questions.

284
00:29:26.878 --> 00:29:31.469
Do we still have any viewers.

285
00:29:31.469 --> 00:29:34.709
Yes. Okay. 33.

286
00:29:34.709 --> 00:29:40.648
Very good. Everything is going well excellent. Thank you.

287
00:29:40.648 --> 00:29:46.469
So, now that we've clarified.

288
00:29:46.469 --> 00:29:50.578
What how to create a preferred title? Um.

289
00:29:50.578 --> 00:29:56.338
We can.

290
00:29:56.338 --> 00:30:02.759
Go forward and look at the additional elements.

291
00:30:02.759 --> 00:30:06.868
So the thing about having a type.

292
00:30:06.868 --> 00:30:21.598
Certainly with having a type is that you absolutely have to have additional elements. This is what I kind of jumped the gun and was talking about, but also, even with distinctive titles, there are times when you will need additional elements.

293
00:30:21.598 --> 00:30:27.209
So, as I said, a preferred title for where consisting solely of the name.

294
00:30:27.209 --> 00:30:30.534
Of a type of composition requires additional elements,

295
00:30:31.013 --> 00:30:35.753
the elements are needed to distinguish 1 access point from 1 that is same or similar,

296
00:30:35.753 --> 00:30:46.463
but represent a different work and elements needed distinguish the access point for 1 that represents an agent or place it can happen.

297
00:30:46.888 --> 00:30:51.419
That the title, uh, looks like, uh.

298
00:30:51.419 --> 00:30:55.679
1 thing, but it's actually something else. So.

299
00:30:55.679 --> 00:30:58.949
Uh, for music, so let's look at some examples.

300
00:30:58.949 --> 00:31:03.209
Oh, 1st, here are the additional elements that can be added.

301
00:31:03.209 --> 00:31:12.689
Uh, using a medium of performance numeric designation of a musical work, and we'll talk more about.

302
00:31:12.689 --> 00:31:19.348
These designations key form of work, date of work.

303
00:31:19.348 --> 00:31:27.838
Place of origin of work if you're getting desperate and other distinguishing characteristics of work.

304
00:31:27.838 --> 00:31:35.159
There is actually a policy statement regarding.

305
00:31:35.159 --> 00:31:40.138
These access points, and they should be entered in this order.

306
00:31:40.138 --> 00:31:44.999
Medium of performance numeric designation of musical work.

307
00:31:44.999 --> 00:31:51.868
And key that is to say, they're not all of these may exist.

308
00:31:51.868 --> 00:31:55.138
For every work, but.

309
00:31:55.138 --> 00:32:02.729
Those elements that, with which you are adding to the preferred title, this is the order.

310
00:32:02.729 --> 00:32:06.209
Uh, in which you should enter them.

311
00:32:06.209 --> 00:32:10.169
And each of them have their own sub fields.

312
00:32:10.169 --> 00:32:14.278
In the mark record you, whether you're using 240.

313
00:32:14.278 --> 00:32:22.048
4, 700, so.

314
00:32:22.048 --> 00:32:29.128
Uh, here's some examples for the concertos.

315
00:32:29.128 --> 00:32:42.929
In this case, we have the preferred title concerto concertos. The medium performance violin orchestra will go into what that means.

316
00:32:42.929 --> 00:32:46.259
Opus 77.

317
00:32:46.259 --> 00:32:50.969
Which is a numeric designation we'll go a little more into what.

318
00:32:50.969 --> 00:32:57.388
That signifies and the key of the work, which again.

319
00:32:57.388 --> 00:33:00.898
We'll review a little later.

320
00:33:00.898 --> 00:33:05.848
2nd example.

321
00:33:05.848 --> 00:33:09.719
We have something the same elements.

322
00:33:09.719 --> 00:33:16.288
We see that we have for the meeting performance violins to.

323
00:33:16.288 --> 00:33:23.338
The Ola, cello further a different numeric designation.

324
00:33:23.338 --> 00:33:27.148
The h31 and then a key.

325
00:33:30.179 --> 00:33:35.638
Symphonies no medium.

326
00:33:35.638 --> 00:33:42.269
Of performance will explain why in a minute a numerical designation.

327
00:33:42.269 --> 00:33:51.929
And the key, so here are some examples.

328
00:33:51.929 --> 00:34:00.298
Um, so we are presuming in these examples that these were composed by the same.

329
00:34:00.298 --> 00:34:07.949
Composer, so I composer wrote 2 works called TomTom, Erica.

330
00:34:07.949 --> 00:34:14.818
Talk to him is a distinctive title, but we need to distinguish between the 2.

331
00:34:14.818 --> 00:34:26.039
1 way that we can do that is, by the year of composition, is the Europe composition going to appear on every copy of a score probably not.

332
00:34:26.039 --> 00:34:29.579
So, we may have to go to a secondary.

333
00:34:29.579 --> 00:34:41.039
A resource to find out the dates of composition for those. Here's a composer who wrote 2 pieces called images.

334
00:34:41.039 --> 00:34:44.938
1, for orchestra and 1 for piano.

335
00:34:44.938 --> 00:34:52.679
So, using the medium of performance to distinguish between the 2 is also an option you could use the year.

336
00:34:52.679 --> 00:34:57.748
But remember that order of preference.

337
00:34:57.748 --> 00:35:03.599
Is also implied in order that would be helpful.

338
00:35:03.599 --> 00:35:08.548
Um, to use, if you have that information 1st.

339
00:35:08.548 --> 00:35:13.318
So, but in any case.

340
00:35:13.318 --> 00:35:20.818
We are not talking about, as we did with a string quartet and string orchestra where the image is is the same piece.

341
00:35:20.818 --> 00:35:25.739
Or that the images piano is a, an arrangement.

342
00:35:25.739 --> 00:35:29.458
Of the images for orchestra, these are the 2 distinctive.

343
00:35:29.458 --> 00:35:34.199
Works composed by the same composer.

344
00:35:34.199 --> 00:35:38.548
And so we're making the distinction based on the medium performance.

345
00:35:38.548 --> 00:35:43.619
Here we have 2 works.

346
00:35:43.619 --> 00:35:49.108
So, yes, SKUs 1 is written as an opera.

347
00:35:49.108 --> 00:35:54.208
And 1 is a piano work so here, we're using the form.

348
00:35:54.208 --> 00:35:59.548
Of the work to distinguish between the 2 and.

349
00:36:00.838 --> 00:36:07.048
This example is 1 that we were sort of talking about earlier where amazing grace.

350
00:36:07.048 --> 00:36:12.418
Many people will know that amazing. Grace was written.

351
00:36:12.418 --> 00:36:15.478
By John Newton, but what he wrote.

352
00:36:15.478 --> 00:36:19.409
Where the was, it was, it was a text, um.

353
00:36:19.409 --> 00:36:27.028
The melody itself existed long before John Newton word. So we don't know.

354
00:36:27.028 --> 00:36:36.539
Will compose the melody and so amazing grace. Him refers to the melody of amazing grace. Well.

355
00:36:36.539 --> 00:36:41.369
The song amazing grace, but there's also a film.

356
00:36:41.369 --> 00:36:44.668
All the amazing grace, actually several films.

357
00:36:44.668 --> 00:36:57.688
To go by that title that's why we are making a distinction between amazing grace the song and amazing grace. Something that's outside of music. In this case. A film.

358
00:36:57.688 --> 00:37:06.298
A motion picture, and then we had to further distinguish it by using the year in which the film was released.

359
00:37:06.298 --> 00:37:15.778
So, when we construct the medium of performance.

360
00:37:15.778 --> 00:37:19.168
There is an order.

361
00:37:19.168 --> 00:37:27.989
Again, from a policy statement in which the term should be recorded, starting with voices that is.

362
00:37:27.989 --> 00:37:33.028
Referring to sung voices.

363
00:37:34.289 --> 00:37:40.228
Keyboard instrument, if there is more than 1 non keyboard instrument.

364
00:37:40.228 --> 00:37:49.588
Explain that in a 2nd, the other instrument in score order and continual. Let's start with.

365
00:37:49.588 --> 00:37:53.699
Keyboard instrument, so, um.

366
00:37:53.699 --> 00:37:56.273
When you record a keyboard instrument,

367
00:37:56.273 --> 00:37:56.963
like a piano,

368
00:37:56.963 --> 00:37:59.514
and also a piano is part of the ensemble,

369
00:38:00.773 --> 00:38:02.454
you would list that 1st,

370
00:38:03.713 --> 00:38:14.784
unless there are only 2 instruments and the other instrument is not a keyboard instrument.

371
00:38:15.090 --> 00:38:28.590
So, if you have a work, let's say, for flute and piano, you would record them in the order flute then piano if you had a work or.

372
00:38:28.590 --> 00:38:34.500
Flute cello and piano you would list them piano.

373
00:38:34.500 --> 00:38:38.369
Flute.

374
00:38:38.369 --> 00:38:52.619
Now, let the score order me score order, refers to how the instruments are normally listed on a score.

375
00:38:52.619 --> 00:38:56.039
So.

376
00:38:56.039 --> 00:38:59.519
When we look at.

377
00:38:59.519 --> 00:39:12.360
The, so is this easy to determine if you are not a musician and haven't seen a score before? Perhaps not.

378
00:39:12.360 --> 00:39:17.429
Um, but in general.

379
00:39:17.429 --> 00:39:23.519
A score order refers to the.

380
00:39:23.519 --> 00:39:29.010
The order of the score is usually.

381
00:39:29.010 --> 00:39:35.460
The wood wind instruments followed by the brass instruments.

382
00:39:35.460 --> 00:39:38.880
Followed by.

383
00:39:38.880 --> 00:39:42.780
The, uh, plucked instruments.

384
00:39:42.780 --> 00:39:54.960
Like, a harp or a guitar followed by percussion instruments, followed by string instruments and the instruments within the families.

385
00:39:54.960 --> 00:39:58.019
Are listed in, uh.

386
00:39:58.019 --> 00:40:03.150
From the highest instruments to the lowest instruments.

387
00:40:03.150 --> 00:40:07.440
So, uh, for wood wins, that would be.

388
00:40:07.440 --> 00:40:12.179
Flute wow. Impress myself.

389
00:40:12.179 --> 00:40:16.230
Flute, although clarinet.

390
00:40:16.230 --> 00:40:22.170
And the soon for strange instruments that would be violin.

391
00:40:22.170 --> 00:40:25.500
Viola.

392
00:40:25.500 --> 00:40:29.219
Cello and double base.

393
00:40:29.219 --> 00:40:34.349
And we'll, we'll talk about that a little bit more.

394
00:40:34.349 --> 00:40:41.849
Continual is something that we find in music, particularly in music.

395
00:40:41.849 --> 00:40:47.610
Composed before 1800, it was sort of a short hand.

396
00:40:47.610 --> 00:40:50.639
Uh, it for a, um.

397
00:40:50.639 --> 00:41:01.409
Sort of a back, a sort of a bottom to the music is often played by a.

398
00:41:01.409 --> 00:41:06.539
Or in Oregon with a low string instrument.

399
00:41:06.539 --> 00:41:11.099
Like, a cello or a double base.

400
00:41:11.099 --> 00:41:24.059
Or it might use a bassoon, but it is a, it is a kind it is. The reason we talk about continue is that it is often it is a keyboard instrument.

401
00:41:24.059 --> 00:41:30.809
With another instrument, possibly accompanying it a low string or a low wind instrument.

402
00:41:30.809 --> 00:41:35.369
And so we talk about continual as it's.

403
00:41:35.369 --> 00:41:39.480
We don't have to define it specifically, but if it calls for continual.

404
00:41:39.480 --> 00:41:44.400
It is the last element that would appear in the medium of performance.

405
00:41:46.829 --> 00:41:51.570
I can't believe I got through that without any questions, but I'll keep going.

406
00:41:55.170 --> 00:42:03.000
So, for a work for solo instrument or instruments and accompanying ensemble or ensembles.

407
00:42:03.000 --> 00:42:17.934
Add the terms for the solo instrument or instruments followed by the term for the accompanying ensemble or ensembles? What do we mean by this? What we mean is I've been mostly talking about small ensembles right?

408
00:42:18.355 --> 00:42:20.724
So piano flute.

409
00:42:21.239 --> 00:42:28.289
Cello a trio for piano flute and tell them well, there are other works.

410
00:42:28.289 --> 00:42:32.250
That are 4 larger ensemble.

411
00:42:32.250 --> 00:42:42.900
Like, orchestras, string orchestras we've talked about that a little bit and music for band. Um.

412
00:42:42.900 --> 00:42:54.119
So, if you have a piece that is written, and these are actually what we call concertos a piece that's written for violin and orchestra.

413
00:42:54.119 --> 00:43:06.480
What this instruction is telling us that this policy statement is telling us is that when we record this, we do not list all of the elements.

414
00:43:06.480 --> 00:43:13.679
Of the orchestra, so we do not say solo violin plus.

415
00:43:13.679 --> 00:43:20.730
Food oh, bow clarinet and maybe 3 flutes.

416
00:43:20.730 --> 00:43:25.559
And 6 clarinets and 7.

417
00:43:25.559 --> 00:43:30.570
Cello or whatever, we just simply call it by the ensemble.

418
00:43:30.570 --> 00:43:36.420
And sometimes the accompanying ensemble isn't as big as an orchestra.

419
00:43:36.420 --> 00:43:39.900
But if the piece was written.

420
00:43:39.900 --> 00:43:46.050
And the indications are that it is for solo instrument and unsolvable.

421
00:43:46.050 --> 00:43:57.539
Rather than each piece having, and sort of an individual role to play. So it could a string quartet. The idea is that all of the instruments are.

422
00:43:57.565 --> 00:44:07.375
Equals people who play and might argue that, but the fact is, that is how we interpret a springboard debt to being as equals.

423
00:44:08.005 --> 00:44:18.625
But if, for example, if a piece was written for flute and string quartet, um, it would be sort of up to the catalog to determine.

424
00:44:18.929 --> 00:44:24.630
Whether this is really a piece for 5 solo instruments playing together.

425
00:44:24.630 --> 00:44:27.719
Or if the role of the.

426
00:44:27.719 --> 00:44:31.079
String quartet is in support of the.

427
00:44:31.079 --> 00:44:35.789
That's what I said. So, um.

428
00:44:35.789 --> 00:44:39.690
That is what that policy statement means.

429
00:44:40.739 --> 00:44:47.579
However, um.

430
00:44:47.579 --> 00:44:51.150
Exception.

431
00:44:51.150 --> 00:45:01.050
If there is only 1 part or performer for a particular instrument or voice, we're only 1 ensemble record the term for the history voice sample in the singular.

432
00:45:01.050 --> 00:45:05.460
Do not add the number of parts or performers.

433
00:45:05.460 --> 00:45:16.559
An exception D, if there is more than 1 part or performer for a particular instrument of voice record the term for the instrument or a voice in the plural.

434
00:45:16.559 --> 00:45:21.119
So, again, if you have a piece.

435
00:45:21.119 --> 00:45:24.360
For let's say.

436
00:45:24.360 --> 00:45:27.869
Flute and orchestra.

437
00:45:27.869 --> 00:45:31.320
Uh, you should record both of them.

438
00:45:31.320 --> 00:45:35.309
As flute and work, Australia, you do not need to.

439
00:45:35.309 --> 00:45:47.039
Record, let's say 1 as the number of performers, this is when you're creating the access point.

440
00:45:47.039 --> 00:45:52.260
However, if you have a work for 2 fluids and orchestra.

441
00:45:52.260 --> 00:45:58.980
You need to record that term as flutes.

442
00:45:58.980 --> 00:46:02.460
In the plural, rather than flute.

443
00:46:02.460 --> 00:46:05.460
2, so.

444
00:46:05.460 --> 00:46:10.289
But let's talk a little bit about.

445
00:46:10.289 --> 00:46:15.269
Medium of performance itself.

446
00:46:15.269 --> 00:46:18.809
So, um.

447
00:46:18.809 --> 00:46:21.929
Where do we find these terms.

448
00:46:21.929 --> 00:46:31.920
Well, again, much like with types sometimes the terms that we'll find on the piece may not be the preferred forms of the.

449
00:46:31.920 --> 00:46:44.309
Names of the instruments that we can actually use. So there is a library of Congress medium performance, the source from music, which is available through classification web.

450
00:46:44.309 --> 00:46:58.380
If your institution has a subscription to classification web, you can find it there. Fortunately you do not unlike other resources. You do not need to only access.

451
00:46:58.380 --> 00:47:03.900
Information, if you have a subscription, you can also find it.

452
00:47:03.900 --> 00:47:07.679
On the from 2 sources.

453
00:47:07.679 --> 00:47:11.550
In the library of Congress, their authorities.

454
00:47:11.550 --> 00:47:14.789
The ID local authorities.

455
00:47:14.789 --> 00:47:22.559
Uh, has a list of them as well as the low Gov.

456
00:47:22.559 --> 00:47:26.579
Uh, ABA publications.

457
00:47:28.800 --> 00:47:33.960
So, here, I'm using an example.

458
00:47:33.960 --> 00:47:39.420
From the from classification web, I've entered singer.

459
00:47:39.420 --> 00:47:48.090
So, singer is a, is that an appropriate term to use as a medium performance?

460
00:47:48.090 --> 00:47:51.869
Vocalist is not.

461
00:47:51.869 --> 00:47:55.829
Says use for voice.

462
00:47:55.829 --> 00:47:59.760
Is the broader term how could that be.

463
00:47:59.760 --> 00:48:03.300
Well, voice in general.

464
00:48:04.315 --> 00:48:18.954
Does not refer to a, and we could look at the definition, but voice it tends to be in medium performance is broader than just a person who's saying voice is essentially.

465
00:48:19.764 --> 00:48:31.434
A line of music, so if it says voices, it isn't necessarily referring to song. It is essentially a line of music.

466
00:48:31.525 --> 00:48:45.355
So a singer is a type of voice that means I did vocalized. It's also true that a voice could refer to not just a person who's saying, but also a person who is speaking.

467
00:48:45.659 --> 00:48:54.000
That is a person who is reciting, there are a number of pieces that are written where the person does not saying the music.

468
00:48:54.000 --> 00:48:57.000
But just speaks to me, speaks.

469
00:48:57.000 --> 00:49:10.559
I should take speaks rather than things and so those are called recitations and that could be another form, but we also see that there are narrower return. So, if.

470
00:49:10.559 --> 00:49:14.039
Um.

471
00:49:14.039 --> 00:49:18.000
Score that we're using.

472
00:49:18.000 --> 00:49:21.210
Calls for a narrower a term, um.

473
00:49:21.210 --> 00:49:26.219
Though that would be what we would use if you calls for high voice.

474
00:49:26.219 --> 00:49:30.269
Then that's what we would use a low voice.

475
00:49:30.269 --> 00:49:40.949
Um, so that so we will look at some examples of that. So, depending on what is appropriate, uh, those are the terms that we could use if we had singer.

476
00:49:40.949 --> 00:49:45.630
And we said, but it's actually called high voice singer then we might.

477
00:49:45.630 --> 00:49:55.349
Prefer to use high voice and it might call it high voice or it might call it. Let's say, surprise us a work for soprano.

478
00:49:55.349 --> 00:50:01.829
Which we then say this is soprano voice that's a high voice. That's what we're going to use.

479
00:50:06.900 --> 00:50:11.730
So here are some examples.

480
00:50:11.730 --> 00:50:17.369
So, we have the 1st example.

481
00:50:17.369 --> 00:50:21.719
Is for voice and piano um.

482
00:50:21.719 --> 00:50:33.329
And you'd see that just like we said earlier, voices come 1st, voices, meaning sung voices and so voice and piano.

483
00:50:33.329 --> 00:50:47.789
The duets for soprano and tenor and piano that's also somewhat in score order because the soprano voice is a female voice and is considered higher than the tenor voice, which is the highest male voice.

484
00:50:47.789 --> 00:50:52.110
So, you would list them in that order a September.

485
00:50:52.110 --> 00:50:55.590
So, we're talking about 7 parts.

486
00:50:55.590 --> 00:50:59.550
The soprano voice followed by the tenor voice.

487
00:50:59.550 --> 00:51:03.210
And remember the order, because it's more than.

488
00:51:03.210 --> 00:51:07.679
2 instruments, piano then gets listed next.

489
00:51:07.679 --> 00:51:14.519
Violence, plural with the number in parentheses, Viola and cello.

490
00:51:14.519 --> 00:51:21.929
And here's 1, where we're making a distinction between 2 similar pieces.

491
00:51:21.929 --> 00:51:28.889
1, a song of pure nothingness for soprano and piano.

492
00:51:28.889 --> 00:51:32.969
And a different work of the same title.

493
00:51:32.969 --> 00:51:36.480
For Metro, soprano and Reed, Oregon.

494
00:51:36.480 --> 00:51:43.469
Um, read, Oregon is a type of Oregon we often think of, like, big church organs.

495
00:51:43.469 --> 00:51:50.519
Or an electric organ is a different kind of Oregon. Reed, Oregon is a smaller Oregon.

496
00:51:50.519 --> 00:51:54.059
Sometimes called the Harmonium.

497
00:51:54.059 --> 00:51:59.429
But in any case, these are 2 different works by the same composer.

498
00:51:59.429 --> 00:52:04.380
And we're making that distinction here. Yeah, no and Reed, Oregon.

499
00:52:04.380 --> 00:52:09.030
Even though the title itself is distinctive.

500
00:52:13.349 --> 00:52:18.150
Concertos for trumpet and instrumental ensemble. So, um.

501
00:52:18.150 --> 00:52:26.849
If the, as I was saying before if the ensemble is supportive of the solo instrument.

502
00:52:26.849 --> 00:52:31.019
Rather than being an equal to the solo instrument.

503
00:52:31.019 --> 00:52:36.449
Therefore, not really being a solo instrument, but if they're equal.

504
00:52:36.449 --> 00:52:44.340
Then you would name each instrument if they are not equal, then you would call it an ensemble.

505
00:52:44.340 --> 00:52:47.460
And follow the name of the solo instrument.

506
00:52:47.460 --> 00:52:57.360
Um, if they are of many types of instruments that is from different families, we use instrumental.

507
00:52:57.360 --> 00:53:03.449
If they're from a single family, but within that family.

508
00:53:03.449 --> 00:53:06.840
Um, different.

509
00:53:06.840 --> 00:53:12.360
Types within that family we could use in this case string ensemble.

510
00:53:12.360 --> 00:53:20.219
Actually, if you wanted to go farther and you had a concerto for trumpet and violins.

511
00:53:20.219 --> 00:53:23.610
You can even call it a violin ensemble.

512
00:53:23.610 --> 00:53:31.170
Um, so you can get very specific about the type, but, uh, in any case.

513
00:53:31.170 --> 00:53:42.300
We have concertos, trumpet for instrumental ensemble. String ensemble is for Trump and demonstrating orchestra.

514
00:53:42.300 --> 00:53:46.920
Orchestra and trumpet and band.

515
00:53:51.389 --> 00:53:58.949
If we, let's go back a little bit if you remember, I said something we could talk about symphonies. There is an exception a.

516
00:53:58.949 --> 00:54:03.119
1, I think that a, I.

517
00:54:03.119 --> 00:54:11.789
Now, I'll say 1 do not add a medium of performance if the medium is implied by the title. Well, there are some works.

518
00:54:11.789 --> 00:54:19.829
That have an implied orchestration, so if you have a symphony, it is implied that the.

519
00:54:19.829 --> 00:54:34.525
Medium is orchestra if the medium is not orchestra, you should have to name it because symphony is a type, but if it is orchestra, you do not have to name it. Likewise for coral prelude. Coral pray loser, Oregon works.

520
00:54:34.889 --> 00:54:45.630
And so therefore we have the Opus number, which we include, because around prelude our a type.

521
00:54:45.630 --> 00:54:55.260
But, uh, we do not include Oregon because Oregon is the implied medium of performance or coral prevalence.

522
00:54:59.670 --> 00:55:04.860
Likewise for a mass, a mass is assumed.

523
00:55:04.860 --> 00:55:09.000
To be son, so, um.

524
00:55:09.000 --> 00:55:13.860
So, whether the voices are for, uh.

525
00:55:13.860 --> 00:55:21.329
Chorus with piano or chorus with orchestra or a chorus with.

526
00:55:21.329 --> 00:55:26.880
Uh, no accompaniment. We do not include that incompetent.

527
00:55:26.880 --> 00:55:34.199
In the, I should we do not include the medium of performance in the, uh.

528
00:55:34.199 --> 00:55:39.239
Access point, we may want to include it if he.

529
00:55:39.239 --> 00:55:42.809
Polanco wrote more than 1 mass and.

530
00:55:42.809 --> 00:55:47.460
Wrote them for different ensembles. Um, so then we might want to include.

531
00:55:47.460 --> 00:55:50.519
Or we might make the distinction through the key.

532
00:55:50.519 --> 00:55:54.090
If let's say they're written for the same group.

533
00:55:54.090 --> 00:56:02.250
And so the way to distinguish them is the use key, but in any case, we do not use the medium performance. If the mass.

534
00:56:02.250 --> 00:56:12.420
Is written for that if the mass is actually not written for voices, then it would actually be a distinctive title.

535
00:56:12.420 --> 00:56:22.739
Because the expectation is that a mass is always a vocal work, so if it's not of those go work, it becomes a distinctive title.

536
00:56:22.739 --> 00:56:27.480
Retarded spouses, leader leaders, the German.

537
00:56:27.480 --> 00:56:34.349
Equivalent for songs leader are assumed to be for voice or voices.

538
00:56:34.349 --> 00:56:39.960
With a keyboard strained instrument, such as a piano.

539
00:56:39.960 --> 00:56:45.630
Or a heart support, so if it says.

540
00:56:45.630 --> 00:56:54.090
Leader and the accompaniment, and it's written for voice or voices and a keyword string to instrument.

541
00:56:54.090 --> 00:57:00.150
Then you should omit the medium of performance if.

542
00:57:00.150 --> 00:57:05.460
We're talking about a, and what is a keyboard non strained instrument.

543
00:57:05.460 --> 00:57:08.550
Well, 1 example might be an accordion.

544
00:57:08.550 --> 00:57:14.340
Because accordions have keys another example would be in Oregon.

545
00:57:14.340 --> 00:57:20.699
So, organs are not drunk so so if the work, we're a leader.

546
00:57:20.699 --> 00:57:24.420
Specifically written for voice and Oregon.

547
00:57:24.420 --> 00:57:28.409
You would have to include a medium of performance.

548
00:57:28.409 --> 00:57:33.150
Um.

549
00:57:33.150 --> 00:57:36.449
Exception.

550
00:57:38.605 --> 00:57:48.175
This is exception high. Omit social solo voices at the medium includes a chorus. So here we have spirituals mixed core isn't orchestra.

551
00:57:49.014 --> 00:57:57.175
Spirituals does not is a type, but it doesn't assume that it is a word for chorus and orchestra. That's why it needs a medium performance.

552
00:57:57.534 --> 00:58:06.445
It's actually written for 2, solo Sopranos and a chorus, but we do not include that exception. We do not include.

553
00:58:06.719 --> 00:58:13.110
The Sopranos, as long as there's a chorus, we do not include the solo is separate from that.

554
00:58:18.269 --> 00:58:23.039
So, we talked a little bit about leader and melodies and songs and, as we said.

555
00:58:23.039 --> 00:58:27.059
The expected medium formats.

556
00:58:27.059 --> 00:58:33.150
Our voices and a strained keyboard is tremendous. Accompaniment is something else.

557
00:58:33.150 --> 00:58:36.449
Then we.

558
00:58:36.449 --> 00:58:41.429
Do not record the voices, but we record the accompaniment.

559
00:58:41.429 --> 00:58:45.510
And.

560
00:58:45.510 --> 00:58:50.429
If it is not accompanied as a leader that is just for voice alone.

561
00:58:50.429 --> 00:58:54.840
We use the term unaccompanied as the medium of performance.

562
00:58:54.840 --> 00:59:00.119
So here's songs, guitar, accompaniment.

563
00:59:00.119 --> 00:59:04.650
Which indicates that is for voice, even though we don't name the voice.

564
00:59:04.650 --> 00:59:09.719
But songs, we assume that they are sung and so you don't need the name, the voice but.

565
00:59:09.719 --> 00:59:16.469
Guitar accompaniment, we assume that they are for voice and piano.

566
00:59:16.469 --> 00:59:28.230
We use unaccompanied if it has no accompaniment and here's 1 for several instruments that are backing it up songs. Clarinet, Viola accompaniment.

567
00:59:28.230 --> 00:59:40.019
And again, the reason that they are in that order, Claire, and identity is because, as I said, the wood wins are listed. 1st, the strings are listed last. It's not alphabetical.

568
00:59:40.019 --> 00:59:43.079
It's score order.

569
00:59:45.929 --> 00:59:49.380
And I think this is time.

570
00:59:49.380 --> 00:59:53.519
To take a break are there any.

571
00:59:53.519 --> 01:00:04.019
Questions in the chat, there's no questions in the break, but it is 4 o'clock Eastern time right now. So do we want to take a 10 minute break?

572
01:00:04.019 --> 01:00:12.630
I'd love to take a 10 minute break. Okay. All right. Everybody will be back at 410 or in 10 minutes.

573
01:00:12.630 --> 01:00:16.679
Thank you for you.

574
01:09:27.479 --> 01:09:41.489
Well, it's 10 after the hour how we do in Matthew? Good. We've got 1 question for you. Okay. The question from.

575
01:09:41.489 --> 01:09:50.789
Uh, is for slide 40? Why does the middle example use? Focal is while the other 2 use songs.

576
01:09:55.380 --> 01:10:01.590
To mix it up, there are a number of terms.

577
01:10:01.590 --> 01:10:06.689
That have implied, let's go back to, uh.

578
01:10:06.689 --> 01:10:20.880
Previous slide there so there are a number of terms that have implied medium performance as voices and strained keyboard instrument leader.

579
01:10:20.880 --> 01:10:27.600
Melodies the French melodies songs and is another.

580
01:10:27.600 --> 01:10:32.130
So these are all terms where the, uh, assumed.

581
01:10:32.130 --> 01:10:35.729
Accompaniment is for, uh.

582
01:10:35.729 --> 01:10:39.149
Piano or a similar instrument.

583
01:10:40.975 --> 01:10:50.064
Okay, so there were no other questions I did put a link to your page in the chat, which includes the PDF presentation.

584
01:10:50.064 --> 01:10:58.194
So the links that you were having in your during on the slides, actually do work on the PDF.

585
01:10:58.649 --> 01:11:03.029
So, yeah, so we're good and you're good to go.

586
01:11:03.029 --> 01:11:06.960
Thank you.

587
01:11:06.960 --> 01:11:12.119
So, we're going to talk about go into further detail about the.

588
01:11:12.119 --> 01:11:20.760
Numeric designation, which is the, um, coordinate the policy statement is the 2nd element that we are asked to add.

589
01:11:20.760 --> 01:11:24.930
There are 3 kinds serial numbers.

590
01:11:24.930 --> 01:11:39.329
Opus numbers, enzymatic index numbers and at least for the 1st, 2, they can be used in tandem. So let's look at some examples actually.

591
01:11:39.329 --> 01:11:44.154
Uh, you can also have serial numbers with the index numbers, I think.

592
01:11:44.694 --> 01:11:45.114
Um,

593
01:11:45.324 --> 01:11:52.015
but let's look at this so record a serial number,

594
01:11:52.225 --> 01:11:54.204
even if it works with the same title,

595
01:11:54.204 --> 01:12:01.104
do not have the same medium performance such works are consecutively numbered in music reference sources.

596
01:12:02.034 --> 01:12:03.685
When recording the serial number.

597
01:12:04.109 --> 01:12:09.449
That is accompanied in the source by a term, such as number book or a collection.

598
01:12:09.449 --> 01:12:14.670
Apply the following this is the policy statement on serial numbers.

599
01:12:14.670 --> 01:12:19.770
If the English term is the English word number.

600
01:12:19.770 --> 01:12:24.750
Use the English abbreviation and O, period.

601
01:12:26.489 --> 01:12:30.899
If the term is a non English term, not meaning number.

602
01:12:30.899 --> 01:12:41.310
And the preferred title is in English because of the application of 614 2 5 1, that is the application of it is a type.

603
01:12:41.310 --> 01:12:51.510
You should use the English cognate if it exists. So if you have a title that is in 1 language.

604
01:12:51.510 --> 01:12:58.319
Um, and the preferred title source is in that language, but you have.

605
01:12:58.319 --> 01:13:02.460
Translated it into English, or use the cognitive form.

606
01:13:02.460 --> 01:13:05.880
Then substitute the English equivalent.

607
01:13:05.880 --> 01:13:14.550
For the serial number, so if you're looking at something in German and it uses.

608
01:13:14.550 --> 01:13:17.699
Uh, and our period numer.

609
01:13:17.699 --> 01:13:21.239
Do not use numer.

610
01:13:21.239 --> 01:13:26.579
And our period, if you've translated it into, let's say.

611
01:13:26.579 --> 01:13:35.520
Uh, cortex, if you're translated to quartets into the English with 1 T, then you should use English term and.

612
01:13:35.520 --> 01:13:45.119
Oh, period for the serial number, and all of their cases get the term as it appears in the source. So for all other cases, you would use the term.

613
01:13:45.119 --> 01:13:52.770
Uh, you would use the, the term in the native language.

614
01:13:52.770 --> 01:13:58.829
If no term appears give the number as a cardinal number and proceed.

615
01:13:58.829 --> 01:14:08.489
With the English abbreviation, so you might have something like a titled arguably symphony 6.

616
01:14:08.489 --> 01:14:13.680
If the symphony 6 means that is the 6th symphony.

617
01:14:13.680 --> 01:14:17.399
Then you should call it symphonies.

618
01:14:17.399 --> 01:14:21.060
Number 6 in the.

619
01:14:21.060 --> 01:14:25.260
And oh, period and use Arabic numerals. So.

620
01:14:25.260 --> 01:14:32.279
Again, if it appears in Roman numerals use Arabic, new.

621
01:14:35.909 --> 01:14:40.949
So here are some examples that actually touch on.

622
01:14:40.949 --> 01:14:45.930
Uh, several things, but that 1st point that they were trying to make.

623
01:14:45.930 --> 01:14:50.010
About using a.

624
01:14:50.010 --> 01:14:53.760
Symphonies, excuse me. Let me go back to that.

625
01:14:53.760 --> 01:15:00.300
For works with the same title that do not have the same medium of performance.

626
01:15:00.300 --> 01:15:06.000
So, here we have a composer who wrote 2 symphonies.

627
01:15:06.000 --> 01:15:10.170
These symphonies are not for orchestra.

628
01:15:10.170 --> 01:15:16.680
1 is for a percussion in orchestra, so it's more like a concerto.

629
01:15:16.680 --> 01:15:29.880
This 1 is for out, which is German for Viola shame, which is a Chinese instrument and orchestra. So, in this case.

630
01:15:29.880 --> 01:15:35.460
Uh, they're both sort of concertos. They're certainly not for the same medium.

631
01:15:38.064 --> 01:15:47.185
But when we create the access points for these, we call them symphonies, number 2 and symphonies number 3.

632
01:15:47.545 --> 01:15:55.314
because in the resources, that is how they are described even though they both also have distinctive titles.

633
01:15:56.064 --> 01:16:08.545
So, in this case, it was determined that the, that these works are most often known as symphonies, number 2 or number 3. but because the mediums don't agree.

634
01:16:09.210 --> 01:16:15.270
We exclude them looking at it out of context. You would think that they are both for orchestra.

635
01:16:15.270 --> 01:16:26.520
But that's out of context within the policy statement. This is how they ask us to record them if they weren't numbered.

636
01:16:26.520 --> 01:16:32.640
And they just had distinctive titles like the 1st 1 it's just a false.

637
01:16:32.640 --> 01:16:39.569
Uh, for percussion and orchestrate it would the preferred title would simply be the distinctive title.

638
01:16:40.590 --> 01:16:46.859
In the 3rd example, we see a French.

639
01:16:46.859 --> 01:16:50.850
Work and we see a.

640
01:16:50.850 --> 01:16:56.039
French numeration for a 3rd book.

641
01:16:56.039 --> 01:17:00.180
In this case, we do not translate.

642
01:17:00.180 --> 01:17:05.489
3rd book into English, because we didn't translate.

643
01:17:05.489 --> 01:17:10.380
The title of the work, so the title of the work stays in French.

644
01:17:10.380 --> 01:17:19.619
And so does the volume information, but you'll see that even though on the resource.

645
01:17:19.619 --> 01:17:28.890
The ordinal is spelled out, we will change it to the Arabic number with the French.

646
01:17:28.890 --> 01:17:36.539
E, just like in in English, we might have R. D.

647
01:17:36.539 --> 01:17:42.210
Um, but in this case, we would have the French actually.

648
01:17:42.210 --> 01:17:46.289
If we were doing it in English, of course, it would actually be book 3.

649
01:17:51.210 --> 01:18:00.270
So, serial numbers is just indicating that this is in a series of the same genre.

650
01:18:00.270 --> 01:18:12.449
To say that you have a number of symphonies or symphony 2nd symphony 3rd symphony or the.

651
01:18:12.449 --> 01:18:26.310
Register that there are at least 3 books in this series. And so we are indicating this series number 2nd, is the Opus number.

652
01:18:26.310 --> 01:18:29.670
Um, so.

653
01:18:29.670 --> 01:18:34.739
I don't know if everyone is familiar with an Opus number.

654
01:18:34.739 --> 01:18:45.810
Some composers works are associated with Opus numbers, some continue that tradition for their works to assign them Opus numbers.

655
01:18:45.810 --> 01:18:52.079
But this numbers were often assigned by a music publisher.

656
01:18:52.795 --> 01:19:01.194
To a, the compositions of a particular composer, and, and they are just simply sequential.

657
01:19:01.194 --> 01:19:10.045
So the 1st work that the publisher composed by a composer would be Opus 1 the 2nd work.

658
01:19:10.350 --> 01:19:14.274
Would be Opus to an Opus 3 and so on and so forth.

659
01:19:14.875 --> 01:19:25.555
Um, this was a in particular a tradition most strongly seen in the 18th and 19 centuries since in the 20th century.

660
01:19:28.255 --> 01:19:40.555
That that fell out of favor for publishers to assign these numbers, then, perhaps could the composer themselves would assign an Opus number Opus of course, being Latin for work.

661
01:19:40.975 --> 01:19:53.484
Um, it does not necessarily indicate the date of composition. Obviously, there's no actual date in the number, but it doesn't even indicate the sequence in which they were written.

662
01:19:53.545 --> 01:19:55.975
It could be that something.

663
01:19:56.399 --> 01:19:59.789
Was written at 1.

664
01:19:59.789 --> 01:20:10.680
But not published for a number of years, they would have a later Opus number than the 1 that was written more recently, but was published earlier.

665
01:20:10.680 --> 01:20:16.109
But this numbers are an important way to track.

666
01:20:16.109 --> 01:20:19.710
A musical work composers.

667
01:20:19.710 --> 01:20:23.760
Uh, like Beethoven, Beethoven used Opus numbers and so.

668
01:20:23.760 --> 01:20:26.789
They are important to note.

669
01:20:26.789 --> 01:20:37.409
And that we would record them in the access point, the authorize access point. If we were using a type.

670
01:20:37.409 --> 01:20:42.000
So, um, for example, for Beethoven, Beethoven wrote 1.

671
01:20:42.000 --> 01:20:46.170
Opera called.

672
01:20:46.170 --> 01:21:00.864
But has an Opus number, but because the is a distinctive title, you would not normally you would not ever include it in the access point but he also wrote symphonies. Symphony is a type.

673
01:21:01.229 --> 01:21:07.350
And so therefore you would include it in the.

674
01:21:07.350 --> 01:21:13.770
As the part of the access point so, in the 1st example, we have the 5th symphony.

675
01:21:13.770 --> 01:21:20.279
Which was Opus 67 and therefore the Opus number would be recorded as.

676
01:21:20.279 --> 01:21:27.539
Period 67, uh, likewise for the 9 symphony. 125.

677
01:21:31.109 --> 01:21:34.409
Here's an example.

678
01:21:34.409 --> 01:21:40.079
Where the Opus itself includes several pieces.

679
01:21:40.079 --> 01:21:46.590
So even though Opus defines work, remember it's really a designation of the publisher.

680
01:21:46.590 --> 01:22:00.534
And so, in this case, the published work included several in this case, several sumata's. And so we, the office number also includes a number number.

681
01:22:02.340 --> 01:22:09.420
Now, this number number, which is actually the essentially the part of the Opus.

682
01:22:09.420 --> 01:22:13.050
Is the 1st part number 1 and the 2nd part number 2.

683
01:22:13.050 --> 01:22:21.479
Is distinctive from the serial number so, in this case, we have a serial number.

684
01:22:21.479 --> 01:22:26.159
Is 13th, piano Sonata.

685
01:22:26.159 --> 01:22:29.310
But it's Opus 27 number 1.

686
01:22:29.310 --> 01:22:35.489
So, if we would go back and look at this in.

687
01:22:35.489 --> 01:22:41.609
Actually, creating a an access point. The access point would be.

688
01:22:41.609 --> 01:22:44.609
Not us.

689
01:22:44.609 --> 01:22:50.250
Because he obviously wrote more than 1, the medium of performance piano.

690
01:22:50.250 --> 01:22:54.300
Followed by the serial number.

691
01:22:54.300 --> 01:22:58.619
Number 13 followed by the office number.

692
01:22:58.619 --> 01:23:01.710
Which is August 27 number 1.

693
01:23:02.909 --> 01:23:06.840
Likewise tonight is.

694
01:23:06.840 --> 01:23:10.229
Number 14.

695
01:23:10.229 --> 01:23:14.430
Opus 27 number 2.

696
01:23:19.500 --> 01:23:24.329
The 3rd, kind of number enumeration that we find is the.

697
01:23:24.329 --> 01:23:28.710
Dramatic index number.

698
01:23:28.710 --> 01:23:40.590
Now, unlike Opus numbers that were assigned, either by the publisher, as it was in the 18th, 19 centuries, or by the composer in modern times.

699
01:23:40.590 --> 01:23:46.829
Dramatic index numbers are created by musicologists.

700
01:23:46.829 --> 01:23:57.000
Most often after the composers death, but not always in, which they works are organized.

701
01:23:57.534 --> 01:24:04.104
By, however, the musicologists thought best and assigned a number.

702
01:24:05.875 --> 01:24:15.835
Sometimes the order is simply the order in which the works were composed. Like I said, Opus numbers aren't necessarily.

703
01:24:17.369 --> 01:24:25.829
The order in which the works were composed, but sometimes with the catalog might organize all of the works.

704
01:24:25.829 --> 01:24:32.640
So that the 1st listed would be the 1st, 1, he composed.

705
01:24:32.640 --> 01:24:38.430
And the last 1 listed would be the last 1 that the composer wrote.

706
01:24:38.430 --> 01:24:48.390
It's also possible that catalogue. Excuse me would be organized based on.

707
01:24:48.390 --> 01:24:59.399
So that perhaps all of the vocal works would get 1 series of numbers then followed by the instrumental works.

708
01:24:59.994 --> 01:25:14.784
At the instrumental works might be subdivided into the works for large ensembles, like orchestras or the or the ones for small ensembles and within the small ensembles, they might be subdivided as well.

709
01:25:15.024 --> 01:25:16.854
So there's any number of ways.

710
01:25:17.189 --> 01:25:23.670
That you can organize a automatic catalog madic catalog.

711
01:25:23.670 --> 01:25:31.140
Is what they call the book that lists all of the numbers.

712
01:25:31.140 --> 01:25:43.500
So, the resource that we're asked to use is, the medic index is used in the library of Congress maco authority file, which.

713
01:25:43.500 --> 01:25:48.689
Like, the types list is available on the music library association website.

714
01:25:48.689 --> 01:25:59.909
So, let's look at a few examples. Here's 1 for the composer. Yosef Hyden. It was.

715
01:25:59.909 --> 01:26:06.600
Musicologists organized. It was Hoboken was his name.

716
01:26:06.600 --> 01:26:10.859
And the abbreviation.

717
01:26:10.859 --> 01:26:16.380
For his numbers is H, this is not always true.

718
01:26:16.380 --> 01:26:20.010
But often, true that the index.

719
01:26:20.010 --> 01:26:24.720
Number the abbreviation is based on the author.

720
01:26:24.720 --> 01:26:29.369
Name of the demand of catalog.

721
01:26:32.699 --> 01:26:39.000
Here's an example for Beethoven, so I've been talking a lot about Beethoven.

722
01:26:39.000 --> 01:26:45.210
Some of you might even recognize Beethoven is actually behind me.

723
01:26:45.210 --> 01:26:48.689
A little little Beethoven behind me.

724
01:26:48.689 --> 01:26:53.550
So, there's a semantic index for Beethoven.

725
01:26:53.550 --> 01:27:00.840
Uh, written by, but you'll see in the abbreviation.

726
01:27:00.840 --> 01:27:04.199
It says W, O. O.

727
01:27:04.199 --> 01:27:17.159
What does that mean? Well, for most of the works of Beethoven, as I said, most of his published works were assigned Opus numbers and so it is the Opus numbers.

728
01:27:17.159 --> 01:27:22.229
That are predominant when we look at beethoven's work.

729
01:27:22.229 --> 01:27:25.409
However, Beethoven.

730
01:27:25.409 --> 01:27:31.260
Wrote a lot of compositions that were never published.

731
01:27:31.260 --> 01:27:39.119
And so those works that they were found among his papers, they were sent to other.

732
01:27:39.119 --> 01:27:44.550
People that is associates and such so, um.

733
01:27:44.550 --> 01:27:48.689
Assigned numbers.

734
01:27:48.689 --> 01:27:52.770
To the works that were without Opus numbers.

735
01:27:52.770 --> 01:27:56.760
W, oh, oh, so, um.

736
01:27:58.050 --> 01:28:09.984
So, what this tells us is that when we are creating a an access point for the works of Beethoven, that we should use the Opus numbers, that is what we should use.

737
01:28:10.284 --> 01:28:17.965
But if work does not have an Opus number, we should use the number. That tends to be assigned to it.

738
01:28:18.359 --> 01:28:29.670
We don't you call it a K number as the notes say we used to call them K numbers. Now we call them without Opus numbers. W oh, oh.

739
01:28:33.779 --> 01:28:38.550
So here are 2 examples.

740
01:28:38.550 --> 01:28:43.829
So we have, uh, in this case, we have a work by.

741
01:28:43.829 --> 01:28:47.279
Hide the farewells symphony and the automatic number.

742
01:28:47.279 --> 01:28:50.310
For the farewell symphony.

743
01:28:50.310 --> 01:28:54.930
Is page Roman numeral.

744
01:28:54.930 --> 01:29:00.569
145, what does that mean? Well.

745
01:29:00.569 --> 01:29:04.170
The composed.

746
01:29:04.170 --> 01:29:08.069
Over a 100 symphonies and the 1st grouping.

747
01:29:08.069 --> 01:29:12.090
In the Hoboken.

748
01:29:12.090 --> 01:29:26.545
Catalog are his symphonies so that is why it has the Roman numeral 1, uh, and then followed by 45. you'll note that this is different than what we talked about when we were talking about the, uh.

749
01:29:27.449 --> 01:29:39.390
Serial numbers, where we said you should only use Arabic numbers in this case, we use the numbers as they appear in the resource in the form that they do. So, if it appears with a Roman.

750
01:29:39.390 --> 01:29:42.630
Number, then we use the enrollment number.

751
01:29:42.630 --> 01:29:48.510
In this case, the 2nd example is the unfinished symphony.

752
01:29:48.510 --> 01:29:52.319
Of Hubert the.

753
01:29:52.319 --> 01:29:56.489
I believe the musicologists was.

754
01:29:56.664 --> 01:30:09.354
And in this case, he did assign the works based on the date of composition. This is why the unfinished has such a large number 759. so.

755
01:30:12.149 --> 01:30:20.609
The somatic index number for this work it doesn't have an office number is d759.

756
01:30:20.609 --> 01:30:23.939
But again, it does have.

757
01:30:23.939 --> 01:30:36.930
A, a symphony series serial number, which is a so that again, if we were going to construct it, we would include that number.

758
01:30:36.930 --> 01:30:43.710
Construct the access point, we would include number 8 then followed by the index number.

759
01:30:47.579 --> 01:30:51.569
Okay, recording key.

760
01:30:51.569 --> 01:30:56.069
So, you record the key if 1 or more.

761
01:30:56.069 --> 01:31:07.319
Of the following conditions applied, it is commonly identified in reference sources. It appears proposes original title or in the title proper of the 1st, man manifestation.

762
01:31:07.319 --> 01:31:10.560
Or it is apparent from the resource.

763
01:31:10.560 --> 01:31:15.779
Described.

764
01:31:15.779 --> 01:31:24.689
So, key key is very is sort of a complicated question. So, 1st, of course, you'd have to know.

765
01:31:24.689 --> 01:31:31.229
Um, and that's about the music to know. Well, what key it is in.

766
01:31:31.229 --> 01:31:35.939
Secondly, for the most part.

767
01:31:35.939 --> 01:31:39.569
Uh, we would not a record.

768
01:31:39.569 --> 01:31:42.899
Key for, uh.

769
01:31:42.899 --> 01:31:46.859
Twentieth century or 21st century music.

770
01:31:46.859 --> 01:31:57.418
He is not as essential in those works. That is the music is not necessarily in a.

771
01:31:57.774 --> 01:31:58.253
Again,

772
01:31:58.644 --> 01:32:00.054
for those who aren't musicians,

773
01:32:00.054 --> 01:32:01.253
I don't want to go too far,

774
01:32:01.253 --> 01:32:02.663
but in it,

775
01:32:02.694 --> 01:32:10.434
but the concept of key that is major and minor keys was predominant in 18th and 19th century music,

776
01:32:10.434 --> 01:32:13.613
naming the key of the work.

777
01:32:14.578 --> 01:32:21.359
Was very important keys had significance in terms of.

778
01:32:21.359 --> 01:32:25.259
Emotional responses people believe that.

779
01:32:25.259 --> 01:32:28.948
Uh, certain keys had certain emotional responses, so if you.

780
01:32:28.948 --> 01:32:40.109
We're trying to write something happy. You would not write it in a major key. You would write it in a minor key in any and when we indicate key.

781
01:32:40.109 --> 01:32:50.849
For a work that is in multiple movements, it is almost always, it is always the key of the 1st movement. It is not.

782
01:32:50.849 --> 01:32:57.298
The other movements might be in different keys of the key that we record is the key from the 1st movement. If it's a.

783
01:32:57.298 --> 01:33:01.649
Bulky movement work right? Matthew.

784
01:33:01.649 --> 01:33:13.618
Hi, Greek to me. So.

785
01:33:13.618 --> 01:33:17.219
So, in this case, and then, of course, you need to.

786
01:33:17.219 --> 01:33:30.118
Translate it if it appears in the title in a different language so the Opus 66, several of Mendelson.

787
01:33:30.118 --> 01:33:33.509
You would record that as mine.

788
01:33:33.509 --> 01:33:42.899
Heightens 93rd symphony is in D major. It's what appears on the resource you transcribe that.

789
01:33:42.899 --> 01:33:57.118
Paul was a twentieth century composer, and he indicated that his work was in B flat. He did not indicate a key. And so for twentieth century.

790
01:33:57.118 --> 01:34:11.399
Music occasionally, you'll find this where he indicates a key of B flat, but not major and minor. So the things that we would expect from major and minor, that is things sounding.

791
01:34:11.399 --> 01:34:18.418
Major they sound kind of happy things in minor sound sort of sad. This is just.

792
01:34:18.418 --> 01:34:23.609
Be flat so the rules of harmony.

793
01:34:23.609 --> 01:34:30.748
Of the 18th, 19 century don't apply to this work, but he did indicate that it was in B flat.

794
01:34:30.748 --> 01:34:33.958
So, we should record it simply as be flat.

795
01:34:33.958 --> 01:34:37.198
And not indicate whether it is a major or minor.

796
01:34:41.279 --> 01:34:53.663
Another pause any questions there are no questions written, but I had a question for him. So you're doing to me tell you what? Okay.

797
01:34:53.663 --> 01:35:03.054
I understand that the major and minor and the flats and whatnot now and we're just talking about publish music. Is that right? We're not talking about.

798
01:35:03.418 --> 01:35:08.069
Music that is played that year cataloging.

799
01:35:08.069 --> 01:35:14.488
So, I'm thinking of a somebody who had transposed the music.

800
01:35:14.488 --> 01:35:17.969
From 1 key to another.

801
01:35:17.969 --> 01:35:28.918
So, nowhere do I see that it's been recorded or this is from the print version? Do you know what I mean? Is that it's at a stupid question?

802
01:35:28.918 --> 01:35:41.248
Well, this is advanced scores class. Yeah. So so I'm not necessarily talking about sound recordings. Okay.

803
01:35:41.248 --> 01:35:45.569
Good enough. Fair enough. Yeah. Yeah. Um.

804
01:35:45.569 --> 01:35:52.349
No, but, I mean, that is a fair question in that you can have, for example.

805
01:35:52.349 --> 01:35:58.439
And will I be going into this? Maybe maybe not, um.

806
01:35:58.439 --> 01:36:02.458
No, I won't be going that in this class, but do you, but.

807
01:36:02.458 --> 01:36:07.979
In the previous 1 we talked about additions, right? And that.

808
01:36:07.979 --> 01:36:20.969
You might have, for example, a collection of songs by a specific composer let's say a collection of Hubert songs, and the Hubert songs are released in 3 additions.

809
01:36:20.969 --> 01:36:27.298
1, for high voice 1, for medium voice and 1 from lower voice.

810
01:36:27.298 --> 01:36:33.958
They are all the same songs, but they've all been, but they've been transposed.

811
01:36:33.958 --> 01:36:41.998
From the original into different keys so that if you are a low singer, you can sing it in this key.

812
01:36:41.998 --> 01:36:45.208
As opposed to being in a high singer and the, you can't.

813
01:36:45.208 --> 01:36:50.639
Singing in, and I key comfortably, so they're all the same songs, but they've been.

814
01:36:50.639 --> 01:36:54.719
Transposed into different keys.

815
01:36:54.719 --> 01:37:03.929
For the convenience of the singer, those are not considered arrangements. They're just considered positions.

816
01:37:03.929 --> 01:37:07.529
And so therefore you don't need to indicate that.

817
01:37:07.529 --> 01:37:13.679
In the access point, um, if it were.

818
01:37:13.679 --> 01:37:23.038
Not to save voices of the same thing, but if you were actually arranging it for a different instrument.

819
01:37:23.038 --> 01:37:27.958
That is to say that you have a work for.

820
01:37:27.958 --> 01:37:32.248
I don't know violin and piano.

821
01:37:32.248 --> 01:37:36.269
And that you are arranging it.

822
01:37:36.269 --> 01:37:41.069
For clarinet and piano, but you're not in the same key.

823
01:37:41.069 --> 01:37:46.288
As the violin, then that's considered in arrangement.

824
01:37:46.288 --> 01:37:52.229
If it were in the same key as the violin.

825
01:37:52.229 --> 01:37:58.168
Then it is not considered an arrangement. It's just being played by an alternate instrument.

826
01:37:58.168 --> 01:38:04.078
Are you happy you asked that question?

827
01:38:04.078 --> 01:38:11.309
No, I, but thank you anyway. Okay.

828
01:38:11.309 --> 01:38:24.088
I just saw a question you want to give that to me, Matthew? Yes. The question is, does the arrangement make it an expression of the work? Or does it make it a new work?

829
01:38:24.743 --> 01:38:32.724
You know, that is a terrific question and it's a super complicated question and it's the reason it's Super.

830
01:38:32.963 --> 01:38:41.694
It was always complicated, but it's even more complicated knowing what's coming in the new.

831
01:38:43.798 --> 01:38:47.279
Because the definitions.

832
01:38:47.279 --> 01:38:50.849
Of what a work and an expression are.

833
01:38:50.849 --> 01:38:54.779
I have never actually been right.

834
01:38:54.779 --> 01:38:58.679
For music, um.

835
01:38:59.878 --> 01:39:08.609
And the new that incorporates the language that the Europeans have been using.

836
01:39:08.609 --> 01:39:16.229
For the several years, the principals I should say of a different.

837
01:39:16.229 --> 01:39:23.038
Form of fervor makes that question sort of complicated so that the work.

838
01:39:23.038 --> 01:39:26.128
As we understand it now, sort of exists.

839
01:39:26.128 --> 01:39:32.399
Outside of the realm of performance it just sort of exists.

840
01:39:32.399 --> 01:39:36.988
As a concept and so essentially a score.

841
01:39:36.988 --> 01:39:40.889
Is always an expression of the work.

842
01:39:40.889 --> 01:39:44.849
Because you have a, there's the music.

843
01:39:44.849 --> 01:39:49.708
But if the music appears to us.

844
01:39:49.708 --> 01:39:57.689
In the form of a score, as opposed to the form of a sound recording, right? We always said that they were just a work.

845
01:39:57.689 --> 01:40:03.179
But they're clearly not the same, even though it's the same.

846
01:40:03.179 --> 01:40:11.639
Work they're expressed in different ways. They're 1 is expressed as a score. 1 is expressed as a sound recording.

847
01:40:11.639 --> 01:40:19.198
It's not necessarily an arrangement. So part of your your question is, is it a different the expression.

848
01:40:19.198 --> 01:40:23.788
Um, isn't necessarily the way that we.

849
01:40:23.788 --> 01:40:32.639
Should have been defining it. We basically sort of avoided that question with music and said they're all works whether they're.

850
01:40:32.639 --> 01:40:38.819
Available to us in score form, or whether they are available to us and as a sound recording.

851
01:40:38.819 --> 01:40:44.009
Essentially kind of been fudging that because in fact, they really are.

852
01:40:44.009 --> 01:40:49.349
Expressions um, yeah, exactly. Everything is an expression.

853
01:40:49.349 --> 01:40:58.139
But even in the that we are currently using, we, we were really the definition by saying that a sound recording.

854
01:40:58.139 --> 01:41:01.529
And the score are.

855
01:41:01.529 --> 01:41:04.859
Um, both works.

856
01:41:04.859 --> 01:41:16.349
Because they can't both be works, they're different expressions of the work. So we were kind of fudging that when it came to the question of arrangements. So, arrangements was yet another.

857
01:41:16.349 --> 01:41:26.729
Level of expression that again could a fear in print form and could appear in sound recordings.

858
01:41:26.729 --> 01:41:36.323
So, an arrangement could be sung and available to us as a sound recording or an arrangement could be written and available to us as a score.

859
01:41:38.003 --> 01:41:41.783
So, it looks like you hit a note with the, the questions.

860
01:41:43.073 --> 01:41:53.573
So, following these questions, what happens if the recording becomes the primary document, and the score is created after or does not exist at all.

861
01:41:53.908 --> 01:41:58.979
And that's a.

862
01:41:58.979 --> 01:42:11.939
That's a difficult question to ask to answer. I should say it's a difficult question to answer if you're trying to define what a work is. So, based on.

863
01:42:11.939 --> 01:42:20.578
How it is 1st presented to you, so, I, so again, I think there was some language in what we saw from some of the policy statements.

864
01:42:20.578 --> 01:42:26.788
That make it clear that we, that we have to go back to the 1st manifestation.

865
01:42:26.788 --> 01:42:30.569
And so that 1st, line of station.

866
01:42:30.984 --> 01:42:45.323
Might be a sound recording and so that sound recording may be the 1st, manifestation of the work. And that what we find later is a transcription of that sound recording.

867
01:42:47.069 --> 01:42:53.519
In current terms, when we are creating the access point, we're creating an access point.

868
01:42:53.519 --> 01:42:56.788
For the work.

869
01:42:56.788 --> 01:43:11.578
In a future terms, and it's impossible to know what an access point means in future because all of none of that is built in.

870
01:43:11.578 --> 01:43:17.368
To the new that is already a only talks about the elements.

871
01:43:17.368 --> 01:43:26.849
It doesn't talk about how we record them, or I should say it does talk about how we record them, but not how we would record them as a string.

872
01:43:26.849 --> 01:43:32.908
So, we're talking about an access point, it only talks about how we record each individual part.

873
01:43:32.908 --> 01:43:38.248
So, how we would make a distinction between 1 expression and another.

874
01:43:38.248 --> 01:43:41.969
It will not be defined in.

875
01:43:41.969 --> 01:43:46.559
So that's why we need those policy statements and best practices.

876
01:43:46.559 --> 01:43:52.259
In order to know how we can move forward, especially how we can move forward.

877
01:43:52.259 --> 01:43:55.769
If we're still working in the mark environment.

878
01:43:55.769 --> 01:44:02.998
None of that is clear to us, uh, how that would work, but within the context in which we have.

879
01:44:02.998 --> 01:44:06.628
Which is current working.

880
01:44:06.628 --> 01:44:16.198
Primarily with Mark, and I want to go, I want to see if I can find that question from.

881
01:44:16.198 --> 01:44:20.908
Jessica, so there's the arrangement.

882
01:44:20.908 --> 01:44:27.929
Make the expression will work does it make it or a new a new work? That is actually to be defined?

883
01:44:27.929 --> 01:44:38.219
Uh, at the time that you're creating it, whether the work is derivative or not. So, uh, so so, for example.

884
01:44:38.219 --> 01:44:44.488
Um, a work that is based on a theme.

885
01:44:44.488 --> 01:44:49.618
From a different work, if all you're doing is having that theme from the work.

886
01:44:49.618 --> 01:44:57.418
But you're creating a new work from it, then it's not considered an arrangement. If you have a piece that is.

887
01:44:57.418 --> 01:45:02.578
48 measures long and you.

888
01:45:02.578 --> 01:45:06.569
Right. An arrangement that is also 48 measures long.

889
01:45:06.569 --> 01:45:14.998
And the melody looks the same or similar to the original melody then you're probably talking about an arrangement rather than.

890
01:45:14.998 --> 01:45:18.149
A transcription or a new work.

891
01:45:19.854 --> 01:45:34.104
There are some in old there's some talk about that. There's certainly some in best practices about making that distinction between what is a new work and not an arrangement.

892
01:45:34.283 --> 01:45:39.144
For example, spirituals spirituals are always considered new works.

893
01:45:40.738 --> 01:45:52.498
If you no matter who arranges them, because the original source is really just at this point, just a melody and.

894
01:45:52.498 --> 01:45:58.798
There so any arrangement would be considered a new work.

895
01:45:58.798 --> 01:46:02.609
So, um.

896
01:46:02.609 --> 01:46:06.628
That's that's pretty deep.

897
01:46:06.628 --> 01:46:15.988
And, uh, but thank you for those questions. I'm getting the 14 minute time.

898
01:46:15.988 --> 01:46:19.408
So, uh, let me move on.

899
01:46:19.408 --> 01:46:28.738
Um, so I have at least 3 more sections, but there's never been taught before my 1st time teaching it, as I said, this class hasn't been taught.

900
01:46:28.738 --> 01:46:40.378
In 12 years, so not exactly sure how much time we need to take on these things. So I think what I'd like to do.

901
01:46:40.378 --> 01:46:43.649
Is let me close the check for the moment.

902
01:46:43.649 --> 01:46:47.368
I think what I'd like to do, I think the next section.

903
01:46:47.368 --> 01:46:53.158
For this, the next section is classification.

904
01:46:53.158 --> 01:47:02.609
And I go pretty deep into how music is classified.

905
01:47:02.609 --> 01:47:06.929
And I I think of.

906
01:47:06.929 --> 01:47:10.168
I think I'm going to basically skip over this.

907
01:47:10.168 --> 01:47:14.488
So, you have the PDF of the.

908
01:47:14.488 --> 01:47:17.609
Um, slide show.

909
01:47:17.609 --> 01:47:21.509
Available to you. So you can review it.

910
01:47:21.509 --> 01:47:26.458
Um, but essentially classification.

911
01:47:27.234 --> 01:47:41.243
Is organized by size of assembles 1st well, 1st, you have just general collections then size of the ensemble starting with solo instrument moving on to duet.

912
01:47:41.939 --> 01:47:48.389
Trios quartets you can tell by the number that follows the.

913
01:47:48.389 --> 01:47:51.628
Whether you're in a.

914
01:47:53.333 --> 01:48:08.094
I do at my actually, it starts in the 1 that is not it's classification is not very helpful, but once you get into the threes, then it's the for the fives and sixes, trios, quartets, quintet, sex tests.

915
01:48:09.628 --> 01:48:13.618
When you then you go into the or.

916
01:48:13.618 --> 01:48:20.908
Ensembles based then they are divided by formats symphonies, suites and variations overtures.

917
01:48:20.908 --> 01:48:27.479
Followed by string orchestras followed by band music.

918
01:48:27.479 --> 01:48:35.069
Venues have the arrangement for secular vocal music followed by sacred, vocal music. Um.

919
01:48:35.069 --> 01:48:43.198
So, that in a nutshell is, the classification classification web is the main resource.

920
01:48:43.198 --> 01:48:57.323
For this there also have been printed volumes for classification. So if you don't have access to classification web, you could find the M class has been published by the library of Congress.

921
01:48:58.948 --> 01:49:12.689
I just want to move through that 1 pretty fast and talk about in the last 10 minutes talk about the for scores. So they're organized on using several principles.

922
01:49:12.689 --> 01:49:16.529
Um, John risen forms.

923
01:49:16.529 --> 01:49:22.588
The size of the ensemble instrumentation and various combinations.

924
01:49:22.588 --> 01:49:33.118
Both so it's not unlike what we were talking about for access points that it's a it's a mixture of things at times.

925
01:49:33.118 --> 01:49:40.229
And that it uses genres and forms just like we use types.

926
01:49:42.713 --> 01:49:51.953
The Jonathan forms are always appear in the plural there are some challenges and forms that are acceptable subject headings in the singular.

927
01:49:52.314 --> 01:50:00.113
But then they are not talking, then we're not talking about the work itself, but is the subject of the work. So, if you had a book.

928
01:50:00.448 --> 01:50:07.738
On Opera, the subject tending would be opera singular. If you had a score.

929
01:50:07.738 --> 01:50:13.019
Our sound recording, but if you had a score, you would use operas, plural.

930
01:50:13.019 --> 01:50:16.019
Some of the terms, just like the.

931
01:50:16.019 --> 01:50:22.229
Types have an implied instrumentation. We'll look at those.

932
01:50:22.229 --> 01:50:29.488
A little bit further along so some, some genre examples without instrumentation.

933
01:50:29.488 --> 01:50:34.198
Operas incidental music.

934
01:50:34.198 --> 01:50:39.328
Secular auditoriums ballets. These are, um.

935
01:50:40.944 --> 01:50:50.573
Part of the if we looked at the classifications, these are part of the vocal music slash dramatic music.

936
01:50:50.573 --> 01:50:57.984
So, even though ballets are not all, not usually vocal, they're considered part of the dramatic music.

937
01:50:58.229 --> 01:51:03.899
Section in the classification, and so these do not include instrumentation.

938
01:51:03.899 --> 01:51:14.519
All of these types much like these genres much like the types all require and instrumentation.

939
01:51:14.519 --> 01:51:22.288
So, not as suites, period variations, you will need to include the instrumentation as part of the subject heading.

940
01:51:22.288 --> 01:51:25.889
Here are some forms.

941
01:51:25.889 --> 01:51:32.878
And again, not unlike what we were talking about with types, trios cortex subsets.

942
01:51:32.878 --> 01:51:40.618
It is interesting because in most cases we do not record.

943
01:51:40.618 --> 01:51:47.009
Works as duets I say, we do not use the subject heading duets for music.

944
01:51:47.009 --> 01:51:58.349
For 2 instruments, we only use duets if 1 of the instruments is unspecified. This is unusual. It doesn't happen very often but sometimes you might have a work.

945
01:51:58.349 --> 01:52:01.529
For 2 unspecified instruments.

946
01:52:01.529 --> 01:52:05.759
Or unspecified instrument and piano.

947
01:52:05.759 --> 01:52:17.729
It might call it a travel instrument or something like that. But in any case, that's when you would use duet, it's not usually used for works for 2 instruments.

948
01:52:17.729 --> 01:52:25.168
There are a couple of subject headings that are forms with implied instrumentation.

949
01:52:25.168 --> 01:52:30.269
And these are sort of the standard forms of the 18th and 19 centuries.

950
01:52:30.269 --> 01:52:39.418
So, piano, trios, string, trios, string, quartets and piano quintet. So, in this case.

951
01:52:39.418 --> 01:52:45.389
You typically would might say trios for piano, violin and cello.

952
01:52:45.389 --> 01:52:50.698
In this case, you just say piano trios as the subject heading.

953
01:52:50.698 --> 01:52:55.048
If it is a piano trio.

954
01:52:55.048 --> 01:52:58.708
For different instrumentation, let's say for.

955
01:52:58.708 --> 01:53:08.578
Piano flute and then you would use trios. You would not call it a piano trio. You would just use trios and then name the instruments.

956
01:53:08.578 --> 01:53:14.189
The instrumental order is unlike that for access point.

957
01:53:14.189 --> 01:53:18.779
Keyboard instrument is 2nd and do it.

958
01:53:18.779 --> 01:53:28.529
And 1st, and then this is somewhat similar to what we were talking about for access points, but the instruments appear.

959
01:53:28.529 --> 01:53:31.588
In family order.

960
01:53:31.588 --> 01:53:42.359
Which again is somewhat like the types, except for all the wins are grouped in 1 group f***, instrument, percussions and strings.

961
01:53:42.359 --> 01:53:45.689
They need family instruments are in alphabetical order.

962
01:53:45.689 --> 01:53:49.529
But the strings are in score. This is very different.

963
01:53:49.529 --> 01:53:56.969
So, we had them in score order here. They're in alphabetical order, except for the strings.

964
01:53:56.969 --> 01:54:04.529
Percussion, if a single percussion instrument, we name the instrument otherwise we use percussion, regardless of the number.

965
01:54:04.529 --> 01:54:07.828
And a.

966
01:54:07.828 --> 01:54:13.378
With and music, so let's look at some examples.

967
01:54:13.378 --> 01:54:17.128
Piano music, that's what we call for a single instrument.

968
01:54:17.128 --> 01:54:20.698
We name the instrument and then say music.

969
01:54:20.698 --> 01:54:31.708
So, not as for piano there, we have a form. It's a kind of piano music. It's a narrower type of piano music, pianos, violin and piano music.

970
01:54:31.708 --> 01:54:35.819
So that's our duet for violin. The piano.

971
01:54:35.819 --> 01:54:43.649
But we name them separately with the, and and then music, if we have a genre type, like marches.

972
01:54:43.649 --> 01:54:47.578
Violin and piano concertos are particularly weird.

973
01:54:47.578 --> 01:54:52.738
If we have concertos and piano, the implication is, this is a work.

974
01:54:52.738 --> 01:54:57.179
For piano and orchestra, we don't name the orchestra.

975
01:54:57.179 --> 01:55:09.988
That is for full orchestra, but if it is for piano with a different ensemble, we name the ensemble in the parentheses. Here are some more examples.

976
01:55:09.988 --> 01:55:18.538
And here's the implied instrumentation. It's exactly like, what we said for the access point.

977
01:55:18.538 --> 01:55:27.719
Some symphonies overtures, we assume that therefore, orchestra, growl prelude are just for Oregon so if it is for something else.

978
01:55:27.719 --> 01:55:33.149
A different ensemble, we will name it here notice piano trio.

979
01:55:33.149 --> 01:55:38.819
So, for all of those forms that we mentioned earlier, which is sort of the abbreviated common.

980
01:55:38.819 --> 01:55:49.439
Uh, chamber music forms for the 18th and 19 centuries. That's the phrase that you use in the singular for the medium form. It's in the subject heading.

981
01:55:50.993 --> 01:55:54.203
These subject headings require an additional form,

982
01:55:54.203 --> 01:55:56.033
so with these subject headings,

983
01:55:56.243 --> 01:56:04.493
you can't use medium performance and parentheses you'd have to also use a 2nd,

984
01:56:04.493 --> 01:56:08.363
1 that names the orchestration itself.

985
01:56:08.783 --> 01:56:09.354
Um.

986
01:56:09.779 --> 01:56:22.048
And most of them with exception of most of them were Dan's forms. We include music, because there's also a separate subject heading for.

987
01:56:22.048 --> 01:56:27.899
As a dance vocal music is always a little different.

988
01:56:27.899 --> 01:56:33.029
Um, but then we see, we have songs high voice.

989
01:56:33.029 --> 01:56:42.149
Uh, medium piano songs, we are not allowed to say soprano voice or tenor voice. We can only use high medium or low.

990
01:56:42.149 --> 01:56:47.578
So you have to know that Sopranos are high bases are low.

991
01:56:47.963 --> 01:56:59.543
Metal Sopranos are in the media then likewise in choral music we have a limited vocabulary for how to describe it.

992
01:56:59.543 --> 01:57:07.194
Actually, it's quite a number of different voice types, but these are the forms that we would use for choruses.

993
01:57:09.479 --> 01:57:13.229
In our forms divisions that is.

994
01:57:13.229 --> 01:57:19.979
We can't just say Sonata is we have to indicate whether it is.

995
01:57:19.979 --> 01:57:26.609
A score, because if we don't include the subdivision, someone might think it is a.

996
01:57:26.609 --> 01:57:33.179
Sound recording that's how we record subject headings for sound recordings. We don't use us form subdivision.

997
01:57:33.179 --> 01:57:43.708
But here are the foreign subdivisions for scores the later 1 solo with piano solo's with piano. Those indicate.

998
01:57:43.708 --> 01:57:48.359
Some sort of arrangement of them.

999
01:57:48.359 --> 01:57:51.748
And finally excerpts.

1000
01:57:51.748 --> 01:58:04.319
The last bit I had was actually to see if we had extra time cause I knew that did my 1st presentation. I was running out of time. So I added a little bit that was presented in the.

1001
01:58:04.319 --> 01:58:08.279
There at the end, so this information about compilations.

1002
01:58:08.279 --> 01:58:13.948
Which is actually much more like the presentation in the morning of the basic scores. But, um.

1003
01:58:13.948 --> 01:58:19.948
It's 458 458 East Coast.

1004
01:58:19.948 --> 01:58:34.349
I just wanted to mention that the rest of the slides are downloadable, and if they have a question, they can ask the question on your page. So pay attention to that. If you'd like to drop in and answer any other questions.

1005
01:58:34.349 --> 01:58:37.798
Um, so.

1006
01:58:37.798 --> 01:58:44.248
I want to thank you all for sticking it out. I apologize for a.

1007
01:58:44.248 --> 01:58:52.259
For having too much information, but that is sort of the, the nature of the beast. It is it is.

1008
01:58:52.259 --> 01:59:05.338
As I said very complicated, I hope that for you, those of you who don't catalog music gradually, that this hasn't been discouraging that.

1009
01:59:05.338 --> 01:59:14.099
There may, as I said, oftentimes you won't even have to deal with this. It just will be very straightforward and.

1010
01:59:14.099 --> 01:59:24.179
It'll have a distinctive title and you can catalog it quite easily, but thank you all for. Sticking it out. I much appreciate your time and your questions.

1011
01:59:24.179 --> 01:59:28.378
And there is nothing else Matt.

1012
01:59:28.378 --> 01:59:33.899
There's nothing else, it's 5 o'clock and I'm getting a message that you will, you were going to be cut off.

1013
01:59:33.899 --> 01:59:37.019
Well.

1014
01:59:37.019 --> 01:59:42.929
You don't have to go home, but I can't stay here. Thank you. Thank you very much.

1015
01:59:42.929 --> 01:59:45.689
Thank you thank you.