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RDA, MARC, Compilations and Y ou

RDA, MARC, Compilations and Y ou. Casey a. mullin Stanford university Music oclc users group annual meeting Tuesday, 26 february 2013 San jose , ca. Introduction. Scope Disclaimer “YMMV”. What is a compilation?. Surprise! It’s not defined in the RDA Glossary

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RDA, MARC, Compilations and Y ou

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  1. RDA, MARC, Compilations and You Casey a. mullin Stanford university Music oclc users group annual meeting Tuesday, 26 february 2013 San jose, ca

  2. Introduction Scope Disclaimer “YMMV” Mullin, "RDA, MARC, Compilations and You"

  3. What is a compilation? • Surprise! It’s not defined in the RDA Glossary • Library of Congress’ pithy definition • Mullin’s (attempt at an) operational definition • Two or more works or expressions manifested together in a single resource (regardless of mode of issuance) • Is it a “work” in its own right? Mullin, "RDA, MARC, Compilations and You"

  4. What is a compilation? What does this mean in a MARC bibliographic record? By default, use 245 0x, unless conditions exist permitting use of 1xx In AACR2, it seemed to be the inverse Mullin, "RDA, MARC, Compilations and You"

  5. Types of compilations Mullin, "RDA, MARC, Compilations and You"

  6. Types of compilations Obvious: works by multiple creators (6.27.1.4) Mullin, "RDA, MARC, Compilations and You"

  7. Types of compilations Obvious: works by multiple creators (6.27.1.4) • Collective title proper • Can serve double-duty as the preferred title of the aggregate “work” • LC-PCC PS 6.27.1.9: break conflict if needed (use 130) 130 0_ Opera overtures (2013) 130 0_ Opera overtures (2013 : London, England) 130 0_ Opera overtures (2013 : Philharmonia Orchestra (London, England)) • What about “performer main entry”? • Does not exist as such in RDA! See 6.28.1.5.1 and/or 19.2.1.1.1 Mullin, "RDA, MARC, Compilations and You"

  8. Types of compilations Obvious: works by multiple creators (6.27.1.4) • No collective title proper • Still a compilation! • Do not “enter under” first work • Alternative: devise a title if not identifying all works in the compilation (LC-PCC PS: “generally” do not apply) Mullin, "RDA, MARC, Compilations and You"

  9. Types of compilations Also obvious: works by a single composer Mullin, "RDA, MARC, Compilations and You"

  10. Types of compilations Also obvious: works by a single composer • Complete • Conventional collective title required (6.14.2.8.1-6.14.2.8.5) 240 10 Works 240 10 Piano music 240 10 Symphonies Mullin, "RDA, MARC, Compilations and You"

  11. Types of compilations Also obvious: works by a single composer • Incomplete • Identify all works in the compilation (6.2.2.10; 6.14.2.8.6) • Alternative: use a conventional collective title instead or in addition (LC-PCC PS: apply) 240 10 Works. $k Selections 240 10 Piano music. $k Selections 240 10 Symphonies. $k Selections Mullin, "RDA, MARC, Compilations and You"

  12. Types of compilations Fuzzy: resources with secondary content Examples: • Audio disc with program notes in a booklet • Score with a preface • Videorecording with “bonus features” Mullin, "RDA, MARC, Compilations and You"

  13. Types of compilations Fuzzy: resources with secondary content • Should be cataloged as a compilation? • Yes, if “secondary content” is treated as a work in its own right • RDA Terminology not very helpful • “Secondary content” – not defined • Supplementary content (7.16) – scope too restrictive? • “Accompanying material” – also not defined, but used in the context of describing carriers and as a source of information Mullin, "RDA, MARC, Compilations and You"

  14. Types of compilations Fuzzy: resources with secondary content How to treat such content? • Accompanying work/expression relationship designators: J.2.5, J.3.5 • Implies subordination (analogous to 7.16) • Descriptive work/expression relationship designators: J.2.3, J.3.3 • Better, but suitable for identifying works/expressions contained in the resource? • Unclear if 1xx/24x for the “main” work would be appropriate in this case • “Contains (work/expression)” access point • Treat like an ordinary compilation (245 0x) • Pretend content doesn’t exist for the purposes of assigning access points • Is this cheating? Perhaps Mullin, "RDA, MARC, Compilations and You"

  15. Types of compilations Even fuzzier: one work, multiple expressions Mullin, "RDA, MARC, Compilations and You"

  16. Types of compilations Even fuzzier: one work, multiple expressions • Multiple language expressions • Multiple editorial versions • Facsimile reproduction and modern edition • Original clefs and modern clefs • Recording with and without solo part Mullin, "RDA, MARC, Compilations and You"

  17. Types of compilations Even fuzzier: one work, multiple expressions How to assign access points? • If not differentiating at the expression level, give 1xx/24x for the work • If giving an access point for each expression (6.28.3.6; 26.1), give in 7xx. 700 12 $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Zauberflöte. $s Vocal score. $l German 700 12 $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Zauberflöte. $s Vocal score. $l English • LC’s training materials also have 1xx for first-named creator in this case • Is this cheating? Probably. At the very least it is redundant Mullin, "RDA, MARC, Compilations and You"

  18. Rule of thumb Think you have a compilation? Use 245 0x, unless conditions exist permitting the use of 1xx Mullin, "RDA, MARC, Compilations and You"

  19. Thank you! Questions/comments: cmullin@stanford.edu Mullin, "RDA, MARC, Compilations and You"

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