3. Optional area. Musical Presentation Statement Area Optional area

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Preface | 7

Introduction | 11

0. General Rules | 29

1. Title and Statement of Responsibility Area | 49

2. Edition Area | 69

3. Optional area. Musical Presentation Statement Area (Optional area. ) | 81

4. Publication, Distribution, Production, Etc., Area | 83

5. Physical Description Area | 109

6. Series Area | 127

7. Note Area | 135

8. Standard Number and Terms of Availability Area | 163

Appendix A. MARC 21 Descriptive Conventions Code | 167

Appendix B. Collection-Level Records | 169

Appendix C. Capitalization | 183

Appendix D. Minimal-Level Records | 189

Appendix E. Variations Requiring a New Record | 191

Appendix F. Title Access Points | 195

Appendix G. Early Letterforms and Symbols | 205

Appendix H. Standard Citations for Music Materials | 213

Glossary | 221

List of Works Cited | 235

Index | 239



Descriptive Cataloging of Rare Materials (Music), referred to hereafter as DCRM(M), is one of a family of manuals that form Descriptive Cataloging of Rare Materials (DCRM) (see introductory section I.1), and is based on Descriptive Cataloging of Rare Materials (Books) (DCRM(B)), on the Anglo-American Cataloguing Rules, second edition, 2002 revision (AACR2), and subsequent updates, on ISBD Consolidated (2011), which incorporates the rules formerly known as ISBD(A): International Standard Bibliographic Description for Older Monographic Publications (Antiquarian) and ISBD(PM): International Standard Bibliographic Description for Printed Music. It is also based on the Library of Congress Rule Interpretations (LCRI), in particular its music cataloging policies (formerly part of a separate publication calledwhich were separately published as Music Cataloging Decisions until they were merged with LCRI in 2005), and on music cataloging manuals, most notably, Richard Smiraglia’s Describing Music Materials: A Manual for Descriptive Cataloging, third edition, 1997.

Along with two other DCRM component manuals, DCRM(M) was already well under way when work on RDA: Resource Description and Access was published in 2010. All DCRM editors considered postponing further work until after RDA’s implementation, but agreed that it would be unwise to delay, given the progress already made on the DCRM manuals and the considerable investment to date of time, labor, and money. Instead, an RBMS Bibliographic Standards Committee initiative to transform the DCRMs to RDA-compatibility has begun and should be well on its way to fruition by the time the present manual is published. Meanwhile, for the foreseeable future, the AACR2-compatible DCRMs remain viable.

Changes in DCRM from earlier standardsits precursors

Aside from incorporating rules for more formats, the DCRM manuals include other significant changes from earlier editions focusing on rare books. They contain introductory sections on “Objectives and Principles” and “Precataloging Decisions”, the explicit incorporation of machine-made material into the rule text and examples, the addition of Area 6, an appendix on early letter forms and symbols (including images of early letters and symbols accompanied by their correct transcriptions), appendixes on collection-level cataloging, on minimal-level cataloging and variations requiring the creation of a new bibliographic record. In DCRM(M) itself, there is an appendix with sample citation forms for music bibliographic resources cited in cataloging records.

The DCRM manuals give guidance and prescribe a rigorous and consistent approach to transcription, incorporating a sharp distinction between information transcribed from the source and information that has been supplied by the cataloger. Placing Ttranscribed information is never to be placed within square brackets is to be avoided as assiduous ly as practicable (unlesswith the general exception of cases where a letter or character is unclear; see 0G6.2). Conversely, the presence of square brackets in those areas of the description that require transcription (see introductory section III.2.2) immediately and unambiguously identifies text as supplied or interpolated. Another notable issue related to rigorous transcription principles is that dates expressed in roman numerals in the source are transcribed as roman rather than arabic numerals.

DCRM(M) adopts the changes from earlier rules for rare books that include restricting transcription of the statement of responsibility to the chief source of information, a discussion on the transcription of manufacturers in Area 4, the elimination of special status for engraved title pages in the statement of extent, the dropping of periods after cm and mm (approved for AACR2 in 2002 but implementation deferred until publication in RDA), and an expanded section on local notes. Moreover, the language throughout has been made consistent and explicit.


In 1998, after its review of the Descriptive Cataloging of Rare Books (DCRB), the RBMS Bibliographic Standards Committee (BSC) determined that there were compelling reasons to begin work on a third edition. The most important one was that the first two editions had covered only the cataloging of books, yet there had been an increasing awareness of the need to encompass more types of early materials in its guidance. Thus was born the concept of developing a suite of manuals to cover not only books, but also non-book and non-text formats. BSC started with the idea of creating manuals for serials, music, maps and manuscripts, with the list expected to expand to include additional manuals. At the same time that the books revision was set into motion, two editorial groups were appointed to formulate rules for serials and music. As an advocate of the move to add other formats, a musician and graduate student in musicology, I was chosen to lead the editorial team for music. Feeling strongly that the team should be comprised of both rare book and music catalogers, I requested permission to investigate whether or not there would be interest from the Music Library Association (MLA) in joining with this effort. With approval granted, I invited collaboration with MLA, specifically with its corollary committee to BSC: MLA’s Bibliographic Control Committee (BCC). The response was immediate, positive and enthusiastic. The result was that the task group has been a joint effort from the start, with equal membership from RBMS and MLA; it started its work in May 1999. Below is a listing of the members indicating which organization they represent:

Jain Fletcher, UCLA (RBMS)

Nancy Lorimer, Stanford University (MLA)

Robert Maxwell, Brigham Young University (RBMS)

Karen Spicher, Yale University (MLA)

Bruce Tabb, University of Oregon (RBMS)

Charlotte Wolfe, University of Michigan (MLA)

Many people have contributed their time and effort in bringing DCRM(M) to fruition. Members of the Bibliographic Standards Committee since DCRM(M) was authorized in the spring of 1998:

Marcia H. Barrett

Erin C. Blake

Randal S. Brandt

Jane Carpenter

Christine Clarke

Ann W. Copeland

Laurence S. Creider

Lori Dekydtspotter

Christine A. DeZelar- Tiedman

Emily Epstein

David M. Faulds

Todd Fell

Sarah Schmidt Fisher

Jain Fletcher

Jane Gillis

Melinda Hayes

Eileen Heeran

Ryan Hildebrand

Linda Isaac

Francis Lapka

James Larrabee

Martha Lawler

Deborah J. Leslie

Megan Lewis

M. Winslow Lundy

Juliet McLaren

Russell Martin

Michelle Mascaro

Robert L. Maxwell

Kate Moriarty

Ann Myers

R. Arvid Nelsen

Jennifer K. Nelson

Margaret F. Nichols

Richard Noble

Gregory Pass

Audrey Pearson

Elizabeth Robinson

Jennifer O'Brien Roper

Patrick Russell

Nina Schneider

E.C. Schroeder

Sandra Sider

Stephen Skuce

Eileen L. Smith

Aislinn Sotelo

Joe A. Springer

James Stephenson

Bruce Tabb

Eduardo Tenenbaum

Manon Théroux

Alex Thurman

Seanna Tsung

Catherine Uecker

Gerald R. Wager†

Beth M. Whittaker

In addition to those listed above, we extend our warmest gratitude to all those who contributed to DCRM(M) by participating actively at public hearings (at ALA meetings and MLA conferences), commenting on drafts, proofreading, beta-cataloging, contributing examples, and providing research and expert opinion. It would be impossible to name everyone individually; however, special thanks are due to:

John Attig Andrea Cawelti Hermine Vermeij

Linda Barnhart Beth Iseminger Maarja Vigorito
Joe Bartl Mark Scharff Laura Yust

Editors preparing the other DCRM components and others have also provided substantial and invaluable editorial help and advice: Erin Blake, Randal S. Brandt, Ann W. Copeland, Stephen Skuce, and John Attig.

Kate James reviewed and suggested improvements to the text on behalf of the Policy and Standards Division of the Library of Congress. Bruce Johnson, also of the Policy and Standards Division, provided general and technical assistance in publishing DCRM(M) in the Cataloger’s Desktop.

Members of the recently-formed DCRM Steering Group:

Deborah J. Leslie

John Attig

Erin C. Blake

Randal S. Brandt

Francis Lapka

Nancy Lorimer

Elizabeth O'Keefe

Manon Théroux

The index was based on other DCRM indexes prepared by Jean Skipp of IncludesIndex (namely, those for DCRM(B) and DCRM(G)). All that is good about the index is due to the work of Jean Skipp; any mistakes or errors can be ascribed to me, as chief editor. The cover image comes from a 16th century book on the theory of music held at UCLA Library Special Collections.
Jain Fletcher, Chief Editor, DCRM(M)
Principal Cataloger & Head, Cataloging Section
UCLA Library Special Collections (retired)

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