Evalution sheet #2

Since the learning objectives are an important part of the three workshops that have been developed in the EOP, Jean Harden had a great idea of having the learning objectives available to all the train-the-trainer folks in the morning "model" workshop observations with space to write notes. This second evaluation sheet will be included in the pre-conference workshop folders but I thought you might want a "preview" of this document.

Under each learning objective is space to write comments on whether the objective was covered, how well it was covered, and how pertinent to the workshop as a whole it seemed to be. If the objective was not covered, there is space to indicate whether that omission made sense in the current context.

Train-the-trainer Comment Sheet for Learning Objectives

Sound Recordings Cataloging Workshop

Below are listed the learning outcomes for the Sound Recordings Cataloging Workshop. Under each learning objective is space for you to write your comments on whether the objective was covered, how well it was covered, and how pertinent to the workshop as a whole it seemed to be. If the objective was not covered, indicate whether that omission made sense in the current context.

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

1. 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. Explain the proper Type and Bibliographic Level coding for a sound recording that also happens to be a continuing resource.

3. 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. Explain at least three major bibliographic differences that justify the creation of a new record for sound recordings.

5. 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. 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.

(OVER)

7. Explain at least three instances where the use of field 006 may be appropriate.

8. 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. Explain when a sound recording duration belongs in field 300 and, when it does not, what are the options for listing durations.

10. Explain how to use field 028 for multiple publisher numbers that are non-consecutive.

11. List at least two of the types of standard numbers that should be coded in field 024.

12. Explain at least three correct uses of field 246 and how its use is distinguished from that of field 740.

13. Explain where the General Material Designation (GMD) should be placed.

14. List the two 5XX fields in the record where performers might be included.

15. Explain the difference between a standard contents note and an enhanced contents note.

ADDITIONAL NOTES:

Train-the-trainer Comment Sheet for Learning Objectives

Music Reference Workshop

Below are listed the learning outcomes for the Music Reference Workshop. Under each learning objective is space for you to write your comments on whether the objective was covered, how well it was covered, and how pertinent to the workshop as a whole it seemed to be. If the objective was not covered, indicate whether that omission made sense in the current context.

By the end of the Music Reference Training Session, the participant 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 additional difficulties in finding classical music by discussing the idea of uniform title, such as original language, music subject headings use plural form, etc. The Participant will learn more terms to use in a keyword search, such as opus number, key, etc.)

(OVER)

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.)

ADDITIONAL COMMENTS:

Train-the-trainer Comment Sheet for Learning Objectives

Music Collection Development/Acquisitions Workshop

Below are listed the learning outcomes for the Music Collection Development/Acquisitions Cataloging Workshop. Under each learning objective is space for you to write your comments on whether the objective was covered, how well it was covered, and how pertinent to the workshop as a whole it seemed to be. If the objective was not covered, indicate whether that omission made sense in the current context.

By the end of the Music Collection Development/Acquisitions Workshop, the participant will be able to:

1) Identify and distinguish music material formats and iterations

Sound recording formats

Score types

Outdated formats still found in library collections

2) Know basic tools in selecting music materials

Using A Basic Music Library

Using book, score and sound recording reviews

Using approval plans and standing orders

Identification of major vendors

Searching for obscure items

3) Know how to create and maintain a music collection development policy

Looking at examples of CD policies

Elements of a CD policy

Writing policy

Using CD policy for making selection/deselection decisions

4) Know how to evaluate a music collection; make decisions on deselection, preservation, replacement

How to make a physical evaluation on various formats

To toss or not to toss?

Portions of copyright law that have an impact on collection

development practices

(OVER)

5) Discern collection requirements based on the needs of the collection’s users

Assessing your patron base

Obtaining feedback

Use of circ and other stats in aiding selection

Marketing

ADDITION