Cambridge University Library
RDA Training – Module 3
Identifying Works
Adapted for Cambridge use by Janet Davis
Acknowledgements
This module, and the accompanying four, are based on the
training given at the British Library, which is in turn
developed from that used at the Library of Congress.
We would like to express our thanks to both institutions for
making their training materials available to us.
2
Identifying works
“Naming the work”
Components of work authorised access points:
 Creators
 Preferred titles
 Additions
Special categories of work:
 Parts of a work
 Single-creator compilations
 Multi-creator compilations
 Collaborative works
3
Naming the work
Generally, the instructions for identifying works (and
expressions) are found in Chapter 6
“Naming the work”
 Just like “naming” persons, families and corporate bodies
 Similar to AACR2 concept of “main entry”
Achieved via the creation of an authorised access point for
the work:
 “The standardised access point representing an entity”
4
Authorised access points for works
Every work must have a unique authorised access point
Ensuring that there is no conflict between work a.a.p.s means that
distinct works are kept separate within the catalogue
 E.g., enables differentiation of works with the same title
All resources embodying the same work must be given the same
work a.a.p.
 E.g., brings together all descriptions of resources embodying
a work when various manifestations have appeared under
various titles
Use the a.a.p. whenever the resource is referred to in other
access points (including subjects) or in notes citing relationships
between resources
5
Authorised access points for works Construction
6.27.1.1 - 6.27.1.8
How to put together the elements to construct an authorised
access point:
 Preferred title is the basis
 Authorised access point for the creator precedes the
preferred title, if applicable
 Make any additions to the preferred title as instructed
under 6.27.1.9
6
Authorised access points for works MARC
MARC has four possibilities for where work a.a.p. information
can be coded:
1XX + 240
1XX + 245
130
245
7
Entities responsible for a work – 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
8
Entities responsible for a work – Sources
RDA 19.1.1
Take information on persons, families, and corporate bodies
associated with a work from:
 Preferred sources of information (RDA 2.2.2) in
resources embodying the work
Or, failing that:
 Other statements appearing prominently in the resource
 Information appearing only in the content of the resource
 Other sources
9
Creator
CORE ELEMENT
RDA 19.2
“A person, family, or corporate body responsible for the
creation of a work”
E.g. Authors, artists, compilers, composers, photographers
RDA Appendix I.2.1 for relationship designators
10
>1 Creator
If more than one entity is responsible for the work as a
whole:
 The creator having principal responsibility named first in
the resource is required
 If principal responsibility is not indicated, only the firstnamed creator is required
Cambridge policy is to provide authorised access points for
additional creators, unless unduly onerous
For a collaboration between person(s) and a corporate body,
consider the corporate body instructions first
MARC: First creator 1XX; Subsequent creators 7XX
11
11
Creator – Changes from AACR2
No “Rule of Three” to instruct us to identify the work only by
its preferred title when there are more than three creators
 Knock-on effect on cuttering for some classification
schemes
A performer of works by different composers presented in a
sound recording is not automatically considered a creator
12
Compilers & modifiers as creators
RDA 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
13
Compilers & modifiers as creators Examples
Authorised access point representing the creator for: A
bibliography of Sanskrit works on astronomy and
mathematics
100 1# $a Sen, S. N. $q (Samarendra Nath),
$d 1918-1992, $e compiler.
Authorised access point representing the creator for: History
of Angola. A new edition by W. Martin James, based on
Susan H. Broadhead’s work with the same title
100 1# $a James, W. Martin, $e author.
RDA 6.27.1.5
14
Corporate bodies as creators
Categories of works are given in RDA 19.2.1.1.1
(Similar to AACR2 21.1B2)
Corporate body takes precedence over a first-named person
or family as creator
Cambridge policy is to follow LC-PCC PS 19.2.1.1.1
(similar to LCRI for 21.21B2)
RDA 19.2.1.1.2 covers government and religious officials as
creators
15
Works of an administrative nature
Dealing with any of the following aspects of the body itself:
 its internal policies, procedures, finances, and/or
operations
 its officers, staff, and/or membership (e.g., directories)
 its resources (e.g., catalogues, inventories)
Authorised access point representing the creator for:
The constitution of the Asiatic Society of Bangladesh
110 2# $a Asiatic Society of Bangladesh, $e
author.
16
Works recording collective thought of body
Authorised access point representing the creator for:
The national conservation strategy for Zambia / prepared by
the Government of the Republic of Zambia
110 1# $a Zambia, $e author.
17
Works reporting collective activity of
conference, expedition, or event
The conference, expedition, or event must be named in the
resource being described
NB The name can be anywhere on the resource: not
necessarily located on the t.p., or even “prominently”
Authorised access point representing the creator for:
Papers given at the Working Conference on Stochastic
Programming
111 2# $a Working Conference on Stochastic
Programming $d (1983 : $c Gargnano, Italy)
18
Works resulting from collective activity of
performing group
Applied where the responsibility of the group goes beyond
that of mere performance, execution, etc.
Authorised access point representing the creator for:
Songs of Freedom / Bucket of Witches.
110 1# $a Bucket of Witches (Musical group),
$e composer.
19
Cartographic works originating with a
corporate body
Applied where the corporate body is responsible for more
than just publication or distribution
Authorised access point representing the creator for:
The new Oxford atlas for Pakistan / all maps drawn by the
Cartographic Unit, Oxford University Press ; editorial
adviser, Fazle Karim Khan.
110 1# $a Oxford University Press.
Cartographic Department, $e cartographer.
20
What about contributors?
A contributor is a person, family, or corporate body
contributing to the realisation of a work through an
expression
E.g. editors, translators, illustrators, arrangers of music,
performers, writers of commentary, etc.
Chapter 20; Appendix I.3.1
Covered in Module 4 when we look at Expressions
21
Title of the work - Terminology
Title of the work (RDA 6.2.1.1)
 “A 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 title or form of title chosen to identify the work ...
[and used as] the basis for the authorised access point
representing that work”
Variant title for the work (RDA 6.2.3.1)
 “A title or form of title by which a work is known that
differs from ... the preferred title”
 The form used when constructing a variant access point
22
Title of the work - Language & script
RDA 5.4 tells us to “Record titles for works in the language
and script in which they appear on the sources from which
they are taken”
The alternative says “Record a transliterated form of the title
either as a substitute for, or in addition to, the form that
appears on the source”
Cambridge policy in authorised access points is to apply
the alternative to give a romanised form
May give original in additional 880 field
Other attributes for a work are recorded in the language and
script prescribed in the appropriate sections of Chapter 6
23
Title of the work - Recording
RDA 6.2.1
Capitalisation
Numbers
Diacritics
Articles
Spacing
Abbreviations
NB “recording”, not “transcribing”
24
Preferred title for the work
CORE ELEMENT
RDA 6.2.2
Scope and sources:
6.2.2.1 – 6.2.2.2
Choosing preferred titles: 6.2.2.3 – 6.2.2.7
Recording preferred titles: 6.2.2.8 – 6.2.2.10
25
Sources of information for preferred titles
RDA 6.2.2.2
For a work created after 1500
 From resources embodying the work or from reference
sources
 Usually: 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
26
Preferred title for specific categories of work
Certain categories of work have their instructions located in
the appropriate sections of Chapter 6:
 some musical works (6.14.2)
 some legal works (6.19.2)
 some religious works (6.23.2)
 some official communications (6.26.2)
Each of these is a general instruction which should be
applied unless more specific instructions are relevant
27
Preferred title for the work - Examples
245 10 $a Introduction to the physics of
waves / $c Tim Freegarde, University of
Southampton.
240 10 $a Electron paramagnetic resonance of
exchange coupled systems
245 10 $a EPR of exchange coupled systems /
$c Alessandro Bencini.
240 10 $a Pickwick papers
245 14 $a The posthumous papers of the
Pickwick Club / $c Charles Dickens.
28
Additions to access points representing
works (1)
100 1# $a Steinbeck, John, $d 1902–1968,
$e author.
245 10 $a Of mice and men / $c John
Steinbeck.
100 1# $a Steinbeck, John, $d 1902–1968,
$e author.
245 10 $a Of mice and men : $b a play in
three acts / $c by John Steinbeck.
RDA 6.27.1.9: Must differentiate all works
Each possible addition discussed in detail in earlier sections
of Chapter 6
29
Additions to access points representing
works (2)
In MARC 130 or 240
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
30
Additions to access points representing
works (3)
LC-PCC PS 6.27.1.9
Check catalogue to see if there is any conflict. I.e. does the
work a.a.p. for the resource in hand match the a.a.p. for a
different work?
 Fairly unlikely to happen for academic works of personal
authorship, or where the preferred title is distinctive
 Very likely to happen for a resource without 1XX and
with a generic title, e.g., “Bulletin” or “Two plays”
 Worth checking for literary works
31
Additions to access points representing
works (4)
If there is conflict, resolve by making addition to a.a.p. in the
bibliographic record being created; do not also modify the
existing record
Construct an authorised access point with a parenthetical
qualifier to differentiate the monograph or serial being
catalogued
Use cataloguer’s judgement in determining the most
appropriate qualifier
Multiple qualifiers: separate the qualifiers with a spacecolon-space within one set of parentheses
Do not anticipate a conflict
32
Additions - Form of work
CORE ELEMENT when needed to differentiate
RDA 6.3
A class or genre to which a work belongs
Take from any source
No controlled vocabulary
Added after preferred title in parentheses
100 1# $a Steinbeck, John, $d 1902–1968,
$e author.
240 10 $a Of mice and men (Play)
33
Additions - Date of work
CORE ELEMENT when needed to differentiate
RDA 6.4
The earliest date associated with a work – either when it was
created, or when first published/released
Take from any source
Year(s) alone
Added after preferred title in parentheses
110 2# $a Connecticut Commission on Children.
240 10 $a Annual report (2005)
34
Additions – Place of origin of work
CORE ELEMENT when needed to differentiate
RDA 6.5
The country or other territorial jurisdiction from which a work
originated
Take from any source
Record the place name as instructed in Chapter 16 & B.11
Added after preferred title in parentheses
130 0# $a Renaissance history (Boston,
Mass.)
35
Additions – Other distinguishing
characteristic
CORE ELEMENT when needed to differentiate
RDA 6.6
Characteristic other than form, date, or place of origin of work
Take from any source
In established form (if appropriate)
Added after preferred title in parentheses
130 0# $a Genesis (Anglo-Saxon poem)
130 0# $a Genesis (Middle High German poem)
36
Additions to access points - Examples
130 0# $a Advocate (Boise, Idaho)
Place
130 0# $a Advocate (Nairobi, Kenya)
130 0# $a Dublin magazine (1762)
Date
130 0# $a Dublin magazine (1965)
130 0# $a Bulletin (New York State
Museum : 1945)
130 0# $a Bulletin (New York State
Museum : 1976)
Corporate
body
& Date
37
Authorised access points for works Examples
100 1# $a Freegarde, Tim, $d 1965- $e
author.
245 10 $a Introduction to the physics of
waves / $c Tim Freegarde, University of
Southampton.
100 1# $a Steinbeck, John, $d 1902–1968, $e
author.
240 10 $a Of mice and men (Play)
245 10 $a Of mice and men : $b a play in
three acts / $c by John Steinbeck.
38
Parts of a work – One part
RDA 6.2.2.9.1
Record the preferred title for the part by applying the basic
instructions at 6.2.1
Preferred title for a part of J.R.R. Tolkien’s The lord of the rings:
The two towers
240 10 $a Two towers
If the part has only a general designation, not a title, use the part
designation. Record any numeric designation as a numeral
Preferred title for a part of Homer’s Iliad : Book 1
240 10 $a Iliad. $n Book 1
39
Parts of a work – Two or more parts (1)
RDA 6.2.2.9.2
For consecutively numbered parts, with only a general
designation:
Record the designation of the parts in the singular, followed
by the inclusive numbers of the parts
Preferred title for the first six books in Homer’s Iliad
240 10 $a Iliad. $n Book 1-6
40
Parts of a work – Two or more parts (2)
For unnumbered or non-consecutively numbered parts:
Cambridge policy is to follow the alternative instruction at
6.2.2.9.2 and record the conventional collective title Selections as
the preferred title for the parts
Preferred title for a parts of the work in a compilation comprising
J.R.R. Tolkien’s The fellowship of the ring and The two towers,
but not The return of the king
240 10 $a Lord of the rings. $k Selections
Preferred title for the parts of the work in a compilation
comprising books 1 and 6 of Homer’s Iliad
240 10 $a Iliad. $k Selections
41
Authorised access point for part(s) of a work
RDA 6.27.2
Generally:
 preferred title for part(s)
 preceded by authorised access point for the creator, if
appropriate
Authorised access point for part of J.R.R. Tolkien’s The lord
of the rings: The two towers
100 1# $a Tolkien, J. R. R. $q (John Ronald
Reuel), $d 1892-1973, $e author.
240 10 $a Two towers
42
Authorised access point for part(s) of a work
– Exceptions
6.27.2.2 & 6.27.2.3
Applies to:
 non-distinctive titles
 serials and integrating resources
 television/radio programs
 consecutively-numbered parts
Instruction:
 preferred title for part(s)
 preceded by authorised access point for the work
43
Authorised access point for part(s) of a work
– Exceptions – Example
Authorised access point for part of Homer’s Iliad: Book 1
“Authorised access point” (Creator a.a.p. + Preferred title) for part
of Homer’s Iliad: Book 1
100 0# $a Homer, $e author.
240 10 $a Book 1
“Authorised access point” (Creator a.a.p. + Preferred title) for part
of Homer’s Odyssey: Book 1
100 0# $a Homer, $e author.
240 10 $a Book 1
Authorised access point (Work a.a.p. + Preferred title) for part of
Homer’s Iliad: Book 1
100 0# $a Homer, $e author.
240 10 $a Iliad. $n Book 1
44
Compilations & Collaborations
Works may be either compilations or collaborations
Decision determines how each is “identified”
Compilations
RDA 6.27.1.4
Collaborations
RDA 6.27.1.3
45
How to decide
Clues that a work is 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:
 there is no indication who created what
 there is doubt
46
Multiple works by one creator
Must be treated as a compilation as there are no
collaborators
Identified by: Creator + Preferred title
RDA 6.2.2.10 – constructing preferred title
RDA 6.27.1.2 – constructing access point
47
Preferred title for one-creator compilations –
Complete works
RDA 6.2.2.10.1
Record the conventional collective title: Works
Preferred title for a compilation of the complete works of
William Shakespeare:
100 1# $a Shakespeare, William, $d 1564–
1616, $e author.
240 10 $a Works
48
Preferred title for one-creator compilations –
Complete works in a single form
RDA 6.2.2.10.2
Record the chosen conventional collective title from the list:
Correspondence, Essays, Novels, Plays, Poems, Prose
works, Short stories, Speeches
Exceptionally, if none of these is appropriate, choose another
in consultation with supervisor
Preferred title for compilation of all Baudelaire’s poetry:
100 1# $a Baudelaire, Charles, $d 1821-1867,
$e author.
240 10 $a Poems
49
Preferred title for one-creator compilations –
Selections (1)
RDA 6.2.2.10.3 Alternative
For compilations of two or more (but not all) works, assign a
conventional collective title as directed in:
 6.2.2.10.1 (for more than one form), or
 6.2.2.10.2 (for a single form),
and add Selections
No need to consider whether or not title proper is “distinctive”
Also provide access points for all contained works unless
unduly onerous
50
Preferred title for one-creator compilations –
Selections (2)
Preferred title for a resource containing selections from
Shakespeare’s plays and sonnets:
100 1# $a Shakespeare, William, $d 15641616, $e author.
240 10 $a Works. $k Selections
Preferred title for a selection of poems by Baudelaire:
100 1# $a Baudelaire, Charles, $d 1821-1867,
$e author.
240 10 $a Poems. $k Selections
51
Compilation of 2 works by same creator –
Example (1)
AACR2: Use the title proper of the first work as the preferred
title (but this misidentifies the compilation)
100
240
245
505
1#
10
10
0#
$a Miller, Arthur, $d 1915-2005.
$a Archbishop’s ceiling
$a Two plays / $c Arthur Miller.
$a The Archbishop’s ceiling -- The
American clock.
700 12 $a Miller, Arthur, $d 1915-2005.
$t American clock.
52
Compilation of 2 works by same creator –
Example (2)
RDA: Use a conventional collective title
100
240
245
505
1#
10
10
0#
$a Miller, Arthur, $d 1915-2005.
$a Plays. $k Selections
$a Two plays / $c Arthur Miller.
$a The Archbishop’s ceiling -- The
American clock.
700 12 $a Miller, Arthur, $d 1915-2005.
$t Archbishop’s ceiling.
*700 12 $a Miller, Arthur, $d 1915-2005.
$t American clock.
* Second 700 is not core, but is Cambridge policy
53
Multiple works by multiple creators Compilations v. Collaborations
Compilation identified by:
Preferred title
[No creator, because there is no single creator of the
individual works]
Collaboration identified by:
Creator (principal or first-named) + Preferred title
54
Preferred title for compilations of works
by multiple creators
Identify the compilation by its preferred title (RDA 6.27.1.4)
If the work is a compilation of works by different persons,
families, or corporate bodies, construct the authorised
access point representing the work using the preferred title
for the compilation
A compilation of stories by different authors:
245 00 $a Working-class stories of the 1890s
/ $c edited with an introduction by
P.J. Keating.
700 1# $a Keating, P. J., $e editor of
compilation.
In this case the preferred title is the title proper
55
Compilation of works by multiple creators
lacking a collective title
RDA 6.27.1.4
Generally use the title proper of the first work in the
compilation as the preferred title, and provide authorised
access points for all contained works unless unduly
onerous
56
Compilation of works by multiple creators
lacking a collective title – Example (1)
AACR2: Use the title proper of the first work as the preferred
title (but this misidentifies the compilation)
100 1# $a Polk, Sharon.
240 10 $a Community band concerts
245 10 $a Community band concerts / $c
Sharon Polk. Fall harvest
festivals / Terri Swanson.
700 12 $a Swanson, Terri. $t Fall harvest
festivals.
57
Compilation of works by multiple creators
lacking a collective title – Example (2)
RDA: Use the title proper of the first work as the preferred
title (follow LC-PCC PS and do not devise a 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.
* Second 700 is not core, but is Cambridge policy
58
Collaborative works
RDA 6.27.1.3
Principally-responsible, or first-named creator
Exceptions:
 moving image resources
 some resources involving both corporate bodies and
persons
 some musical collaborations
 treaties
 most serials
59
Multiple creators - Principal responsibility
No major change from AACR2, except for “added entries”
100 1# $a Sweet, Martha, $e author.
245 10 $a Georgia history / $c by Martha
Sweet and Linda Bruce ; with
contributions by Gus Peterson
and Marilee James.
*700 1# $a Bruce, Linda, $e author.
*700 1# $a Peterson, Gus, $e author.
*700 1# $a James, Marilee, $e author.
* Cambridge policy: provide authorised access points for
additional creators unless unduly onerous
60
Multiple creators - No principal
responsibility (1)
AACR2: “Enter” under title, with no 1XX field
245 00 $a Architecture / $c by Susan Brown …
[et al.].
700 1# $a Brown, Susan.
Other authors (Melanie Carlson, Stephen Lindell, Kevin Ott,
and Janet Wilson) listed on source, but not recorded in 245
61
Multiple creators - No principal
responsibility (2)
RDA: Precede preferred title by first-named creator
100 1# $a Brown, Susan, $e author.
245 10 $a Architecture / $c by Susan Brown,
Melanie Carlson, Stephen Lindell,
Kevin Ott, and Janet Wilson.
*700 1# $a Carlson, Melanie, $e author.
*700 1# $a Lindell, Stephen, $e author.
*700 1# $a Ott, Kevin, $e author.
*700 1# $a Wilson, Janet, $e author.
* Cambridge policy: provide authorised access points for
additional creators unless unduly onerous
62
More information
The slides for this presentation, along with lots of other RDA
resources and documentation, are available from:
http://www.lib.cam.ac.uk/libraries/login/RDA/docs.html
63