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Starting FY22, Houghton Library will implement using accession numbers as call numbers for all materials cataloged by the Rare Book Section.  Refer to Section VIII. Classification for details.

Historical Note on Classification

Much of the Harvard Theatre Collection book collectionbooks, particularly the older and "rare" items, is were classed in the locally-devised TS Classification.  In the recent past, "rare" materials were always classed under the TS classification scheme and most of the recent imprints (and some older materials), and all music scores, were classed into LC.  As of Dec. 2008, a cataloger may catalogers were allowed to classify an item under TS or LC, choosing whichever is most expeditious and sensible: generally class music in LC, and if book subject material falls comfortably into TS, class it there, and if not, class it in LC.

Size designations

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(to be updated soon)

For books, follow the height requirements laid out in Houghton's classification scheme (VIII.1).

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Operatic/Musical production materials:

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1. Librettos (or scores) whose text conforms to a particular production, but there is not extensive description of the scene, nor blocking (directions for actors to move on the stage).  You could not reproduce set designs, nor blocking from this.
   Add 240 & 650s per usual for the libretto or score format; reproduce any indications of “Soufflierbuch” etc. in the 250.
2. Librettos (or scores) whose text conforms to a particular production, with extensive description of the scene (usually at beginning of each scene) but no actual blocking.  You could reproduce the specific sets, but not blocking.
   Add 240 & 650s per usual for the libretto or score format; reproduce any indications of “Soufflierbuch” etc. in the 250, PLUS:
   650 Opera $x Production and direction
   650 Operas $v Stage guides.
3. Librettos (or scores) whose text conforms to a particular production, with extensive description of the scene, with actual blocking.  From this, you could reproduce the entire production, but without actual costumes.
   Add 240 & 650s per usual for the libretto or score format; reproduce any indications of “Soufflierbuch” etc. in the 250, PLUS:
   650 Operas $v Stage guides
   650 Opera $x Production and direction
   655 7 Acting editions (with appropriate subfields) $2 rbgenr
4. Librettos (or scores) whose text conforms to a particular production, with extensive description of the scene, with actual blocking.  Includes set and costume designs, floor plans.  From this you could allegedly reproduce the entire production.
   Add 240 & 650s per usual for the libretto or score format; reproduce any indications of “Soufflierbuch” etc. in the 250, PLUS:
   650 Operas $v Stage guides
   650 Opera $x Production and direction
   655 7 Acting editions (with appropriate subfields) $2 rbgenr
   655 7 Scenography (with appropriate subfields) $2 aat
   and/or
   655 7 Costume designs (with appropriate subfields) $2 aat
5. And finally, librettos (or scores), with extensive MANUSCRIPT description of the scene, with actual MANUSCRIPT blocking.  Might be interleaved.  Includes MANUSCRIPT set and costume designs, floor plans.  From this you could allegedly reproduce the entire production.
   Add 240 & 650s per usual for the libretto or score format; reproduce any indications of “Soufflierbuch” etc. in the 250, PLUS:
   650 Operas $v Stage guides
   650 Opera $x Production and direction
   655 7 Scenography (with appropriate subfields) $2 aat
   and/or
   655 7 Costume designs (with appropriate subfields) $2 aat
   655 7 Promptbooks (with appropriate subfields) $2 rbgenr

Cataloging librettos:

Cataloging librettos in RDA remains problematic. Many operas (and other musical works with text) have music and text created by the same entity, and this situation has not been handled well under the new rules. For some guidance from the Library of Congress on this issue (which includes their interim policy), see the addition at the bottom of this page.

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Under RDA rules, the creator of a libretto is the librettist (in AACR2, main entry for a libretto was by composer). We will continue to use existing TS numbers by composer where appropriate but, when obliged to generate new numbers, will do so under the name of the librettist.

Libretto note from Valerie Weinberg at LC, 8 October 2014:

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http://rbms.info/vocabularies/genre/tr33.htm
Use the rbms genre term Acting editions
Historically, we have subdivided by place of publication, and century, |2 rbgenr  RBMS is currently moving away from subdivisions.

An Acting Edition is a printed edition of a play, intended for the use of actors rehearsing the play, that includes things like stage directions and other instructions for actors. They are portable, so actors can easily carry them around, and cheap, so you can afford to buy enough copies for your entire acting company.

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Use the Houghton local term, Player’s parts
Subdivide by place of publication, and century, |2 local |5 [library code; add only for printed material]

Use this local genre term for performers' “sides”: actors' individual scripts, containing only their own dialogue and cue lines. We own many typescript and manuscript sides, which should be treated as single-items manuscripts. Sides should also receive a 240, with a |g Parts [when more than one side is present] or “Parts for …” [for a single side].

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Source: Stoddard, R. E. (1971). NOTES ON AMERICAN PLAY PUBLISHING, 1765-1865.Proceedings of the American Antiquarian Society, 81(1), 161. Retrieved from http://search.proquest.com.ezp-prod1.hul.harvard.edu/docview/1305095260?accountid=11311

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Reporting Houghton and Harvard Theatre Collection Holdings to RISM (Répertoire international des sources musicales)

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