Ozymandias

Gost

Description

• cours magistral
• expression écrite - matière potentielle : contest

Analysis by Chris Lockley and Ingle Kwon OzymandiasPercy Bysshe Shelley

• traveller from an antique landwho
• nothing beside remains
• nothing as thespace around the ruins
• egotistical ruler
• nature itselfbecause nature
• ruins emphasizesdesolation

Sujets

• Cours magistral
• Contest
• Lockley
• Horsham
• Royaume-Uni
• Nature
• Nothing
• Remains

Informations

• Publié par: bomel
• Nombre de lectures: 21
• Langue: English

Extrait

THE MUSIC GENRE/FORM PROJECT: ISSUES AND SOME SOLUTIONS
For the Authority Control Interest Group, LITA/ALCTS
June 27, 2010

by Geraldine Ostrove
Library of Congress Policy and Standards Division
[e-mail]

[1]
This presentation will view the music aspects of the genre/form initiative from two
perspectives, as a discrete project with its own set of characteristics and requirements, and at the
same time as a prototype for the retrospective implementation of the genre/form initiative, in
particular of subject areas with huge quantities of terms in LCSH. [2]
The larger topics I’ll take up are:
• facets
• carrier terms
• medium of performance
• interrelationships between the thesaurus and some other aspects of cataloging;
• some additional vocabulary issues we’ve been working on.
[3]
Background
First, some background. The music project is among the genre/form projects whose
entire subject access vocabulary is already in LCSH. So, while there are aspects of this project
that are unique to music, it is also a prototype for other disciplines that rely as comprehensively
on LCSH as music does. The broad issues we encounter in music that enable our specific
situations to be generalized include principles of vocabulary formulation; inter-relationships
between the thesaurus, LCSH, and other sources of controlled relevant vocabulary; treatment of
ACIG, June, 27, 2010 Page 1carrier terms, and headings with language qualifiers. [4] We will eventually join the fray over
how to bring out place as related to resources. And although time period hasn’t come up yet, it
will when we take up the chronological subdivisions headings for musical works often include.
[5] At this stage the scope of the music project is limited to terms assigned to musical works.
We estimate there are about 16,000 LCSH headings in this category. There are other genre/form
terms used in the field of music, and normally the term “music” means the entire discipline of
music, not just to scores and sound recordings. But where the thesaurus is concerned, I will use
the word “music” to refer to musical works unless I clearly state that I’m referring to something
else.
Early on LC approached the Music Library Association about the prospect of
collaborating with us in the development of the music part of the genre/form thesaurus. The
genre/form initiative is of sufficiently compelling importance to music, and the amount of work
involved sufficiently demanding, that LC neither should, nor can we do it alone. Eventually,
MLA appointed a genre/form task force, headed by Beth Flood Iseminger, whom many of you
know, and LC formed a music genre/form project group, which I head. The two groups began
their official collaboration early in 2009. In June of 2009 the MLA task force sent us their
review and commentary on two lengthy lists of LCSH terms we had posted on our genre/form
Web site, one of terms of the genre/form type that have been assigned to musical works, and the
second of terms for medium of performance, which is where the terms for instruments and types
of singing voice are. I’ll have more to say about medium of performance later.
[6] Though we find we have a long way to go, given the scope of the music project, so far
we’ve accomplished quite a bit.
ACIG, June, 27, 2010 Page 2• We have a list of over 1,000 terms that we agree should be in the thesaurus. MLA is
currently arranging those terms into hierarchies. [7]
• We agree that many headings in LCSH we presently assign to music should be cancelled.
These include, first, headings containing only medium of performance terms; those terms
will be transferred to the new medium facet. Second, also to cancel are compound
headings with a medium and a genre/form term, which should be deconstructed into
separate medium and genre vocabularies, then post-coordinated in searches. [8]
• We agree that our current headings for musical settings of individual psalms are
unsuitable and should be abandoned entirely. These headings are the formulations like
rdPsalms (Music)—23 Psalm. In their place, we think that psalm settings should all have
the same genre term, Psalms (Music) (or perhaps an equivalent to be decided on later),
and an access point in a 730 field for the related text. [9]
• We also agree that form subdivisions for musical format, subdivisions like --Scores and
parts and --Vocal scores with organ, can no longer occupy a secondary position. Many
of the headings to which they are now assigned will no longer be valid in the thesaurus
context, or the resource won’t be assigned a genre/form term to attach them to.
Consequently, those subdivisions will have to be headings that can be post-coordinated.
• We have only just begun working on medium of performance vocabulary, roughly 850
terms so far, which will be removed from headings for musical works. We will review
and refine that list. Medium needs a new place in bibliographic records. Possible places
are a revised 048 field, where the terms would be coded, and the new 382 field, added to
accommodate RDA, where the terms themselves would appear. In my slides, where
medium is shown in a MARC context, I will use the 382 field. [10]
ACIG, June, 27, 2010 Page 3• Another of our mutual decisions concerns genre/form-type headings now tagged 150 that
are qualified by language. Libraries that adopt RDA will not need headings like these
because the language of the resource will be provided elsewhere. So for those libraries,
genre/form headings qualified by language can be cancelled because the genre/form term
alone will suffice.
Finally, our collaboration with MLA has prompted us to do a bit of LCSH clean-up. The
LC music project group decided we ought to do as much of that as we can as we go along.
With this background, I will now get to specific aspects of the music project.
[11]
Facets
I’ll start with – a term: “facets.” Questions about it come up right away: Whose
definition of facets are we using? What do we mean ourselves, each of us, by that term? What
should we usefully be applying faceting to? Don't we need to be in agreement about the answers
to these questions if we are going to use the terms facets and facetting?
[12] Rather than try to answer these questions on behalf of all of us, I’ll explain how I’ll use
the term. It’s to refer only to very broad categories. The perspective of the Policy and Standards
Division is that the genre/form thesaurus itself represents a bibliographic facet of library
resources. At this level, other facets could be LCSH, the names of those responsible for the
intellectual or creative content of resources, and what time period the resources cover or come
from. For the most part at this very general level, facets are mutually exclusive.
Musical works fit well into the structure of faceting at this level. The thesaurus will
contain terms that describe what musical resources are. LCSH will contain terms for what
resources in the field of music are about.
ACIG, June, 27, 2010 Page 4 There are other primary bibliographic attributes of music: the name of the resource,
which is often the composer and title of it. But the most important attribute from our perspective
today is medium of performance. Medium of performance is an inherent characteristic of music;
it is the instruments, voices, and other such requirements for which works are written or arranged.
[13] As we work our way downward into greater detail for music, we sometimes find the term
“facets” used with regard to the vocabulary in the thesaurus itself. This is the point where in our
view the term “facets” ceases to apply. Instead, to distinguish the various categories of terms in
the thesaurus, I prefer the word “hierarchies.” Hierarchies represent the pragmatic deployment
of terms into useful broad categories that reflect the primary relationships of the terms to each
other. Sometimes a term can belong to more than one hierarchy.
[14]
Carrier Terms
Questions have arisen about whether carrier terms belong in the thesaurus. The Policy
and Standards Division has tentatively decided that the genre/form thesaurus should be limited to
terms applicable, in the F R B R sense, at the work and expression level, and not include
vocabulary for manifestations and items. [15] We are beginning to explore the implications of
that decision, and toward that end will be collecting as much vocabulary as we can for extent
types, to use the RDA term for this category of vocabulary, in all disciplines. That will enable us
to get solid information not only to enable us to select and organize the controlled vocabulary,
but to gain a better understanding of how this vocabulary is used. Music carriers beyond those
for written music cannot be identified solely with musical works. So the music project will need
to operate in the wider, non-music community when we take these up.
ACIG, June, 27, 2010 Page 5 Though terms for “isness” that describe both content and carrier now belong in the 655
field of MARC bibliographic records, many of you will remember that the former 755 field,
Added Entry – Physical characteristics, was made obsolete in 1995, and the terms formerly put
there subsequently put in the 655 field, called