Source Indexing

A Microsoft Excel index is created for each individual source, and sometimes one index is used for composite sources, or multiple sources can be combined into one index. The indices document: a) the content of each source (piece titles, composers, makam, usul, incipits, etc) and also record: b) the reference data assigned to each source and each piece contained therein (CMO identifier, RISM signature, work number, etc.). The data set saved in an index is the basis for what will be added to the online CMO source catalogue. The indices are also used internally by the CMO music editors to find concordances and to research pieces for their editions.

Formal Indexing

Reference Data

Reference data for each source and its contents must be assigned and indexed along with the source´s content. This includes the assignment and indexing of RISM Sigla, CMO Identifiers, and work numbers. The assignment of correct RISM Sigla and CMO Identifiers is important because these can show where the original source is held, and can point the user to the location of the original hard copy of the source. These are assigned firstly to the source itself, and secondly to each piece contained within the source. The assignment of these identifiers and sigla is usually accomplished by appending either the page number or the order number of each work to the RISM Library sigla, or to the CMO Identifier for each manuscript or print source.

Assignment of a RISM signature

RISM (Repertoire International des Sources Musicales) is an international organization aiming to document extant musical sources worldwide. A RISM Library Siglum is a code assigned to an archive or library that contains musical sources within its holdings. For example, the code TR-Iüne refers to the Istanbul Üniversitesi Nadir Eserler Kütüphanesi, while the code TR-Iütae refers to the Istanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü Kütüphanesi. These codes are created by RISM. If a new music source is found in an archive or library that does not yet have a RISM Library Siglum assigned to it, it is possible to contact the RISM editorial team who will then assigna Library Siglum to that archive/library.

Issues on RISM signatures:

• First, New RISM Library Sigla document on the server (Shared Folder\Sources, Collections and Sigla) and Online Directory of RISM Library Sigla on the RISM website could be checked for the RISM signature. If RISM signature is not assigned to the library, responsible person from our team needs to get in touch with RISM office for the assignment of RISM signature for the new library.
• Regarding the section of RISM signature referring to the source, standardized way of referring to the source should be discussed:  TR-Iüne 218-16 or TR-Iüne Y.218-16 or TR-Iüne Y.86-21. General convention for referring to the source in the RISM signature could be using full catalogue number used by the library such as TR-Iboa TRT.MD.d 374, TR-Am Gedik 18317, TR-Iak Bel_Yz_O.000086.
• While the method described above is sufficient for single-part sources, single letters are added to the end of the signature to differentiate between the components of multipart sources (e.g. TR-Iüne 218-16a / TR-Iüne 218-16b).

Assignment of a CMO identifier [tba]

Description of the source [tba]

[notation method, content, etc.]

Content Indexing

Indexing source content is the process of documenting all the contents contained in the hard copy of the manuscript/print source. This includes the titles of the pieces, their composers, the makâm and usûl of each piece, the incipit of vocal pieces, the genre, lyricist-poet, etc. Page numbers, and additional notes that may be found written in the margins of the original source are also documented in the index. If the source provides an index or a list of contents, this is also included. The index must document as closely as possible what is found in the original source, so spelling errors and mis-attributions are also recorded just as they are written, although they may be noted in the “Notes” column of the index.

Titles

• Script. The title for individual pieces contained in a source are recorded in two separate columns in an index: once in the original Ottoman (or Armenian) script, and again in Romanized Ottoman (or Armenian) transliteration. Titles are transliterated according to CMO guidelines, please see the most current CMO Ottoman (or Armenian) Transliteration Guidelines for all details.
• Spacing. If the main title heading contains multiple elements presented with spacing gaps between them (for example: makâm/genre in upper right corner, usûl in center, and composer in upper left corner) the title can be recorded in the index with spacing used to indicate the gaps (ex: pėṣrev-i rāst     uṣūl-i ŝaḳīl     ṣāḥib-i Beñlī Ḥasan Aġa)
• Alternative Titles. Some pieces have alternative titles. For example, some peşrevs from the older instrumental repertoire were given names, such as Mevc-i Deryā  or Elmāspāre. Others may be appended with titles such as Cān Ḳūrtārān or Muraṣṣaʿ. These alternative titles and designations can be recorded in the Excel index in the column for alternative titles. These appellations are useful for finding concordances among different sources. Any ambiguities regarding the composer attributions or makâm of such named pieces should be noted in the “Notes” column for that piece. For example, the pėşrev-i rāst Mevc-i Deryā is attributed to different composers in different sources, and in the Kantermir collection Mecv-i Deryā is given to a peşrev in makâm hüseyni.
• Source Index Titles. If the source has its own index, the titles found in the original index can be recorded in two additional columns of the Excel template designated for the source index titles. These are done in the same way as the main title headings, one in Ottoman/Armenian scripts, and one in transliterated Romanized script. This is done only if the source index title differs from the main title heading.

Names of Composers and Lyricists

• Standardized Names: Composer and lyricist names are recorded on the Excel template in two different columns each, once in fully transliterated form based on the name as it appears in the source, and once in “standardized” form. The “standardized” form refers to the CMO standards for modern Turkish transliteration, and uses different diacritics than Ottoman transliteration. The “standardized” form of the composer’s name conforms to the name as designated by CMO as it appears in the CMO catalogue, and may differ from the name as it appears in the original source (ex. Kemânî Hızır Ağa vs. Ḥıżr Aġa).
• Ambiguous Names: Sometimes the name given in the original source is ambiguous. For example, “Tatar” is commonly used in sources to refer to either Gâzî Giray Hân (d. 1607) or to Çoban Devlet Giray (d. 1629), or to Tatar Ahmed Ağa, or others. In this example, the standardized name “Tatar” can be recorded because there is an entry in the CMO catalogue for “Tatar”. However, if it is possible to check the notated piece against other concordances in the CMO catalogue or editions, it might be possible to discern which composer the source is referring to. Other ambiguous names may pose additional challenges, for example “İsmāʿīl Dede” may refer to either Deli İsmâîl Dede or to İsmâîl Dede Efendi. In these cases, additional research is needed to clarify which composer the source is referring to. If there is any ambiguity and the correct composer is uncertain, the “Composer (standardized)” field of the index template can either be left blank, or the name can be entered along with a question mark, or highlighted to show that there is some uncertainty and further research is needed. Additional details can also be entered in the “Notes” column of the index template.
• Omitted Names: Some pieces might be recorded without a composer's name and most sources don’t include the names of the lyricists. These fields on the index are often left blank. If the lyricist/composer name is not included in the source but the correct name can be determined with certainty, then the relevant “standardized” field can be filled. If not, both fields are left blank for further consultation with the CMO text/music editors.

Incipits

• The Excel index template contains two columns where the incipit is recorded, once in the original Ottoman/Armenian script, and once in fully transliterated form. For sources that include a güfte index, or where the poetic text is written out in full, the incipit can be taken from there. Other sources may only include the song text as syllables in superscript above the music notation. In these cases, care should be taken to correctly write the incipit and to try and find the correct text in other güfte collections (ie. Hanende, Gida-ı Ruh, etc) to make sure the incipit is correct. Other sources may not include the güfte at all, or may only include the first few words of the incipit, either in the title heading or in the margins of the manuscript. In these cases, the text can be researched in other güfteler collections. The composer name, makâm, usûl, and genre may be useful in locating the song text, especially when searching güfteler collections that list song texts according to makâm or composer. If the song text cannot be easily found in other sources, and the full incipit cannot be determined with certainty, the incipit column may be filled with a partial incipit (either with a “?” or highlighted to show uncertainty) or may be left blank. In these instances, the help of the CMO text editors may be required.
• Ambiguous Incipits: If the incipit (partial or full) contained in the title heading differs from the incipit as written in the source´s güfte index, priority should be given to the güfte index, and the field in the incipit column should be recorded directly from the güfte index. The incipit as written in the title heading should also be accurately documented in the “Title” columns, and the discrepancy should be noted in the “Notes” column.

Makâm, Usûl, and Genre

• The names of the makâm, usûl, and musical genre of each piece are recorded in their respective columns. Makâm and usûl are usually recorded in their fully transliterated original form. Musical genre is usually recorded in CMO standardized form. Documenting these in separate fields helps to increase the search functionality of the CMO catalogue when browsing or searching according to makâm, usûl, and genre.
• For proper original and standardized transliteration of makâm and usûl names, see the current CMO guidelines for makâm-usûl transcription (Makam-Usul in Transcription_ver002) and/or consult the latest list of standard terms (below).

Page number / ordering number

• When indexing the pieces contained in a source, it is necessary to index the order of the pieces either using the page numbers given in the source, or according to their sequential order. In many manuscript sources, especially in composite sources or sources compiled from loose sheets, the page numbers given in the source may be haphazard or may not be provided in the source at all. In some cases, page numbers may have been added at a later date by a different hand. In these cases, the use of page numbers in the Excel index poses its own set of challenges.
• If the source has its own index, the page or order numbers given in this index are also added to the "Notes" column.

Issues on pagination:

• In the absence of original pagination, first later hand  paginations could be examined for referring to the pieces in the source. If there is no pagination at all in the source, assignment of the page numbers is possible. Another option could be referring to the digital file names of the library. For the multipart sources that has original or later hand pagination or no pagination, digital file names of the library could be useful for reference. However etiher for the processes of newly assigned page numbers or the usage of digital file names, physical study of the source is required at some point to diagnose possible blank or full pages that are skipped during the digitalisation of the source by the library.