February 2 email from Kate James
Hi JSC,
I’ve entered these 2 examples FTs in lines 42 and 43 of the FT change log. The reason I have submitted
them this way is because these examples involve the composite description method of expressing a primary
relationship. This method is one of the three listed in 17.4.2 for recording relationships. However, there is
no definition for it in the glossary. Although a glossary definition of composite description was an item in
the full responses table on the draft of RDA (see 6JSC/M/266-283, Attachment A-151), such a definition
was never added. From the instruction at 17.4.2.3, it would seem that a composite description could only
show a relationship between an expression and a manifestation: “Provide a composite description that
combines one or more elements identifying the work and/or expression embodied in a manifestation with
the description of that manifestation.” However, there is an example of composite description at 17.1.3,
which is the instruction for recording an expression of a work. Even given what it says about encoding
standards in the footnote at 17.0, this really doesn’t make sense as a technique to record an expression of a
work. The composite description is discussed in the minutes at 247.2.4 (see 5JSC/216-265).
Because of all these issues I have no idea what an example of a composite description is supposed to show
or if it is a valid method of recording a relationship between a work and an expression. I am 100% sure
that the two examples in 17.4.2.3 and 17.5.1.3 have some errors and are confusing for multiple
reasons. Since CCC has reported errors in these examples, I’m submitting FT changes for them. However,
because I have no idea what a composite description is supposed to be or how to record one, I want to
know if you think these FT changes should be made.
For the example in 17.4.2.3, I decided it was better to replace the Beethoven example with something
completely different because of the potential confusion over the fact that Divertimento or Divertimenti is
never recorded as the preferred title for a work of Beethoven even though it’s a type of composition
according to 6.14.2.5.2. So for someone that knows a little bit about music cataloging but almost nothing
about Beethoven, that example is confusing.
For both of these examples, I have no idea why an authorized access point for the expression is part of the
example. 17.4.2 would imply that composite description and authorized access point are 2 different
techniques, but without a glossary definition or much instruction at 17.4.3, it is hard to say what such an
example should look like.
Therefore, I’m asking that you give responses for these examples in the FT log so I can know whether this
is a correct application of the instructions. Also, I note that one of the tasks of the Technical Working
Group is to review the methods for recording relationships in RDA. So if you think these example should
be left alone while the Technical Working Group tackles this issue, I’m happy to defer changing these
examples if you think it is better to wait for working group recommendations.
Kate
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17.4.2.3 example FT
Proposed revision (replace example):
Beethoven, Ludwig van, 1770–1827. Sonatas, violin, piano, no. 2, op. 12, no. 2, A major.
Allegro piacèvole; arranged
Divertimento, op. 12, no. 2 / L. van Beethoven ; transcribed for woodwind by George J.
Trinkaus. — New York : M. Witmark & Sons, ©1933. — Arranged for flute, oboe, clarinet,
horn, and bassoon
Medium of performance of musical content—an attribute of the expression—combined with the
description of the manifestation
The elephant and the flea = (Elefant und Mücke) : foxtrot-intermezzo : duet for piccolo and
tuba with concert band / Ralph Maria Siegel ; music arranged by A. Eric Heukeshoven. —
Sinsinawa, WI : Alliance Publications, Inc., [2012]. — Duration: 3 min., 6 sec.
Duration combined with the description of the manifestation
Clean copy:
The elephant and the flea = (Elefant und Mücke) : foxtrot-intermezzo : duet for piccolo and
tuba with concert band / Ralph Maria Siegel ; music arranged by A. Eric Heukeshoven. —
Sinsinawa, WI : Alliance Publications, Inc., [2012]. — Duration: 3 min., 6 sec.
Duration combined with the description of the manifestation
======
17.5.1.3 example FT:
Proposed revision (delete authorized access point; correct date of
publication; delete information related to work and unnecessary words
in description; delete "of expression" in explanation):
Mercadante, Saverio, 1795–1870. Concertos, clarinet, orchestra, op. 101, B♭ major; arranged
Concerto in si bemolle minore per clarinetto e orchestra da camera / Saverio Mercadente ;
revisione di Giovanni Carli Ballola. — Milano : Editioni Suvini Zerboni, ©1975 [1975]. —
Originally for clarinet and chamber orchestra; this version a rReduction for clarinet and piano
Medium of performance of musical content of expression combined with the
description of the manifestation
Clean copy:
Concerto in si bemolle minore per clarinetto e orchestra da camera / Saverio Mercadente ;
revisione di Giovanni Carli Ballola. — Milano : Editioni Suvini Zerboni, [1975]. —eduction for
clarinet and piano
Medium of performance of musical content combined with the description of the
manifestation