Draft of Learning outcomes for Sound Recordings Cataloging

Jay Weitz (model instructor for the sound recordings cataloging workshop) has created a draft of the learning outcomes for the sound recordings cataloging workshop and the videorecordings cataloging workshop. The sound recordings cataloging workshop will be the workshop that "goes on the road" via the chapters. Please feel free to comment on these learning outcomes. Thanks to Jay for drafting these.

Sound Recordings Cataloging Workshop

1. Participants will be able to explain the difference between Record Types “i” and “j” and be able to list at least three kinds of ambiguous sound recordings that should be categorized as Type “i”.

2. Participants will be able to explain the proper Type and Bibliographic Level coding for a sound recording that also happens to be a continuing resource.

3. Participants will be able to list the chief sources of information for sound recording discs and the prescribed sources of information for the major descriptive areas of a bibliographic record.

4. Participants will be able to explain at least three major bibliographic differences that justify the creation of a new record for sound recordings.

5. Participants will be able to explain the choice of entry for sound recordings that contain one work, two or more works by the same person or body, and works by different persons or bodies with a collective title.

6. Participants will be able to explain the choice of entry for sound recordings that contain works by different persons or bodies without a collective title both in the “popular” and the “serious” idiom.

7. Participants will be able to explain at least three instances where the use of field 006 may be appropriate.

8. Participants will be able to list at least two of the “bibliographic events” whose dates may be known in the cataloging of a sound recording and explain how to determine the most important dates.

9. Participants will be able to explain when a sound recording duration belongs in field 300 and, when it does not, what are the options for listing durations.

10. Participants will be able to explain how to use field 028 for multiple publisher numbers that are non-consecutive.

11. Participants will be able to list at least two of the types of standard numbers that should be coded in field 024.

12. Participants will be able to explain at least three correct uses of field 246 and how its use is distinguished from that of field 740.

13. Participants will be able to explain where the General Material Designation (GMD) should be placed.

14. Participants will be able to list the two 5XX fields in the record where performers might be included.

15. Participants will be able to explain the difference between a standard contents note and an enhanced contents note.

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Videorecordings Cataloging Workshop

1. Participants will be able to explain at least three major bibliographic differences that justify the creation of a new record for videorecordings.

2. Participants will be able to explain how music videos and sound recordings may be treated similarly and how they may be treated differently in terms of choice of entry.

3. Participants will be able to explain in which field the videorecording system (DVD, VHS, etc.) is specified.

4. Participants will be able to explain the difference between letterboxed and standard or full screen videorecordings.

5. Participants will be able to explain how language data for videorecordings is dealt with.

6. Participants will be able to explain the difference between subtitles and closed captions.

7. Participants will be able to explain the importance of summary notes for videorecordings.

8. Participants will be able to explain the difference between mixed responsibility and shared responsibility for videorecordings.

9. Participants will be able to explain how DualDiscs are to be cataloged.

10. Participants will be able to explain how streaming media are to be cataloged.

11. Participants will be able to list at least two of the “bibliographic events” whose dates may be known in the cataloging of a videorecording and explain how to determine the most important dates.

12. Participants will be able to list at least two of the types of standard numbers that should be coded in field 024.

13. Participants will be able to explain the difference between a subject heading and a form/genre heading.

14. Participants will be able to explain the difference between entities that are recorded in field 245 subfield $c, field 508, and field 511 for videorecordings.

15. Participants will be able to explain the difference between a 4XX/8XX series entry and a 730 related title entry for videorecordings.

Draft of Learning Outcomes for Music Collection Development and Acquisitions session

Here is the first draft of the learning outcomes for the music collection development and acquisitions workshop. Please comment and add your ideas. Thanks to Greg MacAyeal for drafting these with the Collection Development/Acquisitions subgroup.

Learning Outcomes for Music Collection Development and Acquisitions

1. Can identify and distinguish music material formats and iterations (i.e. knows the difference between a vocal score and a full score, a CD from an LP, etc.)
2. Knows basic tools in selecting music materials (Basic Music Library, review sources, vendor sites, etc.)
3. Knows how to create and maintain a music collection development policy
4. Knows how to evaluate a music collection; make decisions on deselection, preservation, replacement
5. Is able to discern collection requirements based on the needs of the collection’s users
6. Understands how approval plans and blanket orders work, and is able to apply these tools if appropriate
7. Can identify major vendors and can describe their strengths
8. Is able to search for obscure items in an effective way
9. Is able to communicate the value of the music collection to library stake holders and users
10. Understands portions of copyright law that have an impact on collection development practices

Draft of Learning Outcomes for Reference session

Many thanks to David King (reference subgroup coordinator) for working with the reference trainees to create these learning outcomes for the reference workshop. Please feel free to comment on these outcomes as they are not final yet.

By the end of the Music Reference Training Session, the student will be able to:


1. Name the questions to ask in a music reference interview.

(What format do you want? What musical style is the song?, Who wrote it?, etc.)

2. Identify the most common formats for music materials.

(Sound recordings: CDs, LPs, etc., Printed music: full scores, vocal scores, etc. Visual materials: VHS, DVD, etc.)

3. Recognize the Difficulties in finding songs and instrumental music, and how to overcome them, Part 1.

(The problems in finding POPULAR SONGS (as well as other musical styles) include being part of a larger work, located in an anthology, in different languages, not cataloged adequately, etc.)

4. Describe components that are used in a CLASSICAL MUSIC title (AKA Difficulties in finding songs and instrumental music, Part 2)

(Talk about additonal difficulties in finding classical music by discussing the idea of uniform title, such as original language, music subject headings use plural form, etc. The student will learn more terms to use in a keywod search, such as opus number, key, etc.)

5. Recognize the difficulties in finding WORLD MUSIC (AKA Difficulties in finding songs and instrumental music, Part 3)

(Search terms can vary in a catalog (ex. Senegal or Africa), traditional vs. popular music, etc.)

6. Name free internet sites (and paid electronic resources like WorldCat) to use in answering music reference questions

(Allmusic.com, Music Selection Resources on the WWW, etc.)

7. List basic music reference materials their library may want to purchase

(Grove, Ken Bloom "American Song," "Song index of the Enoch Pratt Free Library," etc.)

Client Services session at Pre-conference workshop

Joseph Hafner will be offering a special workshop at the pre-conference workshop to our targeted audience. This is not a workshop that the Educational Outreach Program will be developing and training trainers to teach, just an added benefit for our target audience. Like the other sessions, it will be offered in the morning and then repeated in the afternoon. Here is a description of the session:


Client Service Excellence for Music Libraries

Experience an interactive workshop on client services that focuses on ways to get smiles from clients and colleagues. Explore ways of working together with your clients based on research from the customers service industry and by exploring your own customer service experiences. Look at the way communication, attitude, respect, empathy and reliability can enhance your client interactions to improve service at your library.

This program is lead by Joseph Hafner, who has a background in training, including client services and library management. Joseph is currently the Associate Director of Collection Services at McGill University, and previously worked at the Indianapolis-Marion County Public Library.

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Thanks to Joseph for putting together this program!

Outreach - How can we reach our targeted audience?

Ideas are needed on how to best reach our targeted audience for the pre-conference workshop. A brochure will be sent to library consortia, public libraries, library students and music librarians in their first few years in the profession. We will be targeting the RI region. What e-mail lists should we post to? How can we get the word out?