Page Comparison

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 books, particularly the older

Historical Note on Classification

Much of the Harvard Theatre Collection books, particularly the older and "rare" items, 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, 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 (to be updated soon)

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

For flat objects classed in TS, use the following (which should be designated in subfield c of the 852 and on the folder's label). N.B. Some HTC sizes differ from Houghton sizes:

...

b

...

15 x 11 " folder

...

pf

...

24 x 18 " folder (1/2 a flat file drawer)

...

pp

...

28 x 38 " folder (full drawer)

For flat objects classed in LC, use the following codes in the 852 subfield c:

...

TLCB

...

15 x 11 " folder

...

PFD

...

24 x 18 " folder (1/2 a flat file drawer)

...

PPF

...

28 x 38 " folder (full drawer)

Operatic/Musical production materials:

When you see any kind of format indication like "Soufflierbuch," "Regiebuch," "Stage Manager's Guide,"  However, 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.

Size designations

For flat items shelved under the new accession number scheme, follow the guidelines provided on Houghton Library Size Designations wiki.

Operatic/Musical production materials:

When you see any kind of format indication like "Soufflierbuch," "Regiebuch," "Stage Manager's Guide," or similar indications in other languages, these are materials which were often published as a part of well-known productions, or as a guide to traveling or rental productions.  Like librettos, under RDA these constitute new works, but they exist in a family which could be considered expressions of each other.

...

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.

1. Main entry

When cataloging in RDA, main entry should be under the librettist (RDA 6.27.1.2, 19.2.1.3), with an authorized access point representing the related work (RDA 25.1.1.3), like source material, books, plays, etc. 

...

7. TS Classification of opera librettos The - Do not follow; Houghton no longer use the local classification scheme.

The document TS Classification instructs that  we are to build a TS number for an opera libretto by following the initial 8 with: ".1-.784 by uniform title / .1-.784 by main entry + 4-digit year." Thus, TS 8206.708 1844 for a libretto for Verdi's Ernani, published in 1844.

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:

...

• follow AACR2 for structure
• do NOT code the authority record "rda"
• employ new MARC fields as applicable
• include 667 note reading: "This AACR2 1XX field should be used in RDA records pending a formal review of RDA instructions for composer-librettist authorized access points."

Acting editions

http://rbms.info/vocabularies/genre/tr33.htm
Use the rbms RBMS genre term, Acting editions.
Historically, we have subdivided by place of publication, and century, |2 rbgenr  RBMS is currently moving away from . However, the newly integrated RBMS CV does not allow 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.

As a genre the acting edition really came into being in the 19^th century when amateur theatrical productions became a popular thing, but there are certainly pre-19^th century editions which you could arguably call acting editions – that’s a judgment call. The major publisher of acting editions in the US is Samuel French, who had bought up almost all of his competitors by the mid 19^th century. In England, Thomas Hailes Lacy similarly achieved dominance, and 1872 Lacy was bought up by French, becoming the London based company of Samuel French Ltd., which is distinct from the New York based company of Samuel French (which was briefly known as Samuel French and Son or T.H. French in the late 19^th century).

Promptbooks

http://rbms.info/vocabularies/genre/tr699.htm
Use the rbms RBMS genre term, Promptooks.

Historically, we have subdivided by place of publication, and century, |2 rbgenr  RBMS is currently moving away from .  However, the newly integrated RBMS CV does not allow subdivisions.

The definition of Promptbooks is trickier, as the term has been used to mean different things at different times, and nobody can even agree on whether to spell it as two words or one. However, RBMS has settled on spelling it as one word with the following scope note: “Use for plays with manuscript production annotations.”

...

Players’ parts

Use the Houghton local genre term, Player’s parts
Subdivide by place of publication , and century, |5 [library codeand century only if the information is different from the information on the bib record.  Add the library code, "$5 hou"; 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].

...

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

Image RemovedImage Added 

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

1. Create RISM record in Muscat.
2. When record number has been auto-generated upon saving, add to Alma and Connexion records in 510 field, taking care to use current RBMS SCF in the $a and to present the number in the $c as digits alone for an online-only record (no A/I or B/I designation, for instance) or with letter followed by digits for a record originating in the print catalogue.
3. If the item was described very differently in RISM to how it appears in Alma and Connexion, incorporate these changes into Alma and Connexion. particularly those changes involving new discoveries.
   
4. Check Isham's wiki on RISM for the updated instructions.
   

HISTORICAL REFERENCE ONLY (DO NOT FOLLOW):

Items shelved under the previous classification scheme used the following size designations for shelving:

For flat objects classed in LC:

...

...