music library association guidelines for the preparation of music reference works

Music Library Association Guidelines for the Preparation of Music Reference WorksAuthor(s): David HunterSource: Notes, Second Series, Vol. 50, No. 4 (Jun., 1994), pp. 1329-1338Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/898293 .

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MUSIC LIBRARY ASSOCIATION GUIDELINES FOR THE PREPARATION

OF MUSIC REFERENCE WORKS BY DAVID HUNTER et al.

0

These "Guidelines" are designed to assist authors and publishers with the preparation of music reference works. They comprise a checklist of contemporary best practice, identified through tapping the collective ex- perience of reviewers and music librarians, and the opinions of selected authors, editors, and publishers. Reviewers and library selectors should find the "Guidelines" of use when evaluating sources. In addition to providing suggestions on the content and organization of music reference works, we have included a list of readings on citation style, bibliographic theory and practice, and indexing.'

The "Guidelines" have been prepared by the Subcommittee on Bib- liographic Standards for Reference Works, Reference and Public Service Committee, Music Library Association, which currently comprises David Hunter, chair, Ann Basart, Harold Diamond, Jane Gottlieb, and David Lasocki.2 Previous members of the Subcommittee were Joseph Boonin, George Hill, Geri Laudati, Deane Root, Dorman Smith, Judy Tsou, and Diane Parr Walker.

Part I, General Guidelines, applies to all kinds of works. It is based on the American Library Association's "Guidelines for the Preparation of a Bibliography," RQ 22(1) (Fall 1982): 31-32, modified to suit music reference works and changing publishing trends. It should be used in conjunction with the appropriate section of Part II, which provides guidelines for specific kinds of music reference works: bibliographies and catalogues, thematic catalogues, discographies, indexes, and dictionaries and encyclopedias. Bibliographies and catalogues are the most

1. Offprints of the "Guidelines" will be mailed in 1994 to music reference publishers and appropriate journals in music, librarianship, and publishing. They will continue to be available from David Hunter, Fine Arts Library, P.O. Box P, University of Texas, Austin, TX 78713-7330.

2. Encouraged by the example of the Bibliography Committee, Reference and Adult Services Di- vision, American Library Association, and its publication in 1982 of "Guidelines for the Preparation of a Bibliography," the Subcommittee has continued to meet since 1983 in order to draw up more detailed guidelines appropriate to music reference works. Investigation proceeded through literature searches, a survey of reference book reviewers' comments, and open sessions at Music Library As- sociation annual meetings at Louisville in 1985, Minneapolis in 1988, and Tucson in 1990. These sessions featured publishers, editors, and authors as well as librarians.

Following the 1990 meeting an initial draft of the "Guidelines" was prepared. This was edited in productive, collegial sessions of the Subcommittee at annual meetings. A draft was approved by the MLA Board of Directors in Fall 1992.

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NOTES, June 1994

complex kinds of music reference works. The principles of their con- struction extend to thematic catalogues and discographies, which are types of catalogue; to indexes, which convey brief bibliographical information about a particular subject or material; and to dictionaries and encyclopedias, even though the primary purpose of such works is not the provision of bibliographical data.

The Subcommittee focused on the intellectual aspects of the preparation of reference works, except for section 9, Presentation, in Part I, so that the "Guidelines" are of use regardless of the format of publication.

Table of contents

Part I: General Guidelines

Part II: Guidelines for Specific Kinds of Music Reference Works A. Bibliographies and Catalogues

Descriptive Bibliographies Enumerative Bibliographies and Catalogues

B. Thematic Catalogues C. Discographies D. Indexes to Material in Collections E. Dictionaries and Encyclopedias

Part III: Suggestions for Further Reading

Part I: GENERAL GUIDELINES

Purpose 1.1 Fill a significant need. 1.2 If similar works exist, review them and ensure that the new work makes a unique

contribution.

Scope 2.1 Define the scope clearly. 2.2 Provide a title that clearly sets forth the subject. 2.3 Develop and state a clear policy for the inclusion and exclusion of items. 2.4 Strive for completeness within the work's stated limitations, such as period, geo-

graphical area, form, language, library holdings, quality, audience. 2.5 Cover the subject consistently, strive for balance, and avoid bias.

Methodology 3.1 Supply a list or overview of the sources consulted and information on the method

of compilation. 3.2 Work directly with the sources whenever possible. Identify all the items not ex-

amined. 3.3 Distinguish clearly between the intellectual substance of the items cited and their

physical manifestations.

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Preparation of Music Reference Works

Organization 4.1 Principles of Organization

4.11 Organize the material in a manner appropriate to the subject (e.g., alpha- betically, chronologically, by name, by subject, by instrument or voice, or by classification scheme).

4.12 Arrange the main section so that the work can be used from at least one approach without consulting an index.

4.13 Provide multiple means of access (e.g., indexes, cross-references, table of contents).

4.14 Make classification schemes logical and easy to understand. 4.2 Necessary Components

4.21 Include statements of scope and purpose. 4.22 Explain how to use the work. 4.23 Include a key to all abbreviations. Use abbreviations sparingly and consistently. 4.24 Define all terms that are unusual or are used in an unfamiliar sense. 4.25 Provide a table of contents. 4.26 Provide indexes and other means of access.

4.261 Make the indexes detailed enough to permit access to all appropriate entries.

4.262 Employ terminology in the indexes that is appropriate to both the subject and the intended users.

4.263 Combine indexes whenever possible. 4.264 Provide adequate cross-references.

4.3 Desirable Features 4.31 Use entry numbers. 4.32 Indicate the location of copies of items, unless that information is readily

available elsewhere. 4.33 Make the work readable.

Annotations 5.1 Provide annotations: informative notes, abstracts, or critical evaluations.

5.11 Use an informative note if the title of an item is not self-explanatory. 5.12 Write abstracts or descriptive annotations that summarize the contents so that

users can decide whether items are relevant. 5.13 Keep critical evaluations succinct and on a level suitable for the intended users.

Bibliographic Form 6.1 Provide sufficient information to identify all the items cited and enable the user

to obtain them. 6.2 Use an appropriate and recognized standard style of citation.

Accuracy 7.1 Make every attempt to verify information. 7.2 Standardize the names and titles used in headings and indexes. 7.3 Write grammatically; spell and punctuate correctly. 7.4 Proofread all the text and musical examples.

Timeliness 8.1 Make the work as current as possible.

Presentation 9.1 Use an appropriate format of publication: print, microform, CD-ROM, on-line. 9.2 Use a clear typeface, wide margins, attractive spacing of text, running heads, and

other elements of page or screen design crucial to the readability of reference works. 9.3 Provide legible musical examples. Use good hand copying or high-quality computer

printing.

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NOTES, June 1994

9.4 Provide ISBN and CIP information in the publication. 9.5 If the publication is printed, use acid-free paper and provide a binding sturdy

enough to withstand anticipated use. 9.6 Keep the price of the publication within the means of the intended users without

sacrificing essential features.

PART II: GUIDELINES FOR SPECIFIC TYPES OF REFERENCE WORKS

A. Bibliographies and Catalogues There are two major types of bibliography: descriptive and enumerative. Descriptive bibliographies of printed books comprise ideal copy descriptions and must therefore be based on examination of multiple copies of the same issue of a work. Enumerative bibliographies are based on examination of only a single copy of a work or the use of a description from another source. Both types of bibliography have their place in the attempt to exert bibliographic control. Before beginning a project the author should consider the aims and achievements of the two types and their differing techniques of description.

These guidelines are applicable to both printed and manuscript materials, the descriptive requirements of which are similar.

A catalogue is a special type of enumerative bibliography, being a list of materials housed in one location or institution. The two specialist kinds of catalogue in music-thematic and discographic-are given separate treatment in Parts II.B. and II.C.

DESCRIPTIVE BIBLIOGRAPHIES

Information for Each Item 10.1 Transcribe and/or reproduce the title-page. Standard rules of transcription are

promulgated by Fredson Bowers in Principles of Bibliographical Description. 10.2 Describe the physical structure according to standard principles, covering pag-

ination or foliation, structure, height and width, tabulation of contents, binding, paper (including watermarks and chainline direction), and plate and/or publisher numbers.

10.3 Indicate date of printing and/or publication (or, if a manuscript, of completion) and price. Provide details of sources of information, such as newspaper advertisements.

10.4 Give details of the means of production, such as calligraphic or engraving style, typeface(s), and printing method.

10.5 Include notes clarifying ambiguities or providing explanations of the title-page, musical text, or other aspects of the publication, such as a list of subscribers.

10.6 Indicate current location of copies (with standard library sigla) and shelfmarks or call numbers. Distinguish unexamined copies.

10.7 Cite RISM numbers, if applicable. 10.8 Provide information on the intellectual content, such as the conventional title, the

opus or other identifying number, the author or source of verbal text, a full list of performing forces, the duration of each movement, the date and place of composition; on first performance (place, date, performers, references to reviews and advertisements); and on dedicatee(s).

10.9 Provide references to standard bibliographies or catalogues, and to facsimiles if available.

10.10 Provide information on provenance of copies.

Organization 11.1 For detailed information see G. Thomas Tanselle, "The Arrangement of De-

scriptive Bibliographies." 11.2 Provide indexes for access by name, title, chronology, subject, and library. 11.3 Cite both original and reference sources using a standard bibliographic style.

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ENUMERATIVE BIBLIOGRAPHIES AND CATALOGUES

Scores 12.1 Give information on the composer, title, popular/alternative title, opus or other

identifying number, version, plate and/or publisher number (including ISMN), place of publication, publisher, and date of publication.

12.2 Identify the author or source of verbal text. 12.3 Identify the editor, if applicable. 12.4 List the contents, pagination, and height and width. 12.5 Give the series title and number, if applicable. 12.6 Give the key(s), vocal range(s) (e.g., high, medium, low), and ensemble speci-

fication. 12.7 Indicate the level of performance difficulty, if appropriate. 12.8 Give the RISM number, if applicable.

Monographs and Serials 13.1 Provide information on author(s), compiler(s) and/or editor(s), title and subtitle,

place of publication, publisher, and date of publication. 13.2 Give series title and number, if applicable. 13.3 Give ISBN and/or ISSN. 13.4 If the work is not in English, cite an English translation if available. 13.5 Provide information on reprints and/or alternative editions. 13.6 For serials (periodicals), give title changes. 13.7 Indicate where serials (periodicals) are indexed and/or abstracted.

Periodical Articles 14.1 Cite author(s) or compiler(s), title of article, title of journal, volume and issue

numbers, date, and page numbers.

Methodology 15.1 Examine each work included. If this is not possible, indicate unexamined works.

End Matter 16.1 Provide as many indexes as are appropriate: for example, of names, titles, subjects,

chronology, and geography. 16.2 Include a list of publishers' current addresses, if appropriate.

Organization 17.1 Use cross-references liberally.

Cumulation 18.1 Use either supplements or cumulations for ongoing bibliographies and catalogues.

B. Thematic Catalogues

Barry Brook has distinguished several kinds of thematic catalogue: mnemonic aid, table of contents, guide to a composer's own output, inventory of a library's holdings, copying firm advertisement, publishing firm advertisement, legal document, index of themes, and musicological document (such as the catalogue by Kochel of Mozart's works). Not all the categories of information listed below are necessary in each kind of catalogue. The exception is "musicological document," which should utilize all categories, except perhaps Discography.

For each catalogue entry: Work 19.1 Provide the conventional title, popular/alternative title, and opus or other iden-

tifying number. 19.2 Identify the author or other source of verbal text. 19.3 Provide a full list of performing forces. 19.4 Note the duration of each movement.

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NOTES, June 1994

Composition and First Performance 20.1 Identify the date and place of composition. 20.2 Give information on first performance (place, date, performers, references to

reviews and advertisements). 20.3 List the dedicatee(s).

Incipits 21.1 Provide incipits of each movement. 21.2 Give more than one incipit per movement, if appropriate. For example, give the

main theme in addition to the opening measures. 21.3 Indicate the total number of measures in each movement. 21.4 Note the differences between autograph or other manuscript sources and stan-

dard printed texts. 21.5 Use multi-stave incipits rather than a single line. 21.6 Prefer original clefs, and tempo and expression markings. 21.7 Transcribe the original notation, if appropriate. 21.8 Cite titles and sources together with the incipits. 21.9 Indicate vocal disposition or instrumentation if short score is used.

Printed and Manuscript Sources See sections 10-11.

Notes 22.1 Confine notes to bibliographical matters, such as those specified in 21.4 concerning

textual accuracy.

References 23.1 Confine references to important passages in the standard biographies and cite

books and articles of real merit and originality in all languages. 23.2 Take into account recent scholarly discoveries.

Discography See sections 25-26.

Organization of Thematic Catalogues 24.1 Organize the main list of works by opus or other identifying number or by

chronology. Division by musical form and sub-arrangement by chronology is also possible.

24.2 List spurious and doubtful works at the end, outside the regular numbering system.

24.3 Provide an alphabetical index of all works (vocal and instrumental) and include the first lines of vocal texts.

24.4 Include a classified list of all works. 24.5 Provide an index to the themes.

C. Discographies

Discographies are lists of audio-visual materials such as audio recordings (78 rpm, 45 rpm, LP, EP, cassette, tape, CD), video recordings (whether on tape or disc), and multimedia packages (comprising, for example, CD and/or CD-ROM, computer diskette, and booklet). Videography, filmography and similar terms indicate lists of particular media.

For each recording or package provide: 25.1 Title of recording. 25.2 Publisher (recording company) and place of publication. 25.3 Date of copyright and/or production. 25.4 Label name, format, and number; matrix, issue and take numbers, if appropriate. 25.5 If issued in a variety of formats, numbers for all formats.

1334




25.6 For each reissue: label name, format, number, and date. 25.7 Names of producer(s), director(s), and recording engineer(s). 25.8 For multimedia packages: the author, editor, or designer. 25.9 Reference to standard discographies (e.g., Rigler-Deutsch Index).

For each work on the recording or package provide: 26.1 Composer. 26.2 Author or source of verbal text. 26.3 Title of work, including key, opus or other identifying number, and version. 26.4 Performers and their instruments/roles/voices. 26.5 Date and place of recording; indicate whether made before audience ("live"

recording).

D. Indexes to Material in Collections

This category comprises sources providing access to music, and to writings about music, in published collections. It excludes serial publications such as The Music Index; analytical indexes of library and archival collections; and indexes of audio-visual materials, ad- dressed under "C. Discographies."

Indexes to Music in Published Collections 27.1 Identify compositions as completely as possible: composer, title, popular/

alternative title, key, opus or other identifying number, medium, author or source of verbal text.

27.2 If the composition is a portion of a larger work, name the movement or section as well as that larger work.

27.3 Identify any arranger or editor. 27.4 Use standardized forms of names and titles. 27.5 Provide cross-references from alternate titles and variant personal names. 27.6 Give complete information on the collections indexed: title of collection, editor,

full imprint, series. 27.7 Give information on the presence of editorial accessories, such as translations of

texts, realized figured basses, and discussions of performance practice. 27.8 Cite page numbers or otherwise indicate the location of each work in the col-

lection. 27.9 Include indexes of titles, alternate titles, first lines, names (composers, authors,

editors). For song collections provide access by subject or keyword, if appropriate. 27.10 Provide an alphabetical list of sources in addition to a list by abbreviation or

number.

Indexes to Writings in Published Collections Such collections include individual periodicals, volumes of essays by a single author or multiple authors on a single topic or multiple topics, as well as writings in special types of collection such as Festschriften and congress reports. 28.1 Organize the work in an appropriate manner (e.g., by author or topic, or for

congress reports, by date and place of congress). 28.2 Provide complete citations using a standard bibliographic style. 28.3 Provide annotations or abstracts whenever possible. 28.4 Provide adequate cross-references. 28.5 Provide a thorough subject index, especially if the citations do not include an-

notations. 28.6 Provide name, title, chronological or other indexes, as appropriate.

E. Dictionaries and Encyclopedias Dictionaries and encyclopedias contain factual information about and interpretation of musical subjects, often arranged in a single alphabetical sequence by topic. They may reflect the national bias of the country of publication.

1335



NOTES, June 1994

Methodology 29.1 Include current and factually correct information. 29.2 Present information in a clear and consistent style.

Necessary Components 30.1 Include adequate cross-references.

30.11 Use see references to direct readers to the term under which the information is to be found.

30.12 Use see-also references to direct readers to related entries on a particular topic.

30.13 In articles, distinguish typographically those terms or names that have entries of their own.

30.2 Include indexes, especially in multi-volume sources with lengthy articles. Indexes can help reduce the number of cross-references.

30.3 Ensure that the work lists and bibliographies appended to articles are consistent in style and include sufficient information to identify the works cited.

30.31 Include in work lists: 30.311 Title of work, including key, opus or other identifying number, and

version. 30.312 Date of composition. 30.313 Date of first performance. 30.314 Location of manuscript(s) and current call number(s) or shelfmark(s). 30.315 Complete publication information as relevant (title, place of pub-

lication, publisher and date). 30.316 Information relating the work to others, such as arrangements and

derivative works, by the composer. 30.317 Location in complete works edition(s).

30.32 Include in bibliographies: 30.321 Author's full name. 30.322 For books: title, place of publication, publisher, and date. 30.323 For articles: article title, journal title, volume and issue numbers,

date, and page numbers.

Part III: SUGGESTIONS FOR FURTHER READING

General

American National Standard for Bibliographic References. ANSI Z39.29-1977. New York: American National Standards Institute, 1977.

"Guidelines for the Preparation of a Bibliography." RQ 22(1) (Fall 1982): 31-32. Isaacson, David. "Literary Style in Reference Books." RQ 28(4) (Summer 1989): 485-495. Katz, Bill, and Robin Kinder, eds. The Publishing and Review of Reference Sources. The Ref-

erence Librarian, 15. New York: The Haworth Press, 1987. Luey, Beth. Handbook for Academic Authors. Rev. ed. Cambridge: Cambridge University

Press, 1990. "Reference Books Bulletin" Editorial Board Manual. Chicago: American Library Association,

1990. Wingell, Richard J. Writing About Music: An Introductory Guide. Englewood Cliffs, N.J.:

Prentice Hall, 1990.

Citation Styles and Style Manuals

Achtert, Walter S., and Joseph Gibaldi. MLA Handbook for Writers of Research Papers. 3d ed. New York: Modern Language Association of America, 1988. --. The MLA Style Manual. New York: Modern Language Association of America, 1985.

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American Psychological Association. Publication Manual of the American Psychological Asso- ciation. 3d ed. Washington, D.C.: American Psychological Association, 1983.

The Chicago Manual of Style. 14th ed. Chicago: University of Chicago Press, 1993. Helm, E. Eugene, and Albert T. Luper. Words & Music: Form & Procedure in Theses, Dis-

sertations, Research Papers, Book Reports, Programs & Theses in Composition. Valley Forge, Pa.: European-American Music, 1982.

Holoman, D. Kern. Writing About Music: A Style Sheet from the Editors of 19th-Century Music. Berkeley: University of California Press, 1988.

Howell, John B. Style Manuals of the English-Speaking World: A Guide. Phoenix, Ariz.: Oryx Press, 1983.

Krummel, Donald W., and John B. Howell. "Bibliographic Standards and Style." Scholarly Publishing 10 (April 1979): 223-240.

Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations. 5th ed., revised by Bonnie Birtwistle Honigsblum. Chicago and London: University of Chicago Press, 1987.

Bibliographic Practice

Berger, Sydney. The Design of Bibliographies: Observations, References, and Examples. London: Mansell, 1992.

Bowers, Fredson. Principles of Bibliographical Description. Princeton, N.J.: Princeton Uni- versity Press, 1949. Rept: Winchester: St. Paul's Bibliographies, 1986.

Gaskell, Philip. A New Introduction to Bibliography. London: Oxford University Press, 1974. Krummel, Donald W. Bibliographies: Their Aims and Methods. London: Mansell, 1984.

. Guide for Dating Early Published Music: A Manual of Bibliographical Practices. Hack- ensack, N.J.: Boonin, 1974.

Tanselle, G. Thomas. "The Arrangement of Descriptive Bibliographies." Studies in Bib- liography 37 (1984): 1-38.

. "Tne Bibliographical Concepts of Issue and State." Papers of the Bibliographical Society of America 69 (1975): 17-66.

"The Concept of Ideal Copy." Studies in Bibliography 33 (1980): 18-53. "Descriptive Bibliography and Library Cataloguing." Studies in Bibliography 30

(1977): 1-56. "Reproductions and Scholarship." Studies in Bibliography 42 (1989): 25-54.

. "A Sample Bibliographical Description with Commentary." Studies in Bibliography 40 (1987): 1-30.

Indexes and Indexing American National Standards Institute. American National Standard for Library and Infor-

mation Sciences and Related Publishing Practices-Basic Criteria for Indexes. New York: ANSI, 1984.

Cleveland, Donald B., and Ana Cleveland. Introduction to Indexing and Abstracting. Littleton, Colo.: Libraries Unlimited, 1983.

Collison, Robert Lewis. Indexes and Indexing: Guide to the Indexing of Books and Collections of Books, Periodicals, Music, Recordings, Films and Other Material. 4th ed. London: Ernest Benn; New York: J. De Graff, 1972.

Knight, G. Norman. Indexing, the Art of: A Guide to the Indexing of Books and Periodicals. London: Allen & Unwin, 1979.

Lancaster, F. Wilfred. Indexing and Abstracting in Theory and Practice. London: Library As- sociation, 1991.

Wellisch, Hans H. Indexing from A to Z. Bronx, N.Y.: H.W. Wilson, 1991.

Thematic Catalogues Basart, Ann. "'Bringing Order into Preposterous Muddle': Recent Trends in Thematic

Catalogs." Cum Notis Variorum 67 (November 1982): 5-17.

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1338 NOTES, June 1994

Brook, Barry S. "Thematic Catalogue." The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London: Macmillan; 1980, 18:732-36.

Brook, Barry S., and Richard J. Viano. Thematic Catalogues in Music: An Annotated Bibli- ography. 2d ed. Stuyvesant, N.Y.: Pendragon Press, 1994.

Discographies Foreman, Lewis. Systematic Discography. Hamden, Conn.: Linnet Books, 1974. Rigler-Deutsch Index. New York: Association for Recorded Sound Collections, 1985. Rust, Brian. Brian Rust's Guide to Discography. Westport, Conn.: Greenwood Press, 1980.

Dictionaries and Encyclopedias

Coover, James B. "Dictionaries and Encyclopedias of Music." The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London: Macmillan, 1980, 5:430-459.

. "Lacunae in Music Dictionaries and Encyclopedias." Parts 1, 2. Cum Notis Variorum 115-116 (August/September, October 1987): 3-6, 6-12.

Samuel, Harold E. "Dictionaries and Encyclopedias." The New Harvard Dictionary of Music, ed. Don Michael Randel. Cambridge, Mass.: Harvard University Press, 1986.



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