9.1. Analytic description

The concept of analytic description arises from the desirability in many cases, when dealing with sound recordings in an archival context, to divide the descriptive information into two separate levels: information pertaining to the physical item itself (sometimes referred to as host item or packaging information) and information pertaining to the sounds contained on the physical item as they were originally captured and regardless of any specific containment, or release (i.e. more or less equivalent to a description of a performance during a recording session)

9.1.A. Rules

9.1.A.0. General rule

9.1.A.0.1. The descriptive part of an analytic entry consists of a description of the part analysed followed by a linking phrase and a short citation of the host item, or items, on which the part occurs.

9.1.A.0.2. Make a description of the part analysed drawn from the following elements that apply to the part:

Title proper, other title information, statement/s of responsibility, date(s) of creation (i.e. recording), copyright information (relating to the realisation ), collection/series statement , notes (structured to include: realisation details, including names with roles and functions relating to the individual recording on the host item, place and date of recording, other recording circumstances, matrix and take numbers, etc. (when appropriate), ISRC or other standard number. Note that label and catalogue number will not normally apply to an analytic entry, but instead to its host item(s) when these are published recordings.

9.1.A.0.3. Follow with a suitable linking statement and a brief citation of the host item (see 9.1.A.9.0-9.1.A.9.2).

9.1.A.0.4. Since the concept of an individual recording (track) is unitary whereas the concept of a physical (host) item may be multiple, there is a danger that duplication may needlessly occur in analytic cataloguing. It is therefore recommended that archives consider making the linking element and citation for the host item repeatable. This would enable each host item and its locational reference to be contained in a single analytic catalogue entry for the particular recording itself (see 9.1.A.9.0).

9.1.A.0.5. Unless otherwise stated, rules in 9.1.A.1-9.1.A.8.5.2 apply to analytic entries only and not also to their host item(s). Description of host item(s) is, in effect, addressed separately in Areas 1-8 and Chapter 10.

9.1.A.1. Title and statement of responsibility

9.1.A.1.1. Follow the rules and examples as given for Area 1. See examples in 9.1.B below.

9.1.A.2. Edition Do not use for analytic entries. edition information relates only to the host item level.

9.1.A.3. Publication, production, distribution, broadcast, etc. and date(s) of creation
See also: 3.B.1.4

9.1.A.3.1. Analytic entries Give the date(s) of creation (i.e. recording) only in Area 3 of an analytic entry.

Do not give publication, production , distribution, broadcast, etc. information in an analytic entry.

Do not give details of place of recording in Area 3 of an analytic entry.

If date and place of recording are both to be given in an analytic entry, they may be given together in a note, and Area 3 omitted.

9.1.A.3.2. Host item entriesPublication, production , distribution, broadcast, etc. information is given in Area 3 of the description for the host item only, where the host item has been published, produced, distributed, broadcast, etc.

Recorded New York City, 1921-06-11
(Note in analytic giving place and date of recording session)

[U.S.] : Columbia, ca 1923
(Area 3 in related host item)

Recorded Sydney (N.S.W.), 1966
(Note in analytic giving place and date of recording session)

Australia : Parlophone, 1966
(Area 3 in related host item)

Melbourne : 3AW [broadcaster], 26 January 1988
(Area 3 in a separate host item containing the same recording)

For unpublished host items, give the date(s) of creation (i.e. recording) only in Area 3.

9.1.A.3.3. Optionally, give the original publication, production , distribution or broadcast, etc., details in the notes area of the analytic record. This may be useful particularly in cases where the host item for the original release is not also listed in the catalogue of the archive or cataloguing agency, or where the specific content of the recording is stored in a mass storage system.

Note: Recorded Sydney, N.S.W., 1950-12-27
Note: First published [Sydney] : Wilco, [1950]
(Notes in an analytic entry about the original recording session and first publication.)

[Australia] : Sound Heritage Association, c 1996
(Area 3 in related host item)

9.1.A.3.4. Optionally, details relating to the subsequent publication, production , distribution, broadcast, etc., may be documented in a note in the analytic record.

9.1.A.4. copyright information

9.1.A.4.0. Particularly for published sound recordings, and also where an archive makes in-house copies of unpublished and broadcast recordings for preservation or reference purposes, different categories of legal rights are usually attached to the analytic and host item respectively:

Analytic entries
Performer rights, and in cases where a published work is performed mechanical rights, which are held by the publisher of the printed music or text, are attached to the individual recordings (i.e. tracks which are contained on the physical item), and therefore given in analytic entries.

Host item entries
Recording rights belong to the record company , studio or institution which made the physical copy of the recording. These are attached to the physical (or host) item in the form of a specific publication or copy (i.e. the physical item which is shelved in the archive's or library's collection).

It is therefore useful, for the sake of clarity in the description, to keep these two categories of copyright information separate. Recording rights would normally be included in the publication or copyright area of the host item, while performer and mechanical rights would normally be included in the copyright area for the analytic record. 9.1.A.4.1. Include any copyright information which pertains to the recording itself or the work which has been recorded. Qualify the statement in parentheses if required.

Copyright (song title): Stainer & Bell, London

Copyright: BBC

Copyright: R. Margoschis (recordist)

Copyright: Bibliothèque nationale de France

9.1.A.4.2. Note also that copying or reuse of an individual recording is subject to the recording rights associated with the particular host item used. This is borne out, for example, in the recent commercial availability of some published compilation reissues of recordings which were originally published as 78 rpm discs, and for which the recording rights attached to those 78 rpm discs have, through age, expired. Reuse of the contents of these newly published compilations is then subject to their own new recording rights. Hence the recording rights applicable to each host item should be included in the catalogue record for that host item.

9.1.A.4.3. Note further that if the analytic entry is for a previously published or broadcast recording which is subsequently transferred to an archive's preservation copy or stored as an audio file in an archive's jukebox or mass storage system, the details of the recording rights for the host item and/or of the p notice from which that specific recording was made should be included in the analytic catalogue record. This is for reference purposes and to assist future requests for permission to reuse the recording (see also 9.1.A.8.5.2).

Copyright (source of audio content): WEA ; p 1979
Note: copyright details are for the original item from which this preservation copy was made

9.1.A.4.4. Do not otherwise include in an analytic entry any copyright information which pertains to the manufacture or production of any physical item which may contain the recording in hand. Instead, give this information in Area 3 or Area 4 of the applicable host item(s).

9.1.A.5. Physical description

9.1.A.5.1. Normally physical description is concerned with the physical characteristics of the host item. Therefore the usual application of physical description will not apply to an individual recording which may occur on several host items. information pertaining to physical description for analytic entries for audiovisual recordings should be restricted to the audiovisual content only, regardless of the physical characteristics of the host item. Such information would include, for example, duration, whether silent (si.) or with sound (sd.) and the presence of colour (col.) or black and white (b&w) (films, videos and electronic resources). With the absence of other physical description data it is recommended that, when appropriate, this information commence with a suitable explanatory term.

Duration: 3 min., 28 sec.

14 min., 35 sec. : sd., col.

9.1.A.5.2. Alternatively, this information may be given instead as a note on physical description (see 7.B.14), or duration may be given at the end of a summary if appropriate (see optional rule in 7.B.24).

9.1.A.6. Series/collection statement

9.1.A.6.1. See also: 9.0.A.3 Series statements may be included in analytic catalogue records for unpublished items which have been created, compiled or otherwise collated as a collection.

(Bolger collection)

(George Dreyfus collection. Interviews series )

9.1.A.6.2. Additionally series statements for published or broadcast items may be entered here if necessary (e.g. in the case of analytic records for a compilation of selected episodes of radio serials).

(Night beat ; episode 1)

9.1.A.7. Notes

9.1.A.7.0. Enter in this area any elements concerned with the event as recorded. It is recommended that a strict ordering of notes is adhered to, to aid comprehension, and that this ordering follow that given in Area 7. The following highlights those notes generally considered most applicable in analytic entries for sound recordings. These focus on key information related to describing a recording session. Note, however, that any additional notes, as given in Area 7 may also be included in an analytic, if appropriate to the content being catalogued.

Notes generally considered most applicable in analytic entries for sound recordings are:

9.1.A.7.1. Statements of responsibilityGive names of persons or bodies responsible for the recorded content (e.g. composers or arrangers, performers and other contributors), together with their respective functions and roles, which are considered important, and which are not named in the statement of responsibility (see 9.1.A.1, 1.F and 7.B.7).

Arranger: Bengt Hallberg

Performers: Placido Domingo and John Denver

Recordist: Cathy Bromley

9.1.A.7.2. Material of recordingAs appropriate, provide information about the recording process itself, the original recording, or characteristics of the recording equipment including the type of tape recorder, microphones and sound tape designation. Normally this applies to unpublished material, but occasionally also to published material.

Recorded using Beyer dynamic mics into Nagra IV recorder and onto Zonal 575 tape

9.1.A.7.3. Place, date and circumstance of recordingGive available details of the place and date of recording that are not given in 9.1.A.3. Include appropriate contextual information about the recording event, or circumstance according to 7.B.11. Optionally, include the name of the recordist here.

Recorded: 1956-11-15

Recorded: Ely Cathedral

Recorded: New York City, 1931-06-11

Recorded: Interviewee's home (Liverpool)

Recorded at the Edinburgh International Festival

Latitude 41 [degrees] 30'N; Longitude 120 [degrees] 30'E; Altitude c 600m

9.1.A.8. Numbers

9.1.A.8.0. There are several standardised numbers which can be included in analytic entries. All numbers which are included will require a suitable annotation to identify them.

9.1.A.8.1. Various international standard numbering systems, e.g. ISRC , ISAN and ISWC , have been or are being developed at the time of writing these rules. In the future these will help to precisely identify individual tracks and the works that are performed on published recordings. If obtainable, enter such numbers here.

9.1.A.8.2. For unpublished recordings, include any original numbering allocated to the recording by, for instance, the recordist or collector.

Collector's original number: 58

Alternatively, where the recording is part of a named collection, give the recordist's or collector's number as a volume number in the series statement (see 9.1.A.6.1.) within the analytic entry

(Frederick Smith collection; 58)

Alternatively, if the recordist's or collector's number relates only to the host item, give it in the entry for the host item instead (see 6.J).

9.1.A.8.3. For broadcasts, include any numbering associated with the original programme or recorded item as created for identification purposes by the originating organisation (see second optional rule in 8.B.1).

Alternatively, where the recording is (part of) a broadcast series or serial , give the broadcaster's number as a volume number in the series statement (see 9.1.A.6.2) within the analytic entry.

Alternatively, if the broadcaster's number relates to the host item, give it in the entry for the host item (see second optional rule in 8.B.1).

9.1.A.8.4. Matrix and take numbers

9.1.A.8.4.1. Of significance only to the coarse groove era, enter the matrix and take number associated with the recording (see 8.B.1).

9.1.A.8.4.2. Include qualifying statements such as alternate, previously unissued, as appropriate.

9.1.A.8.5. Label and catalogue number

9.1.A.8.5.1. Generally, label and catalogue number information are normally given in the catalogue record for the host item only for published recordings.

Columbia: A3936


When, however, a recording which was published, is copied to an archive's preservation, dubbing or reference tape, or stored in its jukebox or mass storage system, it may be appropriate to include in the analytic entry for the recording, the details of the label and catalogue number for the host item from which the recording was copied. This is to assist with correct discographical identification in the future, and would be especially helpful in cases where there is no description for the original host item in the catalogue (see also 9.1.A.4.4.).

Precede such label and catalogue number information with a suitable phrase

This recording from: Regal: G22493

9.1.A.9. Locational reference to whole or host item
See also: 9.0.C.2

9.1.A.9.0. The locational reference to the host item comprises: the term In: followed by a brief citation of the host item, and concludes with details of the location on the host item. The recording may be present on one or more sound physical items. Accordingly, it is recommended that the locational reference be repeatable for each host item. Start a new line for each new locational reference statement.

9.1.A.9.1. Commence with the term In: or its equivalent in another language and/or script.

Follow with the citation for the host item. This should include:

the name and/or title of the host item; statement(s) of responsibility, if appropriate; and edition/release statement, when necessary for identification. Note that where host item(s) are published sound recordings, their full label name and catalogue number are to be included in the citation. For broadcast items include sufficient details about the broadcaster, and date of broadcast or other specific identifying information, such as tape number or episode number of a serial , in the citation for the host item.

In: Bessie Smith : the world's greatest blues singer. - CBS: CG33. - Side 2 band 6

In: 4BH collection. archives series . - Tape S41. - Cut 1

9.1.A.9.2. Give the locational reference to the recorded item according to its physical position on the host item(s) in the collection, or to its address in a jukebox or mass storage system. Include a duration statement in minutes and seconds if important, and if the duration is not already given elsewhere. The terminology used will depend on the type of physical item in hand, the way in which its playing surface has been divided up and the language of the cataloguing agency involved. These are the recommended terms for use in English-speaking agencies:

Analogue disc recordings
Sides 1 - 4
Side 1 bands 1 - 4
Band 4

CD recordings
Band 7
disc 2 band 7

Tape recordings (reel )
Reel 1 cut 6 (duration 1 min. 22 sec.)
Reel 1 track B cut 6

Tape recordings (videocassette)
01:40:36 [i.e. 1 hour, 40 minutes, 36 seconds]

Tape recordings (DAT)
Index marker 4, or
Start id 4

audio file time code display on playback equipment
00:43:35 - 01:19:45
(i.e. start id is 43 minutes, 35 seconds, end id is 1 hour, 19 minutes, 45 seconds]

Floppy disk or CD-ROM
[i.e. drive is a, path is Shetlands, filename is Eiderd.wav]

9.1.A.9.3. Optionally, include the in-house collection management control number or shelf-mark for ease of reference and retrieval.

It is important to note that the appearance of the brief citation for the host item in the analytic entry does not preclude preparation of a separate catalogue record for the description and retrieval of the host item in the collection.

9.1.B. Examples of analytic entries

1. Published recording of musical performance on two physical items

I could write a book / Miles Davis Quintet

Music by Richard Rodgers ; originally with lyrics by Lorenz Hart

Recorded: 1956-10-26 at Van Gelders Studio, Hackensack, NJ

In: Cookin'/Relaxin'. - CD. - Prestige: CDJZD 003. - Side 1 band 7

In: Chronicle. - Boxed set of compact discs. - Prestige: 8 PCD012. - Side 8 band 4

2. Unpublished recording of musical performance on single physical item

Home without mother : traditional song from Sussex, England / Mary Ann Haynes, female singer and Ted Haynes, male singer. - copyright: Mike Yates and recorded artists. - (Mike Yates archive)

Mary Ann Haynes is a gypsy by birth but had settled in Brighton at the time of recording. Ted is Mary Ann Haynes' son

Recorded: 1973-03-04, live, Brighton, Sussex by Mike Yates

In: Haynes Family. - 1 reel : stereo. - Unpublished tape. - Band 8

3. Unpublished recording of non-musical item from collection

Aeroplanes, jet. Military bombers. - copyright: Henry Brugsh, licensed to NSA for re-use in publications or transcriptions without further reference to owner Avro Vulcan

Recorded: 1990-06-30, RAF Woodford Air Show by Henry Brugsh

Summary: At RAF Woodford, the airshow commemorates the Avro

Vulcan on its withdrawal from service. After the flying display, a poem in memory of the bomber, written by a member of the Vulcan Association is read over loudspeakers, with (also over loudspeakers) a recording of the Vulcan's noise

In: Brugsh recordings. - 1992. - Unpublished videotape. - Cut 4

4. Wildlife recording on published physical item

Somateria mollissima = Eider duck. - copyright: BBC Worldwide/Natural History Unit. - Duration: 2 min., 07 sec.

Recorded: Shetland Islands, Scotland by David Tombs

Males 'crooning' accompanied by quacks of females

In: Weird and wonderful natural sounds.- London: BBC, 1996. - 1 cassette. - Side 2 cut 6

5. Oral history interview from unpublished collection

[Oral history interview with Carlyle Edmund Seppings]. - copyright: British Library. - Recorded 1982-10-27. - (India Office Library and Records interviews. Memories of the British in India)

Carlyle Edmund Seppings (male interviewee) interviewed by David Blake

Interview lasts approximately 4 hours, final section of low sound quality due to battery running down

Summary: Seppings interviewed about his life in Burma until 1950

Background and education in Burma; university at Rangoon and attitudes to Burmese people; outbreak of World War 2 and joining Burma Rifles; 1st Burma campaign, especially action at Sittang Bridge; Special Operations Executive (SOE) in the Inter ...etc.

In: India Office Library and Records interviews. Memories of the British in India. -109 tape reel s. - Unpublished. - Reel 1 cut 1

6. Broadcast item on 3 separate physical items, including institutional dubbings

The Tempest / by William Shakespeare ; adapted and arranged for radio by Dennis Drew Arundell.- copyright: BBC

Howleson Culff (Antonio), Franklin Dyall (Alonson), Lewis Stringer

(Sebastian), Anthony Jacobs (Ferdinand), Gabrielle Blunt (Miranda), et. al.

Incidental music played by the BBC Opera Orchestra conducted by Stanford Robinson with Jennifer Vyvyan (Juno)

"Arranged for broadcasting " by Dennis Arundell, using the incidental

music composed by Sibelius

The part of Prospero is not listed in the available documentation

Recorded: 1949-12-31 by the BBC

BBC recording broadcast on the Third Programme, date unknown

Poor sound quality (dubbing of cracked acetates)

In: BBC MX 15531-15537.- Unpublished acetates

In: T11694WR.- Playback copy dubbing 1996. - 1 tape reel . - Cut 1

In: CDRNNNNNNN.- archive digitised dubbing, 1996. - CDR - Cut 1

7. Recording published on two host items

Long road / Bessie Smith, [music, words and] vocals. - Duration: 3 min., 21 sec.

Bessie Smith confirmed as composer and lyricist from printed music

Louis Bacon, cornet ; Charlie Green, trombone ; Clarence Williams,

piano ; Floyd Casey, drums

Recorded: New York City, 1931-06-11

Matrix number: W-15195-3

In: Long road ; Shipwreck blues / Bessie Smith. - Columbia: 14663-D. - Side 1

In: Bessie Smith : the world's greatest blues singer. - CBS: CG33. - Side 2 band 6