1. 1 LC Training for RDA: Resource Description & Access Module 2: Describing Carriers and Identifying Works Cooperative and Instructional Programs Division, Library of Congress 2012

2. 2 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  COIN gratefully acknowledges their permission to adapt the material for the present purpose

3. 3 Learning Objectives for Module 2 -- Describing Carriers and Identifying Works o Describing Carriers o Other Elements of Manifestations and Items o Introduction to Works o Elements for Works

4. 4 Unit 1: Describing Carriers oRDA Chapter 3 oWill 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

5. 5 Replacement for GMD - 245 $h  Three new MARC fields - developed with ONIX publishing community: Content type -- RDA 6.9 -- MARC 336 field Media type -- RDA 3.2 -- MARC 337 field Carrier type -- RDA 3.3 -- MARC 338 field

6. 6 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

7. 7 Controlled Vocabularies for Content, Media, Carrier Types  Closed lists in RDA 6.9.1.3, 3.2.1.3, 3.3.1.3  If more than one term appropriate, two choices: Give all: repeat field Pick 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 LChelp4rda@loc.gov

8. 8 Content Type  LC CORE ELEMENT  RDA 6.9  “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 part of the resource or to the most substantial parts of the resource  MARC 336 field Examples:performed music still image text

9. 9 Media Type  LC CORE ELEMENT  RDA 3.2  “A categorization reflecting the general type of intermediation device required to view, play, run, etc., the content of a resource”  Table 3.1  Instead of recording all, may record the media type that applies to the predominant part of the resource or to the most substantial parts of the resource  MARC 337 field Examples: audio, computer, microform, unmediated, and video

10. 10 Carrier Type  LC CORE ELEMENT  RDA 3.3  “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”  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  Don’t confuse with term used in Extent (MARC 300 $a): some terms in common Examples: audio disc, computer disc, microfiche, volume, videodisc

11. 11 Example: MARC 336-338 Fields Book: 336 $a text $2 rdacontent 337 $a unmediated $2 rdamedia 338 $a volume $2 rdacarrier

12. 12 Voyager Templates: MARC 336 - 338 Fields

13. 13 Extent  LC CORE ELEMENT  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)  MARC 300 $a

14. 14 Recording Extent  Give if the resource is complete or if the total extent is known  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)  MARC field 300

15. 15 Extent of Text  Single Volume with Numbered Pages, Leaves, or Columns (3.4.5.2)  Single Volume with Unnumbered Pages, Leaves, or Columns (3.4.5.3) RDA lists three options LCPS 3.4.5.3 continues AACR2 practice  For LC original cataloging, usually follow method c) 1 volume (unpaged)  Complicated or Irregular Paging (3.4.5.8) RDA lists three options LCPS 3.4.5.3 continues AACR2 practice  For LC original cataloging, usually follow method c) 1 volume (various pagings)

16. 16 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”

17. 17 Dimensions  LC CORE for resources other than serials and online electronic resources  RDA 3.5  “Measurements of the carrier or carriers and/or the container of a resource”  Use centimetres/millimetres for others (“cm” and “mm” are symbols, not abbreviations) - use ISBD full stop after symbol only if 490 in record  MARC 300 $c

18. 18 LC Practices: 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  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

19. 19 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 Music CD: 300 $a 1 audio disc {or: 1 CD} 336 $a performed music $2 rdacontent 337 $a audio $2 rdamedia 338 $a audio disc $2 rdacarrier

20. 20 Examples: MARC 300 $a, 336-338 DVD: 300 $a 1 DVD {or: 1 videodisc} 336 $a two-dimensional moving image $2 rdacontent 337 $a video $2 rdamedia 338 $a videodisc $2 rdacarrier 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

21. 21 Example: MARC 300 $a, 336-338 Website (with maps, text, and photographs): 300 $a 1 online resource 336 $a text $2 rdacontent 336 $a cartographic image $2 rdacontent 336 $a still image $2 rdacontent 337 $a computer $2 rdamedia 338 $a online resource $2 rdacarrier Note: If copied records include repeated subfields $a, rather than multiple fields, you can accept these fields as is: 336 $a text $a cartographic image $a still image $2 rdacontent

22. 22 Example: MARC 300 $a, 336-338 Book with accompanying CD of lecture: $3 and $e 300 $a 244 pages... + $e 1 CD 336 $3 book $a text $2 rdacontent 336 $3 CD $a spoken word $2 rdacontent 337 $3 book $a unmediated $2 rdamedia 337 $3 CD $a audio $2 rdamedia 338 $3 book $a volume $2 rdacarrier 338 $3 CD $ audio disc $2 rdacarrier 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. * The use of $3 in this example is optional.

23. 23 Examples: MARC 300 $a, 336-338 Oral history CD: 300 $a 1 CD 336 $a spoken word $2 rdacontent 337 $a audio $2 rdamedia 338 $a audio disc $2 rdacarrier Playaway audiobook: 300 $a 1 Playaway (or 1 audio media player or 1 digital media player) 336 $a spoken word $2 rdacontent 337 $a audio $2 rdamedia 338 $a other $2 rdacarrier

24. 24 Example: MARC 300 $a, 336-338 Kit (contains a book about a fireman, a CD narrating the book, and a fireman’s hat): 300 $a 1 CD, 1 book, 1 plastic helmet 336 $a spoken word $a text $a three- dimensional form $2 rdacontent 337 $a audio $a unmediated $2 rdamedia 338 $a audio disc $a volume $a object $2 rdacarrier * The use of multiple subfields $a in the 336 field is acceptable if this is a copied record, but for LC cataloging, you would record separate 33X fields

25. 25 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

26. 26 Expression Attributes Covered in this Module  Because these are recorded in MARC field 300 Duration Illustrative Content Colour Content  RDA Chapter 7

27. 27 Duration  LC CORE ELEMENT  RDA 7.22  “Playing time, running time, etc., of the content of a resource”  MARC 300 $a  Use abbreviations per RDA Appendix B Examples: 300 $a 1 audio disc (45 min.) 300 $a 1 DVD (2 hr., 15 min.)

28. 28 Illustrative Content  LC CORE ELEMENT for resources intended for children  RDA 7.15  Open list of vocabulary terms  Recorded in MARC 008/18 as applicable and field 300 $b

29. 29 A Key Change From AACR2  No abbreviations “color” (not “col.”) “sound” (not “sd.”) “silent” (not “si.”) “illustrations” (not “ill.”)

30. 30 Colour Content (the name of the attribute uses this spelling)  Not LC CORE  RDA 7.17  LCPS 7.17.1.3 Use spelling “color”  MARC field 300 $b Examples: color (illustrations are in color) some color (10 maps, some of which are in color) chiefly color (illustrations, most of which are in color)

31. 31 Unit 2: Exercises on Carriers  Exercises #3-#4 Carriers

32. 32 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)

33. 33 Terms of Availability  RDA 4.2  LCPS: Generally do not provide prices or other availability information except for rental scores or rental performance materials Example: 020 $a 0460044524 : $c Rental material

34. 34 Contact Information  RDA 4.3  Record contact information for a publisher, distributor, etc., if it is considered to be important for acquisition or access Example: http://www.HaworthPress.com Alabama Department of Archives and History. 624 Washington Avenue, Montgomery, AL 36130-0100

35. 35 Restrictions on Access  RDA 4.4  Record all restrictions on access to the resource, including the nature and duration of the restriction, as specifically as possible. The absence of restrictions may also be noted if it is considered to be important Example: Access restricted to subscribers via a username and password or IP address authentication

36. 36 Restrictions on Use  RDA 4.5  LCPS: The CORE requirement is limited to the non-General Collections at the Library of Congress  MARC field 540 Example: This film is restricted to classroom use

37. 37 Uniform Resource Locator  LC CORE ELEMENT  RDA 4.6  Address of the remote access resource being cataloged  Not in AACR2 although information is included in AACR2 records  LCPS 4.2.1.3 -If there is more than one Uniform Resource Locator for the resource, record all  MARC 856 field

38. 38 Uniform Resource Locator  Changes Requiring the Addition, Revision, or Deletion of a Uniform Resource Locator  LCPS 4.6.1.4 provides LC practice for two situations: When the original URI is no longer active When the original URI is still active, but the original resource is no longer available

39. 39 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

40. 40 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 Regional encoding (videorecording)

41. 41 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

42. 42 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

43. 43 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

44. 44 Unit 4: Introduction to Works  Where are the Instructions?  Naming the Work  LC Decisions on … Bibliographic or Authority? Core Elements to Distinguish Language and Script  Terminology  Sources  Authorized Access Points for Works

45. 45 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”

46. 46 “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 1XX + 240 1XX + 245 130 245

47. 47 LC 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  LC Policy: Always identify the work by giving the access point in the bibliographic record Sometimes identify the work by making a title or name/title authority record -- no changes from policy in DCM Z1

48. 48 LC Decisions on … Core Elements to Distinguish  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):  LC policy always give as additions to the authorized access point cataloger judgment to also give as separate elements in authority records

49. 49 LC 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 LCPS 5.4), can also give variant access points (MARC 4XX) in original language/script in authority records  Other attributes for a work in RDA chapter 6 in language and script prescribed in instructions

50. 50 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”

51. 51 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

52. 52 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

53. 53 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

54. 54 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

55. 55 Entities Responsible for a Work  RDA 0.6.3  “when creating the authorized access point for the work, precede the preferred title for the work, if appropriate, by the authorized access point representing the person, family, or corporate body responsible for the intellectual or artistic content of the work”

56. 56 Entities Responsible for a Work – Where are the Instructions?  Creator is a relationship to a work; it isn’t an attribute of the work itself.  So we will find the instructions about creators in Chapter 19, not Chapter 6. “contributors” are responsible for an expression discussed in Chapter 20 (and covered in Module 3)

57. 57 Entities Responsible for a Work – Sources  Preferred sources of information  Other statements appearing prominently in the resource Use cataloger judgment  Information appearing only in the content  Other sources

58. 58 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 (i.e., is a “collaboration”): 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 LCPS 19.2 says to use cataloger judgment in deciding whether to provide authorized access points for additional creators, beyond the core

59. 59  “ … contributing to the realization of a work through an expression”  Editors, translators, illustrators, arrangers of music, performers, writers of commentary, and others  Covered in next module on Expressions What About Contributors?

60. 60 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

61. 61 Compilers and Modifiers as Creators (19.2.1.1)  An entity responsible for compiling an aggregate work may be considered a creator of the compilation if the selection, arrangement, editing, etc., of content for the compilation effectively results in the creation of a new work;  An entity responsible for modifying a previously existing work in a way that substantially changes the nature or content of the original is considered a creator of the new work.

62. 62 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  LCPS, similar to RI for 21.21B2  RDA 19.2.1.1.2 on government and religious officials as creators

63. 63 Preferred Title for the Work  CORE ELEMENT  General instructions  Specific instructions

64. 64 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

65. 65 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

66. 66 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)

67. 67 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)

68. 68 Parts of a Work – One Part (6.2.2.9.1)  “Record the preferred title for the part, applying the basic instructions on recording titles of works given under 6.2.1.” Preferred title for a part of J.R.R. Tolkien’s The lord of the rings:  Two towers Preferred title for a part of the television program The Simpsons:  A streetcar named Marge

69. 69 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 see next slide……….

70. 70 Parts of a Work – Two or More Parts (Alternative)  Alternative instruction for unnumbered or non-consecutive parts  LC practice (LCPS 6.2.2.9.2) “Instead of recording the preferred title for each of the parts, record the conventional collective title Selections as the preferred title for the parts.” e.g., preferred title for the parts of the work in a compilation comprising books 1 and 6 of Homer’s Iliad  Selections

71. 71 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

72. 72 Authorized 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 authorized access point for the work

73. 73 Compilations and Collaborations  Important distinction  Determines how each is ‘identified’  Compilations RDA 6.27.1.4  Collaborations RDA 6.27.1.3 We will discuss compilations first

74. 74 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

75. 75 Multiple Works by One Creator  Must be treated as a compilation i.e., there are no collaborators  Identified by Creator + Preferred title

76. 76 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 Other compilations of two or more (but not all) works in same form or different forms = add “Selections” to the conventional collective title

77. 77 Preferred Title – Compilations of One P - F - CB (cont.)  Major change from AACR2!  Under RDA, LC 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”

78. 78 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.

79. 79 Example (cont.) 2 Works by the Same Creator 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. RDA:apply the alternative to use a conventional collective title * 2 nd 700 not a core requirement but helpful to the user

80. 80 Multiple Works by Multiple Creators -- Compilations vs. Collaborations  Compilation Preferred title Without a creator, because there is no single creator of the individual works  Collaboration Creator (principal or first-named) + Preferred title

81. 81 Preferred Title – Compilations of Works by Different Creators  Note: compilation of separate works  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 see next slide ………

82. 82 What if Such a Compilation Lacks a Collective Title?  RDA and LCPS 25.1 How to treat: 1. For the preferred title, use the title proper of the first work in the compilation, and 2. 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, d o not devise a title to use as a preferred title.  LC does not apply the alternative to 6.27.1.4 A work that is part of a larger work is considered a whole-part “related work”

83. 83 Example: Compilation of Works by Different Creators (No Collective Title) 100 1# $a Polk, Sharon. 240 10 $a Community band concerts 245 10 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 700 12 $a Swanson, Terri. $t Fall harvest festivals. AACR2:use the 1st work as the preferred title (but this misidentifies the compilation)

84. 84 Example (cont.): Compilation of Works by Different Creators (No Collective Title) RDA: u se 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. * 2 nd 700 not a core requirement but helpful to the user

85. 85 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)

86. 86 Example: Multiple Creators -- Principal Responsibility 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. * number of access points for other creators: LCPS 19.3 = cataloger judgment No change from AACR2, except for ‘added entries’

87. 87 Example: Multiple Creators -- No Principal Responsibility 245 $a Architecture / $c by Susan Brown … [et al.] *700 $a Susan Brown AACR2: ‘enter’ under title, with no 1XX field 24500 Other authors (Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson) listed on source, but not recorded in 245.

88. 88 Example: Multiple Creators -- No Principal Responsibility 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. access points for other creators: cataloger judgment (LCPS 19.3) RDA:precede preferred title by first-named creator

89. 89 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)

90. 90 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)

91. 91 Additions to Access Points Representing Works  Reminder on how to formulate the Authorized Access Point Start with preferred title Precede by creator, if appropriate Addition(s) to make it distinct  RDA 6.27.1.9 Each possible addition discussed in detail in earlier provisions of chapter 6

92. 92 Additions to Access Points Representing Works  Form of work (6.3)  Date of the work (6.4)  Place of origin of the work (6.5)  Another distinguishing characteristic of the work (6.6) no priority order can give more than one if needed

93. 93 Additions to Access Points Representing Works -- LCPS 6.27.1.9  Differentiating all works  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

94. 94 Additions to Access Points Representing Works -- LCPS 6.27.1.9  “… with a parenthetical qualifier …”  Choice of qualifying term: Use judgment. corporate body date of publication descriptive data elements, e.g., edition statement place of publication any word(s) that will serve to distinguish the works more than one qualifier if needed list not prescriptive, not in priority order

95. 95 Additions to Access Points Representing 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

96. 96 Additions to Access Points -- Examples Advocate (Boise, Idaho) Advocate (Nairobi, Kenya) Bulletin (New York State Museum : 1945) Bulletin (New York State Museum : 1976) use of two qualifiers (corporate body and date) Dublin magazine (1762) Dublin magazine (1965) distinguish with place distinguish with date

97. 97 Additions to Access Points -- Form of Work (6.3)  CORE ELEMENT when needed to differentiate  “class or genre to which a work belongs”  Take from any source  No controlled vocabulary  Added after preferred title in parentheses 130 0# $a Chanson de Roland (Poem)

98. 98 Additions to Access Points -- Date of Work (6.3)  CORE ELEMENT when needed to differentiate  “earliest date associated with a work” created, first published, or released  Take from any source  Year(s) alone  Added after preferred title in parentheses 110 2# $a Connecticut Commission on Children. 240 10 $a Annual report (2005)

99. 99 Additions to Access Points -- Place of Origin of Work (6.5)  CORE ELEMENT when needed to differentiate  “the country or other territorial jurisdiction from which a work originated”  Take from any source  In form prescribed in Chapter 16  Added after preferred title in parentheses 130 0# $a Renaissance history (Boston, Mass.) 245 10 $a Renaissance history : $b a re- examination.

100. 100 Additions to Access Points -- Other Distinguishing Characteristic (6.6)  CORE ELEMENT when needed to differentiate  “a characteristic other than form of work, date of work, or place of origin of the work that serves to differentiate a work from another work or from the name of a person, family, or corporate body”  Take from any source  In established form  Added after preferred title in parentheses

101. 101 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

102. 102 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)

103. 103 Variant Access Points for Works (cont.)  LC Policy: Apply cataloger judgment Consider user needs  LC does not create or maintain SARs LCPS 6.27.4

104. 104 MARC Authority Fields for Works  046Date  370Place of origin  380 Form  381 Other distinguishing characteristics  382 Medium of performance  383 Numeric designation of a musical work  384 Key LC policy: cataloger judgment to include these fields in authority records

105. 105 MARC Authority Fields for Works – For More Guidance  R-documents http://www.loc.gov/aba/rda/Refresher_train ing_oct_2011.html LC policy for encoding information in MARC authority records: document R-5 NAR examples: document R-6  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

106. 106 Unit 6: Exercises on Works  Document R-6 Examples 10-13  Exercise #5 Determining Creator  Exercise #6 Identifying Works