[-Catalogs Usability] How are Catalog Entries for music compositions/sketches/orchestrations sorted out from a prolific musician's many many performances principally?

[warner...@gmail.com]

An idea of note... Musicology has a place for historic Preservation of the creative works if any, composed music, score corrections, composed sketches, orchestrations, arrangements of dishonored conductor/pianist James Levine for example from early years, from Juilliard years, from institutes, from informal projects, et al can be archived and cataloged.

It might be of interest learning more about collaborations with Milton Babbitt, with William Bolcom, with Elliott Carter, with Charles Wuorinen, for The Ghosts of Versailles by John Corigliano, for The Great Gatsby by John Harbison, etc.

Cataloging Entries Fields Facets haven't been used for musicians' own music, for quick and easy ferreting out from prolific musicians' catalog entries of their many performances of the other composers. Catalog Entries Fields Facets for ferreting out their own creative works, their own composed music, their own orchestrations, their own musical sketches, their own score corrections, their own arrangements from all the other Catalog Entries.

Catalogers can now begin using all the MARC Fields Facets.

Would any kind folks out there more expert in using Catalogs have insight about how to turn up if any cataloged composed work of conductors or pianists known for prolific performances of other composers?

Comments so far...
__________ __________
"The short answer is that in most library catalog browse screens, this is a difficult task indeed. When searched as an author, the element displayed in the one-line display in classic catalogs is usually either a title physically associated with the name (that is, the title portions of a name-title access point) or the title proper of the resource (or maybe a uniform title in MARC field 240, if local display rules favor its display over 245). Leonard Bernstein has traditionally been the poster child to illustrate this problem.

"In discovery systems, more context is usually visible right away, but means more data needs to be mentally processed by the user before figuring out the person’s relationship to the resource.

"There are tools that *could* make this easier. The MARC format supports relator codes in $4, and relationship designators in $e. Those codes/designators can distinguish composer functions from other functions. The problems are 1) the lack of consistency in their assignment in both current and legacy data, and 2) the problems that arise if they *are* included in the indexed access point.

"It would seem that a system that could use them as a limiting facet might be helpful; but it’s not likely that the system would go to the trouble of ensuring that the code/designator facet would be applied *only* to the desired name."

__________ __________
"WWU’s “sandbox” Primo environment (due to be rolled out with the new Primo interface later this year) does distinguish between composers and performers in faceting. To use Mark’s poster child:

http://alliance-primo-sb.hosted.exlibrisgroup.com/primo_library/libweb/action/search.do?fn=search&ct=search&initialSearch=true&mode=Basic&tab=atwwu&indx=1&dum=true&srt=rank&vid=WWU&frbg=&tb=t&vl%28freeText0%29=leonard+bernstein&scp.scps=scope%3A%28WWU%29%2Cscope%3A%28E-WWU%29%2Cscope%3A%28wwucedar%29%2Cscope%3A%28ALLIANCE_HARVESTER%29

"(sorry for the long URL)

"So, there is proof of concept, but of course, the relationship data has to be present, which it isn’t throughout our entire database. Ditto medium of performance and genre/form data, for which we are also rolling out new facets."