LC Training for RDA:
Resource Description & Access
Describing Carriers and
Identifying Works
Cooperative and Instructional Programs Division,
Library of Congress, 2012
Adapted for UC San Diego Catalogers
Presented February 12, 2013 by
Jim SOE NYUN and Adolfo Tarango
At UC San Diego
1
Acknowledgements



This course has been adapted from training
delivered by Barbara Tillett and Judith Kuhagen,
Library of Congress Policy and Standards Division, to
the Georgia Public Library Cataloging Summit,
August 2011.
It incorporates the “Refresher Training” conducted
for LC’s RDA Testers in October 2011.
COIN gratefully acknowledges PSD’s permission to
adapt the material for the present purpose
2
About This Material


This presentation has been modified from the
training material created by the Library of Congress
for a primary audience of their staff.
We have retained universal information about RDA.
However, the portions dealing with LC-specific
policies have been modified to reflect more general
or UCSD practice.
3
Learning Objectives -Describing Carriers and Identifying Works
o
o
o
o
Describing Carriers
Other Elements of Manifestations and Items
Introduction to Works
Elements for Works
4
Unit 1: Describing Carriers
o RDA Chapter 3
o Will not discuss specific elements for resources
of special formats (films, maps, scores, etc.)
o Examples available in RDA, in MARC
documentation, and in LC compilation of
examples
5
Replacement for GMD - 245 $h

Three new MARC fields - developed with ONIX publishing
community:



Content type -- RDA 6.9 -- MARC 336 field
Media type -- RDA 3.2 -- MARC 337 field
Carrier type -- RDA 3.3 -- MARC 338 field
6
MARC for Content, Media, Carrier

In each of the three fields for these elements (336338):
 $a
term
 $b
code
 $2
“rdacontent” or “rdamedia” or
“rdacarrier” as appropriate
 $3
materials specified - give if
appropriate
7
Controlled Vocabularies for
Content, Media, Carrier Types


Closed lists in RDA 6.9.1.3, 3.2.1.3, 3.3.1.3
If more than one term appropriate, two choices:




Give all: repeat field
Pick the term representing the predominant or most
substantial content, media, carrier
If the information is unknown, record “unspecified”
If no term is appropriate, record “other” and notify LC
via a message to LChelp4rda@loc.gov
8
Content Type






CORE ELEMENT
RDA 6.9
“ … the fundamental form of communication in which the
content is expressed and the human sense through which it
is intended to be perceived”
Terms from Table 6.1
Instead of recording all, you may record the content type
that applies to the predominant or most substantial parts of
the resource
MARC 336 field
Examples:
performed music
still image
text
9
Media Type






BSR CORE ELEMENT
RDA 3.2
“… the general type of intermediation device required to
view, play, run, etc., the content of a resource”
Terms from Table 3.1
Instead of recording all, may record the media type that
applies to the predominant or most substantial parts of
the resource
MARC 337 field
Examples:
audio
computer
microform
unmediated
10
Carrier Type






CORE ELEMENT
RDA 3.3
“ … the format of the storage medium and housing of a
carrier in combination with the type of intermediation
device required … ”
Terms listed in 3.3.1.3
Instead of recording all, may record the carrier type that
applies to the predominant or most substantial parts of the
resource
MARC 338 field
Examples: audio disc
computer disc
microfiche
volume
videodisc
11
Example:
MARC 336-338 Fields
Book:
336 $a text $2 rdacontent
337 $a unmediated $2 rdamedia
338 $a volume $2 rdacarrier
12
OCLC’s RDA!Add33x Macro
13
Extent

RDA 3.4

“The number and type of units and/or subunits making up a
resource”
 Unit = a physical or logical constituent of a resource
(e.g., a volume)



Subunit = a physical or logical subdivision of a unit (e.g.,
a page of a volume)
“Always record extent, even though RDA only
considers extent to be core if the resource is complete
or the total extent is known”—BSR.
Record Extent in MARC 300 $a
14
Recording Extent


RDA 3.4.1.3
Give number of units and appropriate term:
 Sometimes a term from carrier type list (RDA 3.3.1.3)
 Another term to designate the type of unit (RDA
3.4.1.5) if term not in list, or prefer a term in common
use
 Several categories covered by exceptions (e.g., text, still
images, notated music, cartographic resources)
15
Extent of Text


Single Volume with Numbered Pages, Leaves, or
Columns (3.4.5.2)
Single Volume with Unnumbered Pages, Leaves, or
Columns (3.4.5.3)


RDA lists three options
LC-PCC PS 3.4.5.3 continues AACR2 practice


For original cataloging, usually follow method c) 1 volume
(unpaged)
Complicated or Irregular Paging (3.4.5.8)


RDA lists three options
LC-PCC PS 3.4.5.8 continues AACR2 practice

For original cataloging, usually follow method c) 1 volume
(various pagings)
16
Changes From AACR2
Related to Extent




We now use terms, not abbreviations for terms (e.g.,
“pages,” “volumes”, not “p.,” “v.”)
Use “approximately” (rather than “ca.”) and “that is”
(rather than “i.e.”)
Use “unnumbered”, rather than square brackets
enclosing the numeral
Be aware of changes in vocabulary from AACR2, e.g.:
“computer disc” is used for both “computer disk” and
“computer optical disc”
17
Dimensions

RDA 3.5



“Measurements of the carrier or carriers and/or the container
of a resource”
Rounded up to next whole centimeter
“cm” and “mm” are symbols, not abbreviations



use ISBD full stop after symbol only if a 490 field appears in the
record
“PCC Core for audio recordings, notated music, moving
images, still images, cartographic resources, directaccess electronic resources, and rare materials (for
rare graphic materials, always specify what was
measured)”—BSR.
MARC 300 $c
18
LC Practices: Dimensions

Follow 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”
LC-PCC Practice for serials:


Note that dimensions is not a Core Element for
serials and online resources.
But you may record it if you wish
19
Examples:
MARC 300 $a, 336-338
Book:
300
336
337
338
$a
$a
$a
$a
123 pages, 28 unnumbered pages
text $b txt $2 rdacontent
unmediated $b n $2 rdamedia
volume $b nc $2 rdacarrier
$b is optional
Music CD:
300 $a 1 audio disc {or: 1 CD}
For new UCSD inputs we will likely use “1 CD”
336 $a performed music $2 rdacontent
337 $a audio $2 rdamedia
338 $a audio disc $2 rdacarrier
20
Examples:
MARC 300 $a, 336-338
DVD:
300 $a 2 videodiscs {or: 2 DVD-videos}
Note: For new UCSD inputs use “2 DVD-videos”
336 $a two-dimensional moving image $2
rdacontent
337 $a video $2 rdamedia
338 $a videodisc $2 rdacarrier
Online PDF:
300 $a
336 $a
337 $a
338 $a
1 online resource (39 pages)
text $2 rdacontent
computer $2 rdamedia
online resource $2 rdacarrier
21
Example:
MARC 300 $a, 336-338
Website (with maps, text, and photographs):
300 $a 1 online resource
336 $a text $2 rdacontent
336 $a cartographic image $2 rdacontent
336 $a still image $2 rdacontent
337 $a computer $2 rdamedia
338 $a online resource $2 rdacarrier
UC San Diego will follow LC Practice below:
If copied records include repeated subfields $a, rather
than multiple fields, accept them as is:
336
$a text $a cartographic image $a still image $2 rdacontent
22
Example:
MARC 300 $a, 336-338
Book with accompanying CD of lecture: $3 and $e
300 $a 244 pages ... + $e 1 CD
336 $3 book $a text $2 rdacontent
336 $3 CD $a spoken word $2 rdacontent
337 $3 book $a unmediated $2 rdamedia
337 $3 CD $a audio $2 rdamedia
338 $3 book $a volume $2 rdacarrier
338 $3 CD $ audio disc $2 rdacarrier
* The use of $3 in this example is optional.
Instead of $e, can repeat 300 field
300 $a 244 pages ...
300 $a 1 CD ...
Instead of $e, can give a note
500 $a Accompanied by a CD.
23
Examples:
MARC 300 $a, 336-338
Oral history CD:
300 $a 1 CD
336 $a spoken word $2 rdacontent
337 $a audio $2 rdamedia
338 $a audio disc $2 rdacarrier
24
Example:
MARC 300 $a, 336-338
Kit (contains a book about a fireman, a CD narrating
the book, and a fireman’s hat):
300 $a 1 CD, 1 book, 1 plastic helmet
336 $a spoken word $a text $a threedimensional form $2 rdacontent
337 $a audio $a unmediated $2 rdamedia
338 $a audio disc $a volume $a object
$2 rdacarrier
The use of multiple subfields $a in the 336 field is
acceptable if this is a copy record, but for UC San
Diego original cataloging, you would record separate
33X fields
(And LOTS OF THEM!)
25
Examples:
MARC 300 $a, 336-338
Score:
300
336
337
338
$a
$a
$a
$a
1 vocal score (xii, 300 pages)
notated music $2 rdacontent
unmediated $2 rdamedia
volume $2 rdacarrier
$a
$a
$a
$a
1 map
cartographic image $2 rdacontent
unmediated $2 rdamedia
sheet $2 rdacarrier
Map:
300
336
337
338
26
Unit 2: Exercises on Carriers

Exercises #3-#4 Carriers
27
Unit 3: Other Elements of
Manifestations and Items
Acquisition and Access Information





Terms of availability (RDA 4.2)
Contact information (RDA 4.3)
Restrictions on access (RDA 4.4)
Restrictions on use (RDA 4.5)
Uniform Resource Locator (RDA 4.6)
28
Other Elements of Manifestations and
Items: Availability and Contacts
Do not provide:


Terms of Availability (RDA 4.2)
Contact Information (RDA 4.3)
29
Other Elements of Manifestations and
Items: Access
Restrictions on Access (RDA 4.4)





Record restrictions on access as needed
Be as specific as possible
Include the nature and duration of the restriction
Note absence of restrictions if important
MARC 506, 856, various local fields
Examples:
Access embargoed until two years after
publication date
Open access resource
30
Other Elements of Manifestations and
Items: Use
Restrictions on Use (RDA 4.5)




Record restrictions on use as needed
Be as specific as possible
Include the nature and duration of the restriction
MARC 540, 856, various local fields
Example:
One hour check out only
Library use only
Restricted to UCSD users only
31
Other Elements of Manifestations and
Items: URLs
Uniform Resource Locator - URL (RDA 4.6)




MARC 856
If there is more than one URL for the resource, record
all (LCPS 4.2.1.3)
Only record “universal” URLs in OCLC master record
Retain only our URLs in local record
32
Other Elements of Manifestations and
Items: URLs
Changes Requiring the Addition, Revision, or
Deletion of a URL(LCPS 4.6.1.4)


When the original URI is no longer active
When the original URI is still active, but the original
resource is no longer available
Example:
856 40 $z Electronic address (http://www.example.com) not available
when searched on [date]
33
Other Characteristics:
Sound Resources








Type of recording - 3.16.2.3
Recording medium - 3.16.3.3
Playing speed - 3.16.4.3
Groove characteristic - 3.16.5.3
Track configuration - 3.16.6.3
Tape configuration - 3.16.7.3
Configuration of playback channels - 3.16.8.3
Special playback characteristics - 3.16.9.3
34
Other Characteristics:
Moving Image Resources




Presentation format (film) - 3.17.2
Projection speed (film) - 3.17.3
Video format (videorecording) - 3.18.2
Broadcast standard (videorecording) - 3.17.2
35
Other Characteristics:
Electronic Resources (digital files)








File type - 3.19.2
Encoding format - 3.19.3
File size - 3.19.4
Resolution - 3.19.5
Regional encoding - 3.19.6
Transmission speed - 3.19.7
Date resource viewed - 2.20.13.5
Equipment or system requirement –3.20
36
Other Characteristics:
Cartographic Resources







Layout - 3.11
Digital file characteristics – 3.19
Longitude and latitude – 7.4.2
Horizontal scale – 7.25.3
Vertical scale – 7.25.4
Additional scale information – 7.25.5
Projection of cartographic content – 7.26
37
Other Characteristics:
Music Resources



Form of musical notation (scores) - 7.13.3
Format of notated music (scores) - 7.20
Medium of performance of musical content - 7.21
38
Unit 4: Introduction to Works



Where are the Instructions?
Naming the Work
Policy Decisions on …






Bibliographic or Authority?
Core Elements to Distinguish
Language and Script
Terminology
Sources
Authorized Access Points for Works
39
Where are the Instructions?


Generally, the instructions for identifying
works and expressions are in chapter 6.
You will also need to consult the related
instructions in:


Chapter 19, “Persons, Families, and Corporate
Bodies Associated with a Work”
Chapter 20, “Persons, Families, and Corporate
Bodies Associated with an Expression”
40
“Naming the Work”



Just like ‘naming’ persons and corporate bodies
(and now, families)
Similar to AACR2 concept of “main entry”
MARC has four possibilities for where this
information can be coded in bibliographic records




1XX + 240
1XX + 245
130
245
41
Decisions on …
Bibliographic or Authority Data?


RDA does not prescribe if attributes about the
work and the access points are to be recorded
as bibliographic data or authority data
UC San Diego Policy:


Always identify the work by giving the access point
in the bibliographic record (following LC)
Sometimes identify the work by making a title or
name/title authority record
42
Decisions on …
Core Elements to
Distinguish, Other Required Core Additions


If elements are being recorded to distinguish
one work from another or from the name of a
person, family, or corporate body, RDA gives
choices for recording the elements (RDA 0.6.3,
0.6.4):
UC San Diego will follow LC policy:


always give as additions to the authorized access
point
cataloger judgment to also give as separate
elements in authority records
43
Decisions on …
Language and Script

Title for a work in the language and script
in which it appears in the resource (RDA
5.4)


U.S.: in authorized and variant access points:
apply the alternative to give a romanized form
For some languages (see LC-PCC PS 5.4), can
also give variant access points (MARC 4XX) in
original language/script in authority records
44
Terminology Related to “Works”

Title of the work (RDA 6.2.1.1)


Preferred title for the work (RDA 6.2.2.1)


“word, character, or group of words and/or characters by
which a work is known”
the form of title used when constructing the authorized
access point
Variant title for the work (RDA 6.2.3.1)


the form of title used when constructing a variant access
point
aka “see references”
45
Sources of Information –
Sources for Preferred Titles (6.2.2.2)


Commonly-known title
For a work created after 1500



From resources embodying the work or from reference
sources
Sometimes: title proper of the first manifestation received
For a work created before 1501


From modern reference sources
If this evidence is inconclusive, use (in this order):



a) modern editions
b) early editions
c) manuscript copies
46
Sources of Information –
Sources for Other Elements (6.1.1)


For all other identifying attributes of works
and expressions
Take the information from any source
47
Authorized Access Points for Works
(6.27.1.1 - 6.27.1.8)

How to put together the elements to construct an
authorized access point




Preferred title is the basis
Authorized access point for the creator precedes the
preferred title, as applicable
Additions to the preferred title as instructed under
6.27.1.9
Links back to the instructions on recording each of
the specific elements
48
Unit 5: Elements for Works






Entities Responsible for a Work
Preferred Title for the Work
Compilations vs. Collaborations
Additions to Access Points for Works
Variant Access Points for Works
MARC Authority Fields for Works
49
Entities Responsible for a Work
“When the preferred title is recorded as part of the
authorized access point representing the work,
precede it, if appropriate, by the authorized access
point representing the person, family, or corporate
body responsible for the work, as specified in the
instructions given under 6.27.1.” (RDA 0.6.3)
50
Entities Responsible for a Work:
Where are the Instructions?


Creator is a relationship
to a work; it isn’t an
attribute of the work.
Instructions about
creators in Chapter 19,
not Chapter 6.
“contributors” are responsible for an expression
• discussed in Chapter 20 (and covered in Module 3)
51
Entities Responsible for a Work: Sources


Statements appearing on preferred sources of
information (RDA 2.2.2)
If ambiguous or insufficient, use, in this order:



Other statements appearing prominently in the
resource
Information appearing only in the content
Other sources
52
Creator (19.2)



CORE ELEMENT
“person, family, or corporate body responsible for the
creation of a work”
If more than one entity is responsible for the work as a
whole:



Creator having principal responsibility named first in the resource
is required
If principal responsibility is not indicated, only the first-named
creator is required
Use cataloger judgment in deciding to provide authorized access
points for additional creators, beyond the core (LCPS 19.2)
53
What About Contributors?




“ … contributing to the realization of a work
through an expression”
Editors, translators, illustrators, arrangers of
music, performers, writers of commentary, and
others
For relationship designators see Appendix I.3.1
Covered in next module on Expressions
54
Creator – Changes from AACR2


No “rule of three” to identify the work only
by its preferred title when there are more
than three creators
Performer of works by different composers
presented in a sound recording is not
automatically considered a creator
55
Compilers and Modifiers as Creators
(19.2.1.1)


An entity that compiles an aggregate work may be
considered a creator if the selection, arrangement,
editing, etc., of content effectively results in the
creation of a new work; or
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.
56
Corporate Bodies as Creators

Categories of works (RDA 19.2.1.1.1)




Similar to AACR2 21.1B2
Corporate body takes precedence over a firstnamed person or family as creator
Further guidance, see LCPS 19.2.1.1.1
See RDA 19.2.1.1.2 on government and religious
officials as creators
57
Preferred Title for the Work



CORE ELEMENT
General instructions (RDA 6.2.1, 6.2.2)
Specific instructions (RDA 6.2.2.9, 6.2.2.10,
and some others later in Chapter 6)
58
General Instructions on
Recording Titles (6.2.1)








Scope: “… by which a work is known”
Sources: “… from any source”
Capitalization
Numbers
Diacritics
Articles
Spacing
Abbreviations
59
Instructions on Recording
Preferred Titles (6.2.2)

Scope and sources


Choosing preferred titles


6.2.2.1 – 6.2.2.2
6.2.2.3 – 6.2.2.7
Recording preferred titles

6.2.2.8 – 6.2.2.10
60
Preferred Title for the Work –
Specific Categories




some musical works (6.14.2)
some legal works (6.19.2)
some religious works (6.23.2)
some official communications (6.26.2)
61
Preferred Title –
Parts of a Work (6.2.2.9)


Other than musical or religious works
RDA makes a distinction depending on the
number of parts


one (6.2.2.9.1)
two or more (6.2.2.9.2)
62
Parts of a Work –
One Part (6.2.2.9.1)

Record preferred title applying basic instructions
given under 6.2.1

Part has specific title, e.g. second part of J.R.R.
Tolkien’s The lord of the rings:


Part has general term, e.g. season 6 of Buffy the
Vampire Slayer:


Two towers
Season 6
Part has both designation and title, e.g. second part of
National Parks of the U.S.

Volume 2, Grand Canyon
63
Parts of a Work –
Two or More Parts (6.2.2.9.2)

Consecutively numbered, with only a general designation


“Record the designation of the parts … followed by the
inclusive numbers of the parts”
 e.g., preferred title for the first six books of Homer’s Iliad:
Book 1–6
Two or more unnumbered or non-consecutively numbered
parts


“Record the preferred title for each of the parts”
 e.g., preferred title for a part of Divina commedia in a
compilation also comprising the part Paradiso: Purgatorio
But …
64
Two or More Parts –
6.2.2.9.2 Alternative

“Instead of recording the preferred title for each of
the parts, record the conventional collective title
Selections as the preferred title for the parts.” (LCPS
6.2.2.9.2)

e.g., preferred title for a work comprising of books 1 and 6
of Homer’s Iliad

Selections
65
Authorized Access Point for
Part(s) of a Work (6.27.2)

Generally:
preferred title for part(s)
 preceded by authorized access point for the
creator, if appropriate

Tolkien, J. R. R. (John Ronald Reuel), 18921973. Two towers
But…there are exceptions…
66
Authorized Access Point for
Part(s) of a Work
Exceptions:




non-distinctive titles
serials and integrating resources
television/radio programs
consecutively-numbered parts
Construct the a.a.p. by using:


preferred title for part(s)
preceded by authorized access point for the work
Homer. Iliad. Book 1
Buffy the vampire slayer (Television program). Season 6
67
Compilations and Collaborations



Important distinction
Determines how each is ‘identified’
Compilations


RDA 6.27.1.4
Collaborations

RDA 6.27.1.3
68
How to Decide?

Clues that you have a compilation:



Indication of who created what
From the preferred source, table of contents,
preface, program notes, home page, other
components in the resource
Assume it is a collaboration if:


you have no indication who created what
you are in doubt
69
Multiple Works by One Creator

Must be treated as a compilation


i.e., there are no collaborators
Identified by



Creator
+
Preferred title
70
Preferred Title – Compilations of
One P - F - CB (6.2.2.10)

Has compilation become known by a title?



Not usually
But, e.g., Leaves of grass is an example of a compilation
known by a title
If not, use a conventional collective title (doesn’t matter
if title proper is distinctive):



Complete works = use “Works”
Complete works in a single form = use term chosen by
cataloger, e.g. Poems
Other compilations of two or more (but not all) works in
same form or different forms = add “Selections” to the
conventional collective title
71
Preferred Title – Compilations of
One P - F - CB (cont.)


Major changes from AACR2!
Under RDA, catalogers will no longer need to:


Determine if the creator created works only in a
single form
Determine if the title proper of the compilation is
“distinctive”
72
Example: Compilation of 2
Works by the Same Creator
AACR2:
100
240
245
505
use the 1st work as the preferred title (but this
misidentifies the compilation)
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.
73
Example (cont.)
2 Works by the Same Creator
RDA:
100
240
245
505
apply the alternative to use a conventional collective
title
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.
* 2nd 700 not a core requirement but helpful to the user
74
Multiple Works by Multiple Creators -Compilations vs. Collaborations

Compilation



Preferred title
Without a creator, because there is no single
creator of the individual works
Collaboration



Creator (principal or first-named)
+
Preferred title
75
Preferred Title – Compilations
of Works by Different Creators


Identify the compilation by its preferred title
(6.27.1.4)
Either …


Title by which the compilation has become known
(uncommon), or
The title proper of the manifestation


e.g., Best of Broadway (for a set of five CDs with
selections from original cast recordings of various
musicals by various composers)
But …
76
What if Such a Compilation
Lacks a Collective Title?

RDA and LCPS 25.1

How to treat:
1.
2.

For the preferred title, use the title proper of the first work
in the compilation, and
Provide an analytical authorized access point for the
predominant or first work in the compilation, when it
represents a substantial part of the resource.
Generally, do not devise a title to use as a preferred
title.

Do not apply the alternative to 6.27.1.4
A work that is part of a larger work is
considered a whole-part “related work”
77
Example: Compilation of Works by
Different Creators (No Collective Title)
AACR2:
use the 1st 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.
78
Example (cont.): Compilation of Works by
Different Creators (No Collective Title)
RDA:
use the title proper of the first work as the preferred
title (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.
* 2nd 700 not a core requirement but helpful to the user
79
Collaborative Works –
Single Work, Multiple Creators


Principally-responsible, or first-named creator
Exceptions listed in 6.27.1.3





moving image resources
some resources involving both corporate bodies and
persons
some musical collaborations
treaties
most serials (per LCPS; proposal to revise RDA)
80
Example: Multiple Creators -- Principal
Responsibility
No change from AACR2, except for ‘added entries’
100
245
*700
*700
*700
$a Sweet, Martha.
$a Georgia history / $c by Martha
Sweet and Linda Bruce with
contributions by Gus Peterson and
Marilee James.
$a Bruce, Linda.
$a Peterson, Gus.
$a James, Marilee.
* number of access points for other creators:
LCPS 19.3 = cataloger judgment
81
Example: Multiple Creators -No Principal Responsibility
AACR2:
‘enter’ under title, with no 1XX field
245 $a Architecture / $c by Susan Brown
24500
… [et al.].
*700 $a Susan Brown
Other authors (Melanie Carlson, Stephen Lindell,
Kevin Ott, and Janet Wilson) listed on source,
but not recorded in 245.
82
Example: Multiple Creators -No Principal Responsibility
RDA: precede preferred title by first-named creator
100
245
*700
*700
*700
*700
$a Brown, Susan.
$a Architecture / $c by Susan Brown,
Melanie Carlson, Stephen Lindell,
Kevin Ott, and Janet Wilson.
$a Carlson, Melanie.
$a Lindell, Stephen.
$a Ott, Kevin.
$a Wilson, Janet.
access points for other creators:
cataloger judgment (LCPS 19.3)
83
Commentary, etc., Added to a Previously
Existing Work (6.27.1.6)

If presented as the work of the entity responsible for
the commentary, etc.

construct the authorized access point by combining



the authorized access point representing the entity
responsible for the commentary, and
the preferred title for the commentary.
Example:

Akram, Malik M. Comprehensive and exhaustive
commentary on the Transfer of Property Act, 1882
(Resource described: A commentary by Akram that includes
the text of the law and its amendments)
84
Commentary, etc., Added to a Previously
Existing Work (6.27.1.6)

If presented as an edition, treat it as an expression


use the authorized access point representing the previously
existing work
Example:

Joyce, James, 1882–1941. Dubliners
(Resource described: James Joyce’s Dubliners : an illustrated
edition with annotations / [edited by] John Wyse Jackson &
Bernard McGinley)
85
Additions to Access Points Representing
Works

Formulating the Authorized Access Point




Start with preferred title
Precede by creator, if appropriate
Make addition(s) to make it distinct
RDA 6.27.1.9

Each possible addition discussed in detail in earlier
provisions of chapter 6
86
Additions to Access Points Representing
Works




Form of work (6.3)
Date of the work (6.4)
Place of origin of the work (6.5)
Another distinguishing characteristic of the
work (6.6)
• no priority order
• can give more than one if needed
87
Policy on Differentiating Works -- LCPS
6.27.1.9

Generally:





“catalog” = the file against which cataloging is being done; may
also take into account any resource which is known
use the a.a.p. whenever the resource is referred to in other
a.p.’s (including subjects) or in notes citing relationships
between resources
resolve the conflict by making an addition to the a.a.p. in the
bibliographic record being created; do not also modify the
existing record
do not predict a conflict
when a resource is republished or reproduced, the a.a.p. for
the original is used for any republication
88
Policy on Differentiating Works -- LCPS
6.27.1.9


“… with a parenthetical qualifier …”
Choice of qualifying term: Use judgment.
 corporate body
 date of publication
 descriptive data elements, e.g., edition statement
 place of publication
 any word(s) that will serve to distinguish the works
 more than one qualifier if needed
list not prescriptive, not in priority order
89
Policy on Differentiating Works -- LCPS
6.27.1.9

Form of qualifying term:



Corporate body: use the authorized access point
Place of publication: use the authorized access point
without any cataloger’s addition
Multiple qualifiers: separate the qualifiers with
a space-colon-space within one set of
parentheses
90
Additions to Access Points -Examples
Advocate (Boise, Idaho)
Advocate (Nairobi, Kenya)
distinguish
with place
Dublin magazine (1762)
Dublin magazine (1965)
distinguish
with date
Bulletin (New York State Museum : 1945)
Bulletin (New York State Museum : 1976)
use of two qualifiers
(corporate body and date)
91
Additions to Access Points -Form of Work (6.3)





CORE ELEMENT when needed to differentiate
“class or genre to which a work belongs”
Take from any source
No controlled vocabulary
Added after preferred title in parentheses
130 0# $a Chanson de Roland (Poem)
92
Additions to Access Points -Date of Work (6.4)





CORE ELEMENT when needed to differentiate
“earliest date associated with a work”
 created, first published, or 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)
93
Additions to Access Points -Place of Origin of Work (6.5)





CORE ELEMENT when needed to differentiate
“the country or other territorial jurisdiction from
which a work originated”
Take from any source
In form prescribed in Chapter 16
Added after preferred title in parentheses
130 0# $a Renaissance history (Boston, Mass.)
245 10 $a Renaissance history : $b a reexamination.
94
Additions to Access Points -Other Distinguishing Characteristic (6.6)





CORE ELEMENT when needed to
differentiate
“a characteristic other than form of work,
date of work, or place of origin of the work
that serves to differentiate a work from
another work or from the name of a person,
family, or corporate body”
Take from any source
In established form
Added after preferred title in parentheses
95
Variant Access Points for Works
6.27.4.1 - 6.27.4.4


General principle: “use a variant title for the work
as the basis for a variant access point.”
Example:


Authorized access point for the work
 Dickens, Charles, 1812–1870. Pickwick papers
Variant access point for the work
 Dickens, Charles, 1812–1870. Posthumous papers of
the Pickwick Club
96
Variant Access Points for Works
(cont.)


RDA also allows a variant access point, using just the
preferred title, and formulated using other creators (e.g.,
collaborators not chosen as the principal creator).
Example:
Authorized access point for the work:
 Christo, 1935– . Wrapped Reichstag.
 Variant access point for the work:
 Jeanne-Claude, 1935– . Wrapped Reichstag
(A work of art created jointly by Christo and Jeanne-Claude; variant
access point considered important for subject access)



Apply cataloger judgment

Consider user needs
97
MARC Authority Fields for Works







046
370
380
381
382
383
384
Date of work
Place of origin of work
Form of work
Other distinguishing characteristics
Medium of performance
Numeric designation of a musical work
Key
98
MARC Authority Fields for Works –
For More Guidance

R-documents
 http://www.loc.gov/aba/rda/Refresher_training_oct_2
011.html

Examples folder for authority records on LC RDA site:


http://www.loc.gov/aba/rda/training_examples.html
LC Network Development and MARC Standards Office:

http://www.loc.gov/marc/authority/ecadhome.html
99
Unit 6: Exercises on Works
Exercise #5
Identifying Works
Online Quiz
Describing Carriers and Identifying
Works
100