Title

BCC2008/MSWG/2

Music Library Association

Bibliographic Control Committee

Metadata Working Group

Musical Attributes,

Refinements,

and

Recommendations for their Use

February 4, 2008

This document describes the following fourteen attributes for musical materials. These are not elements of a proposed new schema for music materials, but are musical attributes upon which the capture of appropriate metadata can be based.

· Creator

· Culture

· Date

· Description

· Extent

· Format

· Genre/Form/Style

· Identifier

· Instrumentation

· Language

· Location

· Publisher

· Rights

· Title

The discussion of each attribute includes the following sections:

· Definition

· Usage

· Refinements and qualifiers

· Mappings to common metadata formats

o Dublin Core

o MODS

o EAD

o MARC

Creator

Definition

Name of persons or organization responsible for the creation of the entity. The act of creation normally results in musical notation or a musical performance in the first instance. The creator could be an individual (e.g. a composer), a group of individuals (e.g. composer and lyricist), a performing group (e.g. a jazz or popular musical group improvising), or a social group (e.g. traditional music from a specific geographic region).

Usage

All those with a hand in the creation of the work may be listed, but those with specific musical roles (e.g. composer, performer) should be preferred over those with non-musical imput (e.g. authors of text). Best practice is to use forms of names drawn from standard vocabularies (e.g. LC Name Authority File). For names not established construct forms of name conforming to a relevant content standard.

Musical work. Credit for creation of the musical work should be assigned to the “composer”, where an individual or group with this role can be identified. In Western classical music this is usually an individual. In popular music and jazz this may be a performing group. In traditional music this may often be a group defined socially, ethnically, geographically, or in some other way. For music with words, lyricist or the writer of a libretto may be recorded.

Notated music. Creators of notated music as distinct from the musical works represented are those responsible for the rendering of the music in notated form. Examples include arranger, editor, scribe (e.g. of a manuscript, if not an autograph), and transcriber (responsible for transcribing improvised or traditional music).

Recorded performance. The principal creators of a performance are the performers, who are either realizing musical notation or improvising without notation, or with limited notation. Others involved in a recorded performance may also be “creators” if their role was sufficiently creative. Examples might include the recording engineer, sound editors, director (for a performance with a visual component).

Refinements and qualifiers

Type. In some cases it may be useful to distinguish between creators that acting as individuals from those acting in groups.

Suggested values include, but are not limited to:

Personal
Corporate

Role. As musical materials are frequently the result of the creative activity of many people, it is often useful to note the specific contribution of each of these individuals to the musical work or its manifestation in a recording or score.

Suggested values include, but are not limited to:

· Composer

· Lyricist

· Arranger

· Performer

· Dedicatee

Vocabulary. When names are chosen from a controlled vocabulary such as a name authority file, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary from which names are chosen.

Mappings to common metadata formats

Definition

A statement referring to a named group of people with whom a musical work is associated, by whom it is influenced, or by whom it was created.

Usage

Culture is especially important for the retrieval and study of non-Western musics. Best practice is to select terms from an appropriate controlled vocabulary.

Musical work. Culture terms bring out essential aspects of the music for discovery and study, and allow a musical work to be connected to others that arise from the same Culture. Terms can be applied that refer to both the musical work in the abstract and to the specific realization of it represented on a given carrier.

Notated music. Culture is not generally applicable to the carrier for notated music independent of its musical content.

Recorded performance. Culture is not generally applicable to the carrier for performances independent of their musical content.

Refinements and qualifiers

Vocabulary. When culture names are chosen from a controlled vocabulary, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary from which terms are chosen.

Mappings to common metadata formats

Culture is not a prominent access point in traditional bibliographic description; therefore mappings to metadata formats that arise from that tradition are imprecise at best.

Dublin Core

subject <http://www.dublincore.org/documents/dcmi-terms/#terms-subject>

description <http://www.dublincore.org/documents/dcmi-terms/#elements-description>

MODS

subject <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#subject>

note <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#note>

EAD

subject < http://www.loc.gov/ead/tglib/elements/subject.html>

MARC

500 (General Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb500>

650 (Subject Added Entry – Topical Term) <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb650>

651 (Subject Added Entry – Geographic Name) <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb651>

Date

Definition

Dates associated with the work at any stage of its lifecycle, including dates of creation/composition, date of notation/transcription, and date of performance.

Usage

Best practice is to encode dates in a machine-readable format conforming to a generally accepted standard that is not language or culturally dependent, e.g. the W3CDTF profile of ISO 8601 (where January 3, 2007 is encoded as 2007-01-03). For readability common date formats can be included in repeated fields, or created through programmatic reformatting. Reserve dates of conversion of a score or recording from analog to digital form for technical metadata; do not include these in descriptive metadata records.

Musical work. Dates associated with the creation of the musical work. For works composed over a period of time this may be a date range. The creation date may or may not coincide with the dates of first notation or first performance.

Notated music. Dates associated with the creation of the musical notation as manifested in the item being described. Examples are the date on which a manuscript was written, the date a score was published, and dates of copyright, republication, printing, etc.

Recorded performance. Dates associated with a recorded performance. Examples are the date on which the performance took place, and the date on which a recording of that performance was published or distributed.

Refinements and qualifiers

Encoding. Whenever possible, best practice is to provide a machine-readable indication of the encoding format for the date. These can be syntax encoding schemes, such as W3CDTF or ISO8601, or content standards, such as AACR2.

Type. In cases where multiple dates are recorded, it is useful to distinguish between them.

Suggested values include, but are not limited to:

Creation
Revision
Copyright
Publication
Performance

Mappings to common metadata formats

Dublin Core

date <http://www.dublincore.org/documents/dcmi-terms/#terms-date>

date, refined by created <http://www.dublincore.org/documents/dcmi-terms/#terms-created>

date, refined by issued <http://www.dublincore.org/documents/dcmi-terms/#terms-issued>

date, refined by dateCopyrighted <http://www.dublincore.org/documents/dcmi-terms/#terms-dateCopyrighted>

MODS

originInfo/dateIssued <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#dateissued>

originInfo/dateCreated <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#datecreated>

originInfo/copyrightDate <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#dateother>

originInfo/dateOther <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#dateother>

EAD

unitdate (Date of the Unit) <http://www.loc.gov/ead/tglib/elements/unitdate.html>

MARC

008, positions 6 (Type of date), 7-10 (Date1), 11-14 (Date2) <http://www.loc.gov/marc/bibliographic/ecbd008s.html#mrcb008a>

260 $c (Publication, Distribution, Etc. (Imprint)) <http://www.loc.gov/marc/bibliographic/ecbdimpr.html#mrcb260>

518 (Date, Time, and Place of an Event Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb518>

Description

Definition

The description element can be used for free text notes of any kind that do not fall into any of the other elements. A “description” of a musical work, its notation and its performances can take many different forms. When text is involved this could include an abstract or summary of the textual content. For works in a number of sections (e.g. “movements”) a list of those sections would be appropriate.

Usage

Descriptive information for which other elements are provided should be entered under those elements wherever possible. As a general rule, assume that data included here will be accessible through keyword searching rather than browsing.

Musical work. Descriptive information about the work, including descriptive summaries, abstract, list of sections or movements. Notes that clarify relationships should be entered here. E.g. information about source and derivative works, variant versions, etc. Notes of a historical nature may also be included under the “work”: e.g. information about the first (or other performances), variant editions, etc.

Notated music. Enter general information about the musical notation that is not more appropriately entered in other fields. Again, these notes may be of a clarifying nature, distinguishing clearly one notated version from another. This may be particularly appropriate for music of cultures foreign to those reading the description.

Recorded performance. . Enter general information about the specific performance being described. This will often include information of a contextual nature, including information that expands on or clarifies information contained under other elements; e.g. dates, places, names of performers and others responsible for the performance or recording. Additional technical information about the recording can be entered under description to expand on or clarify information contained elsewhere in the record.

Refinements and qualifiers

None are recommended. If notes are to be qualified the list of MODS note types is recommended: <http://www.loc.gov/standards/mods/mods-notes.html>

Mappings to common metadata formats

Dublin Core

description, <http://www.dublincore.org/documents/dcmi-terms/#terms-description>

MODS

abstract, <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#abstract>

note, <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#note>

tableOfContents, <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#tableOfContents>

EAD

note, <http://www.loc.gov/ead/tglib/elements/note.html>

scopecontent, <http://www.loc.gov/ead/tglib/elements/scopecontent.html>

MARC

5xx (Notes) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb500> and <http://www.loc.gov/marc/bibliographic/ecbdnot2.html>

650 (Subject Added Entry – Topical Term) <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb650>

Extent

Definition

Information about the quantity of the materials being described or an expression of the physical space they occupy. Extent information aids a user in assessing the substance of the material being described.

Usage

Best practice is to follow guidance from a relevant content standard when constructing a value for Extent. It is generally not useful to record file size for digital materials in the Extent element in a descriptive metadata record; it is typical to reserve this information for a technical metadata record.

Musical work. Extent is generally not applicable to the content of musical works as separate from their carriers.

Notated music. Extent in a bibliographic environment for notated music generally refers to number of pages or parts, and/or physical dimensions of a volume. In an archival setting, it includes such traditional archival measurements as cubic and linear feet and meters. Extent may also include counts of carriers when a group of them is being described together.

Recorded performance. Extent for recorded performances generally refers to playing time of the carrier and/or dimensions of physical recording media. Extent may also include counts of carriers when a group of them is being described together.

Refinements and qualifiers

Type. It may be useful to further refine the metric by which extent is measured.

Suggested values include, but are not limited to:

· Number of units

· Dimensions

Mappings to common metadata formats

Dublin Core

format, refined by extent <http://www.dublincore.org/documents/dcmi-terms/#terms-extent>

MODS

physicalDescription/extent <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#extent>

EAD

physdesc/extent <http://www.loc.gov/ead/tglib/elements/extent.html>

physdesc/dimensions <http://www.loc.gov/ead/tglib/elements/dimensions.html>

MARC

300 (Physical Description) <http://www.loc.gov/marc/bibliographic/ecbdphys.html#mrcb300>

Format

Definition

Essential properties of the physical or digital carrier for the materials being described, including their form and/or function. Format information aids a user in determining if he can adequately access materials. In simpler metadata formats, Genre of the musical work itself is in many metadata standards recorded together with Format, as the distinction between the two can be hard to make; additional information can be found in this document listed under Genre/Form/Style.

Usage

Best practice is to follow guidance from a relevant content standard or controlled vocabulary (for example, Internet Media Types <http://www.iana.org/assignments/media-types/>) when constructing a value for Format.

Musical work. Format is generally not applicable to the content of musical works as separate from their carriers. See Form/Genre/Style in these guidelines for recommendations on application of these topics to the musical work.

Notated music. Format for the carrier of musical notation can refer to the type of score (full score, vocal score, miniature score, etc.) or parts, or the type of notation used. For digital representations, Format can refer to the file type of the score, whether as a still image (GIF, JPEG, PDF, etc.) or in encoded form (MusicXML, MIDI, etc.). Indications of additional physical details that could affect use of the material might also be included.

Recorded performance. Format for the carrier of a recorded performance generally refers to the audio or video recording mechanism in use, for example, CD, open reel tape, or DVD. For digital representations, Format can refer to the file type and/or compression codec for the recording, for example, MP3 or MPEG-4.

Refinements and qualifiers

Vocabulary. When formats are chosen from a controlled vocabulary, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary from which terms are chosen.

Mappings to common metadata formats

Dublin Core

format <http://www.dublincore.org/documents/dcmi-terms/#terms-format>

MODS

physicalDescription/form <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#form>

physicalDescription/internetMediaType <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#internetmediatype>

EAD

physdesc <http://www.loc.gov/ead/tglib/elements/physdesc.html>

physdesc/genreform (Genre/Physical Characteristic) <http://www.loc.gov/ead/tglib/elements/genreform.html>

physdesc/physfacet (Physical Facet) <http://www.loc.gov/ead/tglib/elements/physfacet.html>

materialspec (Material Specific Details) <http://www.loc.gov/ead/tglib/elements/materialspec.html>

MARC

008, Music, position 20 (Format of music) <http://www.loc.gov/marc/bibliographic/ecbd008s.html#mrcb008m>

008, Music, position 21 (Music parts) <http://www.loc.gov/marc/bibliographic/ecbd008s.html#mrcb008m>

245 $h (General Material Designation) <http://www.loc.gov/marc/bibliographic/ecbdtils.html#mrcb245>

254 (Musical Presentation Statement) <http://www.loc.gov/marc/bibliographic/ecbdimpr.html#mrcb254>

300 (Physical Description) <http://www.loc.gov/marc/bibliographic/ecbdphys.html#mrcb300>

Genre/Form/Style

Definition

Genre, form, and style are related concepts, presented here together as it is often not easy to draw a clear line between them. Genre, form, and style designate general categories of music that share common artistic properties, often delineated by geographic region or time period. Included here are both specific structural forms of music and more general designations of style and period.

Usage

Best practice is to select terms from an appropriate controlled vocabulary.

Musical work. Genre/Form/Style terms bring out essential aspects of the music for discovery and study, and allow a musical work to be connected to others that are in the same Genre/Form/Style. Terms can be applied that refer to both the musical work in the abstract and to the specific interpretation of it represented on a given carrier. Examples of Genre/Form/Style terms include Symphony, Gavotte, Ragtime, Lieder, Flamenco, Europop, and Nangma.

Notated music. Genre/Form/Style is not generally applicable to the carrier for notated music independent of its musical content. See Format in these guidelines for recommendations on application of this topic to a carrier for notated music.

Recorded performance. Genre/Form/Style is not generally applicable to the carrier for performances independent of their musical content. See Format in these guidelines for recommendations on application of this topic to a carrier for a recorded performance.

Refinements and qualifiers

Vocabulary. When genre/form/style terms are chosen from a controlled vocabulary, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary from which terms are chosen.

Type. In some cases it may be possible or desirable to delineate the related concepts of genre, form, and style into separate attributes. Other subordinate or related concepts, such as period, might also be used to further clarify the definition of the genre/form/style attribute.

Mappings to common metadata formats

Dublin Core

subject <http://www.dublincore.org/documents/dcmi-terms/#terms-subject>

format <http://www.dublincore.org/documents/dcmi-terms/#terms-format>

description <http://www.dublincore.org/documents/dcmi-terms/#terms-description>

MODS

genre <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#genre>
subject <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#subject>
note <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#note>

EAD

genreform (Genre/Physical Characteristic) [when not used as a child of physdesc] <http://www.loc.gov/ead/tglib/elements/genreform.html>

MARC

008, Music, positions 18-19 (Form of Composition) <http://www.loc.gov/marc/bibliographic/ecbd008s.html#mrcb008m>

047 (Form of Musical Composition) <http://www.loc.gov/marc/bibliographic/ecbdnumb.html#mrcb047>

500 (General Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb500>

520 (Summary Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb520>

650 (Subject Added Entry – Topical Term) <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb650>

655 (Index Term – Genre Term) <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb655>

Identifier

Definition

An unambiguous reference, in the form of a number or a code, to the resource within a given context. The reference may be an internal identifier without external significance, but may also be drawn from external sources and used to identify the object either within a limited context or universally.

Usage

Best practice is to restrict usage to established and widely accepted numbering systems.

Musical work. The primary identifiers for musical works in the Western art music tradition are Opus and Catalog numbers. The emerging International Standard Musical Work Code (ISWC) <http://www.collectionscanada.gc.ca/iso/tc46sc9/15707.htm> might also be useful in certain circumstances.

Notated music. Common identifiers for notated music include publisher and plate numbers. Registered identifiers for print publications may also include ISBNs and International Standard Music Numbers (ISMN) <http://www.ismn-international.org/index.html>. Local identifiers such as call numbers or accession numbers may also be recorded.

Recorded performance. Common identifiers for recorded performances include matrix numbers. UPC codes may also be used. The emerging International Standard Recording Code (ISRC) <http://www.collectionscanada.gc.ca/iso/tc46sc9/standard/3901e.htm> might also be useful in certain circumstances. Local identifiers such as call numbers or accession numbers may also be recorded.

Refinements and qualifiers

Type. In some cases it may be useful to supply information about the scheme to which an identifier conforms.

Suggested values include, but are not limited to:

ISMN (International Standard Music Number)
ISRC (International Standard Recording Code)
LCCN (Library of Congress Control Number)
local
matrix number
music plate
music publisher
UPC (Universal Product Code)

Mappings to common metadata formats

Dublin Core

identifier <http://www.dublincore.org/documents/dcmi-terms/#terms-identifier>

MODS

identifier <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#identifier>

EAD

unitid (Identification of the Unit) <http://www.loc.gov/ead/tglib/elements/unitid.html>

MARC

020 (ISBN) <http://www.loc.gov/marc/bibliographic/ecbdnumb.html#mrcb020>

024 (Other Standard Identifier) <http://www.loc.gov/marc/bibliographic/ecbdnumb.html#mrcb024>

028 (Publisher Number) <http://www.loc.gov/marc/bibliographic/ecbdnumb.html#mrcb028>

Instrumentation

Definition

The performing forces necessary to realize the musical work, also known as the medium of performance. Includes voices in addition to instruments. Also includes named ensembles with a well-known and reasonably standard makeup, such as string quartet and brass band.

Usage

Best practice is to use values from a relevant controlled vocabulary, such as LCSH. Rely on guidance from an appropriate content standard and the capabilities of the metadata storage format to determine if each instrument should be listed separately, combined into one string, or possibly both. Best practice is to store multiple instruments in multiple fields in a structured form if supported by the metadata storage format and content standard.

Musical work. Instrumentation recorded for the abstract musical work should refer to the forces for which the work was originally intended.

Notated music. Instrumentation provided for notated music should refer to the forces for which this particular edition is intended to be used, even if different from those originally intended for the musical work.

Recorded performance. Instrumentation provided for recorded performances should refer to the forces actually used in the given performance, even if different from those originally intended for the musical work.

Refinements and qualifiers

Vocabulary. When instrument names are chosen from a controlled vocabulary, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary from which terms are chosen.

Mappings to common metadata formats

Most general-use metadata formats do not provide an element in which instrumentation fits unambiguously. The mappings suggested here are therefore for more general elements that might contain other information as well.

Dublin Core

description <http://www.dublincore.org/documents/dcmi-terms/#elements-description>

MODS

note <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#note>

EAD

note/p <http://www.loc.gov/ead/tglib/elements/note.html>

MARC

048 (Number of Musical Instruments or Voices Code) <http://www.loc.gov/marc/bibliographic/ecbdnumb.html#mrcb048>

240 $m (Medium of Performance for Music, inside Uniform Title) <http://www.loc.gov/marc/bibliographic/ecbdtils.html#mrcb240>

500 (General Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb500>

511 (Participant or Performer Note) [can include instruments played by performers on a sound recording or in a video] <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb511>

650 (Subject Added Entry – Topical) [Subjects for medium of performance may include the instrumentation] <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb650>

655 (Index Term – Genre/Form) [Subjects for medium of performance may include the instrumentation] <http://www.loc.gov/marc/bibliographic/ecbdsubj.html#mrcb656>

Language

Definition

The language of textual content that is an integral part of the musical work. Do not use to indicate the native language of the composer, or to provide information about material that is not part of the musical work (e.g. program notes). Texts may be independent works set to music, or be part of the musical composition itself.

Usage

Best practice is to use a standard code or language designation.

Musical work. Only include language designations that apply to the work in the abstract. Language of translation, etc. should be included under notated music or recorded performance.

Notated music. Unless there has been a translation the language designation of the musical work will still apply. If the work has been translation include that language, along with the language of commentaries, notes, etc.

Recorded performance. Unless there has been a translation the language designation of the musical work will still apply. If the work his being performed in translation include that language, along with the language of commentaries, notes, etc. that accompany the recording.

Refinements and qualifiers

Vocabulary. When place names are chosen from a controlled vocabulary or a standard code list, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary or code list from which terms are chosen.

Mappings to common metadata formats

Dublin Core

language <http://www.dublincore.org/documents/dcmi-terms/#terms-language>

MODS

language <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#language>

EAD

langmaterial (Language of the Material) <http://www.loc.gov/ead/tglib/elements/langmaterial.html>

MARC

008, positions 35-37 (Language) <http://www.loc.gov/marc/bibliographic/ecbd008s.html#mrcb008a>

041 (Language Code) <http://www.loc.gov/marc/bibliographic/ecbdnumb.html#mrcb041>

546 (Language Note) <http://www.loc.gov/marc/bibliographic/ecbdnot2.html#mrcb546>

Location

Definition

Places associated with: the work; the edition of notated (printed, manuscript) music; the performance and its recording. Locations may be specific (e.g. a specific performance hall) or more general (e.g. a country), depending on the specificity of the data collected and the musical genre (e.g. a specific traditional music may derive from a broad area).

Usage

Best practice is to use terms from a specific vocabulary, such as terms from LC Subject Headings, the Getty Thesaurus of Geographic Names, or other thesauri of place names.

Musical work. Location should be included in metadata pertaining to a musical work where the work is strongly associated with a location.

Notated music. Enter locations associated specifically with the notated music, including place the score was copied, or the place of publication.

Recorded performance. Enter location associated specifically with the musical performance and its recording.

Refinements and qualifiers

Type. When multiple locations are recorded, it may be useful to provide an indication of how the location is connected to the work or item being described.

Suggested values include, but are not limited to:

Creation: use for work; record location(s) associated with the creation or revision of the work
Publication: use for notated music; record location(s) associated with the publication, issue or distribution of notated music (either printed or manuscript)
Performance: use for a recorded performance; record location(s) associated with a recorded performance
Recording: use for a recording of a recorded performance; record location(s) associated with the recording

Vocabulary. When place names are chosen from a controlled vocabulary, it is best practice, if possible in the metadata format used, to provide an indication of the vocabulary from which terms are chosen.

Mappings to common metadata formats

Dublin Core

coverage <http://www.dublincore.org/documents/dcmi-terms/#terms-coverage >

MODS

originInfo/place <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#place>

subject/geographic <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#geographic>

subject/hierarchicalGeographic <http://www.loc.gov/standards/mods/v3/mods-userguide-elements.html#hierarchicalgeographic>

EAD

geoname (Geographic Name) <http://www.loc.gov/ead/tglib/elements/geogname.html>

MARC

260 $a (Place of Publication, Distribution, Etc. (Imprint)) <http://www.loc.gov/marc/bibliographic/ecbdimpr.html#mrcb260>

500 (General Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb500>

518 (Date/Time and Place of an Event Note) <http://www.loc.gov/marc/bibliographic/ecbdnot1.html#mrcb518>

Publisher

Definition

The name of the entity that published, printed, distributed, released, issued, or produced the resource. Best practice is to follow the guidelines from an appropriate content standard for guidance on whether material is published or unpublished, and for the choice and structure of the name of the publishing entity.

Usage

An institution that makes previously released material available online, without any other substantive contributions to its content, is not generally recorded as a Publisher. Publishing place, while often recorded together with Publisher in a single metadata element, is described in these guidelines under Location.

Musical work. Publisher is generally not applicable to the content of musical works as separate from their carriers.

Notated music. Publisher for notated music generally includes the name of the publisher, and possibly the distributor, of the edition.

Recorded performance. Publisher for recorded performances generally includes the name of the publisher, possibly the distributor, and in some cases production companies and broadcasting companies.

Refinements and qualifiers

Type. It may be useful to provide an indication of the role the body listed in publisher played in the item’s creation or distribution.

Suggested values include, but are not limited to: