RDA: SPECIAL
FORMATS
TRAINING
MOVING IMAGE RECORDINGS
AUDIO RECORDINGS
NOTATED MUSIC
Presentation compiled by Jim SOE NYUN
and held at UC San Diego on March 14, 2013 (Rev 8)
ACKNOWLEDGEMENTS
This presentation is informed by several other sessions or resources devoted to cataloging videos, audio
recordings and/or musical scores, mainly:
Kathy Glennan. RDA and Music Basics. ALCTS webinars.
•
Scores. October 19, 2011. http://www.ala.org/alcts/confevents/upcoming/webinar/cat/101911
•
Sound Recordings. October 26, 2011. http://www.ala.org/alcts/confevents/upcoming/webinar/cat/102611
Music Library Association and Music OCLC Users Group. Hit the Ground Running! RDA Training for Music
Catalogers. February 27, 2013. http://guides.library.cornell.edu/content.php?pid=422336&sid=3452843
Music Library Association Southern California Chapter. Cataloging Musical Scores and Sound Recordings
Workshop. April 13, 2012. (See Jim Soe Nyun for handouts.)
Stanford University. Videos—Cataloging. http://lib.stanford.edu/metadata-department/clone-video-catalogingguidelines
Jay Weitz.
•
Sound Cataloging Workshop. OLAC Conference. October, 2012.
https://www.dropbox.com/sh/fbzr895ghu8yxa9/dkj8J4v7Iq/Presentation%20Handouts/SoundRecordingWorkshop2
012.pptx
•
Videorecordings Cataloging Workshop. OLAC Conference. October, 2012.
https://www.dropbox.com/sh/fbzr895ghu8yxa9/S3agAHosLQ/Presentation%20Handouts/VideoWorkshop2012.pptx
INTENDED AUDIENCE,
FOCUS
This session is designed for UCSD catalogers who deal with moving
image materials, audio recordings, and/or notated music, and is
intended to supplement the general RDA training already conducted at
UCSD.
The focus will mainly be on changes from AACR2 to RDA. The session
is not intended to be a complete guide to cataloging these special
materials.
It follows many the recommendations of the draft Best Practices for
Music Cataloging: http://bcc.musiclibraryassoc.org/BCCHistorical/BCC2013/RDA_Best_Practices_for_Music_Cataloging.pdf
It incorporates many features of the PCC Bibco Standard Record (BSR):
http://www.loc.gov/aba/pcc/scs/documents/PCC-RDA-BSR.pdf
In addition it includes some local policies not covered in the BSR.
DISCLAIMERS
1.
Community standards continue to develop, so some of the
recommended practices described in this presentation will
evolve.
2.
The practices described in this presentation derive from a close
read of RDA and currently available documentation about
cataloging under RDA. Some interpretations may differ from
those found in other sources.
3.
This presentation won’t be updated to accommodate changes in
rules or practice. If you notice any outright errors, however, I
welcome corrections at: jsoenyun [at] ucsd [dot] edu
TODAY’S PROGRAM
1. RDA and Moving Image Materials
2. RDA and Audio Recordings
3. RDA and Notated Music
4. Major Changes to Authority Work for Musical Works
1. RDA AND MOVING
IMAGE MATERIALS
RDA AND MOVING
IMAGE MATERIALS
RDA 2.2.2 Preferred Source of Information
RDA 2.2.2.3
Resources Consisting of Moving Images
If the resource consists of moving images (e.g., a film reel, a videodisc, a video game, an MPEG video file), use the title
frame or frames, or title screen or screens, as the preferred source of information.
Alternative
Use an eye-readable label bearing a title that is permanently printed on or affixed to the resource (excluding
accompanying textual material or a container) in preference to the title frame or frames, or title screen or screens.
If the resource does not contain a title frame or title screen, use as the preferred source of information, as applicable:
either
a) a label bearing a title that is permanently printed on or affixed to the resource, excluding accompanying textual
material or a container (e.g., a label on a videodisc)
or
b) embedded metadata in textual form that contains a title (e.g., metadata embedded in an MPEG video file).
If the resource contains neither a title frame or title screen nor a source of information falling into category a) or b) above,
use as the preferred source of information another source forming part of the resource itself, giving preference to
sources in which the information is formally presented.
RDA AND MOVING
IMAGE MATERIALS
Manifestation title (RDA 2.3)
The RDA rules for moving image materials are almost entirely the
same as those for other materials as to what information you
transcribe. In MARC the information goes into the 245 subfields a,
b, n and p.
Under RDA, unlike under AACR2, there is no general material
designator. (That function has moved to new areas, content type,
media type and carrier type, which will be discussed later.)
RDA AND MOVING
IMAGE MATERIALS
Statement of Responsibility Relating to Title Proper (RDA 2.4.2)
RDA 2.4.1.1 states:
A statement of responsibility is a statement relating to the
identification and/or function of any persons, families, or corporate
bodies responsible for the creation of, or contributing to the
realization of, the intellectual or artistic content of a resource.
For moving image material, however, limit to the 245 subfield c the
elements that fit the definition of “Creator” under RDA 19.2.1.1:
A creator is a person, family, or corporate body responsible for the
creation of a work.
For moving image materials, generally assume that directors,
producers (including both human producers and corporate production
companies) and screenwriters are creators.
No more “Rule of Three.”
RDA AND MOVING
IMAGE MATERIALS
Title Proper and Statements of Responsibility, examples
WVLNT : wavelength for those who don't have the time / Michael
Snow
Beasts of the southern wild / a Cinereach and Court 13 production, in
association with Journeyman Pictures ; produced by Dan Janvey,
Michael Gottwald, & Josh Penn ; screenplay by Lucy Alibar & Benh
Zeitlin ; directed by Benh Zeitlin
Encadenados = Notorious / directed by Alfred Hitchcock ; written by
Ben Hecht
RDA AND MOVING
IMAGE MATERIALS
Authorized Access Point for the Work (RDA 6.27.1.3)
Generally follow the exception:
Moving image works. For motion pictures, videos, video games,
etc., construct the authorized access point representing the work
by using the preferred title for the work (see 6.2.2).
To break a conflict, follow the instructions in 6.21.1.9 and the
associated LC-PCC PS to make your access point unique. Always
begin with the form element, “motion picture” or “television
program.” Add other elements as needed.
Othello (Television program : 1963 : Canadian Broadcasting
Corporation)
Othello (Television program : 1963 : WOR-TV (Television station :
New York, N.Y.))
RDA AND MOVING
IMAGE MATERIALS
More on Authorized Access Point for the Work
Appendix 1 of the LCPS for 6.27.1.9 to the rescue:
Motion pictures: Same title, different resources, Different titles in
the same language, Dubbed motion picture, Motion picture with
translated intertitles, Subtitled motion picture released under the
same or a different title, Motion picture filmed simultaneously in
different languages under different titles, Comprehensive
title/Individual title.
Television programs: Same title, different resources,
Comprehensive title/Individual title, Compilations
Plus policies for radio programs
And policies for constructing authorized access points for related
works or subject access when cataloging any resource related to a
motion picture, television program, or radio program
RDA AND MOVING
IMAGE MATERIALS
Identifier for the Manifestation (RDA 2.15)
The BSR asks you to code for identifiers for the manifestation,
and for moving image materials these identifiers are frequently
useful.
RDA 2.15.1.2: “Take identifiers for the manifestation from any
source.”
020 ## 9780060103217
024 1# 024543824787
028 42 2282478 $b 20th Century Fox Home Entertainment
Use MARC indicators in 028 fields to generate notes when
possible.
RDA AND MOVING
IMAGE MATERIALS
Statements on Production, Publication, Distribution and
Manufacture (RDA 2.7, 2.8, 2.9, 2.10)
Follow guidelines for other formats, including new instructions on
transcribing forms of place and publisher. Note that “production” in
area 2.7 only applies to recording production information on
unpublished materials, not the production details about moving
image materials which would routinely be recorded for published
items.
Note that this information is now coded in MARC field 264, with
the appropriate second indicator.
264 _1 Hollywood, California : $b MGM Home Video, $c 2011.
264 _2 [Bonsall, Calif.] : $b Distributed by mondayMEDIA
RDA AND MOVING
IMAGE MATERIALS
Copyright Date (2.11)
BSR:
Record copyright date if neither the date of publication nor the
date of distribution is identified.
For rare materials, record the year of copyright when present in
the resource. If a full transcription of the copyright statement is
desired, record it in a note.
When a moving image resource lacks both publication and
copyright dates, you may use the phonogram date to infer a
publication, distribution etc. date. Record a second 264 field for
the copyright date alone, and code the fixed fields for the separate
copyright date, even if it duplicates the publication date.
RDA AND MOVING
IMAGE MATERIALS
Copyright/Phonogram Date, examples
Date inferred from copyright statement:
264 _1 [United States] : $b Twentieth Century Fox, $c [2005]
OR
264 _1 [United States] : $b Twentieth Century Fox, $c [2005]
264 _4 ©2005
Prefer the second method described above.
RDA AND MOVING
IMAGE MATERIALS
Unpacking the MARC 300 Field for Moving Image Materials
Dimensions (3.5)
Extent (3.4)
Sound Content (7.18.1.3)
1 videodisc (97 min.) : $b sound, color ; $c 4 ¾ in.
“Colour” of Moving Image (7.17.3)
Duration (7.22)
RDA AND MOVING
IMAGE MATERIALS
EXTENT (3.4)
BSR 3.4:
Always record extent, even though RDA only considers extent to
be core if the resource is complete or the total extent is known.
Use RDA elements under 3.4.1-3.4.6, as appropriate to the
resource.
3.4.1.3 refers us to 3.3.1.3, where we find the master list of
carriers to select from. The most commonly-used codes will be:
videodisc
videocassette
film reel
online resource
For tangible computer resources, however, UCSD uses
conventional terminology: CD-ROM, DVD-ROM.
RDA AND MOVING
IMAGE MATERIALS
EXTENT (3.4) and FILE TYPE (3.19.2) for Electronic Resources
BSR 3.4:
For online resources, record extent as “1 online resource” followed by
either pagination (for textual materials), and format-specific terminology
when applicable (for example, vocal score, videodisc, slide, atlas).
BSR 3.19.2:
[File Type is] PCC Core for audio recordings, notated music, and moving
images, when applicable.
For electronic audio resources use file type “video file[s]” in the 300
(per Provider-Neutral Guidelines), and either “video file[s]” or
“streaming video file[s]” in the 347. Record in both 300 and 347 fields.
Note that “streaming video file” is not technically an RDA term and
should not be coded as such in the 347.
Example:
300 ## 1 online resource (1 video file (1 hr., 30 min.)) : $b sound, black and white.
300 ## 1 DVD-ROM (1 video file (71 min.)) : $b sound, color ; $c 4 ¾ in.
RDA AND MOVING
IMAGE MATERIALS
Duration (7.22)
7.22.1.3
Playing Time, Running Time, Etc.
If the resource has a playing time, running time, etc., record the time as follows,
abbreviating terms for units of time as instructed in appendix B (B.5.3):
a) If the total playing time, running time, etc., is stated on the resource, record the time
stated.
b) If the total playing time, running time, etc., is not stated on the resource but is readily
ascertainable, record it.
c) If the total playing time, running time, etc., is neither stated on the resource nor readily
ascertainable, record an approximate time preceded by approximately.
d) If the total playing time, running time, etc., cannot be approximated, omit it.
BSR Appendix:
B.5.3 Duration
Use abbreviations prescribed in B.7 for terms used for duration (see 7.22).
Therefore , if providing a duration statement, use “hr.” for hour or hours, “min.” for
minute or min., and “sec.” for second or seconds.
RDA AND MOVING
IMAGE MATERIALS
Duration, continued
7.22.1.3, continued
Optional Addition
If the actual playing time, running time, etc., differs significantly from the time stated on the
resource, record the stated playing time followed by that is and the actual playing time, running
time, etc. Indicate that the information was taken from a source outside the resource itself as
instructed under 2.2.4.
Alternative
If the resource consists of more than one unit, and the units have a stated uniform playing time,
running time, etc., or an approximate uniform playing time, running time, etc., record the playing
time, running time, etc., of each unit followed by each.
7.22.1.5
Duration of Individual Parts
When preparing a comprehensive description for a resource consisting of more than one
component, record the duration of each component.
In all but the last duration scenario of those presented on this and the previous slide, enter
the duration in the MARC 300 field. When you have multiple duration statements, however,
generally record them in a 500 note.*
RDA AND MOVING
IMAGE MATERIALS
Examples of Duration:
• 300 ## 1 videocassette (1 hr., 15 min.) : $b sound, color ; $c ½ in.
• 300 ## 2 videodiscs (80 min. each) : $b sound, color ; $c 4 ¾ in.
• 300 ## 1 videocassette (approximately 14 min.) : $b sound, color ; $c
¾ in.
• 300 ## 1 videocassette (47 min. [that is, 27 min.]) : $b sound, black
and white ; $c ½ in.
• 500 ## Durations: 18 min., 12 sec.; 55 min., 36 sec.; approximately
30 min.
RDA AND MOVING
IMAGE MATERIALS
Sound Content (7.18.1.3)
Recording Sound Content
Record sound to indicate the presence of sound in a resource
other than one that consists primarily of recorded sound.
Exception
Moving image resources. For motion pictures and video
recordings, record sound or silent to indicate the presence or
absence of a sound track.
Under AACR2 the term was abbreviated. Under RDA it is not.
300 ## 1 videodisc (17 min.) : $b silent, black and white (tinted) ; $c 4 ¾
in.
300 ## 1 videocassette (6 min.) : $b sound, color ; $c 19 mm
RDA AND MOVING
IMAGE MATERIALS
Colour of Moving Image (7.17.3)
7.17.3.3
Recording Colour of Moving Image
•
If the moving images contained in the resource are in black and white, record black and
white.
•
If the moving images in black and white are tinted and/or toned, specify tinted, toned, or
tinted and toned as appropriate, in parentheses, following black and white.
•
If the moving images are in sepia, record sepia.
•
If the moving images in the resource are in colour, record an appropriate term as
instructed under 7.17.1.3.
•
If the moving images in the resource are in a combination of colour and black and white,
record the information if it can be stated succinctly. If the information cannot be stated
succinctly, record the details as instructed under 7.17.1.4.
No longer abbreviated under RDA.
300 ## 1 videodisc (17 min.) : $b silent, black and white (tinted) ; $c 4 ¾ in.
300 ## 1 videocassette (6 min.) : $b sound, color ; $c 19 mm
RDA AND MOVING
IMAGE MATERIALS
Dimensions (3.5)
3.5.1.3:
Unless instructed otherwise, record dimensions in centimetres to the next whole centimetre up, using the metric
symbol cm (e.g., if the height measures 17.2 centimetres, record 18 cm).
Alternative
Record dimensions in the system of measure preferred by the agency preparing the description. Abbreviate terms
for units of measurement as instructed in appendix B (B.5.1), as applicable.
LCPS 3.5.1.3
LC practice for Alternative: Use inches for discs (RDA 3.5.1.4.4) and for all audio carriers; otherwise, follow the RDA
instruction as written.
UCSD Practice
Extend LC practice as follows: Use millimeters to record the gauge of film stock (e.g. “16 mm”), but use inches or
feet for all other measurements, including gauge of videotape and size of film reels and length of film.
Note that abbreviations are used to describe the size and duration of media materials:
B.5.1 Dimensions
Use abbreviations prescribed in B.7 for terms used for dimensions (see 3.5). Metric symbols are not abbreviations;
such symbols are not followed by a full stop.
RDA AND MOVING
IMAGE MATERIALS
Examples of Entire 300 Fields
• 300 ## 1 videodisc (88 min., 14 sec.) ; $c 4 ¾ in.
• 300 ## 1 CD-ROM (1 video file (28 min.)) : $b sound, color ; $c 4 ¾
in.
• 300 ## 2 videocassettes (60 min. each) : $b black and white (tinted) ;
$c ½ in.
• 300 ## 1 videodisc (2 hr., 8 min., 3 sec.) : $b sound, color ; $c 12 in.
• 300 ## 1 online resource (16 video files (10 min. each)) : $b sound,
black and white
• 300 ## 1 film reel (approximately 11 min., approximately 400 feet) :
$b sound, black and white ; $c 16 mm film, on 7 in. reel
RDA AND MOVING
IMAGE MATERIALS
Content Type (6.9), MARC 336
Media Type (3.2), MARC 337
Carrier Type (3.3), MARC 338
The RDA elements above replace AACR2’s GMD. They are more
precise and allow for more intricate manipulation of metadata.
RDA AND MOVING
IMAGE MATERIALS
Content Type, RDA 6.9.1.1
Content type is a categorization reflecting the fundamental form
of communication in which the content is expressed and the
human sense through which it is intended to be perceived. For
content expressed in the form of an image or images, content
type also reflects the number of spatial dimensions in which the
content is intended to be perceived and the perceived presence
or absence of movement.
RDA 6.9.1.3 lists two terms of interest to moving image
catalogers:
• two-dimensional moving image
• three-dimensional moving image
RDA AND MOVING
IMAGE MATERIALS
Encoding Content Type in MARC
The BSR requires that we encode Content Type in MARC 336, and
OCLC requires a value in the Ldr/06 (Type). For UCSD, supply $a
(content type term) and $2 (source) of the 336. If using a macro you
may also supply the content type code in $b. As before, you must
always code the Ldr/06. The Term and Code List for RDA Content
Types can be found at:
http://www.loc.gov/standards/valuelist/rdacontent.html
Examples:
•
336 ## two-dimensional moving image $2 rdacontent | Ldr/06: “g”
•
336 ## two-dimensional moving image $b tdi $2 rdacontent | Ldr/06: “g”
•
336 ## three-dimensional moving image $b tdm $2 rdacontent | Ldr/06:
“g”
RDA AND MOVING
IMAGE MATERIALS
Media Type, RDA 3.2
Media type is a categorization reflecting the general type of
intermediation device required to view, play, run, etc., the
content of a resource.
3.2.1.3 defines two media types for moving image items:
• video
• projected
RDA AND MOVING
IMAGE MATERIALS
Encoding Media Type in MARC
Media type goes into the new MARC field 337, as well as the old
007/00. For UCSD supply MARC 337 subfields a and 2; subfield b
may be supplied if you’re using a macro. Also, as before, always
supply the 007/00. The Term and Code List for RDA Media Types
is online at: http://www.loc.gov/standards/valuelist/rdamedia.html
Examples
337 ## video $b v $2 rdamedia | 007/00 code “v”
337 ## projected $b g $2 rdamedia | 007/00 code “m”
RDA AND MOVING
IMAGE MATERIALS
Carrier Type, RDA 3.3.1.1
Carrier type is a categorization reflecting the format of the
storage medium and housing of a carrier in combination with
the type of intermediation device required to view, play, run,
etc., the content of a resource.
RDA 3.3.1.3 lists several moving image terms:
• Video carriers: video cartridge, videocassette, videodisc, video
tape reel, and—for electronic resources—computer disc,
online
• Projected image carriers (partial list): film cassette, film reel
RDA AND MOVING
IMAGE MATERIALS
Encoding Carrier Type in MARC
The BSR requires that we encode Carrier Type in MARC 338, and
also in 007/01 (specific material designator). For UCSD, supply 338
$a (carrier type term) and $2 (source). If using a macro you may also
supply the carrier type code in $b. The Term and Code List for RDA
Carrier Types can be found at:
http://www.loc.gov/standards/valuelist/rdacarrier.html
Examples:
•
338 ## videodisc $b vd $2 rdacarrier | 007/01: “d”
•
338 ## videocassette $b vf $2 rdacarrier | 007/01: “f”
•
338 ## film reel $b mr $2 rdacarrier | 007/01: “r”
RDA AND MOVING
IMAGE MATERIALS
Other Elements of Interest
•
3.17 Projection Characteristic of Motion Picture Film
•
3.18 Video Characteristic
Places in MARC21 to encode the above and other RDA entity
attributes:
•
340: Physical Medium
•
344: Sound Characteristics
•
345: Projection Characteristics of Moving Image
•
346: Video Characteristics
•
347: Digital File Characteristics
RDA AND MOVING
IMAGE MATERIALS
Example, life under AACR2:
300 ## 1 videodisc (92 min.) : $b sd., col. ; $c 4 ¾ in.
538 ## DVD ; Region 2 ; PAL standard ; 13:9 widescreen ; Dolby 5.1
surround.
RDA AND MOVING
IMAGE MATERIALS
Mapped into MARC21, using RDA elements:
340 $b 4 ¾ in.
300 ## 1 videodisc (92 min.) : $b sd., col. ; $c 4 ¾ in.
347 $a video file
347 $b DVD video
346 $b PAL
344 $g surround
344 $h Dolby 5.1
538 ## DVD ; Region 2 ; PAL standard ; 13:9 widescreen ; Dolby 5.1
surround.
345 $a 13:9 widescreen
347 $e region 2
RDA AND MOVING
IMAGE MATERIALS
Before [AACR2]:
300 ## 1 videodisc (92 min.) : $b sd., col. ; $c 4 ¾ in.
538 ## DVD ; Region 2 ; PAL standard ; 13:9 widescreen ; Dolby 5.1
surround.
After [RDA]:
300 ## 1 videodisc (92 min.) : $b sound, color ; $c 4 ¾ in.
340 ## $b 4 ¾ in.
OR
No 340
344 ## digital $b optical $g surround $2 rda
344 ## $h Dolby Digital 5.1
345 ## 13:9 widescreen OR, BETTER
500 ## 13:9 widescreen.
346 ## $b PAL $2 rda
347 ## video file $b DVD video $e region 2 $2 rda
[No 538 in most cases]
RDA AND MOVING
IMAGE MATERIALS
Special MARC21 Fields: 340 Physical Medium (R)
Subfield b: Dimensions (RDA 3.5)
Subfield 3: Materials specified
340 ## $b 12 in.
340 ## $b 16mm film, on 7 in. reel
340 ## $b ¾ in.
340 ## $3 DVD $b 4 ¾ in.
RDA AND MOVING
IMAGE MATERIALS
Special MARC21 Fields: 344 Sound Characteristics (R) (3.16)
Subfield a: Type of recording
Subfield b: Type of medium.
Subfield g: Configuration of playback channels
Subfield h: Special playback characteristics
Subfield 2: Source [of terms from controlled vocabulary]
Subfield 3: Materials specified
344 ## digital $b optical $g surround $2 rda
344 ## $h Dolby Digital 5.1
344 ## analog $b magnetic $g stereo $h Dolby-A encoded $2 rda
RDA AND MOVING
IMAGE MATERIALS
Special MARC21 Fields: 345 Projection Characteristics of
Moving Image (R) (3.17)
Subfield a: Presentation format
Subfield b: Projection speed
Subfield 2: Source [of terms from controlled vocabulary]
Subfield 3: Materials specified
345 ## 3D $2 rda
345 ## $b 48 fps
345 ## 13:9 widescreen
widescreen.
OR, BETTER 500 ## 13:9
RDA AND MOVING
IMAGE MATERIALS
Special MARC21 Fields: 346 Video Characteristics (R) (3.18)
Subfield a: Video format
Subfield b: Broadcast standard
Subfield 2: Source [of terms from controlled vocabulary]
Subfield 3: Materials specified
346 ## $b PAL $2 rda
346 ## VHS $b NTSC $2 rda
346 ## U-matic $b NTSC $2 rda
RDA AND MOVING
IMAGE MATERIALS
Special MARC21 Fields: 347 Digital File Characteristics (R) (3.19)
Subfield a: File type
Subfield b: Encoding format
Subfield c: File size
Subfield e: Regional encoding
Subfield f: Transmission speed
Subfield 2: Source [of terms from controlled vocabulary]
Subfield 3: Materials specified
347 ## video file $b Blu-ray $e region A $2 rda
347 ## video file $b DVD video $e region 2 $2 rda
347 ## video file $b VCD $2 rda
347 ## streaming video file $b QuickTime $2 rda
RDA AND MOVING
IMAGE MATERIALS
MARC21 Fields: 538 System Details Note (R)
Subfield a: System details note
Subfield 3: Materials specified
538 ## Requires 16 black and white monitors, 16 projection units, 16
laserdisc players, and computer-controlled interactive system.
538 ## DVD+R disc.
RDA AND MOVING
IMAGE MATERIALS
Recording Relationships: Creators
RDA asks that you record the first named creator (19.2).
The BSR requests that you consider adding other creators (19.2):
After satisfying the RDA core requirement, catalogers may
provide additional authorized access points for creators
according to cataloger’s judgment.
At UC San Diego, generally provide creator access points for any
directors and producers that were recorded in the 245 statement
of responsibility.
RDA AND MOVING
IMAGE MATERIALS
Recording Relationships: Contributors (RDA 20.2.1.1)
RDA lists as a “Contributor”
… a person, family, or corporate body contributing to the
realization of a work through an expression.
For moving image materials, generally consider actors, screenwriters
and the like to be contributors. When considered important, record
these related entities in notes (500, 508, 511) and in 7xx fields.
•
“For statements identifying performers of music whose
participation is confined to performance, execution, or
interpretation, see 7.23.”
•
“For statements identifying performers, narrators, and/or
presenters, see 7.23.”
•
“For statements identifying persons who have contributed to the
artistic and/or technical production of a resource, see 7.24.”
RDA AND MOVING
IMAGE MATERIALS
Recording Relationships: Contributors
RDA does not require your to record contributors (20.2), and the
LC-PCC PS asks that you record only illustrators for children’s
books.
However, the BSR requests that you consider adding other
creators (20.2):
“PCC recommends cataloger’s judgment for contributors to the
resource beyond the principal creator of the work.”
At UC San Diego, generally, consider adding prominently-named
actors and primary screenwriters, plus any other contributors that
might have special significance.
RDA AND MOVING
IMAGE MATERIALS
Relationships Designators for Moving Images: Relationship
Designators for Persons, Families, and Corporate Bodies
Associated with a Resource (Appendix I)
Record relationship designators from Appendix I in subfield e,
following the authorized access point for your creator or contributor.
700 1# Depp, Johnny, $e actor.
710 2# Flower Films (Firm), $e production company.
Multiple relationships:
700 1# Waters, John, $d 1946- $e actor, $e director, $e screenwriter.
OR
700 1# Waters, John, $d 1946- $e director, $e screenwriter, $e actor.
[Sometimes shown without commas separating the designators…]
RDA AND MOVING
IMAGE MATERIALS
Relationships Designators for Moving Images: Relationship Designators for Persons,
Families, and Corporate Bodies Associated with a Resource (Appendix I), continued
Most common Appendix I relationship designators for moving image materials
Relationships to a work:
•
choreographer
•
composer
•
director (use instead of more granular “film director,” “radio director,” or “television director”)
•
director of photography (use for cinematographers)
•
filmmaker (use this term very sparingly, only in situations where a creator could be used in a 1xx field.
Note the very restrictive RDA definition: “A person, family, or corporate body responsible for creating an
independent or personal film. A filmmaker is individually responsible for the conception and execution of
all aspects of the film.”)
•
interviewee
•
interviewer
•
producer (use instead of more granular “film producer,” “radio producer,” or “television producer”)
•
production company
•
screenwriter (use instead of “author”)
RDA AND MOVING
IMAGE MATERIALS
Most common Appendix I relationship designators for moving image materials,
continued
Relationships to an expression, part 1:
•
actor (use instead of “performer”)
•
animator
•
art director
•
commentator (use instead of “performer”)
•
conductor (use instead of “performer”)
•
costume designer
•
dancer (use instead of “performer”)
•
editor of moving image work
•
host (use instead of “performer”)
•
interviewee (expression)
•
interviewer (expression)
RDA AND MOVING
IMAGE MATERIALS
Most common Appendix I relationship designators for moving image materials,
continuted
Relationships to an expression, part 2:
•
moderator (use instead of “performer”)
•
musical director
•
on-screen presenter (use instead of “performer”)
•
panelist (use instead of “performer”)
•
performer (for musical performers, use this higher-level designator instead of the more granular
“instrumentalist” and “singer”)
•
presenter (do not confuse with “on-screen presenter,” and note RDA’s limitations: “A person,
family, or corporate body mentioned in an “X presents” credit for moving image materials and who
is probably associated with production, finance, or distribution in some way.”)
•
production designer
•
speaker (use instead of “performer”)
•
stage director (do not confuse with director of the film or video)
RDA AND MOVING
IMAGE MATERIALS
Recording Relationships: Works, Expressions (25, 26)
RDA describes a related work as “a work related to the resource being described
(e.g., an adaptation, commentary, supplement, sequel, part of a larger work).”
(25.1.1.1)
And, “a related expression is an expression related to the expression represented
by an identifier, an authorized access point, or a description (e.g., a revised
version, a translation).” (26.1.1.1)
Under the recommendations for 25.1 the BSR states:
For moving images and audio recordings, give a full contents note and/or
analytical authorized access points for all works in a compilation, when feasible.
And under 26.1:
Give a contents note (no limit on number of expressions in the contents note;
use cataloger’s judgment). Give an analytical authorized access point for the
predominant or first expression in the compilation. Additional access points for
other related expressions may also be included at the discretion of the
cataloger.
RDA AND MOVING
IMAGE MATERIALS
Recording Relationships: Works, Expressions (25, 26), continued.
Example of a contents note for related works (following general option 24.4.3
a) to provide a structured description, and LC-PCC PS 25.1.1.3 for how to
structure it):
505 0# Images from the Qajar Dynasty (18 min.) -- The school blown away by the
wind (8 min.).
A version of the above using an enhanced version of a structured note:
505 00 $t Abductees / $r a Speedy Films production for Channel Four ; a film by
Paul Vester $g (11:00) -- $t Picnic / $r Pictureheads Productions ; Computer Film
Co. ; Speedy Cartoons ; animator, Paul Vester $g (3:20) -- $t Sunbeam / $r Speedy
Cartoons ; director and design, Paul Vester ; animation, Paul Vester, John Challis,
Alistair McIwain, Franco Milia $g (4:20).
Example of a contents note for related expression (following general option
24.4.3 b) for an unstructured description):
500 ## Shorter version of the 1969 motion picture of the same name.
RDA AND MOVING
IMAGE MATERIALS
Recording Relationships: Works, Expressions (25, 26),
continued.
When formulating contents notes, generally don’t include trailers,
advertising or brief special features in a contents note, but you
may include them in a general note if you wish.
Use cataloger’s judgment about recording additional relationships
to works or expressions.
Recommendation: In addition to making a contents note,
consider recording relationships to literary works on which a film
was based, as well as earlier films that serve as the basis for a
remake. The can be recorded as unstructured notes and/or
authorized access points.
RDA AND MOVING
IMAGE MATERIALS
Relationships Designators for Moving Images: Relationship
designators to specify relationships between works,
expressions, manifestations, and items (RDA 24.5, Appendix
J)
Provide relationship designators when you supply an authorized
access point for any work. Start with a concept from Appendix J,
and transform it according to the LC-PCC PS for J.1, capitalizing
the first letter and adding a colon to the end of the string:
700 1# $i Motion picture adaptation of (work): $a Shakespeare, William,
$d 1564-1616. $t Romeo and Juliet.
830 #0 $i Remake of (work): $a King Kong (Motion picture : 1933)
2. RDA AND SOUND
RECORDINGS
RDA AND SOUND
RECORDINGS
RDA 2.2.2 Preferred Source of Information
RDA 2.2.2.4 Other Resources
For a resource other than one covered under 2.2.2.2—2.2.2.3, use as the preferred source
of information, as applicable:
either
a) a label bearing a title that is permanently printed on or affixed to the resource, excluding
accompanying textual material or a container (e.g., a label on an audio CD, or a model)
or
b) embedded metadata in textual form that contains a title (e.g., metadata embedded in an
MP3 audio file).
If the resource does not contain a source of information falling into either category a) or b)
above, use as the preferred source of information another source forming part of the
resource itself, giving preference to sources in which the information is formally presented.
No current provision for preferring a collective title from another
title source.
This will be changing, however.
RDA AND SOUND
RECORDINGS
Manifestation title (RDA 2.3)
As for moving image resources, RDA rules for sound resources
are almost entirely the same as those for other materials as to
what information you transcribe. In MARC the information goes
into the 245 subfields a, b, n and p.
Again, under RDA, there is no general material designator.
(That function has moved to new areas, content type, media type
and carrier type, which will be discussed later.)
RDA AND SOUND
RECORDINGS
Statement of Responsibility Relating to Title Proper (RDA 2.4.2)
RDA 2.4.1.1 states:
A statement of responsibility is a statement relating to the
identification and/or function of any persons, families, or corporate
bodies responsible for the creation of, or contributing to the
realization of, the intellectual or artistic content of a resource.
As for moving image material, however, generally limit to the 245
subfield c the elements that fit the definition of “Creator” under RDA
19.2.1.1:
A creator is a person, family, or corporate body responsible for the
creation of a work.
For sound recordings, consider composers to be creators. Use
cataloger’s judgment about when other entities could be considered
creators.
Again, no more “Rule of Three.”
RDA AND SOUND
RECORDINGS
Authorized Access Point Representing a Musical Work (RDA
6.28.1)
Follow the instructions here for dramatic musical works and
certain other musical situations. Follow 6.27.1 for most other
categories, and 6.30.1.5-7 for works that are “officially prescribed
as part of a liturgy.”
Implication: Sound recordings are no longer eligible to be entered
under performers as some were under AACR2.
For more details on changes in formulating AAPs for musical
works, see Part 4 of this presentation.
RDA AND SOUND
RECORDINGS
Identifier for the Manifestation (RDA 2.15)
MLA recommendation: If feasible, record all standard identifiers present on the
item, including but not limited to the following. MARC coding is indicated in
parentheses.
ISBN (020) / ISMN (024 (1st indicator 2)) / EAN or ISMN-13 (024 (1st indicator
3)) / UPC (024 (1st indicator 1)) / Issue number (sound recordings) (028 (1st
indicator 0)) / Matrix number (sound recordings) (028 (1st indicator 1)) /
Videorecording number (028 (1st indicator 4))
020 ## 9780060103217
024 1# 731383635229
028 02 2174682 $b EMI Classics
As for videos, use MARC indicators in 028 fields to generate notes when possible.
028 02 NSP3105-01-1 $b Naxos
028 02 NSP3105-02-1 $b Naxos
028 02 NSP3105-03-1 $b Naxos …
RDA AND SOUND
RECORDINGS
Publisher’s Name (RDA 2.8.4)
MLA recommendation: Transcribe the names of all publishers
appearing on the preferred source. If feasible, transcribe the
names of all publishers appearing anywhere in the item. Input in
264 (2nd indicator 1) $b or 260 $b.
If an audio/video recording bears both the name of the publishing
company and the name of a subdivision of that company or a
trade name or brand name used by that company (i.e., a “label” in
the case of audio recordings), give the name of the subdivision or
the trade name or brand name as the name of the publisher.
For UC San Diego, transcribe in 264.
RDA AND SOUND
RECORDINGS
Recording Copyright for Sound Recordings
MLA recommendation (RDA 2.11): For audio recordings, record
the latest phonogram copyright date either in a separate 264 (2nd
indicator 4) $c, or following a transcribed or inferred publication
date in 260 $c.
For UC San Diego, code the phonogram copyright date in the
264. Be sure to use the phonogram symbol before the date. Also
code the fixed fields for the phonogram date as you would for a
regular copyright date, even if the phonogram date matches the
publication date.
264 #4 $c ℗2008
[and also in fixed fields]
RDA AND SOUND
RECORDINGS
Extent / Examples of changes to AACR2’s physical
description:
Before (AACR2):
300 ## 1 sound disc (58 min.) : $b stereo. ; $c 4 ¾ in.
500 ## Compact disc.
After (RDA):
300 ## 1 audio disc (58 min.) ; $c 4 ¾ in.
340 ## $b 4 ¾ in.
OR
No 340
344 ## digital $g stereo $2 rda
347 ## audio file $b CD audio $2 rda
RDA AND SOUND
RECORDINGS
EXTENT (3.4) and FILE TYPE (3.19.2) for Electronic Resources
BSR 3.4:
For online resources, record extent as “1 online resource” followed by either pagination (for
textual materials), and format-specific terminology when applicable (for example, vocal
score, videodisc, slide, atlas).
BSR 3.19.2:
[File Type is] PCC Core for audio recordings, notated music, and moving images, when
applicable.
For electronic audio resources use file type “audio file[s]” (per Provider-Neutral
guidelines) in field 300 and either “audio file[s]” or “streaming audio file[s]” in the 347.
Record in both 300 and 347 fields. Note that “streaming audio file” is not technically an
RDA term and should not be coded as such in the 347.
Additionally, MLA recommendation: Routinely specify number of subunits for notated music
content and audio files.
Example of 300 fields:
300 ## 1 online resource (1 audio file (25 min.))
300 ## 1 CD-ROM (16 audio files) : $b stereo ; $c 4 ¾ in.
RDA AND SOUND
RECORDINGS
Content type (RDA 6.9) for audio, MARC 336:
performed music ($b prm $2 rdacontent)
sounds ($b snd $2 rdacontent)
spoken word ($b spw $2 rdacontent)
Media type (RDA 3.2) for audio, MARC 337:
audio ($b $2 rdamedia)
Carrier Type (RDA 3.3) for audio, MARC 338:
audio cartridge
audio cylinder
audio disc
audio roll
audiocassette
audiotape reel
computer disc
online
sound-track reel
All with $2 rdacarrier
RDA AND SOUND
RECORDINGS
Special MARC21 Fields: 344 Sound Characteristics (R) (3.16)
Subfield a: Type of recording (MLA recommendation: If feasible, record type of recording
for all audio carriers.)
Subfield b: Type of medium (MLA recommendation: Record recording medium only for
sound-track films.)
Subfield c: Playing speed (MLA recommendation: If feasible, record playing speed for
certain types of audio carriers. See Chapter 3 Appendix. (Code for most non-computer
formats.))
Subfield d: Groove characteristic (MLA recommendation: If feasible, record groove
characteristic for certain types of audio carriers. See Chapter 3 Appendix. (Applicable to
grooved formats only if non-standard (e.g., coarse grooved).))
Subfield e: Track configuration (No MLA recommendation in Chapter 3 Appendix)
Subfield f: Tape configuration (MLA recommends always for reel-to-reel and when nonstandard for audiocassettes and DAT)
Subfield g: Configuration of playback channels (MLA recommendation: If feasible, record
configuration of playback channels for all audio carriers.)
Subfield h: Special playback characteristics (MLA recommendation: If feasible, record
special playback characteristic for all audio carriers.)
Subfield 2: Source [of terms from controlled vocabulary]
Subfield 3: Materials specified
RDA AND SOUND
RECORDINGS
Special MARC21 Fields: 344 Sound Characteristics (R) (3.16),
examples
Typical modern CD: 344 ## digital $g stereo $2 rda
LP: 344 ## analog $c 33 1/3 rpm $e mono $2 rda
Reel tape: 344 ## analog $c 15 ips $g stereo $2 rda
Cassette, Dolby-B noise reduction: 344 ## analog $e mono $h
Dolby-B encoded $2 rda
Streaming audio: 344 ## digital $g stereo $2 rda
RDA AND SOUND
RECORDINGS
Special MARC21 Fields: 347 Digital File Characteristics (R) (3.19)
Subfield a: File type
Subfield b: Encoding format
Subfield c: File size
Subfield f: Transmission speed
Subfield 2: Source [of terms from controlled vocabulary]
Subfield 3: Materials specified
347 ## audio file $b CD audio $2 rda
347 ## audio file $b DVD audio $2 rda
347 ## audio file $b SACD $2 rda
347 ## streaming audio file
347 ## $b MP3 $f 24 kbs $2 rda
RDA AND SOUND
RECORDINGS
Examples of 3xx Fields Used to Record Entity Attributes
300 ## 1 audio disc (1 hr., 2 min., 31 sec.) ; $c 4 ¾ in.
340 ## $b 4 ¾ in.
OR
No 340
344 ## digital $g stereo $2 rda
347 ## audio file $b CD audio $2 rda
300 ## 1 audio disc (1 hr., 2 min., 31 sec.) ; $c 4 ¾ in.
340 ## $b 4 ¾ in.
OR
No 340
344 ## digital $g stereo $2 rda
344 ## digital $g surround $2 rda
347 ## audio file $b CD audio $2 rda
347 ## audio file $b SACD $2 rda
300 ## 1 audio disc (36 min.) ; $c 12 in.
340 ## $b 12 in. OR
No 340
344 ## analog $g stereo $2 rda
RDA AND SOUND
RECORDINGS
Examples of 3xx Fields Used to Record Entity Attributes,
continued
300 ## 1 DVD-ROM (7 audio files (approximately 30 min. each)) ; $c
4 ¾ in.
340 ## $b 4 ¾ in.
OR
No 340
344 ## digital $g stereo $2 rda
347 ## audio file $b MP3 $2 rda
300 ## 1 online resource (1 audio file (10 min.))
344 ## digital $g stereo $2 rda
347 ## streaming audio file
347 ## WAV $2 rda
RDA AND SOUND
RECORDINGS
Changes to Notes
“Compact disc” note from AACR2—NO LONGER MADE!
Nature of the Content (7.2)—Some RDA records placed this information in the
380, however code here as before.
500 ## Opera in 3 acts.
Place and Date of Capture (7.11)—Now subfielded
518 ## $o Live recording $p Walt Disney Concert Hall, Los Angeles, CA $d 2011
October 18-19.
Language of the Content (7.12)—Be more generous in describing
accompanying material; mostly use 041 $g, but add 546 if needed.
Title source (2.20.2.3)—Always required for audio
500 ## Title from disc label.
588 ## Description based on online resource; title from resource title screen.
RDA AND SOUND
RECORDINGS
More on Notes: Performer, Narrator, and/or Presenter
(RDA 7.23)
MLA recommendation: For audio and video recordings, routinely
give performers, narrators and/or presenters in a 511 field.
Optionally, give names of members of a musical group in
parentheses after the name of the group, if deemed useful for
identification and access.
If there are numerous works/expressions embodied in the
resource, and there are performers, etc. who perform only in some
of the works/expressions, give all performers names, qualified by a
designation for the works/expressions involved, if feasible.
Optionally, give “Various performers” if giving fuller detail is not
feasible or not deemed useful for identification and access.
UC San Diego: Follow MLA Best Practices where practicable.
RDA AND SOUND
RECORDINGS
Recording Relationships: Creators, Contributors
MLA recommendation (RDA 19.2): If feasible, give separate
access points for all creators (beyond the first) for each work for
which an access point is given.
MLA recommendation (RDA 20.2): If feasible, give access
points for all arrangers, solo performers, conductors, and
performing ensembles. Generally do not give access points for
the members of a performing ensemble if already giving an
access point for the ensemble.
RDA AND SOUND
RECORDINGS
Relationships Designators for Sound Recordings: Relationship
Designators for Persons, Families, and Corporate Bodies Associated
with a Resource (RDA Appendix I)
MLA recommendation: Generally give relationship designators for all
persons and corporate bodies for which access points are given. Give terms
in $e rather than codes in $4.
Record relationship designators from Appendix I in subfield e, following the
authorized access point for your creator or contributor. Continue to prefer
using “performer” instead of the more granular “instrumentalist” and “singer.”
For other performing functions, however, including “conductor” and “narrator”
use the more granular terms.
700 1# Bowie, David, $e narrator.
710 2# RCA Victor Symphony Orchestra, $e performer.
Multiple relationships:
700 1# Stravinsky, Igor, $d 1882-1971, $e composer $e conductor.
RDA AND SOUND
RECORDINGS
Recording Relationships: Related Works, Expressions
MLA recommendation (RDA 25.1): Follow LC-PCC PS. In bibliographic records
for compilations, give access points for all works/expressions contained in the
resource if feasible. If giving access points for some but not all works/expressions,
give preference to those that are prominently named and/or form a substantial part
of the resource.
For other types of related works, generally give access points in the following
common situations, if feasible and readily ascertainable:
1) Literary or artistic work that formed the inspiration for a musical work (see
LC-PCC PS 25.0)
2) Musical work upon which a derivative musical work is based (e.g., a work
used as the basis for a set of variations)
Alternatively, give structured or unstructured descriptions instead of, or in
addition to the access point(s).
MLA recommendation (RDA 26.1): If feasible and readily ascertainable, give an
unstructured description of the original expression for all arrangements embodied
in a resource.
RDA AND SOUND
RECORDINGS
Recording Relationships: Works, Expressions, continued
If expressing a relationship in the form of a contents note, follow
general option 24.4.3 a) to provide a structured description, and
LC-PCC PS 25.1.1.3 for how to structure it:
505 0# Peter and the wolf : op. 67 : a musical tale for children /
Prokofiev (27:08) -- Young person's guide to the orchestra : op. 34 /
Britten (17:10).
Example of a contents note for related expression (following
general option 24.4.3 b) for an unstructured description):
500 ## Originally for organ.
RDA AND SOUND
RECORDINGS
Relationships Designators for Sound Recordings:
Relationship designators to specify relationships between
works, expressions, manifestations, and items (RDA 24.5,
Appendix J)
Provide relationship designators when you supply an authorized
access point for any work. Start with a concept from Appendix J,
and transform it according to the LC-PCC PS for J.1, capitalizing
the first letter and adding a colon to the end of the string:
700 1# $i Musical variations based on (work): $a Ortega, Sergio, $d
1938-2003. $t Pueblo unido jamás será vencido.
700 12 $i Contains (work): $a Bartók, Béla, $d 1881-1945. $t Darabok,
$m piano $n (1903). $p Tanulmány.
830 #0 $i Libretto based on (work): $a Sunset Blvd. (Motion picture)
RDA AND SOUND
RECORDINGS
Final Advice on Expressing Relationships between Works
Behold, an authorized access point out of OCLC, from an RDA
record (slightly modified to protect the identity of the well-meaning):
Haydn, Joseph $q (Franz Joseph), $d 1732-1809, $e composer. $t
Divertimenti, $n H. XIV, 13, $r G major.
BETTER
Haydn, Joseph $q (Franz Joseph), $d 1732-1809. $t Divertimenti, $n H.
XIV, 13, $r G major.
OR
Haydn, Joseph $q (Franz Joseph), $d 1732-1809, $e composer.
Haydn, Joseph $q (Franz Joseph), $d 1732-1809. $t Divertimenti, $n H.
XIV, 13, $r G major.
3. RDA AND NOTATED
MUSIC
RDA AND NOTATED
MUSIC
Preferred Source of Information (RDA 2.2.2.2)
The list for notated music is the same as for most other resources:
A title page, or, lacking one, the first of the following:
a) a cover (or an image of a cover)
b) a caption (or an image of a caption) No longer second preference
c) a masthead (or an image of a masthead)
d) a colophon (or an image of a colophon)
If none of the sources listed above bears a title, use as the preferred
source of information another source within the resource that bears a
title, giving preference to a source in which the information is formally
presented.
If the resource does not contain any of the sources specified above,
use as the preferred source of information another source forming
part of the resource itself, giving preference to sources in which the
information is formally presented.
RDA AND NOTATED
MUSIC
Title (RDA 2.3)
Nothing really different from other materials…
Statement of Responsibility Relating to Title Proper (RDA
2.4.2)
Similar to rules for resources other than audio or moving image.
Record creators and contributors as the instructions state.
RDA AND NOTATED
MUSIC
Authorized Access Point Representing a Musical Work (RDA
6.28.1)
Much of this slide is the same as for sound recordings:
Follow the instructions here for dramatic musical works and
certain other musical situations. Follow 6.27.1 for most other
categories, and 6.30.1.5-7 for works that are “officially prescribed
as part of a liturgy.”
For more details on changes in formulating AAPs for musical
works, see Part 4 of this presentation.
RDA AND NOTATED
MUSIC
Identifier for the Manifestation (RDA 2.15)
Same as for Sound Recordings: MLA recommendation: If feasible, record
all standard identifiers present on the item, including but not limited to the
following. MARC coding is indicated in parentheses.
ISBN (020) / ISMN (024 (1st indicator 2)) / EAN or ISMN-13 (024 (1st
indicator 3)) / UPC (024 (1st indicator 1)) / Issue number (sound
recordings) (028 (1st indicator 0)) / Matrix number (sound recordings) (028
(1st indicator 1)) / Videorecording number (028 (1st indicator 4))
020 ## 9780634009778
024 1# 884088223700
028 32 EP 7367 $b Peters
As for videos and sound recordings, now use MARC indicators in 028 fields
to generate notes when possible.
028 22 HH 60 176 (score) $b Edition HH
028 22 HH 50176 (parts) $b Edition HH
RDA AND NOTATED
MUSIC
Edition Statements (RDA 2.5)
When transcribing edition statements follow the general instructions
for all materials.
250 ## Second revised edition.
A change from AACR2: no more Musical Presentation Statements
(254s). Also, statements of responsibility about the format of music or
presentation statement will now be treated as edition statements.
250 ## Full score = $b Partitur.
250 ## Piano-vocal score / $b by the composer.
Yet another change: statement of vocal range.
250 ## High voice.
250 ## Baritone version / $b by Thaddeus Regensberg.
RDA AND NOTATED
MUSIC
Edition Statements (RDA 2.5), continued.
Currently, you must enter multiple edition statements in a single
field, separating the statements by a comma:
250 ## Erste Ausgabe = $b First edition, Partitur und Stimmen =
Score and parts, Klavierauszug / von Otmar Mayer = Piano reduction
/ by Otmar Mayer.
Once MARBI Proposal 2013-03 is implemented:
250 ## Erste Ausgabe =$b First edition.
250 ## Partitur und Stimmen = $b Score and parts.
250 ## Klavierauszug /$b von Otmar Mayer = Piano reduction / by
Otmar Mayer.
RDA AND NOTATED
MUSIC
EXTENT (RDA 3.4.1.7.5) for Electronic Resources
If the resource consists of one or more files in a format that
parallels a print, manuscript, or graphic counterpart (e.g., PDF),
specify the number of subunits by applying the instructions for
extent of cartographic resources (see 3.4.2), notated music
(see 3.4.3), still images (see 3.4.4), and/or text (see 3.4.5), as
appropriate.
MLA recommendation: Routinely specify number of subunits for
notated music content and audio files.
300 ## 1 online resource (1 vocal score (xi, 227 pages) + 1 part (32
pages))
300 ## 1 CD-ROM (1 score (52 pages) + 5 parts) ; $c 4 ¾ in.
RDA AND NOTATED
MUSIC
Extent of Notated Music (RDA 3.4.3), Change #1
Slight changes to acceptable formats of notated music to use for extent (this list
lives at 7.20.1.3):
score
condensed score
study score  “miniature score” may no longer be used; use “study score” instead
piano conductor part
violin conductor part
vocal score
piano score
chorus score
part
choir book
table book
RDA AND NOTATED
MUSIC
Extent of Notated Music (RDA 3.4.3), Change #2
The other significant change to the extent is that RDA does not
separate how you record music for a single performer versus music
for an ensemble. No longer will you see constructions like “37 p. of
music” for solo instrument music.
Before, a piece of solo piano music might have been described:
31 p. of music
But now:
1 score (31 pages)
It’s all scores (and parts) now…(plus choir books and table
books)!
RDA AND NOTATED
MUSIC
Dimensions (RDA 3.5)
No changes here for notated music. This slide is just a
reminder that dimensions are frequently useful to record for
scores, especially now that “miniature scores” is no longer with
us.
MLA recommendation: Follow LC-PCC PS, that is, record
dimensions in all cases.
RDA AND NOTATED
MUSIC
Content type (RDA 6.9) for notated music, MARC 336:
notated music ($b ntm $2 rdacontent)
tactile notated music ($b tcm $2 rdacontent)
Media type (RDA 3.2) for notated music, MARC 337:
unmediated ($b n $2 rdamedia)
computer ($b c $2 rdamedia)
Carrier Type (RDA 3.3) for notated music, MARC 338:
volume ($b nc $2 rdacarrier)
sheet ($b nb $2 rdacarrier)
computer disc ($b cd $2 rdacarrier)
online ($b cr $2 rdacarrier)
RDA AND NOTATED
MUSIC
Form of Musical Notation (RDA 7.13.3)
Always record the form of musical notation in $b of 546, and
select from the rule’s list of terms, e.g.:
546 ## $b Staff notation.
546 ## $b Tablature.
546 ## $b Graphic notation.
MLA recommendation: Follow LC-PCC PS. That is, routinely
record form of musical notation. Input in a separate 546 field.
Thus, if you have other language elements to record, place them
in a 546 field separate from the one you use to record the form of
notation.
RDA AND NOTATED
MUSIC
Recording Relationships: Related Works, Expressions (REPEATED SLIDE FROM
SOUND RECORDINGS)
MLA recommendation (RDA 25.1): Follow LC-PCC PS. In bibliographic records for
compilations, give access points for all works/expressions contained in the resource if feasible.
If giving access points for some but not all works/expressions, give preference to those that
are prominently named and/or form a substantial part of the resource.
For other types of related works, generally give access points in the following common
situations, if feasible and readily ascertainable:
1) Literary or artistic work that formed the inspiration for a musical work (see LC-PCC PS
25.0)
2) Musical work upon which a derivative musical work is based (e.g., a work used as the
basis for a set of variations)
Alternatively, give structured or unstructured descriptions instead of, or in addition to the
access point(s).
MLA recommendation (RDA 26.1): If feasible and readily ascertainable, give an unstructured
description of the original expression for all arrangements embodied in a resource.
RDA AND NOTATED
MUSIC
Relationships Designators for Notated Music: Relationship Designators
for Persons, Families, and Corporate Bodies Associated with a
Resource (RDA 18.5.1.3, Appendix I)
MLA recommendation: Generally give relationship designators for all
persons and corporate bodies for which access points are given. Give terms
in $e rather than codes in $4.
As with the other materials, record relationship designators from Appendix I,
following the authorized access point for your creator or contributor. Select
any designators that describe a significant relationship between a FRBR
Group II entity and your resource, including “composer.”
100 1# Adams, John Luther, $d 1953-, $e composer.
710 2# University of California, San Diego. $b Department of Music, $e former
owner.
Multiple relationships:
700 1# Bernstein, Leonard, $d 1918-1990, $e composer $e arranger of music.
RDA AND NOTATED
MUSIC
Recording Relationships: Related Works, Expressions, REPEATED SLIDE
MLA recommendation (RDA 25.1): Follow LC-PCC PS. In bibliographic records
for compilations, give access points for all works/expressions contained in the
resource if feasible. If giving access points for some but not all works/expressions,
give preference to those that are prominently named and/or form a substantial part
of the resource.
For other types of related works, generally give access points in the following
common situations, if feasible and readily ascertainable:
1) Literary or artistic work that formed the inspiration for a musical work (see
LC-PCC PS 25.0)
2) Musical work upon which a derivative musical work is based (e.g., a work
used as the basis for a set of variations)
Alternatively, give structured or unstructured descriptions instead of, or in
addition to the access point(s).
MLA recommendation (RDA 26.1): If feasible and readily ascertainable, give an
unstructured description of the original expression for all arrangements embodied
in a resource.
RDA AND NOTATED
MUSIC
Recording Relationships: Works, Expressions, continued,
REPEAT
If expressing a relationship in the form of a contents note, follow
general option 24.4.3 a) to provide a structured description, and
LC-PCC PS 25.1.1.3 for how to structure it:
505 0# Imagination / Heimer Sjöblom (2:15) -- Marimbacapriccio /
Miklós Maros (5:00) -- The snow of my childhood has thawed /
Sergei Dmitriev (9:00).
Example of a contents note for related expression (following
general option 24.4.3 b) for an unstructured description):
500 ## Originally for large orchestra, arranged for normal-sized
orchestra.
RDA AND NOTATED
MUSIC
Relationships Designators for Sound Recordings: Relationship
designators to specify relationships between works,
expressions, manifestations, and items (RDA 24.5, Appendix J)
REPEAT
MLA recommendation: Generally give relationship designators for
all works and expressions for which access points are given.
Start with a concept from Appendix J, and transform it according to
the LC-PCC PS for J.1, capitalizing the first letter and adding a colon
to the end of the string:
700 1# $i Musical variations based on (work): $a Ortega, Sergio, $d 19382003. $t Pueblo unido jamás será vencido.
700 12 $i Contains (work): $a Bartók, Béla, $d 1881-1945. $t Darabok, $m
piano $n (1903). $p Tanulmány.
830 #0 $i Libretto based on (work): $a Sunset Blvd. (Motion picture)
4. MAJOR CHANGES
TO AUTHORITY WORK
FOR MUSICAL WORKS
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Recap of General Changes of Special Music Interest
Librettos are now entered under the librettist, not the composer.
Was: Mozart, Wolfgang Amadeus, $d 1756-1791. $t Così fan tutte. $s
Libretto
Now: Da Ponte, Lorenzo, $d 1749-1838. $t Così fan tutte
BUT
Was: Boito, Arrigo, $d 1842-1918. $t Mefistofele. $s Libretto
Now: Boito, Arrigo, $d 1842-1918. $t Mefistofele (Libretto)
[Boito wrote his own libretto. The opera would now also need to be
qualified: Mefistofele (Opera)]
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Recap of General Changes of Special Music Interest
“Polyglot” is no longer permitted to create a single catch-all heading for
multiple language expressions. Name the AAPs for the individual
language expressions instead.
Was:
Mozart, Wolfgang Amadeus, $d 1756-1791. $t Così fan tutte. $s Libretto. $l
Polyglot
Now:
Da Ponte, Lorenzo, $d 1749-1838. $t Così fan tutte
Da Ponte, Lorenzo, $d 1749-1838. $t Così fan tutte. $l English
Da Ponte, Lorenzo, $d 1749-1838. $t Così fan tutte. $l French
Da Ponte, Lorenzo, $d 1749-1838. $t Così fan tutte. $l German
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Recap of General Changes of Special Music Interest
“Selections” by itself may not be used in an authorized access point for
selected works. Now, precede it with “Works.”
Was:
Telemann, Georg Philipp, $d 1681-1767. $t Selections
Now:
Telemann, Georg Philipp, $d 1681-1767. $t Works. $k Selections
UC San Diego practice: For musical works don’t supply a date after
“Selections.”
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Recap of General Changes of Special Music Interest
The shortcut of giving a range of consecutively-numbered works in a series is no longer
permitted in most scenarios. Replace the numbered range with the word “Selections,” or
name each of the works in the series individually.
Was:
Vaughan Williams, Ralph, $d 1872-1958. $t Symphonies, $n no. 1-3
Now:
Vaughan Williams, Ralph, $d 1872-1958. $t Symphonies. $k Selections
OR
Vaughan Williams, Ralph, $d 1872-1958. $t Symphonies, $n no. 1
Vaughan Williams, Ralph, $d 1872-1958. $t Symphonies, $n no. 2, $r G major
Vaughan Williams, Ralph, $d 1872-1958. $t Symphonies, $n no. 3
EXCEPTION: THESE ARE OKAY
Beethoven, Ludwig van, $d 1770-1827. $t Quartets, $m strings, $n no. 7-9, op. 59
Vivaldi, Antonio, $d 1678-1741. $t Cimento dell'armonia e dell'inventione. $n N. 1-4
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Recap of General Changes of Special Music Interest
…And remember that fictional identities can now be considered capable
of authorship…
Was:
Peter Schickele. $t No-no nonette
Now:
Bach, P. D. Q., $d 1742-1807. $t No-no nonette
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
“Cello”
“Violoncello” will now be recorded as “cello” when naming solo
instruments or instruments in an ensemble. (LC-PCC PS for RDA
6.15.1.6)
Was:
Childs, Barney. $t Pieces, $m violoncello
Now:
Childs, Barney. $t Pieces, $m cello
Was:
Paganini, Nicolò, $d 1782-1840. $t Quartets, $m violin, viola, violoncello,
guitar, $n M.S. 33, $r D minor
Now:
Paganini, Nicolò, $d 1782-1840. $t Quartets, $m violin, viola, cello, guitar, $n
M.S. 33, $r D minor
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
“Arrangements”
We now spell out the abbreviation “arr.” for arrangements.
Was:
Rolla, Alessandro, $d 1757-1841. $t Serenades, $m violin, viola, $n op.
14. $n No. 2; $o arr.
Now:
Rolla, Alessandro, $d 1757-1841. $t Serenades, $m violin, viola, $n op.
14. $n No. 2; $o arranged
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Number of Individual Instruments (RDA 6.15)
No longer is there a limit on the number of named individual instruments when
formulating an access point. (RDA 6.15.1.4-5)
Use the instrumental order laid out in 6.15.1.3:
a)
b)
c)
d)
voices
keyboard instrument if there is more than one non-keyboard instrument
the other instruments in score order
continuo
Was:
Wagner, Melinda. $t Sextet, $m piano, woodwinds, strings
Now:
Wagner, Melinda. $t Sextet, $m piano, flute, clarinet, violin, viola, cello
If there is more than one part for a particular instrument or voice, add the appropriate numeral
for the number of parts. Add the numeral in parentheses after the name of that instrument or
voice unless the number is otherwise implicit. (RDA 6.15.1.3)
Octet, $m piano, trombone, percussion, violins (2), cellos (2)
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Number of Individual Instruments, continued
Complications!
Suppose that you
have an ensemble
of piano, 2 violins,
viola and cello.
What you record in
the 382 would
depend on what the
preferred title would
be.
This table tells you that, when the preferred title of the work is “Quintet” or “Quintets,” this
instrumentation would be recorded as $m piano, strings. For any other title, it would be
record as $m piano quintet.
However, late-breaking update (March 15): Z1 will soon be updated to ask you to provide
both in this situation: the standard combination’s name and the individual instruments.
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Trio Sonatas
RDA doesn’t carry over AACR2’s instruction to supply the term “trio
sonata” for certain works.
Title on resource: Sonata per flauto traverso (oboe, violino), oboe
(violino) e basso continuo
AACR2:
Trio sonata, $m flute, oboe, continuo
RDA:
Sonata, $m flute, oboe, continuo
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Duets
Nor is there a special RDA instruction for duets. The final RDA
access point in this case, however, after consulting the Types of
Compositions document, would be the same as the old form.
Title on resource: Duo G-Dur für Flöte (Oboe) und Fagott
AACR2:
Duets, $m flute, bassoon, $r G major
RDA:
Duets, $m flute, bassoon, $r G major
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
New MARC21 Fields for Music Elements
382 Medium of Performance
383 Numeric Designation of Musical Work
384 Key
Also two general fields music catalogers will be using
frequently:
370 Place of Origin of the Work
380 Form of Work
Generally code these fields only in authority records, when
you are creating name/title AAPs for NACO or NACO Music.
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
382 Medium of Performance (R) (RDA 6.15)
Indicators
First Indicator - Display constant controller
# - No information provided
0 - Medium of performance
1 - Partial medium of performance
Second Indicator - Not defined
Subfields
$a - Medium of performance
There are numerous other, more granular subfields defined, but for now
only use subfield a. Also only code the first indicator blank or 0.
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
382 Medium of Performance (R) (RDA 6.15), continued
Follow RDA 6.15 and DCM Z1. Individual instruments are recorded using
lower-case in separate subfield a’s.
382 0# $a trombones (2) $a percussion
382 0# $a mixed voices $a piano
382 0# $a piano trio $a orchestra
382 0# $a piano $a strings
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
383 Numeric Designation of Musical Work (R) (RDA 6.16)
Main subfields
$a - Serial number (R)
$b - Opus number (R)
$c - Thematic index number (R)
$d - Thematic index code (NR)
$e - Publisher associated with opus number (NR)
$2 - Source (NR)
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
383 Numeric Designation of Musical Work (R) (RDA 6.16),
examples
100 1# Chopin, Frédéric, $d 1810-1849. $t Etudes, $m piano, $n op. 25. $n No. 7
383 ## $b op. 25, no. 7
670 ## [Various justifications for the above]
100 1# Dvořák, Antonín, $d 1841-1904. $t Symphonies, $n no. 5, op. 76, $r F major
400 1# Dvořák, Antonín, $d 1841-1904. $t Symphonies, $n no. 3, op. 76, $r F major
383 ## $a no. 3
383 ## $a no. 5
383 ## $b op. 76
383 ## $b op. 24
383 ## $c B. 54 $d Burghauser $2 mlati
670 ## [Various justifications for the above]
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
384 Key (R) (RDA 6.17)
Indicators
First Indicator - Key type
# - Relationship to original unknown
The relationship of the specified key to the original key in which the
musical composition was written.
0 - Original key
1 - Transposed key
A different key from that of the original work.
Second Indicator – Undefined
Main Subfield
$a - Key
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
384 Key (R) (RDA 6.17), examples
100 1# Dvořák, Antonín, $d 1841-1904. $t Symphonies, $n no. 5, op. 76, $r F
major
384 0# $a F major
100 1# Liszt, Franz, $d 1811-1886. $t Études de concert $n (1848). $n No 3
384 0# $a D ♭
670 ## Grove, 5th ed. $b (144, 3 études de concert: 3, D♭ maj.; later
published by Meissonnier as Caprices poétiques: 3, Un sospiro)
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
370 Associated Place (R)
Main Subfield
$g - Place of Origin of the Work (R) (RDA 6.5)
MLA recommendation: In authority records for works, give place of
origin of the work in 370 $g if readily ascertainable. Give country or local
place within a country, as appropriate.
DCM Z1: Use the established form of the geographic place name as
found in the LC/NAF, with the same adjustments as when using the place
name as a parenthetical qualifier to names. “Give the RDA form of place
it would have as an addition to an authorized access point.”—RDA in
NARs-SARs.
370 ## $g La Jolla, San Diego, Calif.
370 ## $g Bonn, Germany
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
380 Form of Work (R) (RDA 6.17)
Main Subfields
$a - Form of work
$2 - Source of term
DCM Z1: Prefer controlled vocabulary, such as LCSH, LCGFT, or MeSH.
For consistency, capitalize the first term in subfield $a. When terms do
not come from a controlled vocabulary, use a singular form.
100 1# Granados, Enrique, $d 1867-1916. $t Goyescas (Opera)
380 ## $a Operas $2 lcsh
100 1# Satie, Erik, $d 1866-1925. $t Parade
380 ## $a Ballets $2 lcsh
MAJOR CHANGES TO
AUTHORITY WORK FOR
MUSICAL WORKS
Final Content Slide: Don’t panic!
Many things have changed, but many have not.
Outside of music:
100 1# Tolkien, J. R. R. $q (John Ronald Reuel), $d 1892-1973. $t Two towers
400 1# Tolkien, J. R. R. $q (John Ronald Reuel), $d 1892-1973. $t Lord of the rings. $n
2, $p Two towers
But for music (RDA 6.28.2.2):
One Part
Construct the authorized access point representing a part of a musical work by
combining (in this order):
a) the authorized access point representing the work as a whole (see 6.28.1)
b) the preferred title for the part (see 6.14.2.7.1).
100 1# Wagner, Richard, $d 1813-1883. $t Ring des Nibelungen. $p Götterdämmerung
400 1# Wagner, Richard, $d 1813-1883. $t Götterdämmerung
QUESTIONS?