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LC Training for RDA: Resource Description & Access

LC Training for RDA: Resource Description & Access. Module 2: Identifying Works and Expressions. Cooperative and Instructional Programs Division, Library of Congress 2012. Acknowledgements.

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LC Training for RDA: Resource Description & Access

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  1. LC Training for RDA:Resource Description & Access Module 2: Identifying Works and Expressions Cooperative and Instructional Programs Division, Library of Congress 2012

  2. Acknowledgements • This course has been adapted from training delivered by Barbara Tillett and Judith Kuhagen, Library of Congress Policy and Standards Division, to the Georgia Public Library Cataloging Summit, August 2011 • COIN gratefully acknowledges their permission to adapt the material for the present purpose

  3. Learning Objectives for Module 2 -- Identifying Works and Expressions • Introduction to the Module • Elements for Works • Elements for Expressions • Content of Works and Expressions • Creators, Contributors, and Relationship Designators • Miscellaneous Changes from AACR2

  4. Unit 1: Introduction to the Unit • Where are the Instructions? • Naming the Work • LC Decisions on … • Bibliographic or Authority? • Core Elements to Distinguish • Language and Script • Terminology • Sources • Authorized Access Points for Works

  5. Introduction to Works and Expressions:Where are the Instructions? • Generally, the instructions for identifying works and expressions are in chapter 6. • You will also need to consult the related instructions in: • Chapter 19, “Persons, Families, and Corporate Bodies Associated with a Work” • Chapter 20, “Persons, Families, and Corporate Bodies Associated with an Expression”

  6. Naming the Work --Same as Determining “Main Entry”? • Also called “naming the work” and “naming the expression” • Same as AACR2 “main entry” if the manifestation contains that work/expression:

  7. LC Decisions on …Bibliographic or Authority Data? • RDA does not prescribe if attributes about the work and the access points are to be recorded as bibliographic data or authority data • LC Policy: • Always identify the work by giving the access point in the bibliographic record • Sometimes identify the work by making a title or name/title authority record -- no changes from policy in DCM Z1

  8. Core Elements to Distinguish • If elements are being recorded to distinguish one work from another or from the name of a person, family, or corporate body, RDA gives choices for recording the elements (RDA 0.6.3): • LC policy • always give as additions to the authorized access point • cataloger judgment to also give as separate elements in authority records

  9. Language and Script • Title for a work in the language and script in which it appears in the resource (RDA 5.4) • U.S.: in authorized and variant access points: apply the alternative to give a romanized form • For some languages (see LCPS 5.4), can also give variant access points (MARC 4XX) in original language/script in authority records • Other attributes for a work in RDA chapter 6 in language and script prescribed in instructions

  10. Terminology Related to “Works” • Title of the work (RDA 6.2.1.1) • “word, character, or group of words and/or characters by which a work is known” • Preferred title for the work (RDA 6.2.2.1) • the form of title used when constructing the authorized access point • Variant title for the work (RDA 6.2.3.1) • the form of title used when constructing a variant access point • aka “see references”

  11. Sources of Information –Preferred Titles (RDA 6.2.2.2) • For a work created after 1500 • From resources embodying the work or from reference sources • The most common form of the title • Sometimes: title proper of the first manifestation received • For a work created before 1501 • From modern reference sources • If this evidence is inconclusive, use (in this order): • a) modern editions • b) early editions • c) manuscript copies

  12. Sources of Information –Other Elements (RDA 6.1.1) • For all otheridentifying attributes of works and expressions • Take the information from any source

  13. Authorized Access Points for Works RDA 6.27.1.1 - 6.27.1.8 • How to put together the elements to construct an authorized access point • Preferred title is the basis • Authorized access point for the creatorprecedes the preferred title, as applicable • Additions to the preferred title as instructed under 6.27.1.9 • Links back to the instructions on recording each of the specific elements

  14. Unit 2: Elements for Works • Preferred Title for the Work • Entities Responsible for a Work • Compilations vs. Collaborations • Additions to Access Points for Works • Variant Access Points for Works • MARC Authority Fields for Works

  15. Preferred Title for the Work -- Overview • CORE ELEMENT • General instructions (RDA 6.2.1 and 6.2.2) • Specific instructions (RDA 6.2.2.9, 6.2.2.10, and later instructions in Chapter 6)

  16. Preferred Title for the Work –General Instructions • RDA 6.2.1 • Recording titles (i.e., in general) • Scope: “… by which a work is known.” • Capitalization; Numbers; Diacritics; Articles; Spacing; Abbreviations • RDA 6.2.2.1 – 6.2.2.10 • Scope and sources • Choosing preferred titles • Recording preferred titles

  17. Preferred Title for the Work –Specific Categories • some musical works (RDA 6.14.2) • some legal works (RDA 6.19.2) • some religious works (RDA 6.23.2) • some official communications (RDA 6.26.2)

  18. Preferred Title –Parts of a Work (RDA 6.2.2.9) • Other than musical or religious works • How many parts? • one (RDA 6.2.2.9.1) • two or more (RDA 6.2.2.9.2)

  19. Parts of a Work –One Part (RDA 6.2.2.9.1) • “Record the preferred title for the part, applying the basic instructions on recording titles of works given under 6.2.1.” • Preferred title for a part of J.R.R. Tolkien’s The lord of the rings: • Two towers • Preferred title for a part of the television program The Simpsons: • King of the hill

  20. Parts of a Work –Two or More Parts (RDA 6.2.2.9.2) • Consecutively numbered, with only a general designation • “Record the designation of the parts … followed by the inclusive numbers of the parts” • Preferred title for the first six books of Homer’s Iliad: • Book 1–6 • Two or more unnumbered or non-consecutively numbered parts • “Record the preferred title for each of the parts” • Preferred title for a part of Divina commedia in a compilation also comprising the part Paradiso: • Purgatorio

  21. Parts of a Work –Two or More Parts (Alternative) • Alternative instruction for unnumbered or non-consecutive parts • LC practice (LCPS 6.2.2.9.2) • “Instead of recording the preferred title for each of the parts, record the conventional collective title Selections as the preferred title for the parts.” • Preferred title for the parts of the work in a compilation comprising books 1 and 6 of Homer’s Iliad • Selections

  22. Authorized Access Point for Part(s) of a Work (RDA 6.27.2) • Generally: preferred title for part(s),preceded by authorized accesspoint for thecreator, if appropriate • Exceptions: preferred title for part(s),preceded by authorized access point for thework • non-distinctive titles • serials and integrating resources • television/radio programs • consecutively-numbered parts

  23. Preferred Title – Compilations ofOne P - F - CB(RDA 6.2.2.10) • Has compilation become known by a title? • Not usually • e.g., Leaves of Grass is not a compilation • If not, use a conventional collective title (doesn’t matter if title proper is distinctive): • Complete works = use “Works” • Complete works in a single form = use term chosen by cataloger • Other compilations of two or more works in same form or different forms = add “Selections” to the appropriate conventional collective title

  24. Preferred Title – Compilations ofOne P - F - CB(cont.) • Major change from AACR2! • Under RDA, LC catalogers will no longer need to: • Determine if the creator created works only in a single form • Determine if the title proper of the compilation is “distinctive”

  25. Preferred Title – Compilationsof Works by Different Creators • Identify the compilation by its preferred title (RDA 6.27.1.4) • Either • Title by which the compilation has become known (uncommon), or • The title proper of the manifestation • Resource described: The best of Broadway (A set of five CDs with selections from original cast recordings of various musicals by various composers) • Best of Broadway

  26. What if Such a ManifestationLacks a Collective Title? • A work that is part of a larger work is considered a whole-part “related work” • RDA and LCPS 25.1 • Generally: • Use the title proper of the first work in the compilation as the preferred title, and • Provide an analytical authorized access point for the predominant or first work in the compilation when it represents a substantial part of the resource. • Generally, do not devise a title to use as a preferred title. • LC does not apply the alternative to 6.27.1.4 • Change in LC policy from the RDA Test!

  27. Examples of Compilations – AACR2 vs. RDA • The next four slides illustrate examples of various ‘compilation’ situations • RDA attempts to ‘correct’ the misleading misidentification of works that sometimes occurred in AACR2

  28. AACR2: use the 1st work as the preferred title, which misidentifies the compilation Examples of Compilations – 2 Works by the Same Creator 100 1# $a Miller, Arthur, $d 1915-2005 240 10 $a Archbishop’s ceiling 245 10 $a Two plays / $c Arthur Miller. 505 0# $a The Archbishop’s ceiling -- The American clock. 700 12 $a Miller, Arthur, $d 1915-2005. $t American clock.

  29. RDA: apply thealternative to use a conventional collective title Examples of Compilations – 2 Works by the Same Creator 100 1# $a Miller, Arthur, $d 1915-2005 240 10 $a Plays. $k Selections 245 10 $a Two plays / $c Arthur Miller. 505 0# $a The Archbishop’s ceiling -- The American clock. 70012 $a Miller, Arthur, $d 1915-2005. $t Archbishop’s ceiling. *700 12 $a Miller, Arthur, $d 1915-2005. $t American clock. * Not a core requirement but helpful to the user

  30. AACR2: use the 1st work as the preferred title (this misidentifies the compilation) Examples of Compilations – DifferentCreators, No Collective Title 100 1# $a Polk, Sharon. 240 10 $a Community band concerts 10 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 12 $a Swanson, Terri. $t Fall harvest festivals.

  31. RDA: use the title proper of the first work as the preferred title; do not devise a title Examples of Compilations – DifferentCreators, No Collective Title 245 00 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 700 12 $a Polk, Sharon. $t Community band concerts. *700 12 $a Swanson, Terri. $t Fall harvest festivals. * Not a core requirement but helpful to the user

  32. Entities Responsible for a Work • RDA 0.6.3 • “when creating the authorized access point for the work, precede the preferred titlefor the work, if appropriate, by the authorized access point representing the person, family, or corporate body responsiblefor the intellectual or artistic content of the work”

  33. Entities Responsible for a Work –Where are the Instructions? • Creator is a relationship to a work; it isn’t an attribute of the work itself. • So we will find the instructions about creators in Chapter 19, not Chapter 6. • “contributors” are responsible for an expression • discussed in Chapter 20

  34. Entities Responsible for a Work – Sources • Preferred sources of information • Other statements appearing prominently in the resource • Use catalogerjudgment • Information appearing only in the content • Other sources

  35. Creator (RDA 19.2) • CORE ELEMENT • “person, family, or corporate body responsible for the creation of a work” • If more than one entity is responsible for the work as a whole (i.e., is a “collaboration”): • The creator having principalresponsibility named first in the resource is required • If principal responsibility is not indicated, only the first-named creator is required • LCPS 19.2 says to use cataloger judgment in deciding whether to provide authorized access points for additional creators, beyond the core

  36. Creator – Changes from AACR2 • No “rule of three” to identify the work only by its preferred title when there are more than three creators • Performer of works by different composers presented in a sound recording is not automatically considered a creator

  37. Compilers and Modifiers as Creators(19.2.1.1) • An entity responsible for compiling an aggregate work may be considered a creator of the compilation if the selection, arrangement, editing, etc., of content for the compilation effectively results in the creation of a new work; • An entity responsible for modifying a previously existing work in a way that substantially changes the nature or content of the original is considered a creator of the new work.

  38. Collaborative Works • Creators may perform the same or different roles (RDA 19.2.1) • Principally-responsible, or first-named creator • Exceptions not to use the first-named creator (RDA 6.27.1.3) • most moving image resources (named by preferred title); • some resources involving both corporate bodies and persons; • most serials (per LCPS; proposal to revise RDA)

  39. Example: Multiple Creators with Principal Responsibility 100 $a Sweet, Martha. 245 $a Georgia history / $c by Martha Sweet and Linda Bruce with contributions by Gus Peterson and Marilee James. *700 $a Bruce, Linda. *700 $a Peterson, Gus. *700 $a James, Marilee. * number of access points for other creators: LCPS 19.3 = cataloger judgment

  40. Example: Multiple Creators -- No Principal Responsibility Indicated 100 $a Brown, Susan. 245 $a Architecture / $c by Susan Brown, Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson. *700 $a Carlson, Melanie. *700 $a Lindell, Stephen. *700 $a Ott, Kevin. *700 $a Wilson, Janet. 24500 Under AACR2, this would have been entered under title, with no 1XX field. access points for other creators: cataloger judgment (LCPS 19.3)

  41. Corporate Bodies as Creators • Categories of works (RDA 19.2.1.1.1) • Similar to AACR2 21.1B2 • Corporate body takes precedence over a first-named person or family as creator • LCPS, similar to RI for 21.21B2 • RDA 19.2.1.1.2 on government and religious officials as creators

  42. Compilations vs. Collaborations • Important distinction • Determines how each is ‘identified’ • Compilations • RDA 6.27.1.4 • Collaborations • RDA 6.27.1.3

  43. Compilations vs. Collaborations –One Creator • Multiple works by a single creator • Treated as a compilation • Identified by • Creator • + • Preferred title

  44. Compilations vs. Collaborations –Multiple Creators • Compilation • Preferred title • Collaboration • Creator (principal or first-named) • + • Preferred title

  45. Compilations vs. Collaborations –How to Decide? • Clues that you have a compilation: • Indication of who created what • From the preferred source, table of contents, preface, program notes, home page, other components in the resource • Assume it is a collaboration if: • you have no indication who created what • you are in doubt

  46. Commentary, Etc., Added to a Previously Existing Work – 6.27.1.6 • If presented as the work of the entity responsible for the commentary, etc. • construct the authorized access point by combining • the authorized access point representing the entity responsible for the commentary, and • the preferred title for the commentary. • Example: • Akram, Malik M. Comprehensive and exhaustive commentary on the Transfer of Property Act, 1882 (A commentary by Akram that includes the text of the law and its amendments) * If more than one person is responsible for the added commentary, etc., apply the instructions on collaborative works

  47. Commentary, Etc., Added to a Previously Existing Work – 6.27.1.6 • If presented as an edition, treat it as an expression • use the authorized access point representing the previously existing work • If it is considered important for identification, construct an authorized access point representing the expression • Example: • Joyce, James, 1882–1941. Dubliners (Resource described: James Joyce’s Dubliners : an illustrated edition with annotations / [edited by] John Wyse Jackson & Bernard McGinley)

  48. Additions to Access Points Representing Works • Reminder on how to formulate the Authorized Access Point • Start with preferred title • Precede by creator, if appropriate • Addition(s) to make it distinct • RDA 6.27.1.9 • Each possible addition discussed further in earlier provisions of chapter 6

  49. Additions to Access Points Representing Works • Form of work (6.3) • Date of the work (6.4) • Place of origin of the work (6.5) • Another distinguishing characteristic of the work (6.6) • no priority order • can give more than one if needed

  50. Additions to Access Points Representing Works -- LCPS 6.27.1.9 • Differentiating all works • Specific guidelines for categories of resources • Generally: • “catalog” = the file against which cataloging is being done; may also take into account any resource which is known • use the a.a.p. whenever the resource is referred to in other a.p.’s (including subjects) or in notes citing relationships between resources • resolve the conflict by making an addition to the a.a.p. in the bibliographic record being created; do not also modify the existing record • do not predict a conflict • when a resource is republished or reproduced, the a.a.p. for the original is used for any republication

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