All objects in the Kataoka collection (discs, sleeves, attached booklets, attached cards, record cases, albums) are given an object ID, while the digital data (audio and image data) created from them are marked with a data ID.

1.Object ID

The object ID is created by connecting individual elements belonging to a record with a hyphen as follows: “Collection indication” - “label abbreviation” - “catalogue number” - “original/duplicate” - “object type”

1.1 Collection Indication

For the Kataoka collection, its initial letter “K” is used as an indication.

1.2 Label Abbreviation

See “List of Labels Abbreviations”

1.3 Catalogue Number

If the catalogue number is unknown, sequential numbers are assigned in square brackets.

Example: K-ZZZ-[1]-00, K-ZZZ-[2]-00

1.4 Original/Duplicate

To distinguish records with the same catalogue numbers in the Kataoka collection, such records are marked with “00” (original), “01” (first duplicate), or “02” (second duplicate) for convenience.

1.5 Object Types

The following numbers are added depending on the object type.

Disc = 00

Inner sleeve = 01

Sleeve = 02

Attached booklet = 11

Attached card = 12

Other attachment = 19

Album = 91

Record case = 92

1.6 Object ID Generation Example

In the Kataoka collection (collection indication: “K”), there is a label Asahi (label abbreviation: “A”) with multiple records numbered 28300 (catalogue number). The first record (object type: 00) among them is indicated as an original (original/duplicate: 00), which makes the object ID in this case as follows: “K-A-28300-00-00”.

2. Data IDs

2.1 Data about records

The data ID is created by adding individual elements with a hyphen or an underscore after the respective object ID: “Object ID”_“Front/Back Side information” - or _ “other information”.

2.1.1 Front and Back Side Information

If there are several recording contents on the same side and if these are created as individual files, they are to be identified with an additional “1”, “2” and “3” after “A” or “B”. For example, side A of the record with catalogue number 85062 of the Columbia label contains three songs: “Jo no Mai” (序之舞), “Hayamai„ (早舞) and “Kuruma Giri” (車切り). Therefore, the audio files of the respective songs are named “K-C-85062-00-00_A1”, “K-C-85062-00-00_A2” and “K-C-85062-00-00_A3”.

2.1.2 Other Information (Audio Data)

If the recording is post-processed with an audio editing program, this is noted after the object ID. When the volume is normalised,“-N” is added. If an audio file was recorded at 33 rpm, “-33” is added. Recordings that are subsequently corrected to 78 rpm are given the addition “-78”.

If a record can only be played partially due to its condition, the first part (until it breaks off) is marked with “-P1” and the second part (from when it goes again) is marked with “-P2”. If the same record has been digitalised under different technical conditions, “-01”, “-02” or “-03” are assigned to the ID in sequence as digitalisation take numbers. However, since there are never more than ten takes in the digitalisation process, if the number added at the end is less than “10”, it should indicate the take number, while if the number is either “33” or “78”, it should indicate the rpm.

2.1.3 Other Information (Image Data)

For image data “_L” is used as an abbreviation for “Label” photos, i.e. the detailed view of the label.

2.1.4 Data ID Generation Example

In case of audio data:

If side B of the record with the object ID “K-A-28300-00-00” is digitalised under different technical conditions several times and the volume of the first take (other information: take number “01”) is normalised (other information: normalisation “N”) post digitalisation, the data ID of this audio file should be as follows: “K-A-28300-00-00_B-N-01”. The data ID for the audio file without the normalisation process should be “K-A-28300-00-00_B-01”.

In case of image data:

The image file containing the detailed view (other information: L) of side B of the record with object ID “K-A-28300-00-00” should have the data ID “K-A-28300-00-00_B_L”.

2.2 Attachments

When creating image data for attachments, a two-digit number is added to the object ID with an underline and a number that is assigned sequentially in the order of data creation.

Example:

If an attached booklet of a record (Columbia label, catalogue number: 25861) in the Kataoka collection is digitalised several times, the sixth image file of this attachment should have the ID “K-C-25861-00-11_06“.

As a general rule, the original notation on the label should be reproduced.

1 Dealing with mistakes

Even if it appears that there is a typographical error on the label, the original text should be entered faithfully. Example: If the label says “Sarnt-Saence” (K-C-W243-00) when a correct person's name is actually “Saint-Saëns”, the former is entered to reflect the original spelling on the label. Similarly, if the label says “Neue System Elektoro Spezial” (K-XFT-T23-00) instead of a grammatically correct “Neues System Elektro Spezial”, the former is entered.

2 Handling of old characters

In case of Japanese, old character forms (kyûjitai) are entered as they are. If this is not possible for technical reasons, equivalent new characters are entered instead. Unreadable characters are marked with [不明] (illegible).

3 Handling of Roman letters

For Roman letters, upper and lower cases are entered as they appear on the label. Unreadable letters are marked as [illegible] for each letter.

The romanisation follows the modified Hepburn system with some simplifications.

1 Notation rules

1.1 Use of upper and lower cases

The first letter of proper names and nouns is capitalised.

Examples:

ああ満州: Aa Manshû

春を待つ唄: Haru o matsu Uta

1.2 Long vowels

Long vowels are marked with a circumflex (^).

Example:

森鴎外: Mori Ôgai

However, long “i” is written as “ii”, with the exception of foreign words that are written in katakana, in which case the circumflex is used.

Examples:

悲しい: Kanashii

スピード: Supîdo

1.3 Separation rules

The ending of na-adjectives is separated.

Examples:

微妙な: Bimyô na

好きな: Suki na

1.4 Compounds

If possible, break up into two-character compounds.

Examples:

一言一行: Ichigen Ikkô

慶応義塾大学経済学部: Keiô Gijuku Daigaku Keizai Gakubu

株式会社: Kabushiki Gaisha

株式会社製造: Kabushiki Gaisha Seizô

Exception: If the compound consists of a sequence of equivalent elements, it is not split.

Example:

都道府県: Todôfuken

市町区村: Shichôkuson

Three-character compounds are not split. Examples:

経済的: Keizaiteki

生物学: Seibutsugaku

2. Punctuation

2.1 Middle dot

If two words separated by a middle dot form a single meaning or the dot serves as a separator between the first and last name, it is replaced by a space. If the words separated by the dot have an independent meaning or are in a parallel relationship, a comma is inserted instead.

Examples:

中国・四国の民芸: Chûgoku Shikoku no Mingei

ポール・クローデル: Pôru Kurôderu

松本清長・山本周五郎: Matsumoto Seichô, Yamamoto Shûgorô

2.2 Japanese quotation marks (kagikakko)

Japanese quotation marks (「」 and 『』) are replaced by English quotation marks.

3 Use of hyphen

In principle, hyphens should be avoided as much as possible.

3.1 Honorifics (「さん」, 「君」, 「ちゃん」 etc.)

Honorifics are separated by a hyphen.

Example:

山田さん: Yamada-san

3.2 Other suffixes (伝, 的, 編, 版 etc.)

No hyphen is used.

Examples:

次郎長伝: Jirochôden

番外編: Bangaihen

3.3 Numbers with units

No hyphen is used.

Examples:

五八年度: Gojûhachi Nendo

一〇〇年: Hyaku Nen

昭和五八・五九年度: Shôwa Gojûhachi, Gojûkyû Nendo

3.4 When 「ん」 (“N”) is used as an inner separation

When “N” is used as an inner separation, a hyphen is used.

Examples:

人生案内: Jinsei An-nai

尊王: Son-nô

4 Other individual transcription rules

4.1 「ん」 (“N”)

When “N” is followed by “P” or “B”, it is transcribed as “N” and not “M” according to the modified Hepburn system.

Example:

新聞: Shinbun

4.2 「ふ」 (“Fu”)

「ふ」 is transcribed as “fu”.

Example:

納付済: Nôfuzumi

4.3 Numbers in titles

“7” as title number is transcribed as “Shichi”, not “Nana”.

4.4 「ヴ」 (“Vu”)

「ヴ」 is transcribed as “vu”.

Example:

レヴュー: Revyû

4.5 Particles 「は」, 「へ」, 「を」

「は」, 「へ」, 「を」 are transcribed in accordance with the Hepburn system.

Examples:

は: wa

へ: e

を: o

4.6 Old Kana orthography

Old Kana orthography (kyû Kanazukai) is transcribed according to the contemporary reading.

Example:

思ひ出: Omoide

4.7 Illegible characters

If a Japanese character is illegible, [illegible] is entered for each illegible character.

Most records in the Kataoka collection are 10 inches, but records of other standards are also contained. Note that in the case of “8 inches”, it does not literally refer to 8 inches (20.32 cm), but to 19.5 cm, for which no standard exists.

The actual release date usually falls one month before the published release date (shinpuzuki), creating a gap between the published release dates and the actual release dates.

Only main titles are entered in this section. Whether something is a title or a subtitle is determined by the font size. A larger font indicates the title and a smaller font the subtitle.

Here, symbols used to distinguish the record sides are extracted by comparing each side and entered accordingly.

Apart from single-sided records, records have two playable sides: a front and a backside. Usually, “A” and “B” are assigned to the sides respectively. However, in some production periods and labels, this classification system was abolished and other symbols were assigned instead (e.g. “☾”, “☆”, or “1” and “2”). For more information, see the essays “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” as well as “The Important Role of Discography in the 78 rpm Record Database” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

This refers to the numbers used by customers when ordering a record. The front and back sides usually have the same number, but in some labels, numbers are assigned consecutively on each side. Numbering systems differ from label to label, and some have even changed over time. For more information, see “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

Genres are located near titles and subtitles and should be identified individually. They indicate the type of the recorded content.

Genre refers to a content category used by record companies which are printed on the labels. For an overview of the categories used in the recording catalogue, see “On the Intermediality and Mediality of the Record: Preliminary Considerations for a Genre Theory of Katsuben Records” by Shirô Yukawa in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

Refers to the date when the contents were (originally) recorded (not the date of digitalisation). In rare cases, recording dates may be listed on the label. In other cases, recording dates can be identified if the record company's recording ledger is accessable. For more information, see the essays “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” as well as “The Important Role of Discography in the 78 rpm Record Database” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

All information on the label except title, subtitle, genre, artist and catalogue number are entered.

The production period can be identified by the presence or absence of certain label descriptions, their contents and the difference in the notation. Non-textual information such as designs and logos, which can also help identify the production period, are not entered as metadata in the database but can be examined in the label photos. For more information on the characteristics of label descriptions of each label and its relation to the production period, see the essays “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” as well as “The Important Role of Discography in the 78 rpm Record Database” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

Matrix numbers may refer to a responsible recording studio, recording methods as well as the type of selling that was intended for the records (e.g. low-priced records). The numbering systems have changed over time. The excise tax was imposed in 1937, and the engravings changed in accordance with the change in tax rates due to revisions in the regulations. Although often difficult to decipher, some cutting engineers have left their signatures with an iron stylus. Among the engravings classified as “Others” are 1.) take numbers often engraved in conjunction with a matrix number, symbols indicating the edition numbers of the metal mother, as well as that of the stamper versions, 2.) confirmation of submission such as “納付済み” (nôfuzumi (submitted)) or “SUBMT” which are engraved in accordance with the government censorship started in 1934, 3.) engravings indicating the official prices after price control was enacted in 1940. Reading the information of engravings can help identify the production date and the release date of the records, the recording environment, as well as the production circumstances. See the essays “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” as well as “The Important Role of Discography in the 78 rpm Record Database” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

Labels had their own specifications about the types and the positions of engravings, so the positional information helps to identify the type of the engraving. For more on this, see the essays “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” as well as “The Important Role of Discography in the 78 rpm Record Database” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.

A role played by the individual artist, e.g. “Ôishi Kuranosuke”

Tools and instruments played by the individual artist.

Function of the individual artist in the recorded contents, e.g. “Accompaniment”.

Titles related to the recorded contents are entered here. In the case of records with film explanation, enter the title of the film that the records refer to.

In the case of a record that includes film scenes and/or benshi narrations, there is a variety of ways a record can relate to the film, a reference material. For example, records might include dubbing by the former lead actors who had already left film shooting, resulting in a “deviation” from the referent film, while others might have been recorded under different concepts than the original referent films. Furthermore, if there were multiple films that could be used as references, it is even possible that no reference was made to one of the particular films. For more information, see the essays “On the Intermediality and Mediality of the Record: Preliminary Considerations for a Genre Theory of Katsuben Records” by Shirô Yukawa, as well as “The Sound of Lost Silent Films: Using 78 rpm Records for Japanese Film Histories Without Films” by Kerstin Fooken in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies” (2021). This “loose” relationship with the referent film is also in line with the possibility that, as Manabu Ueda points out, outside of urban areas, the listening of 78 rpm records did not necessarily presuppose a film experience. See also “How Katsuben SP Records were Enjoyed” in the above mentioned publication.

VIAF stands for “Virtual International Authority File”. In VIAF, information about persons in question can be found. For example, codes 100 and 400 contain information about the name, 946 about the gender, 947 about the nationality and 997 about the date of birth and death.

Publisher names and their label names may not match in some cases. Labels are brand names associated with the products so that they did not necessarily correspond to their company names. In addition, in cases where company names represented the label names, the publisher could change its name through merger or acquisition while the label remained in existence. For more on the changes of the publishing companies, see the essays “Analyzing Records: A Guideline on How to Acquire the Metadata of 78 rpm Records” as well as “The Important Role of Discography in the 78 rpm Record Database” by Masato Môri in the publication “The Sound of History. Towards the Utilization of Historical Audio Media in Japanese Studies”.