Cambridge University Library RDA Training – Module 3 Identifying Works Adapted for Cambridge use by Janet Davis

Acknowledgements This module, and the accompanying four, are based on the training given at the British Library, which is in turn developed from that used at the Library of Congress. We would like to express our thanks to both institutions for making their training materials available to us. 2

3 Identifying works Naming the work Components of work authorised access points: Creators Preferred titles Additions Special categories of work: Parts of a work Single-creator compilations Multi-creator compilations Collaborative works

4 Naming the work Generally, the instructions for identifying works (and expressions) are found in Chapter 6 Naming the work Just like naming persons, families and corporate bodies Similar to AACR2 concept of main entry Achieved via the creation of an authorised access point for the work: The standardised access point representing an entity

Authorised access points for works Every work must have a unique authorised access point Ensuring that there is no conflict between work a.a.p.s means that distinct works are kept separate within the catalogue E.g., enables differentiation of works with the same title All resources embodying the same work must be given the same work a.a.p. E.g., brings together all descriptions of resources embodying a work when various manifestations have appeared under various titles Use the a.a.p. whenever the resource is referred to in other access points (including subjects) or in notes citing relationships between resources 5

6 Authorised access points for works - Construction How to put together the elements to construct an authorised access point: Preferred title is the basis Authorised access point for the creator precedes the preferred title, if applicable Make any additions to the preferred title as instructed under

7 Authorised access points for works - MARC MARC has four possibilities for where work a.a.p. information can be coded: 1XX XX

8 Entities responsible for a work – Instructions Creator is a relationship to a work; it isnt an attribute of the work itself So we will find the instructions about creators in Chapter 19, not Chapter 6

9 Entities responsible for a work – Sources RDA Take information on persons, families, and corporate bodies associated with a work from: Preferred sources of information (RDA 2.2.2) in resources embodying the work Or, failing that: Other statements appearing prominently in the resource Information appearing only in the content of the resource Other sources

10 Creator CORE ELEMENT RDA 19.2 A person, family, or corporate body responsible for the creation of a work E.g. Authors, artists, compilers, composers, photographers RDA Appendix I.2.1 for relationship designators

11 >1 Creator If more than one entity is responsible for the work as a whole: The creator having principal responsibility named first in the resource is required If principal responsibility is not indicated, only the first- named creator is required Cambridge policy is to provide authorised access points for additional creators, unless unduly onerous For a collaboration between person(s) and a corporate body, consider the corporate body instructions first MARC: First creator 1XX; Subsequent creators 7XX 11

12 Creator – Changes from AACR2 No Rule of Three to instruct us to identify the work only by its preferred title when there are more than three creators Knock-on effect on cuttering for some classification schemes A performer of works by different composers presented in a sound recording is not automatically considered a creator

13 Compilers & modifiers as creators RDA An entity responsible for compiling an aggregate work may be considered a creator of the compilation if the selection, arrangement, editing, etc., of content for the compilation effectively results in the creation of a new work An entity responsible for modifying a previously existing work in a way that substantially changes the nature or content of the original is considered a creator of the new work

Compilers & modifiers as creators - Examples Authorised access point representing the creator for: A bibliography of Sanskrit works on astronomy and mathematics Authorised access point representing the creator for: History of Angola. A new edition by W. Martin James, based on Susan H. Broadheads work with the same title RDA # $a Sen, S. N. $q (Samarendra Nath), $d , $e compiler # $a James, W. Martin, $e author. 14

15 Corporate bodies as creators Categories of works are given in RDA (Similar to AACR2 21.1B2) Corporate body takes precedence over a first-named person or family as creator Cambridge policy is to follow LC-PCC PS (similar to LCRI for 21.21B2) RDA covers government and religious officials as creators

Works of an administrative nature Dealing with any of the following aspects of the body itself: its internal policies, procedures, finances, and/or operations its officers, staff, and/or membership (e.g., directories) its resources (e.g., catalogues, inventories) Authorised access point representing the creator for: The constitution of the Asiatic Society of Bangladesh 110 2# $a Asiatic Society of Bangladesh, $e author. 16

Works recording collective thought of body Authorised access point representing the creator for: The national conservation strategy for Zambia / prepared by the Government of the Republic of Zambia 110 1# $a Zambia, $e author. 17

Works reporting collective activity of conference, expedition, or event The conference, expedition, or event must be named in the resource being described NB The name can be anywhere on the resource: not necessarily located on the t.p., or even prominently Authorised access point representing the creator for: Papers given at the Working Conference on Stochastic Programming 111 2# $a Working Conference on Stochastic Programming $d (1983 : $c Gargnano, Italy) 18

Works resulting from collective activity of performing group Applied where the responsibility of the group goes beyond that of mere performance, execution, etc. Authorised access point representing the creator for: Songs of Freedom / Bucket of Witches # $a Bucket of Witches (Musical group), $e composer. 19

Cartographic works originating with a corporate body Applied where the corporate body is responsible for more than just publication or distribution Authorised access point representing the creator for: The new Oxford atlas for Pakistan / all maps drawn by the Cartographic Unit, Oxford University Press ; editorial adviser, Fazle Karim Khan # $a Oxford University Press. Cartographic Department, $e cartographer. 20

21 A contributor is a person, family, or corporate body contributing to the realisation of a work through an expression E.g. editors, translators, illustrators, arrangers of music, performers, writers of commentary, etc. Chapter 20; Appendix I.3.1 Covered in Module 4 when we look at Expressions What about contributors?

22 Title of the work - Terminology Title of the work (RDA ) A word, character, or group of words and/or characters by which a work is known Preferred title for the work (RDA ) The title or form of title chosen to identify the work... [and used as] the basis for the authorised access point representing that work Variant title for the work (RDA ) A title or form of title by which a work is known that differs from... the preferred title The form used when constructing a variant access point

23 Title of the work - Language & script RDA 5.4 tells us to Record titles for works in the language and script in which they appear on the sources from which they are taken The alternative says Record a transliterated form of the title either as a substitute for, or in addition to, the form that appears on the source Cambridge policy in authorised access points is to apply the alternative to give a romanised form May give original in additional 880 field Other attributes for a work are recorded in the language and script prescribed in the appropriate sections of Chapter 6

24 Title of the work - Recording RDA Capitalisation Numbers Diacritics Articles Spacing Abbreviations NB recording, not transcribing

25 Preferred title for the work CORE ELEMENT RDA Scope and sources: – Choosing preferred titles: – Recording preferred titles: –

26 Sources of information for preferred titles RDA For a work created after 1500 From resources embodying the work or from reference sources Usually: title proper of the first manifestation received For a work created before 1501 From modern reference sources If this evidence is inconclusive, use (in this order): a) modern editions b) early editions c) manuscript copies

27 Preferred title for specific categories of work Certain categories of work have their instructions located in the appropriate sections of Chapter 6: some musical works (6.14.2) some legal works (6.19.2) some religious works (6.23.2) some official communications (6.26.2) Each of these is a general instruction which should be applied unless more specific instructions are relevant

Preferred title for the work - Examples $a Electron paramagnetic resonance of exchange coupled systems $a EPR of exchange coupled systems / $c Alessandro Bencini $a Pickwick papers $a The posthumous papers of the Pickwick Club / $c Charles Dickens $a Introduction to the physics of waves / $c Tim Freegarde, University of Southampton.

29 Additions to access points representing works (1) RDA : Must differentiate all works Each possible addition discussed in detail in earlier sections of Chapter # $a Steinbeck, John, $d 1902–1968, $e author $a Of mice and men / $c John Steinbeck # $a Steinbeck, John, $d 1902–1968, $e author $a Of mice and men : $b a play in three acts / $c by John Steinbeck.

30 Additions to access points representing works (2) In MARC 130 or 240 Form of work (6.3) Date of the work (6.4) Place of origin of the work (6.5) Another distinguishing characteristic of the work (6.6) No priority order Can give more than one if needed

31 Additions to access points representing works (3) LC-PCC PS Check catalogue to see if there is any conflict. I.e. does the work a.a.p. for the resource in hand match the a.a.p. for a different work? Fairly unlikely to happen for academic works of personal authorship, or where the preferred title is distinctive Very likely to happen for a resource without 1XX and with a generic title, e.g., Bulletin or Two plays Worth checking for literary works

32 Additions to access points representing works (4) If there is conflict, resolve by making addition to a.a.p. in the bibliographic record being created; do not also modify the existing record Construct an authorised access point with a parenthetical qualifier to differentiate the monograph or serial being catalogued Use cataloguers judgement in determining the most appropriate qualifier Multiple qualifiers: separate the qualifiers with a space- colon-space within one set of parentheses Do not anticipate a conflict

33 Additions - Form of work CORE ELEMENT when needed to differentiate RDA 6.3 A class or genre to which a work belongs Take from any source No controlled vocabulary Added after preferred title in parentheses 100 1# $a Steinbeck, John, $d 1902–1968, $e author $a Of mice and men (Play)

34 Additions - Date of work CORE ELEMENT when needed to differentiate RDA 6.4 The earliest date associated with a work – either when it was created, or when first published/released Take from any source Year(s) alone Added after preferred title in parentheses 110 2# $a Connecticut Commission on Children $a Annual report (2005)

35 Additions – Place of origin of work CORE ELEMENT when needed to differentiate RDA 6.5 The country or other territorial jurisdiction from which a work originated Take from any source Record the place name as instructed in Chapter 16 & B.11 Added after preferred title in parentheses 130 0# $a Renaissance history (Boston, Mass.)

36 Additions – Other distinguishing characteristic CORE ELEMENT when needed to differentiate RDA 6.6 Characteristic other than form, date, or place of origin of work Take from any source In established form (if appropriate) Added after preferred title in parentheses 130 0# $a Genesis (Anglo-Saxon poem) 130 0# $a Genesis (Middle High German poem)

37 Additions to access points - Examples 130 0# $a Advocate (Boise, Idaho) 130 0# $a Advocate (Nairobi, Kenya) 130 0# $a Bulletin (New York State Museum : 1945) 130 0# $a Bulletin (New York State Museum : 1976) 130 0# $a Dublin magazine (1762) 130 0# $a Dublin magazine (1965) Date Place Corporate body & Date

100 1# $a Freegarde, Tim, $d $e author $a Introduction to the physics of waves / $c Tim Freegarde, University of Southampton $a Of mice and men : $b a play in three acts / $c by John Steinbeck # $a Steinbeck, John, $d 1902–1968, $e author $a Of mice and men : $b a play in three acts / $c by John Steinbeck. 38 Authorised access points for works - Examples 100 1# $a Steinbeck, John, $d 1902–1968, $e author $a Of mice and men (Play) $a Of mice and men : $b a play in three acts / $c by John Steinbeck # $a Freegarde, Tim, $d $e author $a Introduction to the physics of waves / $c Tim Freegarde, University of Southampton.

39 Parts of a work – One part RDA Record the preferred title for the part by applying the basic instructions at If the part has only a general designation, not a title, use the part designation. Record any numeric designation as a numeral Preferred title for a part of J.R.R. Tolkiens The lord of the rings: The two towers $a Two towers Preferred title for a part of Homers Iliad : Book $a Iliad. $n Book 1

40 Parts of a work – Two or more parts (1) RDA For consecutively numbered parts, with only a general designation: Record the designation of the parts in the singular, followed by the inclusive numbers of the parts Preferred title for the first six books in Homers Iliad $a Iliad. $n Book 1-6

41 Parts of a work – Two or more parts (2) For unnumbered or non-consecutively numbered parts: Cambridge policy is to follow the alternative instruction at and record the conventional collective title Selections as the preferred title for the parts Preferred title for a parts of the work in a compilation comprising J.R.R. Tolkiens The fellowship of the ring and The two towers, but not The return of the king $a Lord of the rings. $k Selections Preferred title for the parts of the work in a compilation comprising books 1 and 6 of Homers Iliad $a Iliad. $k Selections

42 Authorised access point for part(s) of a work RDA Generally: preferred title for part(s) preceded by authorised access point for the creator, if appropriate Authorised access point for part of J.R.R. Tolkiens The lord of the rings: The two towers 100 1# $a Tolkien, J. R. R. $q (John Ronald Reuel), $d , $e author $a Two towers

43 Authorised access point for part(s) of a work – Exceptions & Applies to: non-distinctive titles serials and integrating resources television/radio programs consecutively-numbered parts Instruction: preferred title for part(s) preceded by authorised access point for the work

44 Authorised access point for part(s) of a work – Exceptions – Example Authorised access point for part of Homers Iliad: Book 1 Authorised access point (Work a.a.p. + Preferred title) for part of Homers Iliad: Book # $a Homer, $e author $a Iliad. $n Book 1 Authorised access point (Creator a.a.p. + Preferred title) for part of Homers Iliad: Book # $a Homer, $e author $a Book 1 Authorised access point (Creator a.a.p. + Preferred title) for part of Homers Odyssey: Book # $a Homer, $e author $a Book 1

45 Compilations & Collaborations Works may be either compilations or collaborations Decision determines how each is identified CompilationsRDA CollaborationsRDA

46 How to decide Clues that a work is a compilation: Indication of who created what From the preferred source, table of contents, preface, program notes, home page, other components in the resource Assume it is a collaboration if: there is no indication who created what there is doubt

47 Multiple works by one creator Must be treated as a compilation as there are no collaborators Identified by: Creator + Preferred title RDA – constructing preferred title RDA – constructing access point

48 Preferred title for one-creator compilations – Complete works RDA Record the conventional collective title: Works Preferred title for a compilation of the complete works of William Shakespeare: 100 1# $a Shakespeare, William, $d 1564– 1616, $e author $a Works

49 Preferred title for one-creator compilations – Complete works in a single form RDA Record the chosen conventional collective title from the list: Correspondence, Essays, Novels, Plays, Poems, Prose works, Short stories, Speeches Exceptionally, if none of these is appropriate, choose another in consultation with supervisor Preferred title for compilation of all Baudelaires poetry: 100 1# $a Baudelaire, Charles, $d , $e author $a Poems

50 Preferred title for one-creator compilations – Selections (1) RDA Alternative For compilations of two or more (but not all) works, assign a conventional collective title as directed in: (for more than one form), or (for a single form), and add Selections No need to consider whether or not title proper is distinctive Also provide access points for all contained works unless unduly onerous

51 Preferred title for one-creator compilations – Selections (2) Preferred title for a selection of poems by Baudelaire: 100 1# $a Baudelaire, Charles, $d , $e author $a Poems. $k Selections Preferred title for a resource containing selections from Shakespeares plays and sonnets: 100 1# $a Shakespeare, William, $d , $e author $a Works. $k Selections

100 1# $a Miller, Arthur, $d $a Archbishops ceiling $a Two plays / $c Arthur Miller # $a The Archbishops ceiling -- The American clock $a Miller, Arthur, $d $t American clock. 52 Compilation of 2 works by same creator – Example (1) AACR2: Use the title proper of the first work as the preferred title (but this misidentifies the compilation)

RDA: Use a conventional collective title * Second 700 is not core, but is Cambridge policy 100 1# $a Miller, Arthur, $d $a Plays. $k Selections $a Two plays / $c Arthur Miller # $a The Archbishops ceiling -- The American clock $a Miller, Arthur, $d $t Archbishops ceiling. * $a Miller, Arthur, $d $t American clock. 53 Compilation of 2 works by same creator – Example (2)

54 Multiple works by multiple creators - Compilations v. Collaborations Compilation identified by: Preferred title [No creator, because there is no single creator of the individual works] Collaboration identified by: Creator (principal or first-named) + Preferred title

55 Preferred title for compilations of works by multiple creators Identify the compilation by its preferred title (RDA ) If the work is a compilation of works by different persons, families, or corporate bodies, construct the authorised access point representing the work using the preferred title for the compilation In this case the preferred title is the title proper A compilation of stories by different authors: $a Working-class stories of the 1890s / $c edited with an introduction by P.J. Keating # $a Keating, P. J., $e editor of compilation.

56 Compilation of works by multiple creators lacking a collective title RDA Generally use the title proper of the first work in the compilation as the preferred title, and provide authorised access points for all contained works unless unduly onerous

100 1# $a Polk, Sharon $a Community band concerts $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson $a Swanson, Terri. $t Fall harvest festivals. 57 Compilation of works by multiple creators lacking a collective title – Example (1) AACR2: Use the title proper of the first work as the preferred title (but this misidentifies the compilation)

RDA: Use the title proper of the first work as the preferred title (follow LC-PCC PS and do not devise a title) * Second 700 is not core, but is Cambridge policy $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson $a Polk, Sharon. $t Community band concerts. * $a Swanson, Terri. $t Fall harvest festivals. 58 Compilation of works by multiple creators lacking a collective title – Example (2)

59 Collaborative works RDA Principally-responsible, or first-named creator Exceptions: moving image resources some resources involving both corporate bodies and persons some musical collaborations treaties most serials

60 Multiple creators - Principal responsibility 100 1# $a Sweet, Martha, $e author $a Georgia history / $c by Martha Sweet and Linda Bruce ; with contributions by Gus Peterson and Marilee James. *700 1# $a Bruce, Linda, $e author. *700 1# $a Peterson, Gus, $e author. *700 1# $a James, Marilee, $e author. * Cambridge policy: provide authorised access points for additional creators unless unduly onerous No major change from AACR2, except for added entries

61 Multiple creators - No principal responsibility (1) $a Architecture / $c by Susan Brown … [et al.] # $a Brown, Susan. AACR2: Enter under title, with no 1XX field Other authors (Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson) listed on source, but not recorded in 245

62 Multiple creators - No principal responsibility (2) 100 1# $a Brown, Susan, $e author $a Architecture / $c by Susan Brown, Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson. *700 1# $a Carlson, Melanie, $e author. *700 1# $a Lindell, Stephen, $e author. *700 1# $a Ott, Kevin, $e author. *700 1# $a Wilson, Janet, $e author. RDA:Precede preferred title by first-named creator * Cambridge policy: provide authorised access points for additional creators unless unduly onerous

More information The slides for this presentation, along with lots of other RDA resources and documentation, are available from: 63