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

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 Pedagogical notes for instructors: This PowerPoint is intended as a secondary training tool to the companion Word document of the same title. COIN recommends that students be provided the Word document for follow-along in class, and that the PowerPoint be only projected in class, not provided in print. Each speaker note includes an indication of the Word page, and section on that page, that the slide accompanies. The speaker notes are, in most cases, identical to the text in the Word document. Instructors are encouraged to teach from the Word content, and display the appropriate slide as a ‘highlight slide’ and an ‘alternative view’ for those students who learn effectively from visual displays. COMPREHENSIVENESS: This material was developed for a 3-hour instructor-led course. There is a LOT of material for that timeframe. Each instructor is encouraged to prepare thoroughly to consider which portions need to be covered in detail and which others may be glossed over or simply drawn to trainees’ attention as a reference. It is not intended that every word on every page or slide be instructed in detail. EXAMPLES: In initial delivery at the Library of Congress in June/July 2012, attendees commented that they would like to see more examples. A governing principle of the course developers is that, since much of RDA is NOT different from AACR2, examples are generally provided for those cases in which important changes have occurred; RDA itself, of course, provides plentiful examples.. Instructors are encouraged to convey this to trainees, in an effort to reassure them and to explain this perceived absence of examples. (i.e., “if we don’t show you how it has changed, it probably hasn’t”).

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.

Learning Objectives -- Describing Carriers and Identifying Works Other Elements of Manifestations and Items Introduction to Works Elements for Works These are the topics for this module. (animated upon click):

Unit 1: Describing Carriers RDA Chapter 3 Will not discuss specific elements for resources of special formats (films, maps, scores, etc.) Examples available in RDA, in MARC documentation, and in LC compilation of examples p. 1. Unit 1: Describing Carriers Of the four core FRBR user tasks—Find, Identify, Select, and Obtain--providing the elements related to carriers for manifestations will help the user SELECT the resource he or she wants. CLICK In this unit we will now focus on the instructions related to recording carriers of manifestations, looking closely at RDA Chapter 3. We won’t discuss the additional elements that would be used by special formats catalogers here, but additional, format-specific training will be provided to those in need of it. We will provide some examples in this training, but further examples can be found in RDA itself, MARC documentation, and in LC’s compilation of examples.

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 p. 1. Replacement for General Material Designator The General Material Designator, recorded in subfield $h of many AACR2 records, is not in RDA. GMDs were an inconsistent set of terms, which sometimes referred to content and sometimes to carrier. Three elements have been developed by the Joint Steering Committee, in conjunction with the publishing community (ONIX), to “replace” the GMD. Three new MARC fields are used. CLICK Media type – RDA 3.2 (MARC 337 field) Carrier type -- RDA 3.3 (MARC 338 field) And backing up a bit we come to Content type – This element originates in Chapter 6 of RDA and is really an attribute of expression. But we present it here because it’s conceptually linked to the old GMD and the two elements to follow. (MARC 336 field) The fact that the Content Type is described in Chapter 6 helps you realize that the information contained in the old GMD really was a mix of content, media and carrier information.

MARC for Content, Media, Carrier In each of the three fields for these elements (336-338): $a term $b code $2 “rdacontent” or “rdamedia” or “rdacarrier” as appropriate $3 materials specified - give if appropriate p. 1 … each of the three fields … All of these three new fields are structured like each other: CLICK The term is recorded in subfield $a. A code for the type can be given in subfield $b instead of or in addition to $a; the codes for subfield $b are in the MARC format documentation. In subfield $2 will be one of the terms as shown; it names the vocabulary used - these are the terms in MARC identifying the RDA vocabularies. Subfield $3 is used as needed to identify parts of the resource. We will see examples of these fields a little later.

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 p. 1. Closed Vocabularies The vocabularies for these terms and codes are “closed” lists in RDA 6.9.1.3 (Content type), 3.2.1.3 (Media type), 3.3.1.3 (Carrier type). If there is more than one term appropriate, you have two choices: Record all terms that are appropriate. If you choose this option, repeat the entire field, rather than repeating subfield $a in the same 33X field or, Assign the term representing the predominant or most substantial content, media, or carrier If the information is unknown, record “unspecified.” If no term from these lists is appropriate, record “other” and notify PSD via a message to LChelp4rda@loc.gov.

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 p. 2. Content Type 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. Content type tells the user how the content of the work is expressed: what form of communication and which human sense is used. This is a core element in RDA, and is described in 6.9. Record the type of content contained in the resource using one or more of the terms listed in table 6.1. Record as many terms as applicable to the resource being described. If the resource being described consists of more than one content type, instead of recording all, you may record: the content type that applies to the predominant part of the resource (if there is a predominant part), or the content types that apply to the most substantial parts of the resource (including the predominant part, if there is one) Some examples from the closed list of controlled terms are: performed music, still image, and text.

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 p. 2-3. Media Type Media type is a broad categorization of what type of device, if any, is needed to be able to see, hear, etc., the content of the resource. It has been defined as core in the BSR. Instructions for the element can be found in RDA 3.2 Record the media type using one or more of the terms listed in table 3.1. When no device is required to manipulate the resource, the term “unmediated” is applied. If the resource being described consists of more than one media type, instead of recording all, you may record: the media type that applies to the predominant part of the resource (if there is a predominant part), or the media types that apply to the most substantial parts of the resource (including the predominant part, if there is one) Some examples are audio, computer, microform, unmediated, and video.

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 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.  Carrier type is a CORE ELEMENT Look at instruction 3.3 This data is recorded in MARC field 338 Record the type of carrier used to convey the content of the resource using one or more of the terms listed in 3.3.1.3. Record as many terms as applicable to the resource being described. If the resource being described consists of more than one carrier type, instead of recording all, you may record: the carrier type that applies to the predominant part of the resource (if there is a predominant part) or the carrier types that apply to the most substantial parts of the resource (including the predominant part, if there is one) Carrier type gives more specific information than the Media type about the format, housing, and type of device needed, if any. But be careful not to confuse carrier type with the similar terms used in the Extent element (300 $a), which we will see next. The most important thing to remember about Carrier type is that it is a separate element from the Extent; Carrier type is recorded in MARC field 338; Extent is recorded in MARC 300 subfield $a. The reason it is easy to confuse them is that some of the terms used in 300 $a (Extent) are the same as terms used in the 338 field.

Example: MARC 336-338 Fields Book: 336 $a text $2 rdacontent 337 $a unmediated $2 rdamedia 338 $a volume $2 rdacarrier p. 4. Example Let’s take a quick look at one example showing the three fields that will be present in a record for a book: - the content type in the 336 field is “text” - the media type in the 337 field is “unmediated” because a book does not need a device for the content to be read - the carrier type is “volume” Remember that the terms in subfield $a are from controlled vocabularies. We’ll look at more examples after we’ve talked about our next topic, the element Extent.

OCLC’s RDA!Add33x Macro OCLC has released a macro that catalogers may use to generate 336, 337 and 338 fields without having to consult lists of terms. Selecting the appropriate value from the drop-down boxes will generate corresponding 3xx fields. Note that the macro creates subfields a, b and 2 for each of these fields. Subfield b is not required under the BSRs, but retain whatever the macro generates. More information is better than less. This macro is contained in the RDA macrobook. If you don’t have it, check with your Unit Head or CCG member. Other areas of the department may also have their own macros that supply this information. As with OCLC’s macro, these may automatically supply subfield b, since a computer can do this in virtually no time. Retain whatever the macros generate.

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 Extent tells the user what kind and how many physical or logical units/subunits there are in the resource. This is manifestation information. Sources for Extent: Use evidence presented by the resource itself (or on any accompanying material or container) as the basis for recording the extent of the resource. If desired, take additional evidence from any source. CLICK 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. Code extent information in MARC 300 $a.

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) Record the extent of the resource by giving the number of units and an appropriate term for the type of carrier as listed under 3.3.1.3. Record the term in the singular or plural, as applicable. If the resource consists of more than one type of carrier, record the number of each applicable type. RDA lists exceptional instructions for cartographic resources, notated music, still images, three-dimensional forms, and text.

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) LC-PCC PS 3.4.5.8 continues AACR2 practice For original cataloging, usually follow method c) 1 volume (various pagings) p. 5: Extent of Text 3.4.5.2 Single Volume with Numbered Pages, Leaves, or Columns For a resource consisting of a single volume, record the extent in terms of pages, leaves, or columns, as appropriate to the resource, apply the following general guidelines: If the volume is paginated (i.e., if there are page numbers on both sides of the leaves), record the number of pages. If the volume is foliated (i.e., if there are leaf numbers on only one side of the leaves), record the number of leaves. If the volume consists of pages with more than one column to a page and is numbered in columns, record the number of columns. CLICK If the volume consists of sequences of leaves and pages, or pages and numbered columns, or leaves and numbered columns, record each sequence. Although RDA lists three options in such situations, LCPS 3.4.5.3 follows AACR2 practice: “… usually follow method c) 1 volume (unpaged)” Other instructions in 3.4.5 address other ‘extent’ situations, including changes in form of numbering within a sequence, misleading numbering, incomplete volumes, complicated or irregular paging, leaves or pages of plates, more than one volume, continuously paged volumes, updating loose-leafs, and other situations.

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” p. 6. Some Key Changes from AACR2 related to Extent Do not use 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”

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, direct-access electronic resources, and rare materials (for rare graphic materials, always specify what was measured)”—BSR. MARC 300 $c p. 6: Dimensions Dimensions are the measurements of the carrier and/or the container of a resource. Dimensions include measurements of height, width, depth, length, gauge, and diameter. Dimensions is another element describing carrier of a manifestation. For maps, etc., and still images, the dimensions may reflect those of the face of the map, etc., or of the pictorial area instead of (or in addition to) those of the carrier. Unless instructed otherwise, record dimensions in centimeters to the next whole centimeter up, using the metric symbol cm (e.g., if the height measures 17.2 centimeters, record 18 cm). Because “cm” and “mm” are symbols and not abbreviations, the symbol should be followed by a full stop only when there is a 490 in the bibliographic record. This requirement is related to ISBD presentation of information. Note, however, that U.S. libraries may substitute inches for centimetres for certain materials, and in those cases the abbreviation “in.” is used.

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 p. 6. Recording Dimensions 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. This area may change slightly for film and video materials, where film sizes typically are given metric while video is measured in inches. LC Practice for serials: Note that dimensions is not a Core Element for serials and online resources. But you may record it if you wish.

Examples: MARC 300 $a, 336-338 Book: 300 $a 123 pages, 28 unnumbered pages 336 $a text $b txt $2 rdacontent 337 $a unmediated $b n $2 rdamedia 338 $a 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 p. 7. Examples Now we come to some examples of what we’ve just discussed. On this slide and the next several slides are examples showing Extent in the 300 subfield $a in addition to the Content, Media, and Carrier types in fields 336-338. The 1st example is the one you saw a few slides earlier; the extent is given in terms of pages. As the slide says, subfield b of the 336, 337 and 338 is optional. Generally don’t add it, but accept it if you use a macro to generate these fields. In the 2nd example, the term “audio disc” from the Carrier list is used to describe the unit in Extent; so, 300 $a and 338 $a have the same term. But under RDA the cataloger could have recorded the Extent in 300 $a as “1 CD,” following 3.4.1.5 option c). It is very likely that UC San Diego will be following this option. Stay tuned for the special formats training coming up on March 14. Now, for all of you cataloging computer discs, note that you already are using conventional terminology when you use the term “CD-ROM” or “DVD-ROM.” Continue to use those terms instead of “CD” or “DVD,” as the former terms are the proper terms for the computer disc formats.

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 $2 rdacarrier p. 7. Examples In the 1st example, the cataloger chose to use “2 videodiscs” in Extent, using a term from the RDA list in 3.3.1.3, rather than the more commonly-used term “DVD” or DVD-video.. Either is okay under RDA. However, as with the CD example on the last slide, UCSD will very likely now prefer using conventional terminology for describing audio and moving image carriers. The 2nd example illustrates giving extent for an online resource; in AACR2 the basic rule in chapter 9 is not to give extent for an online resource although there is an option that allows it. The cataloger followed the BSR, which states in section 3.4: “For online resources, record extent as “1 online resource” followed by either pagination (for textual materials), and format-specific terminology when applicable (for example, vocal score, videodisc, slide, atlas)… For cartographic resources, include accompanying material ($e), if applicable. For rare materials, apply Descriptive Cataloging of Rare Materials (DCRM) conventions when recording extent; however, do not use abbreviations.” Online PDF: 300 $a 1 online resource (39 pages) 336 $a text $2 rdacontent 337 $a computer $2 rdamedia 338 $a online resource $2 rdacarrier

336 $a text $a cartographic image $a still image $2 rdacontent 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 p. 7. Examples This example shows the 336 field repeated for the different content types on the Web site. At UC San Diego we will follow this practice. LC Practice for copy cataloging is to accept the terms if chained together in a single 33x field, and we will do likewise. 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

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. p. 8. Examples This slide shows three choices for the handling of accompanying material: in 300 $e (shown at the top of this slide), in a repeated 300 field, or in a note depending upon how much information you want to give. Subfield $3 should be used in the 336-338 fields to identify which characteristic applies to which part of the resource. Multiple 33x could also have been used in the following two examples, depending on cataloger’s judgment. [Discuss scenarios when a cataloger might use one of these techniques over the other.] 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.

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 p. 8. Examples The example is for a non-music CD. Note the use of convention terminology, “1 CD.”

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 three- dimensional form $2 rdacontent 337 $a audio $a unmediated $2 rdamedia 338 $a audio disc $a volume $a object $2 rdacarrier p. 8. Examples For kits, you have choices: represent all the components of the kit in the 300 subfield for extent and in the 336-338 as shown in the example or you can record only the information for what you decide is the predominant part. There are also choices in how much detail you give about each component. * The use of multiple subfields $a in the 336 field is acceptable if this is a copied record, but ideally an original cataloger would have supplied separate 33x fields. In some cases, as here, you’d end up with a large number of them. That is okay. 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!)

Examples: MARC 300 $a, 336-338 Score: 300 $a 1 vocal score (xii, 300 pages) 336 $a notated music $2 rdacontent 337 $a unmediated $2 rdamedia 338 $a volume $2 rdacarrier Map: 300 $a 1 map 336 $a cartographic image $2 rdacontent 337 $a unmediated $2 rdamedia 338 $a sheet $2 rdacarrier p. 8. Examples Here are two more examples you can review later. We won’t be talking about these two categories of resources today.

Unit 2: Exercises on Carriers Exercises #3-#4 Carriers Page 9. Unit 2: Exercises on Carriers Now, work with your colleague to complete: Exercises #3-4 Carriers We will go over these exercises together in a few minutes

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) We will now turn to guidelines and instructions on recording some other attributes of manifestations and items. We’ll start off with some that are most often used to support acquisitions and access. As you see, these elements are covered in chapter 4 of RDA and include terms of availability, restrictions, and URLs. Note that while in many cases these attributes may apply to a manifestation as a whole, some of the instructions can be applied against a single copy of a manifestation or a specific archival collection we have such as restrictions on access or restrictions on use. Let look at each element in turn.

Other Elements of Manifestations and Items: Availability and Contacts Do not provide: Terms of Availability (RDA 4.2) Contact Information (RDA 4.3) We will not be recording Terms of Availability or Contact Information in bibliographic records. This data, when needed, is tracked by our acquisitions staff in order, check-in, and other records. Copy catalogers who find this data in copy should ignore it.

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 We will be recording restrictions on access when appropriate, being as specific as possible regarding the nature and duration of the restriction. As you can see from the examples, we already commonly record various access restrictions and that the absence of restrictions may also be noted if it is considered to be important. Access restriction information appears in a variety of places such as in MARC fields 506 and 856 as well as in several of our local record fields.

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 We will also be recording restrictions on use when appropriate. Again be as specific as possible regarding the nature and duration of the restriction. MARC field 540 and various local fields are used to record restriction on use.

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 We will provide all appropriate URLs for the online resources we have access to. URLs are recorded in MARC field 856. If you know of multiple URLs for a resource, record all of them, however, in the OCLC master record, provide only those URLs that are valid for everyone, do not record institution specific URLs in the master record. In our local record, keep only the URLs that are valid for our users.

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] When a URI is no longer valid or when the URI is active but no longer links to the original resource cataloged, we should update the 856 field. If the original URI is no longer active, all we need do is change subfield $u to subfield $z in MARC 856 field and add the note “not available when searched on” and provide the date. If there is a new valid URL for the resources, add it in a separate 856 field.   When the original URI is still active, but the original resource is no longer available, that is, the URI represents a different resource from that being described in the record, edit the existing bibliographic record as previously stated and, if it is appropriate to add to our catalog, create a new record for the new resource that the original URI is now point to. This is often the case for a resource that is issued in revised editions. What may happen is that the older edition is removed and replaced with the newer edition, but the publisher continues to use the same URL for the new edition. Any questions on the elements I covered so far?

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 Okay, now we will briefly, and I do mean briefly, go over other characteristics you may record for manifestation and items. As I go through the next several slides, you will recognized the elements listed as being format specific as you can see here with sound resources. For each of set of elements I’ll be showing you, we will be covering them in more detail for the appropriate catalogers in more specialized, format specific, RDA training sessions. Okay, so these are the additional elements and the corresponding RDA instruction number for sound resources.

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 These are the other elements and instructions for moving image resources.

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 And again, now for electronic resources that are digital files. Note these electronic resources are not online resources, but rather things like computer programs and data files.

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 Continuing, these are the elements and RDA instructions that apply to cartographic materials.

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 And now music resources.   As I stated, as appropriate, catalogers will be getting more specialized training in each of these formats. Any questions? Okay, now over to Jim.

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 p. 15 So far this morning we’ve been discussing how to describe characteristics of items and manifestations. Now we ascend to the lofty realm of Works. In this brief introduction we will cover: Where in RDA are the Instructions? Naming the Work Policy Decisions on … Where to record information, in the Bibliographic or Authority record? Core Elements to Distinguish Language and Script Terminology Sources Authorized Access Points for Works

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” Page 15: Where are the Instructions? Generally, the instructions for identifying works and expression are in chapter 6. Discussion of ‘works’ and ‘expressions’ involves the consideration of the creators of a work and the contributors to an expression. So you will also need to consult the related instructions in Chapter 19, “Persons, Families, and Corporate Bodies Associated with a Work,” and Chapter 20, “Persons, Families, and Corporate Bodies Associated with an Expression.”

“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 Page 15: Naming the Work CLICK Another way of referring to identifying works and expressions is to say we’re “naming the work” and “naming the expression,” just as we “name” persons and corporate bodies. Remember that works and expressions refer to the intellectual thing in the creator’s mind (or an expression of it), not the physical manifestation or item you can hold in your hand. In AACR2, this concept was called “determining the main entry.” MARC has several possibilities for where to record the information that AACR2 called main entry and RDA calls identifying the work/expression. The fields are slightly different, depending on whether the form of the main entry is given in a bibliographic record or an authority record. In a bib record works can be named four different ways, though these methods would not be appropriate for naming a single work. In an authority record, we would have the option of using the 130 or a combination of creator and title information in a single 1xx field.

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 Page 15: LC Decisions on … … Is This Data Recorded as Bibliographic Data or Authority Data? With this last slide you saw that there are a number of ways a work may be named in RDA. RDA elements for works and expressions can be given in the context of either bibliographic data or authority data, or both. UC San Diego will follow LC policy, in that the work will be identified by creating an authorized access point and then giving that access point in the bibliographic record. Title or name/title authority records may also be contributed via NACO, but DCM Z1 states clearly that “NACO libraries are not obligated to contribute all authorities generated by their cataloging.”

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 Page 15. Core Elements to Distinguish Some elements for works, persons, corporate bodies, and families are core if they are needed to break conflicts. Additional core elements are mandated in certain other situations, such as when a musical work bears a generic preferred title. Other elements are core when readily ascertainable, such as the birth date for a person. CLICK Because RDA is not an encoding standard, it doesn’t prescribe how those distinguishing elements should be recorded. RDA says in 0.6.3 and 0.6.4 that those elements can be given as additions to the authorized access point, as separate elements, or as both. UC San Diego will follow LC policy in this area. So…include these elements in the authorized access point when they are needed to break a conflict or when RDA otherwise requires them; those elements may be given separately in authority records. Best practices for some communities are still in flux—for instance the music community’s best practices for RDA haven’t yet appeared—so this might be one area where we might be asked to do a little more.

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 Page 16: Language and Script RDA gives you choices for language and script of the title for the work. CLICK Follow LC-PCC practice, will continue to give names of those entities in the Latin script in the authorized access points in authority records and in bibliographic records. LC and other libraries will also continue the current policy for some languages to give variant access points (MARC 4XX fields) in the original language/script in authority records, and parallel non-Latin fields (MARC 880) on bibliographic records.

Terminology Related to “Works” Title of the work (RDA 6.2.1.1) “word, character, or group of words and/or characters by which a work is known” Preferred title for the work (RDA 6.2.2.1) the form of title used when constructing the authorized access point Variant title for the work (RDA 6.2.3.1) the form of title used when constructing a variant access point aka “see references” Page 16: Terminology Related to “Works” Title of the work (RDA 6.2.1.1) “word, character, or group of words and/or characters by which a work is known” Preferred title for the work (RDA 6.2.2.1) the form of title used when constructing the authorized access point emphasize that aap=heading the aap is the closest RDA counterpart to AACR2’s “uniform title” Variant title for the work (RDA 6.2.3.1) the form of title used when constructing a variant access point aka “see references” There can be many forms of variant titles for the work; these may be recorded in authority records for the work.

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 Page 16: Sources of Information – Sources for Preferred Titles In general, choose the preferred title based on the commonly-known title. RDA retains a cut-off date when specifying sources to determine this for the preferred title: For a work created after 1500, this is usually the first manifestation received. For a work created before 1501, refer to the priority order of sources if modern references sources have inconclusive evidence about the commonly-known title

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 Page 16: Sources of Information – Sources for Other Elements For chapter 6 elements other than title, any source may be used .

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 Page 16: Authorized Access Points for Works Before we start talking about authorized access points, let’s look at how chapter 6 is organized.  Expand the hierarchy of chapter 6 in the RDA Toolkit and scroll down to 6.27 Here is where you are told how to put the elements together to create authorized access points for works and expressions. What pieces do we put together? RDA 6.27.1.2 says: start with the preferred title add the authorized access point for the creator, if applicable (more about creators shortly) add other elements to the preferred title if needed according to 6.27.1.9 (we will look at these additions a bit later) Note that all of the instructions about the elements used in constructing the access point have references back to the element instructions so you can find more information about each element.

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 In this Unit, we will discuss these major topics: -- The entities responsible for a work, that is creators and contributors -- The preferred title for a work -- Compilations vs. collaborations -- Additions to access points for works -- Variant access points for works, and -- MARC authority fields for works

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) So far we’ve been focusing on the preferred title for naming the work. Let’s see what RDA instructs you to do if a person, family, or corporate body is responsible for the intellectual or artistic content of the work, in other words, what do we do when a work has a creator?   Starting with RDA 0.6.3, we see what Jim has just been telling us, to create the authorized access point for a work that has a creator, we construct it by preceding the preferred title of the work with the authorize access point for the creator of the work.

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. When we speak of a creator we are referencing a relationship to a work not an attribute of the work. Scanning the RDA Toolkit Browse Tree we see that Section 6 deals with recording relationships to Persons, Families, & Corporate Bodies. We can also see that Chapter 19 deals specifically with recording the relationships of these entities to a work. So, we find the needed instructions in Chapter 19, not Chapter 6. Chapter 6 covers recording attributes of works and expressions, not relationships.   Note the note that when discussing contributors that their relationships exist at the expression level and they are covered in Chapter 20 which will get covered in our next RDA session. “contributors” are responsible for an expression discussed in Chapter 20 (and covered in Module 3)

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 So what does Chapter 19 tell us? The instructions in 19.1.1 talk about sources of information for entities responsible for a work. Specifically it tells us that the primary sources are statements appearing on preferred sources of information as given in RDA 2.2.2. If these statements are ambiguous or insufficient, RDA 19.1.1 provides us an order list of other sources of information to use beginning with other statements appearing prominently in the resource, followed by information that appears in the content of the resources, for example, in the text of a book, and lastly, you can consider any other sources.

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) Moving next to the instruction at 19.2 Creator, we see that this is a core element and that the creator is defined as the “person, family, or corporate body responsible for the creation of a work.” Sometimes there is more than one creator. In such cases we look to see if one of the creators has principal responsibility for creating the work. For example, if we had a copy of the novel, A Tale of Two Cities, written by Charles Dickens and illustrated by Jim Soe Nyun, the creator having principal responsibility would be Charles Dickens and only recording his name would be required. In cases where more than one creator has principal responsibility, only the first-named is required. For example, if we had a book on cataloging written by Jim Soe Nyun and myself, you would only be required to record the first one named. LCPS 19.2 affirms that cataloger judgment determines whether to provide additional authorized access points beyond the core requirement.

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 What about contributors? Well, first entities that are contributors are not creators. Contributors include editors, translators, illustrators, arrangers of music, performers, writers of commentary, and those who contribute in many other ways. Instructions for contributors are found in Chapter 20 and Appendix I.3.1 outlines the relationship designators used for contributors performing these many functions. Contributors will be covered in more detail in the module on Expressions.

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 Back to creators, there are two significant changes in recording creators from AACR2. First, there is no ‘rule of three.” This rule in AACR2 had us identify the work only by the preferred title when there were more than three creators. There is no such restriction in RDA. The impact of this change is that more works will be named by using the combination of creator with the preferred title.   The second change is that the performer of various works by different composers presented in a sound recording is not automatically considered a creator. Performers are considered to be expression level entities and not creators of works. When you are cataloging such an item, you will need to determine if the performer is actually responsible for creating the work.

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. Compilers and modifiers may be considered creators. In accordance with FRBR and as stated in RDA 19.2.1.1, a person, family, or corporate body responsible for compiling an aggregate work may be considered to be a creator of the compilation if the selection, arrangement, editing, etc., of content for the compilation effectively results in the creation of a new work. An example of this is the compiler of a bibliography. Also, a person, family, or corporate body responsible for modifying a previously existing work in a way that substantially changes the nature or content of the original is considered to be a creator of the new work. Parodies and screenplays of existing novels are common examples of this type of modification that results in a new work.

Corporate Bodies as Creators Categories of works (RDA 19.2.1.1.1) Similar to AACR2 21.1B2 Corporate body takes precedence over a first-named person or family as creator Further guidance, see LCPS 19.2.1.1.1 See RDA 19.2.1.1.2 on government and religious officials as creators When considering if a corporate body is a creator, you will consider the same factors you did under AACR2 and look at categories of works for which corporate authorship is allowed. This list is provided in 19.2.1.1.1. For such resources, corporate bodies can be considered to be creators. Note that a corporate body as creator takes precedence over any first-named person as creator. LCPS 19.2.1.1.1 provides further guidance on corporate bodies as creators. And RDA 19.2.1.1.2 provides instruction on Government and Religious Officials as Creators for when you need to consider those types of entities as creators.   Any questions on entities responsible for works?

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) We are now going to cover the preferred title for a work. This is a core element and there are both general instructions and specific instructions for certain categories of works.

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 Starting with RDA 6.2.1, we see that it provides general instructions for recording titles, including: Scope Sources Capitalization Numbers Diacritics Articles Spacing Abbreviations

Instructions on Recording Preferred Titles (6.2.2) Scope and sources 6.2.2.1 – 6.2.2.2 Choosing preferred titles 6.2.2.3 – 6.2.2.7 Recording preferred titles 6.2.2.8 – 6.2.2.10 The general instructions at RDA 6.2.2 provides instruction for recording preferred titles, specifically, and discusses such things as sources and choosing the preferred title. Note the breakdown of the instructions in 6.2.2: 6.2.2.1 - 6.2.2.2 are devoted to scope and sources 6.2.2.3 - 6.2.2.7 are devoted to choosing the preferred title 6.2.2.8 - 6.2.2.10 are devoted to recording the preferred title

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) Scattered in later parts of Chapter 6 there are specific instructions on titles for special categories of works: some musical works (RDA 6.14.2) some legal works (RDA 6.19.2) some religious works (RDA 6.23.2) some official communications (RDA 6.26.2)

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) And there are separate instructions for the preferred title for a part or parts of a work. RDA makes a distinction between one part of a work, and two or more parts. Let’s cover this in more detail.

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: Two towers Part has general term, e.g. season 6 of Buffy the Vampire Slayer: Season 6 Part has both designation and title, e.g. second part of National Parks of the U.S. Volume 2, Grand Canyon When you are cataloging only one part of a work, you record the preferred title for the part applying the basic instructions given under 6.2.1. The first example given is a case where you have an actual title, the two towers, for the second part of Tolkien’s “The lord of the rings” trilogy. In contrast, the second example, the sixth season of Buffy the Vampire Slayer, is only identified by the use of a general term, so in this case you would record the general term. In cases where you have both a designation and a specific title, record both, giving the designation first, as in the third example.

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 … If you are cataloging two or more parts of a work, if they are consecutively numbered, with only a general designation, you record the designation of the parts in the singular, followed by the inclusive numbers of the parts recorded as numerals. This is our example for Books 1-6 of the Iliad.   If you have two or more unnumbered or non-consecutively numbered parts of a work, you record the preferred title for each of the parts applying the instructions given under 6.2.2.9.1, however …

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 6.2.2.9.2 has an alternative that allows us to used instead the conventional collective title “selections” as the preferred title and the LC PS for this alternative instructs us to follow the alternative which is the practice we will be following as well. Questions?

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), 1892-1973. Two towers But…there are exceptions… Let’s now look at creating an authorized access point for a part or parts of a work. This is covered in instruction 6.27.2 and the basic instruction is to use the title of the part preceded (if appropriate) by the authorized access point for the creator. Sound familiar?

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 There are some exceptions. When you have the situations listed here, we are to precede the preferred title of the part by the authorized access point for the work. Questions? We will now turn our discussion to compilations and collaborations.

Compilations and Collaborations Important distinction Determines how each is ‘identified’ Compilations RDA 6.27.1.4 Collaborations RDA 6.27.1.3 RDA makes a distinction between compilations and collaborations. It is an important distinction and there is a difference in how each is “identified.” The instructions for compilations of different creators are found in RDA 6.27.1.4 and those for collaborations are found in 6.27.1.3.

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 To identify whether you have a compilation, here are some clues. If the preferred source indicates who created what, if the table of contents, preface, program notes, or home page indicates who created what, or if components in the resource indicate who created what, then you are dealing with a compilation. If you have no indication of who created what or you are still in doubt, assume it is a collaboration.

Multiple Works by One Creator Must be treated as a compilation i.e., there are no collaborators Identified by Creator + Preferred title If the resource contains multiple works by a single creator, it is a compilation. A compilation by one creator is identified by the creator + the preferred title. The instructions for constructing a preferred title for a compilation of one creator’s works are found in 6.2.2.10; the instructions for constructing the access point are in 6.27.1.2.

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 If your resource is a compilation by a single creator, determine if that compilation has become known over time by a specific title. Note, this situation does not occur often, but if it does, use that title as the preferred title. If you don’t find there is a specific title used, use a conventional collective title. Use “Works” if the compilation represents the complete works of the creator. If not, and the compilation contains the complete works in a single form, chosen a term that represents that form, for example Poems.   For a compilation containing some but not all of the creator’s works, RDA provides an alternative instruction which we will be following for the time being. For this type of compilation we will record a conventional collective title followed by the term "Selections." Additionally, we will add the authorized access point for the first named or predominant work or expression in the compilation. Exercise cataloger’s judgment in deciding whether to add additional access point for the other works in the compilation.

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” There is a major change in practice from AACR2, under RDA, catalogers no longer need to determine if the creator created works only in a single form or determine if the title proper of the compilation is a “distinctive title.”

Example: Compilation of 2 Works by the Same Creator AACR2: use the 1st work as the preferred title (but this misidentifies the compilation) 100 1# $a Miller, Arthur, $d 1915-2005 240 10 $a Archbishop’s ceiling 245 10 $a Two plays / $c Arthur Miller. 505 0# $a The Archbishop’s ceiling -- The American clock. 700 12 $a Miller, Arthur, $d 1915-2005. $t American clock. [Red X comes in on mouse click after you have explained the situation and problem with AACR2] Using AACR2, this compilation of two plays would have called for a very formulaic approach: main entry and uniform title for the first work, and analytic added entry for the second work. This was tantamount to ‘identifying’ this compilation – you may think of it as a ‘work of works’ or an ‘aggregate’ work – by only the first of the aggregate works. This is to only partially identify the compilation. [Click] So don’t do this under RDA.

Example (cont.) 2 Works by the Same Creator RDA: apply the alternative to use a conventional collective title 100 1# $a Miller, Arthur, $d 1915-2005 240 10 $a Plays. $k Selections 245 10 $a Two plays / $c Arthur Miller. 505 0# $a The Archbishop’s ceiling -- The American clock. 700 12 $a Miller, Arthur, $d 1915-2005. $t Archbishop’s ceiling. *700 12 $a Miller, Arthur, $d 1915-2005. $t American clock. Instead, the basic RDA instruction says to name the works separately, shown here in the 700 fields. The alternative says a conventional collective title, shown here in the 240 field, can be used in addition to the 700 fields. The alternative also says the 240 field can be used in lieu of the 700 fields.   Also note that access points for any work in the compilation after the first is not a core requirement; giving access points for other works is cataloger’s judgment. Questions? * 2nd 700 not a core requirement but helpful to the user

Multiple Works by Multiple Creators -- Compilations vs. Collaborations Preferred title Without a creator, because there is no single creator of the individual works Collaboration Creator (principal or first-named) + Let’s now look at the case where your resource contains multiple works by multiple creators. If the resource is the responsibility of more than one creator and it is a compilation, it is identified by the preferred title for the compilation.   If it is a collaboration, it is identified by the combination of principal (or first-named) creator and the preferred title.   Let’s look at these separately, starting with compilations.

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 … The instructions at 6.27.1.4 tell us that a compilation of separate works by different creators is identified only by a preferred title. The preferred title is either one of the following: the title by which the compilation has become known (not a common occurrence), or the title proper of the manifestation But what if the compilation lacks a collective title?

What if Such a Compilation Lacks a Collective Title? RDA and LCPS 25.1 How to treat: 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 First, keep in mind that a work that is part of a compilation of works is considered a whole/part “related work,” and is covered by the instructions in RDA and LCPS at 25.1.   Generally what you will do is use the title proper of the first work in the compilation as the preferred title, and then provide an analytical authorized access point for the predominant or first named work in the compilation. There is an alternative that would allow you to devise a title to use as the preferred title, but LC doesn’t apply this alternative and we won’t either. A work that is part of a larger work is considered a whole-part “related work”

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 10 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 12 $a Swanson, Terri. $t Fall harvest festivals. [Red X comes in on mouse click after you have explained the situation and problem with AACR2] Under AACR2, this compilation of two works would have called for a very formulaic approach: main entry and uniform title for the first work, and analytic added entry for the second work. This was tantamount to ‘identifying’ this compilation – you may think of it as a ‘work of works’ or an ‘aggregate’ work – by only the first of the aggregate works. This is to only partially identify the compilation. [Click] So don’t do this, under RDA.

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. Under RDA, there isn’t a creator for this work so we don’t have a 1XX. Instead, the instruction has us add 700 fields for each of the individual works. [Click] Note again that the second access point is not required. Our general practice will be to additional access point, but again, exercise cataloger’s judgment in doing so. Questions? * 2nd 700 not a core requirement but helpful to the user

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) We are now going to look at collaborators. In line with what we have seen before, when choosing the creator for a collaborative work, you select the principally-responsible creator, or the first-named creator. However, RDA 6.27.1.3 lists some exceptions for collaborative works where the first-named creator will not be used to name the work. These are: moving image resources some resources having both corporate bodies and persons as responsible entities some musical collaborations treaties most serials

Example: Multiple Creators -- Principal Responsibility No change from AACR2, except for ‘added entries’ 100 $a Sweet, Martha. 245 $a Georgia history / $c by Martha Sweet and Linda Bruce with contributions by Gus Peterson and Marilee James. *700 $a Bruce, Linda. *700 $a Peterson, Gus. *700 $a James, Marilee. In this example, two individuals, Martha Sweet and Linda Bruce, have principal responsibility; the first-named of those two persons is selected to be given with the preferred title to name the work. [click] As before, the only change in this case is that providing added access points for the other creator and the contributors is given to cataloger judgment. * number of access points for other creators: LCPS 19.3 = cataloger judgment

Example: Multiple Creators -- No Principal Responsibility AACR2: ‘enter’ under title, with no 1XX field 245 $a Architecture / $c by Susan Brown … [et al.]. *700 $a Susan Brown 24500 Other authors (Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson) listed on source, but not recorded in 245. Now, in this example, no one is designated as having primary responsibility. Under AACR2, this would have been entered under title, with no 1XX field, and only the first person is recorded in the statement of responsibility and given as an added entry. (click) But this not what we will do under RDA.

Example: Multiple Creators -- No Principal Responsibility RDA: precede preferred title by first-named creator 100 $a Brown, Susan. 245 $a Architecture / $c by Susan Brown, Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson. *700 $a Carlson, Melanie. *700 $a Lindell, Stephen. *700 $a Ott, Kevin. *700 $a Wilson, Janet. Under RDA the first-named creator, Susan Brown, is selected to be used in naming the work, that is, she is selected to be the primary access point. Also, all the names can be recorded in the statement of responsibility. As we have commented before, apply cataloger’s judgment when deciding if more than one creator should be represented by added access points in the bibliographic record. Questions? access points for other creators: cataloger judgment (LCPS 19.3)

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) Commentaries, RDA 6.27.1.6 covers works consisting of a previously existing work with added commentary, etc. If such a resource presents itself 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. So, in the example provided here, we would select Malik Akram as the creator of this work since he is identified as responsible for the commentary.

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) However, if the work is simply presented as an edition of a previously existing work, we treat it as an expression of that previous work and use the authorized access point representing the previously existing work. In the example here, this work is presented as an illustrated edition of existing work, so Joyce is still considered the primary creator of the content.   Questions? Let’s shift gears a bit and talk about making additions to access point representing works.

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 First, remember that you formulate the Authorized Access Point by consolidating elements. You always start with the preferred title of the work. When appropriate, you precede the preferred title with the creator of that work. Lastly you make additions to the preferred title as needed to make it distinct from other works. Additions are covered in 6.27.1.9 with details provided in earlier sections of chapter 6.

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) There are four types of possible additions, the form of the work, the date of the work, the place of origin of the work, and any another distinguishing characteristic of the work. [click] This is not a prioritized list and you can give more than one addition if needed. no priority order can give more than one if needed

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 There is an LC policy statement on 6.27.1.9. Under RDA, monographs may not be in conflict. This is a major change from AACR2. This PS addresses differentiating all works, serials, monographs, and integrating resources, and includes some specific guidelines for certain other categories of resources.   Some general highlights of the PS are: The catalog is defined as the file against which the searching and cataloging is being done. In our case, this usually means WorldCat. Catalogers may take into account any resource with the same authorized access point of which they know, whether or not it is in the catalog. As needed, use the authorized access point whenever the resource is referred to in other access points, including subjects, and in notes citing relationships between resources. As a general practice, resolve a conflict by making an addition to the authorized access point only in the bibliographic record being created, do not also make additions in existing records. Do not predict a conflict, and lastly, when a resource is republished or reproduced, use the authorized access point for the original for any republication.

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 Some highlights of the ‘monographs’ portion of this PS are:   The overriding instruction is to: “ … construct an authorized access point with a parenthetical qualifier to differentiate the monograph being cataloged,” so use judgment in determining the most appropriate qualifier. The possible qualifiers are: corporate body date of publication descriptive data elements, e.g., edition statement place of publication use any word(s) that will serve to distinguish the one work from the other if choosing the date or place of publication for a multipart monograph, follow the very detailed instructions in this LCPS [click] This listing is not prescriptive and is not in priority order. list not prescriptive, not in priority order

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 Some addition guidance, when using a corporate body or place of publication as a qualifying term, always use the authorized access point form of qualifying term. When using place, be sure to remove any cataloger’s addition and to record the name of the larger place, preceded by a comma. When using multiple qualifiers, separate the qualifiers with a space-colon-space within one set of parentheses. Let’s look at some examples.

Additions to Access Points -- Examples Advocate (Boise, Idaho) Advocate (Nairobi, Kenya) distinguish with place Dublin magazine (1762) Dublin magazine (1965) distinguish with date These examples illustrate different ways of distinguishing the authorized access points for different works. Remember that you should use judgment in choosing the most appropriate qualifier. The first example shows the use of place of publication. Note the larger place is preceded by a comma. The second example shows the use of date of publication, and the last example shows the use of two qualifiers – corporate body and date of publication -- using the convention of space-colon-space, all enclosed in one set of parentheses. Bulletin (New York State Museum : 1945) Bulletin (New York State Museum : 1976) use of two qualifiers (corporate body and date)

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 We will now look in more detail at the types of qualifiers. Instruction 6.3 covers form of a work. Form of work is a CORE ELEMENT when needed to differentiate a work from another with the same title or from the name of a person, family, or corporate body. Form of work is defined as “a class or genre to which a work belongs.” You can take the form from any source, and there is no controlled vocabulary, so you are not limited to the terms used in the examples and can simply choose a term. Genre/form terms being developed by LC with other communities could be used. [Click] The form of work -- if used -- is added in parentheses after the preferred title. 130 0# $a Chanson de Roland (Poem)

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 The Date of Work category is covered in 6.4. As with form, Date of work is a CORE ELEMENT when needed to differentiate a work from another with the same title or from the name of a person, family, or corporate body. Date of work is defined as “the earliest date associated with a work.” If the date the work was created is not available -- remember that the “work” is the concept in the creator’s mind -- you can provide the date when the work was first published or released. Note that the examples in RDA 6.4.1.3 are for various situations, some are dates of creation, some are dates of publication, and others are dates of release. You can take the date from any source. Record the year(s) alone, using the Gregorian calendar. The date of work -- if used -- is added in parentheses after the preferred title. [Click] 110 2# $a Connecticut Commission on Children. 240 10 $a Annual report (2005)

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 Place of origin, covered in 6.5, is a CORE ELEMENT when needed to differentiate a work from another with the same title or from the name of a person, family, or corporate body. Place of origin of a work is defined as “the country or other territorial jurisdiction from which a work originated.” You can take the place of origin from any source. Record the place of origin of the work in the form prescribed in RDA chapter 16. The place of origin of work, if used, is added in parentheses after the preferred title. [Click] 130 0# $a Renaissance history (Boston, Mass.) 245 10 $a Renaissance history : $b a re- examination.

Additions to Access Points -- Other Distinguishing Characteristic (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 Instruction 6.6 covers other distinguishing characteristics of a work and is a CORE ELEMENT when needed to differentiate a work from another with the same title or from the name of a person, family, or corporate body. Other distinguishing characteristic of a work is defined as “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 with the same title or from the name of a person, family, or corporate body.” You can take the other distinguishing characteristic from any source. Sometimes, the issuing body or publisher is used, if so, it should be in the established form and a NAR is needed. The place of origin of a work, if used, is added in parentheses after the preferred title.   Any questions?

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 We now turn to the instruction on variant access points for works, this is covered in 6.27.4. The general principle is to “use a variant title for the work as the basis for a variant access point.” If the variant access point represents a work for which the authorized access point has been constructed using the authorized access point representing a person, family, or corporate body followed by the preferred title, generally construct the variant access point using the authorized access point representing that person, etc. followed by the variant title for the work. In our example here, you see the authorized access point for the work. For the variant access point, you take the variant title as the base and where appropriate, add the authorized access point for the creator since that is how the authorized access point for the work has been constructed.

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 RDA also allows a variant access point, using just the preferred title, and formulated using other creators, such as collaborators not chosen as the principal creator. In this example, we have a work of art created by two individuals. Christo is the given as the creator in the authorized access point for the work, however, we can create a variant title access point for the work using Jeanne-Claude.   Apply cataloger judgment for providing variant access points for works considering user needs.

MARC Authority Fields for Works 046 Date of work 370 Place of origin of work 380 Form of work 381 Other distinguishing characteristics 382 Medium of performance 383 Numeric designation of a musical work 384 Key The MARC Authority Format allows for recording a variety of RDA elements for identifying works. Shown here are some of the fields used to record some of this data. Giving these elements is a combination of cataloger’s judgment and NACO policy. For UCSD, feel free to add these elements if they are readily available. If the data is not readily available, exercise judgment in deciding whether it is worth your time to find and add this data. The last three fields shown here apply to musical works.

MARC Authority Fields for Works – For More Guidance R-documents http://www.loc.gov/aba/rda/Refresher_training_oct_2011.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 There are several resources you can consult for more information and examples about these MARC 21 authority fields. These will be covered in great detail in the “Authorities” courses.

Unit 6: Exercises on Works Identifying Works Online Quiz Describing Carriers and Identifying Works Okay now, work with a colleague to complete Exercise #5 Identifying Works. We will go over this exercise together in a few minutes. If we have time we will also do an online quiz that covers materials from today’s and last Thursday’s session.