RDA for Music 
Classical Music Audio Recordings 
Damian Iseminger, New England Conservatory 
Casey Mullin, Stanford Univer...
Our Focus
Our Focus 
RDA for Content 
ISBD Punctuation for Display 
MARC21 for Encoding
Our Focus 
RDA for Content 
ISBD Punctuation for Display 
MARC21 for Encoding
Our Focus 
RDA for Content 
ISBD Punctuation for Display 
MARC21 for Encoding
Our Focus 
• Supporting Documentation 
– Library of Congress-Program for Cooperative 
Cataloging Policy Statements (LC-PCC...
Our Emphasis
Our Emphasis 
Photo by Kent Miller, National Park Service. Used under CC BY 2.0
But what about MY question? 
CC0 1.0
Out of scope 
• Subject headings for music 
• Form/Genre terms for music 
• Medium of Performance terms for music 
• Class...
What is RDA?
RDA Organization
RDA Organization
RDA Organization
RDA Organization
RDA Organization
RDA Organization
RDA Terminology 
• Core - required element 
• Core if - required element if certain conditions are met 
(or not met) 
• Al...
RDA Terminology 
RDA guidelines will instruct to either “record” or 
“transcribe” data 
• Record - provide data according ...
A (relatively) Simple Example
Beethoven, Violin concerto in D, op. 61 
Title proper (2.3.2) and Statement of responsibility relating to title proper 
(2...
Beethoven, Violin concerto in D, op. 61 
Place of publication (2.8.2) and Publisher’s name (2.8.4): 
264 _1 $a New York, N...
Beethoven, Violin concerto in D, op. 61 
Date of publication (2.8.6) and Copyright date (2.11): 
264 _1 $a New York, NY : ...
Beethoven, Violin concerto in D, op. 61 
Identifier for the manifestation (2.15) and Note on title (2.17.2.3): 
028 02 $a ...
Beethoven, Violin concerto in D, op. 61 
Carrier attributes (+ one Expression and one 
content attribute) 
• Content type ...
Beethoven, Violin concerto in D, op. 61 
Carrier attributes (+ one Expression and one content 
attribute) 
007/00 s 
007/0...
Beethoven, Violin concerto in D, op. 61 
Place and date of capture (7.11): 
033 10 $a 19800914 $a 19800915 $b 5754 $c L7 
...
Beethoven, Violin concerto in D, op. 61 
Performer, narrator or presenter (7.23), Note on statement of responsibility 
(2....
Beethoven, Violin concerto in D, op. 61 
Access points 
– The work embodied (6.14, 19.2, 6.28.1) 
100 1_ $a Beethoven, Lud...
Beethoven, Violin concerto in D, op. 61 
Complete MARC record (variable fields only) 
028 02 $a 7243 5 56210 2 3 $b EMI Cl...
Works for Cello and Orchestra
We will focus on… 
• Determining titles and statements of 
responsibility 
• Determining required work authorized access 
...
We will focus on… 
• Determining titles and statements of 
responsibility 
• Determining required work authorized access 
...
We will focus on… 
• Determining titles and statements of 
responsibility 
• Determining required work authorized access 
...
We will focus on… 
• Determining titles and statements of 
responsibility 
• Determining required work authorized access 
...
2.2.2 Preferred Source of 
Information 
• 2.2.2.4 Other Sources 
– Disc label 
• Record the source in a note (2.17.2.3) 
•...
2.3.2.9 Resource Lacking a 
Collective Title 
• If the resource lacks a collective title, and is 
being described comprehe...
2.3.2.9 Resource Lacking a 
Collective Title 
• If the resource lacks a collective title, and is 
being described comprehe...
2.3.2.9 Resource Lacking a 
Collective Title 
• If the resource lacks a collective title, and is 
being described comprehe...
What is the Title Proper? 
a) Konzert 
b) Cello concerto 
c) Concerto 
d) Konzert für Violoncello und Orchester op. 104
What is the Title Proper? 
a) Konzert 
b) Cello concerto 
c) Concerto 
d) Konzert für Violoncello und Orchester op. 104
2.3.2.4 Title in More Than One 
Language or Script 
If: 
the content is not written, spoken, or sung, 
then: 
choose the t...
2.3.2.8 Other Elements Recorded 
as Part of the Title Proper 
• 2.3.2.8.1 Type of Composition, Medium of 
Performance, Key...
2.3.2.8 Other Elements Recorded 
as Part of the Title Proper 
• Use Types of Composition for Use in 
Authorized Access Poi...
Treat the opus number as Other Title 
Information according to 2.3.4
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 
Schelomo 
Kol nidrei
2.3.2 Title Proper 
Core 
2.3.3 Parallel Title Proper 
2.3.4 Other Title Information
2.3.2 Title Proper 
Core 
2.3.3 Parallel Title Proper 
LC-PCC Core 
2.3.4 Other Title Information 
LC-PCC Core
Sources of Information 
• 2.3.3 Parallel Title Proper 
– Preferred source of information 
– Another source forming part of...
Sources of Information 
• 2.3.3 Parallel Title Proper 
– Preferred source of information 
– Another source forming part of...
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 = 
Cello concerto = Concerto pour violoncelle 
...
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 = 
Cello concerto = Concerto pour violoncelle 
...
Putting the Puzzle Together 
Provide a source for these parallel titles proper since they come from 
outside the preferred...
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 = 
Cello concerto = Concerto pour violoncelle 
...
Sources of Information 
• 2.3.4 Other Title Information 
– May only be the same source of information as 
the title proper
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 = 
Cello concerto = Concerto pour violoncelle 
...
2.4 Statement of Responsibility 
• For statements identifying performers of 
music whose participation is limited to 
perf...
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 = 
Cello concerto = Concerto pour violoncelle /...
Putting the Puzzle Together 
Konzert für Violoncello und Orchester op. 104 = 
Cello concerto = Concerto pour violoncelle /...
Putting the Puzzle Together 
245 00 Konzert für Violoncello und Orchester 
op. 104 = Cello concerto = Concerto pour 
violo...
Putting the Puzzle Together 
245 00 $a Konzert für Violoncello und Orchester 
op. 104 = $b Cello concerto = Concerto 
pour...
Putting the Puzzle Together 
245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello 
concerto = Concerto pour ...
2.3.6 Variant Title 
• A title that differs from the titles recorded 
according to 2.3.2-2.3.5 and 2.3.7-2.3.10 
• Best Pr...
Putting the Puzzle Together 
245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = 
Concerto pour ...
Putting the Puzzle Together 
246 31 $a Cello concerto 
246 31 $a Concerto pour violoncelle 
… 
740 02 $a Schelomo. 
740 02...
Work Access
Finding the “Main” Work 
• Start at 6.28 for musical works 
a) Musical works with lyrics, libretto, text, etc. 
b) Pasticc...
6.27.1 Authorized Access Point 
Representing a Work 
• 6.27.1.2 Works Created by One Person, Family, or 
Corporate Body 
•...
6.27.1 Authorized Access Point 
Representing a Work 
• 6.27.1.2 Works Created by One Person, Family, or 
Corporate Body 
•...
6.27.1 Authorized Access Point 
Representing a Work 
• 6.27.1.2 Works Created by One Person, Family, or 
Corporate Body 
•...
6.27.1 Authorized Access Point 
Representing a Work 
• 6.27.1.2 Works Created by One Person, Family, or 
Corporate Body 
•...
Authorized Access Points Needed 
Dvořák, Antonín, 1841-1904. Concertos, cello, 
orchestra, op. 104, B minor 
Bloch, Ernest...
MARC Display 
• 1XX field is for the Creator of the whole work 
– Consult RDA 19 for instructions 
• Our resource 
– No on...
Authorized Access Points in MARC 
245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = 
Concerto ...
Authorized Access Points in MARC 
245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = 
Concerto ...
2.8.6 Date of Publication Core 
• 2.8.6.6 Date of Publication Not Identified 
– Supply the date or approximate date of 
pu...
2.8.6 Date of Publication Core 
• 2.8.6.6 Date of Publication Not Identified 
– Supply the date or approximate date of 
pu...
2.8.6 Date of Publication Core 
• In most circumstances, the (p) or © dates can 
be used to infer a date of publication 
•...
2.8.6 Date of Publication Core 
• In most circumstances, the (p) or © dates can 
be used to infer a date of publication 
•...
2.8.6 Date of Publication Core 
• In most circumstances, the (p) or © dates can 
be used to infer a date of publication 
•...
2.11 Copyright Date 
• Best Practices recommends to routinely 
record 
• Record the latest date of copyright 
– Optional a...
LDR njm Ii 
007 sd fsngnnmmnee 
008 140915r1982uuuugw conn n zxx d 
040 $a ENG $b eng $e rda $c ENG 
024 10 $a 02894291552...
500 __ $a Title from disc label. 
500 __ $a German, English, and French titles for 2nd work from container. 
511 0_ $a Pie...
500 __ $a Title from disc label. 
500 __ $a German, English, and French titles for 2nd work from container. 
511 0_ $a Pie...
Coding Dates in the 008 
• Byte 06 (OCLC: DtSt) 
– Possible codes for this resource 
• r (Reprint) 
• t (Publication Date ...
Coding Dates in the 008 
Precedence of Codes from OCLC 
Single items or multipart items complete in one year 
b B.C. date ...
Coding Dates in the 008 
• Byte 06 (OCLC: DtSt) 
– Possible codes for this resource 
• r (Reprint) 
• t (Publication Date ...
Titles, titles everywhere!
What is the Title Proper? 
Exercise 
Transcribe: 
Title proper (2.3.2) 
Statement of responsibility relating to the title ...
What is the Title Proper? 
245 10 $a Symphonies / $c Stravinsky. 
not 
245 10 $a Symphony in three movements ; $b Symphony...
What is the Title Proper?
What is the Title Proper? 
• 2.1.2.3 Resource issued as a single unit 
“If the resource embodies multiple works (e.g., a 
...
What is the Title Proper? 
• 2.1.2.3 Resource issued as a single unit 
“If the resource embodies multiple works (e.g., a 
...
What is the Title Proper? 
• 2.1.2.3 Resource issued as a single unit 
“If the resource embodies multiple works (e.g., a 
...
What about those other titles?
What about those other titles? 
505 0_ $a Symphony in three movements = 
Sinfonie in drei Sätzen (23:04) -- Symphony in C ...
Multiple Recording Dates 
033 10 $a 20030325 $a 20030326 $a 20051207 $a 20051208 $a 20060502 $a 
20060503 $a 20060504 
518...
Works embodied 
• The “kitchen sink”: applying 6.14.2.8.6, Alternative 
• Identifying the aggregate work (6.14.2.8.2, 6.14...
Works embodied 
• The “kitchen sink”: applying 6.14.2.8.6, Alternative 
• Identifying the aggregate work (6.14.2.8.2, 6.14...
Works embodied 
• The “kitchen sink”: applying 6.14.2.8.6, Alternative 
• Identifying the aggregate work (6.14.2.8.2, 6.14...
Works embodied 
• The “kitchen sink”: applying 6.14.2.8.6, Alternative 
• Identifying the aggregate work (6.14.2.8.2, 6.14...
Summary of elements discussed 
033 10 $a 20030325 $a 20030326 $a 20051207 $a 20051208 $a 20060502 $a 20060503 $a 20060504 ...
Cantatas by Bach
Cantatas by Bach
Cantatas by Bach 
• 43 page booklet 
• Program notes in German, English and French 
• Librettos in German and English
Preferred Source of Information 
a) The container 
b) The label on disc 1 
c) The label on disc 2 
d) The label on both of...
Preferred Source of Information 
a) The container 
b) The label on disc 1 
c) The label on disc 2 
d) The label on both of...
Going Backward to Go Forward 
• 2.2.2 Preferred Source of Information 
– Disc label of some kind 
• 2.1 Basis for Identifi...
Going Backward to Go Forward 
• 2.2.2 Preferred Source of Information 
– Disc label of some kind 
• 2.1 Basis for Identifi...
Going Backward to Go Forward 
• 2.2.2 Preferred Source of Information 
– Disc label of some kind 
• 2.1 Basis for Identifi...
Going Backwards to Go Forward
Going Backwards to Go Forward
Going Backwards to Go Forward
Going Backward to Go Forward 
• 2.1.2.3 Resource Issued in More Than One 
Part 
b) If the resource has sequentially number...
Going Backward to Go Forward 
• 2.1.2.3 Resource Issued in More Than One 
Part 
b) If the resource has sequentially number...
Going Backwards to Go Forward
Going Backwards to Go Forward
245 10 $a Secular cantatas
245 10 $a Secular cantatas
2.3.2.6 Collective Titles and Titles of 
Individual Contents 
• 2.3.2.6.1 Comprehensive Description 
– If there is a colle...
Methods for Coding Parallel Titles 
245 10 $a Secular cantatas = $b Weltliche 
Kantaten = Cantates profanes 
246 1_ $i Ger...
Methods for Coding Parallel Titles 
245 10 $a Secular cantatas = $b Weltliche 
Kantaten = Cantates profanes 
246 31 $a Wel...
Methods for Coding Parallel Titles 
245 10 $a Secular cantatas 
246 1_ $i German and French titles from 
container: $a Wel...
245 10 $a Secular cantatas /$c Johann Sebastian Bach. 
246 1_ $i German and French titles from container: $a Weltliche Kan...
245 10 $a Secular cantatas /$c Johann Sebastian Bach. 
246 1_ $i German and French titles from container: $a Weltliche Kan...
Where is the librettist?
Where is the librettist?
Where is the librettist?
500 __ $a Words by Christian Friedrich Henrici, 
known as Picander.
Publication Statement 
264 _1 $a Arles [France] : $b harmonia mundi, 
$c [2014] 
Added using the Optional addition at 
2.8...
Publication Statement 
264 _1 $a Arles [France] : $b harmonia mundi, 
$c [2014] 
Added using the Optional addition at 
2.8...
Publication Statement 
264 _1 $a Arles [France] : $b harmonia mundi, 
$c [2014] 
Added using the Optional addition at 
2.8...
Publication Statement 
264 _1 $a Arles [France] : $b harmonia mundi, 
$c [2014] 
• Transcription applies (1.7) 
• Appendix...
Publication Statement 
264 _1 $a Arles [France] : $b harmonia mundi, 
$c [2014] 
• ©2014 on the disc label has been used t...
2.11 Copyright Date 
264 _4 $c (p)1996, $c ©2014 
• If copyright date pertaining to different 
aspects of the resource are...
2.12.2 Title Proper of Series 
490 0_ $a hmGold 
• Unusual capitalization transcribed using 
Exception to Appendix A.4.1 f...
2.15 Identifier for the Manifestation
2.15 Identifier for the Manifestation
2.15 Identifier for the Manifestation
2.15 Identifier for the Manifestation
2.15 Identifier for the Manifestation 
• Best Practices: transcribe all the numbers 
• Also apply 2.5.1.7 and supply quali...
2.15 Identifier for the Manifestation 
• Best Practices: transcribe all the numbers 
• Also apply 2.5.1.7 and supply quali...
2.15 Identifier for the Manifestation 
• Best Practices: transcribe all the numbers 
• Also apply 2.5.1.7 and supply quali...
2.15 Identifier for the Manifestation 
• Dates on the resource indicate this is a re-issue 
• RDA 27 allows for a structur...
2.15 Identifier for the Manifestation 
• Dates on the resource indicate this is a re-issue 
• RDA 27 allows for a structur...
2.15 Identifier for the Manifestation 
• Dates on the resource indicate this is a re-issue 
• RDA 27 allows for a structur...
Coding Dates in the 008 
• Byte 06 (OCLC: DtSt) 
– “r” for reprint 
• Bytes 07-14 (OCLC: Date 1 and Date 2) 
– “20141996”
Dealing with Accompanying Material 
Method 1: 
LDR njm Ii 
006 aa 000 0d 
007 sd fsngnnmmned 
300 __ $a 2 audio discs ; $c...
Dealing with Accompanying Material 
Method 1: 
LDR njm Ii 
006 aa 000 0d 
007 sd fsngnnmmned 
300 __ $a 2 audio discs ; $c...
Dealing with Accompanying Material 
Method 2: 
LDR njm Ii 
007 sd fsngnnmmned 
300 __ $a 2 audio discs ; $c 4 ¾ in. 
300 _...
Dealing with Accompanying Material 
Method 2: 
LDR njm Ii 
007 sd fsngnnmmned 
300 __ $a 2 audio discs ; $c 4 ¾ in. 
300 _...
Dealing with Accompanying Material 
Method 2: 
LDR njm Ii 
007 sd fsngnnmmned 
300 __ $a 2 audio discs ; $c 4 ¾ in. 
300 _...
Main and Related Works 
• Multiple works by 1 composer 
– Conventional collective title AAP for the “main” 
work 
100 1_ $...
Main and Related Works 
• Multiple works by 1 composer 
– Conventional collective title AAP for the “main” 
work 
100 1_ $...
Main and Related Works 
• Multiple works by 1 composer 
– Related work AAP for the individual works (“related” 
to the “ma...
Main and Related Works 
• Multiple works by 1 composer 
See Appendix J 
for terms 
Recommended 
by Best Practices 
– Relat...
25 Related Works: Contents Note Core 
505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g 
Der Streit zwischen Ph...
25 Related Works: Contents Note Core 
505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g 
Der Streit zwischen Ph...
25 Related Works: Contents Note Core 
505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g 
Der Streit zwischen Ph...
25 Related Works: Contents Note Core 
505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g 
Der Streit zwischen Ph...
25 Related Works: Contents Note Core 
505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g 
Der Streit zwischen Ph...
25 Related Works: Contents Note Core 
505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g 
Der Streit zwischen Ph...
25 Related Works: Unstructured 
Description 
500 __ $a The 3rd work consists of previously 
composed material. The opening...
7 Describing Content 
500 __ $a The 1st work for 6 solo voices, chorus 
(SATTBB) and orchestra; 2nd work for 4 
solo voice...
7 Describing Content 
511 0_ $a Maria Cristina Kiehr (1st work), Efrat Ben- 
Nun (2nd-3rd works), sopranos ; Katharina 
Ka...
20 Contributors 
700 1_ $a Ben-Nun, Efrat, $e singer. 
700 1_ $a Kiehr, Maria Cristina, $e singer. 
700 1_ $a Kammerloher,...
7 Describing Content 
033 00 $a 199411-- 
033 00 $a 199509-- 
518 __ $3 2nd-3rd works $o recorded $d 1994 
November. 
518 ...
7.12 Language of the Content Core 
• Best Practices recommends recording: 
– Language of sung text 
– Language of separate...
7.12 Language of the Content Core 
MARC coding 
008/35-37: ger 
041 1_ $d ger $e ger $e eng $n ger $g ger $g eng $g 
fre $...
LDR njm Ii 
008 140915r20141996fr ctnn di n ger d 
007 sd fsngnnmmned 
040 ENG $b eng $e rda $c ENG 
024 30 $a 31490201544...
300 __ $a 2 audio discs (2 hr., 14 min., 30 sec.) ; $c 4 3/4 in. 
306 __ $a 021430 
336 __ $a performed music $b prm $2 rd...
500 __ $a Originally released in 1996 as harmonia mundi HMC 905144.45 (HMC 905144-- 
HMC 905145). 
500 __ $a Booklet with ...
700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Geschwinde, 
geschwinde, ihr wirbelnden Winde. ...
Q&A
Bryn Terfel sings
What is the Title Proper? 
Exercise 
Transcribe: 
Title proper (2.3.2) 
Statement of responsibility relating to the title ...
What is the Title Proper? 
Two possible 
answers! 
245 05 $a “The vagabond” & other songs / $c by Ralph Vaughan 
Williams,...
What is the Title Proper? 
245 05 $a “The vagabond” : $b & other songs / $c by Ralph Vaughan 
Williams, Gerald Finzi, Geor...
Hedging our bets (thanks, 2.3.6!) 
245 05 $a “The vagabond” & other songs / $c by Ralph Vaughan 
Williams, Gerald Finzi, G...
Creators galore 
Exercise 
List all creators involved in this resource
Creators galore 
700 1_ $a Vaughan Williams, Ralph, $d 1872-1958. 
700 1_ $a Finzi, Gerald, $d 1901-1956. 
700 1_ $a Butte...
Works embodied and (all of) their 
creators (25.1, 6.28.1.2, 19.2, 18.5) 
700 1_ $a Stevenson, Robert Louis, $d 1850-1894,...
Full complement of access points (25.1, 
19.2, 20.2, 18.5) 
700 1_ $a Terfel, Bryn, $e singer. 
700 1_ $a Martineau, Malco...
Identifiers for the manifestation (2.15) 
024 1_ 028944594621 
028 02 445 946-2 $b Deutsche Grammophon 
UPC 
Issue number
Summary of elements discussed 
024 1_ 028944594621 
028 02 445 946-2 $b Deutsche Grammophon 
245 05 $a “The vagabond” & ot...
Final Q & A
Resources for RDA music cataloging 
Bibliographic Control Committee (MLA) 
http://bcc.musiclibraryassoc.org/bcc.html 
• ML...
Thanks for attending! 
Damian Iseminger 
Damian.Iseminger@necmusic.edu 
Casey Mullin 
cmullin@stanford.edu
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
RDA for Music: Classical Music Audio Recordings Workshop
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RDA for Music: Classical Music Audio Recordings Workshop

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RDA for Music: Classical Music Audio Recordings Workshop

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  • DAN intro and bios
    DAMIAN: Hello everyone, I’m Damian.
    CASEY: Hi, I’m Casey.
    DAMIAN: You’ll be hearing more from Casey shortly. Before we get into the meat of the Webinar, we want to give you an idea of what you can expect.
  • So as not to repeat information that I am sure many of you have already heard, we will not be getting into the background of RDA or the conceptual models it is built on. Instead we will be focusing on creating bibliographic records for classical audio recordings using:
  • The content standard RDA (that’s why we are all here!)
  • its interactions with [click] display
  • and encoding standards…
  • And on the supporting documentation that governs the application of the content, display, and encoding standards. The slides will be available to all participants soon after the end of the Webinar, so you will have access to any hyperlinked resources within.
  • DAMIAN: We are also assuming that this isn’t your first tango with RDA, MARC21, and ISBD and that you have had some experience with cataloging a print monograph. Therefore we will not be going into detail about MARC fields commonly used across formats or straightforward use of ISBD punctuation. Where the use of certain fields or subfields is uncommon or the use of punctuation is particularly creative, we will be sure to highlight those particular issues.
  • DAMIAN: Our emphasis is on the practical. As much as possible we’d like to simulate how one would approach cataloging a classical audio recording “in the wild.”
  • Therefore we will be examining and commenting on 5 real-life resources: a fairly straightforward example that will get you into the “headspace” of RDA, followed by 4 “complex” examples that will include situations that are commonly encountered but that can also cause much consternation in cataloging classical audio recordings. We also hope to show that you probably already know more than you think you do. Because we have a limited amount of time, we will inevitably gloss over situations in the examples where the creating of a particular part of the description is fairly straight-forward.
  • We will have time for some questions at the end of each module and at the end of the Webinar, but because time is a factor, we will not be able to answer all questions. However Casey and I will have access to the chat transcript after the Webinar and will post answers to those questions on the LibGuide listed at the end of the slides. So don’t worry, we will attempt to answer all questions eventually!
  • We must also leave a few things out, due to time. Subject headings, genre/form terms, medium of performance terms, classification, and the creating of authority records are out of scope for this webinar.
  • RDA is a content standard, which means it tells us what information to record. How we display this information and/or how we encode it is up to us. In library-land most of us are using ISBD punctuation for display and MARC21 for encoding. Appendix D of RDA provides guidance in these areas.
  • RDA is organized into 10 sections, each with individual chapters, plus appendices, a glossary of terms, and an index.
  • Sections 1-4 contain instructions on describing what the resource in hand says about itself, its physical characteristics, identifying and describing intellectual content, identifying persons, families, corporate bodies, and places, and will eventually contain information on identifying concepts, objects and events. Most of the instructions used in creating a bibliographic description for classical audio recordings can be found here…
  • …especially in chapters 2-3, 7, and to a lesser-extent, chapter 6. Chapters 8-11 and to a great extent chapter 6 are mostly of use in creating authority records.
  • Sections 5-10, the relationships area, contains guidelines on recording relationships between the entities described in sections 1-4.
  • The chapters in sections 7 and 10 that involve concepts, objects, events, and places have not yet been written.
  • For bibliographic description we will mostly be using chapters 18-20 and chapters 24-27, especially those instructions that describe the relationship of a person or corporate body to a work or expression and the relationships between two works or between two manifestations
  • There are special types of instructions found throughout the standard. The first two, “Core” and “Core if,” are used in RDA to indicate that a certain element is required. The three other special types of instructions are Alternative, Optional addition / omission, and Exception; these are found throughout the RDA instructions, and allow for flexibility in applying the standard.
  • Finally there are two very important terms to know. In RDA, the instructions make a distinction between Record and Transcribe. “Record” is the general term meaning: find the information and give it following the instructions. “Transcribe” is a much stricter form of record. For transcribed elements, we must record the information as it appears on the source of information.
     
    I now turn over the presentation to Casey Mullin.

  • CASEY: Thank you, Damian. I will now take you through a straight-forward example of a classical music audio recording, touching on all of the most important RDA elements. You may wish to have the RDA Toolkit open on another screen or device, as throughout the presentation we will be referring to specific instructions but will generally not be giving full details of each instruction. This form of « shorthand » will ensure we can cover as much content as possible in the limited time we have available. But don’t worry, you will not need the Toolkit in order to take full part in this webinar, including the exercises that follow.

    After each of the first four examples, we will have a brief question and answer period. After the final example, we will have a longer period for questions, time permitting.

    This first example is a resource containing a single work, a situation analogous to many textual monographs. (Apologies for the 80s-style laser show; I have a quirky scanner).

    I will now present the RDA elements as they apply to this resource.
  • First, we identify the manifestation. We start with the disc label as the preferred source of information.

    The title is clearly identifiable. As for the statement of responsibility, you might wonder why I did not include “Itzhak Perlman”, especially since his name appears in larger type above Beethoven’s. You also might be wondering what we will do with the other names that appear at the bottom of the disc label (not shown on this slide). This has to do with the function, or role of these entities. As composer, Beethoven is responsible for creating the intellectual content, or work in FRBR/RDA speak. Perlman and company’s roles, on the other hand, are that of performer. Though their roles are no less important to this resource, their names will be transcribed elsewhere in the MARC record. We will return to this a little later on.
  • Next we transcribe the place of publication and the publisher’s name (or, in audio recording parlance, the “label name”). The place of publication is not given on the preferred source so it is taken instead from the back of the container. The publisher’s name is given as it appears in the logo. The legal name of the corporate entity (EMI Records, Ltd.) is also present on both sources, but the form of name that appears prominently is the one we will transcribe.
  • Dates are a fairly tricky aspect of audio recordings cataloging. We will be going into more detail in the other examples, but the present situation is common enough to warrant some explanation.

    True dates of publication rarely appear on audio recordings. Rather, it is necessary to infer a publication date based on one or more copyright dates on the resource. In this case, we infer 1997, the later of the two dates, as the date of publication, using square brackets as directed by RDA.

    As for transcribing the copyright dates themselves, in this example we are giving both, since they differ. Per MLA Best Practices, the phonogram copyright date (which refers to the actual capturing of the sound) is to be routinely recorded. Here, we also record the regular copyright date (referring to this specific release), as it helps to “justify” our inferred date of publication.
  • Audio recordings nearly always bear issue numbers, a type of manifestation identifier. In the 028, we record the number, followed by the issuing agency (the publisher in this case). As part of the issue number appears in boldface, we are also giving the shortened form as a variant identifier. Note the use of the 2nd indicator, which in some systems will generate a note only when certain values are coded. Your local system may vary.

    The last manifestation element we will give for this resource is a note on the source of title which, while not RDA core, is required by LC and PCC and recommended by MLA. Here we are giving the default value, which is “Title from disc label.”
  • Next we identify the carrier. As these elements are more or less “boilerplate” in audio recordings cataloging, especially for common formats such as the compact disc, I will not be going into any detail here. But, here is a list of the standard elements we are applying…
  • And here is how it looks in MARC. We highly recommend using macros and/or constant data for inputting these elements. And fear not, a detailed guide for audio recording carrier attributes is also available in the MLA Best Practices, so no need to scramble to copy all of this down.

    Next we turn to various attributes of the content of the resource.
  • Per MLA Best Practices, place and date of capture should be recorded whenever readily ascertainable. In this resource, this information is stated clearly on the back cover of the booklet. Here, we show the textual and coded versions of the same data. Since we are not strictly transcribing, “London” has been included even though it is not stated explicitly on the resource.

    The 033 field is not required if it is not feasible to input.
  • Completing our complement of notes, we indicate the performers that we passed over when constructing the 245 field, the composer and violinist Fritz Kreisler who furnished the cadenzas that Perlman performs on this recording, and a note on the supplemental content contained in the accompanying booklet. The 511 field should routinely be given for classical recordings; here it is shown with standard formatting. Whether to give additional notes as seen here is a matter of cataloger’s judgment.

    Last but certainly not least, we turn to the real “meat” of audio recordings cataloging: identifying and assigning access points to represent the work embodied by this resource, as well as the persons and corporate body associated with this resource.
  • This is the full complement of authorized access points that we are assigning for this resource. Note the use of relationship designators for all access points, per MLA Best Practices.

    Since there is only one work embodied, we encode it using the 100 and 240 field combination. Our other examples today all contain multiple works, so be advised that the complement of access points will look different.

    A word about the 240: the syntax of this preferred title (240) is based on fairly complex instructions. Unfortunately, we won’t be going into the details of constructing it today. Fortunately, most works in the standard canon of classical music are already established in the national authority file, so some diligent searching and at least a cursory command of 6.28 should help you properly identify most works embodied in the resources you catalog.

  • And here is the complete MARC record. We have time to answer one or two questions.

    [answer questions]

    And with that, I return the microphone to Damian, who will lead us through the first of our complex examples.
  • DAMIAN: Thank you Casey. This first, complex example is encountered fairly often. It is a recording of several different works by different composers, but has no collective title anywhere on the resource. This is also a re-issue of previously released material, something that is also fairly common.
  • In this example we will focus on…
  • determining titles and statements of responsibilities,
  • determining required work access points and their placement in the MARC record,
  • and recording and coding the dates of the manifestation and related manifestations.
  • The really tricky business on this recording is going to be figuring out what to do with
  • all the titles and persons that need to be transcribed for this resource. Because it will serve as the starting point for all of our other decisions, let’s start with figuring out the title proper.
  • The source for our title proper is the preferred source of information, in this case the disc label. The source for this title will be recorded in a note per 2.17.2.3.
  • Since we have no collective title, we need to consult RDA 2.3.2.9. There we find out that the titles proper of the parts should be transcribed as they appear on the source of information for the resource as a whole.
  • There is an Alternative to devise a collective title,
  • but both the LC-PCC PS and the MLA BP say to not apply the alternative.
  • This title in bold on the disc is in German and it appears to have translations of that title below it.
  • The bold title also has a medium of performance and an opus number with it. Without looking at RDA, please transcribe the title proper for this first work, choosing from one of the following answers:
  • The correct answer is d). I’ll explain the rationale behind the answer.
  • Because there is more than one language for our first group of titles, we have to make a choice between them. RDA 2.3.2.4 provides the guidance. Because the content is not written spoken or sung, the title is chosen based on the basis of the sequence, layout, or topography of the titles.
  • Since this title is first and is in bold on the disc, we can assume that it is the title proper.
  • For this title, the medium of performance and the opus number are transcribed as a part of the title proper.
  • The basis for doing this is 2.3.2.8.1. Here we are told that if the title consists only of the names of one or more types of compositions and also has medium of performance, key, date of composition, or number, then all of those are transcribed as part of the title proper.
  • The Types of Composition resource can be of help in determining whether or not you have a type title. While the intention of the resource is to help formulate preferred titles for Authorized access points, it can also be helpful for determining the structure of the title proper.
  • But take a look at the 3rd title. Because Kol nidrei is not a type of composition,
  • the opus number can’t be a part of the title proper.
  • It is instead treated as other title information in 2.3.4. Don’t be fooled that it is in the same font as the rest of the title. Typography makes no difference in this case.
  • The title proper for the 2nd work presents none of the problems that the 1st and 3rd titles did and is straightforward to transcribe.
  • So now we have our three titles proper. The next question we have to ask ourselves is if we should transcribe any of the remaining titles on this resource, either on the disc or the container.
  • In RDA only the title proper is a Core Element, so transcribing the other titles could be optional…
  • but for LC and the PCC, Parallel Title Proper and Other Title Information is Core. The Music Best Practices document also concurs.
  • Using RDA 2.3.3, we find that the source of information for the parallel title proper, in order of preference, is the preferred source, another source forming part of the resource itself, and then a source outside the resource.
  • Best Practices recommends transcribing all the parallel titles proper on the preferred source (in this case, our disc) and optionally providing the parallel titles proper found elsewhere on the item.
  • For the first work there are parallel titles on the disc, so we will transcribe those.
  • On the back of the container, there are titles that could be considered parallel titles, but I am following the option given in the Best Practices of not transcribing them. In this case I feel nothing of any further value is being added.
  • Here are the parallel titles proper for the first work in ISBD.
  • For the 2nd work there are no parallel titles on the disc label…
  • however there are some on the container. In this case, I have decided to transcribe them as parallel titles.
  • I feel that these parallel titles would assist in the retrieval of the resource.
  • A source for these parallel titles proper should be provided in a note according to RDA 2.17.2.3 since it comes from outside the preferred source.
  • The 3rd work has no parallel title proper.
  • We consult RDA 2.3.4 for Other Title information. The source for this can only be the same source as the title proper.
  • Since our first title proper has no other titles associated with it on the disc, there is no other title information. The same is true of the 2nd work.
  • The 3rd work does have other title information. The opus number that wasn’t transcribed as part of the title proper is other title information.
  • However if you notice on the back of the container both the 2nd and 3rd works have what one could consider to be subtitles. We will get back to these in just a moment.
  • So now you see all the titles presented with ISBD punctuation. There only remains one more thing to do and that is to determine the statements of responsibility for each set of titles.
  • As Casey pointed out earlier, the names recorded as statements of responsibilities for a classical audio recording are the composers, not the performers.
  • The reason for not including the performers in the Statement of Responsibility is from the general instructions at 2.4.1, where it says to see RDA 7.23 for recording performers whose participation is limited to performance, execution or interpretation. Traditionally this has always been considered the case for classical music performers.
  • So now we have all the components necessary for displaying what you see here as part of a bibliographic description.
  • Per ISBD, each of these full statements would be given one after the other.
  • The coding for this would be in MARC field 245.
  • Subfield coding is applied for the first title/statement of responsibility set. Once subfield c is coded in the 245, no further subfield coding may take place.
  • To provide access to the other titles proper and parallel titles proper embedded within the 245 in the MARC environment, we consult the Policy Statement for 2.3.6.3, Recording Variant Titles. The parallel titles proper for the 1st work would be put in the 246 31. All remaining titles are recorded in a 740 02, including the parallel titles proper for the 2nd work.
  • Remember those subtitles on the back of the container?
  • Best Practices recommends transcribing these as variant titles according to RDA 2.3.6, if considered important for identification and access.
  • These can be encoded in MARC in field 246 using an introductory phrase to indicate the source of the titles. In this case I have two separate 246 fields; one for the 2nd work and one for the 3rd work
  • The other 246s and 740 fields remain the same.
  • Jumping ahead a bit but going hand-in-hand with this is to figure out what to do about work access.
  • In our current environment, we are using the authorized access point sections of chapter 6 to determine the “main” work. Since we have music, we should start at 6.28. There is a list of categories that 6.28 covers. Since our works are not part of those categories, we are told to go to 6.27.1.
  • Now we go section by section. Our work, if you are considering the three works on this CD as a whole, are not by a single person, so 6.27.1.2 is out.
  • 6.27.1.3 is also out because this isn’t a collaboration.
  • That leaves us with 6.27.1.4, a compilation by different people.
  • Furthermore, since our compilation lacks a collective title, we are instructed to construct separate access points for each of the works. LC and PCC do not apply the alternative to devise a collective title.
  • So now that we know we will need to have three access points, one for each of the works, the question now becomes how this should be displayed in MARC.
  • Because of our implementation scenario, a person, family, or corporate body that is coded in a 1XX field is considered a Creator of the whole resource, which is determined by RDA ch. 19. Since we have three separate composers for our works, none of them can be used in the 1XX. The cellist Pierre Fournier should not be considered a Creator either, even though he is prominently displayed on the container as a unifying element for these three works. Simply being prominent is not enough to confer Creatorship. Therefore in MARC, there will be no 1XX field for this resource.
  • All work access and performer access will be in the 7XX fields.
  • Notice the use of relationship designators for the performers and for the works. Appendix I should be used for persons, families and corporate bodies; appendix J for works, expressions, manifestations, and items. Use of the designators is encouraged by Best Practices.
  • The last thing I’d like to say about this example concerns Date of Publication and Copyright Date. For the Date of Publication 2.8.6 is used and is a Core Element. Because we have no publication date, just (p) dates, we have to look at 2.8.6.6. There we are told to either supply the date or approximate date of publication using RDA 1.9.2, or if it can’t be reasonably determined what that is, to record “date of publication not identified”.
  • LC, PCC, and Best Practices strongly encourage you to always supply a date of publication and to not use the latter option.
  • Best Practices says we may use the (p) or © dates to help infer a date of publication, but there is one, small problem we have:
  • our resource is a CD and these dates are from the 1960s. CDs didn’t become commercially available until 1982. However, we can use this date for help in determining the earliest possible date of publication.
  • Using RDA 1.9.2.5, we can record the phrase “not before” followed by the date. Since this date is supplied, it should be placed in brackets in the record. This date will go in the 264 _1 $c after the publisher’s name.
  • Best Practices also recommends routinely recording the Copyright Date. In our case we have 3 different dates that could be recorded. RDA 2.11 says to record the latest date of copyright if more than one. There is also an optional addition to record the additional copyright dates in a note. In this case I have recorded (p)1967 as the Copyright Date in the 264 _4 $c and have given the two other dates in a 500 note.
  • This slide and the following contain the full MARC workup for this resource
  • I want to point out that in my description I have a note for a related manifestation
  • This will affect the coding for the type of dates in byte 06. I have different codes that could apply (r for reprint/reissue, t for publication date and copyright date, and q for a questionable date)
  • Because of this, I have to consult the table in OCLC’s Bibliographic Formats and Standards (https://oclc.org/bibformats/en/fixedfield/dtst.html) to determine the precedence of codes. Since “r” is in the topmost position of the possible codes for this resource, that is what is coded.
  • The dates in bytes 07-14 are the date of publication and the original date of issue. Bytes 7-10 would be 1982. Since the original date of publication is unknown, bytes 11-14 are “uuuu”. If you wanted to be less conservative, you could consider the earliest (p) date to also be a date of first release. If you wanted to go that path, “1961” would be recorded in bytes 11-14.

    [Ask for questions, depending on time]

    I now turn the presentation back over to Casey.


  • CASEY: Thanks, Damian. Our next example shows a case where choosing the title proper of the manifestation can present a bit of a challenge. We will also discuss describing and providing access to all of the works embodied, recording multiple dates of capture, and the process for assigning a conventional collective title for this compilation of works of a single composer.
  • We will now play another round of our favorite game, “What’s the title proper?” This time we won’t give you a set of possible answers, but rather see if you can determine this one on your own; look carefully! Please transcribe the Title proper and Statement of responsibility relating to the title proper. We’ll give you a minute or so to respond.

    [poll audience]

    And the answer is…
  • You might be wondering why we bypassed all of the titles on the disc label when they are clearly listed there. This resource actually bears a collective title, though being on the container spine, it is fairly easy to miss. So, how did we make the decision to transcribe the title on the container spine as the title proper?
  • The answer lies in 2.1.2.3.
  • In fact, our very situation is cited as an example in the text of the instruction.
  • Notice that the Statement of responsibility is “Stravinsky”, not “Igor Stravinsky” (the full form of the composer’s name that appears on the disc label).
  • Remember that per 2.4.2.2, a statement of responsibility relating to the title proper must be taken from the same source as the title proper (if it is there).
  • You might ask: what happens to those titles we passed over when transcribing the title proper? Well, they are treated as related works (contained works are a type of related work) and described per 25.1 using the 505 field in MARC. Because the container lists the parallel titles for each of the works, and durations for each of them on the recording, we’ll include those as well.
  • This is the how the 505 looks. In the next example , Damian will explain the rationale for constructing the contents note in this way.

    In order to provide title access to these works, I am also giving these titles in separate 740 fields, when they do not duplicate the preferred titles shown on an upcoming slide. This practice is entirely optional when a collective title exists for the resource. Depending on your local system, an enhanced contents note would achieve a similar result.
  • Since these three recordings were captured on entirely separate occasions, we will record the dates of capture in separate 518 fields, using $3 to specify which works were recorded on which dates. A single 033 field can still be used, however; per OCLC Bibliographic Formats and Standards, the dates are given in chronological order, even though we are not giving them in that order in the 518 fields.
  • Now that we have described all of the works on this recording, how will access points be deployed? Well, this being a compilation of works by one composer, we actually have four works: the aggregate work, represented by a conventional collective title, and the three constituent works.
  • Following the alternative at 6.14.2.8.6, we will identify the aggregate work in addition to each of the constituent works.
  • We are going to apply 6.14.2.8.2. Although each of the works is called a “symphony”, the third work is choral and is not actually considered a symphony for the purposes of applying these instructions. Thus, none of the other conditions under 6.14.2.8 apply, so we are left with the generic “Works. Selections”
  • Here we are also following the MLA best practice to “give access points for all works/expressions contained in the resource if feasible.” The three constituent works are identified per the instructions at 6.28.1 and 6.14.2. Notice the third work’s preferred title uses the French form, since it is predominantly identified that way in resources embodying the work and in reference sources.
  • And here is a full list of all elements discussed in this example, as encoded in MARC. We have time for one or two questions.

    [answer questions]

    Damian will now show you an even more complex example of a compilation of works by one composer. Take it away, Damian.
  • DAMIAN: Thank you Casey. In this example we have a set of secular cantatas composed by J.S. Bach.
  • This is a multiple disc set…
  • and has a 43 page booklet that contains program notes in German with English and French translations, along with librettos to the cantatas in German with English translations. This type of recording is encountered quite frequently in classical audio recording cataloging. As opposed to our other examples so far, this is the first with multiple discs. So what is our preferred source of information?
  • Choose from the following. [click] The rationale for choosing disc 1 as the preferred source is as follows.
  • Choose from the following. [click] The rationale for choosing disc 1 as the preferred source is as follows.
  • I think it makes the most sense to work backwards in RDA and start at
  • 2.2.2, Preferred Source of Information. As has been explained in the earlier examples, 2.2.2.4 applies for audio carriers, so the preferred source of information for our resource will be a label of some kind affixed to the discs, since those discs each carry a collective title. Now the question is which disc should we use?
  • To determine this, lets go backwards in RDA and go to 2.1, Basis for the Identification of the Resource. Since we are describing this resource comprehensively, we go to section 2.1.2. Then we need to go to 2.1.2.3 since this is a multi-part resource.
  • Going back to the discs for just moment,
  • you can see that the title is repeated across the discs,
  • and that the discs are numbered.
  • With that knowledge in mind, let’s go back to 2.1.2.3. There are 5 methods provided for determining the basis of the description.
  • The language here can be a little confusing, but Best Practices is here to help us out. It recommends applying option b) for a multi-part audio recording where the parts are numbered and the title information is repeated on each disc.
  • Therefore disc 1…
  • will be the preferred source of information for our resource
  • Determining the title proper is straightforward.
  • The BWV numbers below the title are titles identifying individual parts and are not part of the title proper.
  • Per RDA 2.3.2.6.1 if a collective title and the titles of individual contents are present on the preferred source of information, then only the collective title is to be considered the title proper. The titles of the parts may be recorded as titles of related works in chapter 25. More on contents a little later.
  • If you remember from earlier the parallel title proper is core for LC and PCC, with Best Practices recommending transcribing those on the preferred source and optionally transcribing those found elsewhere on the resource. On the back of the container there are two parallel titles proper.
  • Best Practices gives several options for transcribing them in MARC and ISBD. One method is to keep them in the 245, indicating the source in a 246 note.
  • Another option is to put the parallel titles proper in the 245, eschew using a 246 note and instead use a 500 note. The 246s present here are for title access purposes.
  • Another method is to place the parallel titles only in a 246 that indicates the source. For my description I have chosen this option. It is just a matter of personal taste which method you go with.

    There is no other title information to transcribe on the disc.
  • The statement of responsibility is run of the mill.
  • As has been mentioned earlier, the performers here on the disc should not be given as statements of responsibility and should be treated according to the instructions at 7.23. I should mention one other thing though.
  • On the disc there is no mention made…
  • of the writer of the librettos.
  • There is also no mention made on the container.
  • The only mention within the entire resource is embedded within the booklet, where the librettist is identified as Christian Friedrich Henrici, known as Picander.
  • Best Practices recommends that embedded Statements such as these should be given as a Note on Statement of Responsibility according to 2.17.3 in a 500 field. I have done this for the librettist.
  • The Publication Statement is for the most part straightforward.
  • I have provided France in brackets for the place of publication per the optional addition at 2.8.2.3.
  • The transcription of the label presents an interesting case.
  • You’ll notice that on the disc the label is given in lower case
  • Since publisher name is transcribed, the instructions at 1.7 apply, specifically the instructions for capitalization at 1.7.2 that use Appendix A. Looking at A.2.1, there is a provision to preserve unusual capitalization for names commonly found that way. Since it is pretty consistent in my resource that the label is lower case, whether presented with its art work or found alone, I’m opting to give it as lower case. I also feel that this in-line with the general vibe in RDA to “take what you see”.
  • The date of publication, as is usually the case with most recordings is provided. In this case the ©2014 on the resource has been used to infer the date.
  • I’d like to briefly point out that I have provided both the (p) date and the © date. RDA 2.11 says that if I have copyright dates pertaining to different aspects of the resource that I may record both if important for identification or selection. The (p) refers only to the sound while the © is referring to the booklet and packaging. In the 264 I have provided these in separate occurences of $c, using the order as I found it on the resource.
  • The series title proper is straightforward. Once again please notice that the unusual capitalization has been preserved. An Exception to Appendix A.4.1 for Titles of Manifestations allows me to do this.
  • Let’s spend a few minutes with the Identifiers for this Manifestation, specifically the label numbers. There are three different label numbers,
  • this one on disc 1,
  • this for disc 2,
  • and a combined looking number on the back of the container. What to transcribe?
  • Best Practices recommends transcribing all of the numbers. The instructions for qualifying the number at 2.5.1.7 should also be applied.
  • Encoding this in MARC would give us the following. Note the qualifications are in $q.
  • Also note that RDA says in 2.5.1.4 that for a number that has no specified display format to precede it with the name of the agency responsible for assigning it. When putting it in MARC, this changes. Just the number goes in $a and the agency in $b afterwards.
  • But wait! There’s more! It is fairly obvious from the dates this item carries that this recording is in all likelihood a re-issue. RDA Ch. 27, Related Manifestations, allows me to make a note (or unstructured description in RDA-ese) about this.
  • In this note I have identified the original label numbers and the year of release, information which I easily obtained from OCLC.
  • Best Practices encourages you to put these numbers in the 028 as well, but with 2nd indicator set to 0 in this case.
  • Because I have identified this as a re-issue, this will also affect the coding for the dates in the 008. Byte 06 will be coded r, with bytes 07-14 coded 20141996, the first date for the date of the current release and the 2nd date for the original release.
  • Describing the carrier for this is straight-forward using the Best Practices and I won’t spend much time on this. However since the booklet is fairly significant at 43 pages with notes and librettos, we should address how we might describe the physical characteristics of this resource.
  • One method is to describe it as fully as possible, providing media and carrier terms and a statement of extent for the booklet, in addition to those for the audio discs. I have included the Content Type from chapter 6 for both the content on the disc and the content in the booklet.
  • Another way would be to consider this booklet of little bibliographic significance and not record its characteristics. Because this is a border-line decision, either choice could be justified. However I feel that in most cases it makes things a little easier to not fully describe the booklet, at least in the 3XX portion of the MARC record.
  • I will however use a note to describe this booklet,
  • using RDA 3.21.2 to describe its extent and RDA 7.16 to describe the content of the supplementary material, including its language content.
  • Moving on to identifying the “main” and “related” works for this resource using chapters 6 and 25, this is a case where we have multiple works by one composer. So we need a conventional collective title to describe this work. As Casey has demonstrated this process earlier, I won’t be going into too much detail. Suffice to say, the main work will be Bach, Cantatas. Selections. This main work is in the 100/240,
  • with a relationship designator for the composer, as is recommended by Best Practices for Creators in the 1XX field.
  • The other related works are given in 700 12 fields,
  • each preceded by the designation “Container of (work):” from Appendix J.2.4, a practice that is also encouraged by Best Practices.
  • The LC-PCC PS for 25.1 requires that a Contents Note be present when there is more than one work. For my Contents Note I have used the listings of the works as presented on the back of the resource, and have included…
  • other titles,
  • parallel other titles,
  • and thematic index numbers.
  • I have formatted it using ISBD punctuation, separating the works using a space dash space.
  • Notice also that I have included the playing time for each work as stated in the booklet. While playing time is a separate element in RDA 7.22.1.5, Best Practices does allow me to encode this within a Contents Note. I could also give it in a separate note if I so desired. No one way is better than the other.
  • I have also used an unstructured description to describe works related to the 3rd work on the recording. While not required, I find something like this can be helpful.
  • The elements recorded from the instructions in chapter 7 are fairly straightforward. Details on the medium of performance have been given.
  • The performers featured on the disc as well as the vocal soloists mentioned in the booklet are given in a 511.
  • Notice that I have also given them as contributors using relationship designators from Appendix I as instructed in chapters 18 and 20.
  • Multiple dates of recording specific to each work are given using separate 518s and 033s
  • However I’d like to spend a little time on recording the language of the content. Best Practices recommends routinely recording the language of the sung text, the language of any separately printed librettos, and the language of any accompanying text. It also recommends recording the original language of any separately printed librettos and the original language of any accompanying text. These should be coded at a minimum in the 008 bytes 35-37 and in the 041. The language content may also be explained in a 546 for the main work or in a 500 for any accompanying material, if deemed necessary.
  • For our resource, the language of the sung text German is coded in the 008. The 041 repeats the code from the 008 in $d and then provides the other languages in appropriate subfields: $e for the librettos, $n for the original language of the libretto, $g for the accompanying content, and $m for the original language of the accompanying content. The language has been detailed in a note describing the extent of the accompanying material and its content.
  • The next four slides show the complete MARC workup for this resource.
  • We have a few minutes before moving on to the next example, so are there any questions?
  • CASEY: For our last example, we’re going to dive even deeper into the world of compilations. This “recital album” featuring singer Bryn Terfel and pianist Malcom Martineau is a fairly representative example of a resource of solo vocal music, and as such it presents its own challenges for cataloging. Along the way, we’ll determine our complement of access points and also touch on what to do with multiple forms of identifier.

    But first off, let’s test what you’ve learned so far today. [click]
  • You guessed it… Please transcribe the Title proper and Statement of responsibility relating to the title proper. Once again, we’ll give you a minute or so to respond.

    [one minute pause]

    Now compare your answer to what we came up with…
  • First of all, if you resisted the urge to transcribe Terfel and Martineau in the 245, you deserve a prize!

    But wait a minute: there are two possible correct answers! No, this was not a trick question. The extent of the Title proper is a matter of cataloger’s judgment. It’s perfectly acceptable to consider “& other songs” part of the title proper. Or, given the typography (namely, the bolding of the words “The vagabond” but not the text that follows), it’s equally valid to stop there. But, if that’s your choice there is a catch…
  • Why is this not valid in RDA? Per 2.4.1.8, a noun phrase occurring with a Statement of responsibility is considered part of the statement of responsibility. Since “& other songs” is grammatically linked to “by Ralph …”, it must be transcribed as part of the statement that follows.

    A brief note about the punctuation in said Statement of responsibility: The “floating dots” between the two pairs of composer’s names cannot be transcribed as such. Thankfully, RDA 1.7.3 allows you to add punctuation for clarity, and LC-PCC PS 1.4 allows substitution when the character cannot be reproduced using the character set available.

    Before we move on from this business of titles, we need to hedge our bets…
  • Whatever your choice, it’s a good idea to provide for the alternative decision using variant titles. And we’ve added the container spine title for good measure.
  • Like the earlier cello example, this compilation features works by different creators. As our final example of the day, please write down all the creators listed on this container. Last names only are OK. We’ll give you about one minute…

    [one minute pause]
  • Did you get all 8 creators? You’d be forgiven for getting only the first 4. The presentation on the container is a shorthand often found on audio recordings for signifying the author of the text of a vocal work.

    You’re probably asking: “Is it really necessary to identify all of these names, in addition to the two performers?!” Well, strictly speaking, no. But per MLA Best Practices for 19.2, “If feasible, give separate access points for all creators (beyond the first) for each work for which an access point is given.“ Not to get too far ahead of ourselves, let’s tweak this list of name access points to reflect the fact that four works are involved here.
  • And here is the array of access points identifying all works and their creators. Note that per 6.28.1.2, the composer’s is given as the first element in the work access point. Accordingly, the other creators are given as “plain” person access points, with the appropriate relationship designator.
  • And here is the full compliment with the performers added into the mix. To belabor the point made earlier, there is no 100 field for this compilation, since none of these persons is responsible for all of the works embodied in this resource.
  • Let’s end this example with something a bit more tangible. This resource, like many, many audio recordings, has two types of identifier. It is best practice to give them both.
  • And here is a full list of all elements discussed in this example, as encoded in MARC.
  • We now come to our final question and answer segment.

    DAMIAN AND CASEY: [answer questions]
  • DAMIAN: The Music Library Association’s Bibliographic Control Committee has a website, and that’s where you’ll find links to several helpful resources including the 2014 Best Practices, as well as the LibGuide that we created for the 2013 RDA preconference workshop.
  • Thank you from Damian and Casey.
  • RDA for Music: Classical Music Audio Recordings Workshop

    1. 1. RDA for Music Classical Music Audio Recordings Damian Iseminger, New England Conservatory Casey Mullin, Stanford University Music Library Association Workshop 2014 October 2
    2. 2. Our Focus
    3. 3. Our Focus RDA for Content ISBD Punctuation for Display MARC21 for Encoding
    4. 4. Our Focus RDA for Content ISBD Punctuation for Display MARC21 for Encoding
    5. 5. Our Focus RDA for Content ISBD Punctuation for Display MARC21 for Encoding
    6. 6. Our Focus • Supporting Documentation – Library of Congress-Program for Cooperative Cataloging Policy Statements (LC-PCC PS) (RDA Toolkit: Resources Tab) – Music Library Association’s Best Practices for Music Cataloging Using RDA and MARC21 (RDA Toolkit: Resources Tab: Other Resources) – PCC RDA BIBCO Standard Record Metadata Application Profile (http://www.loc.gov/aba/ pcc/scs/documents/PCC-RDA-BSR.pdf)
    7. 7. Our Emphasis
    8. 8. Our Emphasis Photo by Kent Miller, National Park Service. Used under CC BY 2.0
    9. 9. But what about MY question? CC0 1.0
    10. 10. Out of scope • Subject headings for music • Form/Genre terms for music • Medium of Performance terms for music • Classification of music materials • Creating authority records
    11. 11. What is RDA?
    12. 12. RDA Organization
    13. 13. RDA Organization
    14. 14. RDA Organization
    15. 15. RDA Organization
    16. 16. RDA Organization
    17. 17. RDA Organization
    18. 18. RDA Terminology • Core - required element • Core if - required element if certain conditions are met (or not met) • Alternative - alternative guideline applied by choice of cataloging agency / cataloger • Optional addition / Optional omission - option to provide more / less information • Exception - under certain conditions, do NOT apply the immediately preceding guideline
    19. 19. RDA Terminology RDA guidelines will instruct to either “record” or “transcribe” data • Record - provide data according to guidelines, but not necessarily how it appears on resource • Transcribe - take what appears on the source of information (apply general guidelines on capitalization, punctuation, symbols, etc.)
    20. 20. A (relatively) Simple Example
    21. 21. Beethoven, Violin concerto in D, op. 61 Title proper (2.3.2) and Statement of responsibility relating to title proper (2.4.2): 245 10 $a Violin concerto in D, op. 61 / $c Beethoven.
    22. 22. Beethoven, Violin concerto in D, op. 61 Place of publication (2.8.2) and Publisher’s name (2.8.4): 264 _1 $a New York, NY : $b EMI Classics
    23. 23. Beethoven, Violin concerto in D, op. 61 Date of publication (2.8.6) and Copyright date (2.11): 264 _1 $a New York, NY : $b EMI Classics, $c [1997] 264 _4 $c ℗1981, $c ©1997
    24. 24. Beethoven, Violin concerto in D, op. 61 Identifier for the manifestation (2.15) and Note on title (2.17.2.3): 028 02 $a 7243 5 56210 2 3 $b EMI Classics 028 00 $a 5 56210 2 3 $b EMI Classics 500 __ $a Title from disc label.
    25. 25. Beethoven, Violin concerto in D, op. 61 Carrier attributes (+ one Expression and one content attribute) • Content type (6.9) Media type (3.2) and Carrier type (3.3) • Extent (3.4) and Dimensions (3.5) • Base material (3.6), Type of recording (3.16.2), Playing speed (3.16.4), Tape configuration (3.16.7), Configuration of playback channels (3.16.8), File type (3.19.2), Encoding format (3.19.3) • Playing time (7.22.1.3)
    26. 26. Beethoven, Violin concerto in D, op. 61 Carrier attributes (+ one Expression and one content attribute) 007/00 s 007/01 d 007/03 f 007/04 s 007/06 g 007/10 m 007/12 e 007/13 d 300 __ $a 1 audio disc (44:00) ; $c 4 3/4 in. 336 __ $a performed music $2 rdacontent 337 __ $a audio $2 rdamedia 338 __ $a audio disc $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda
    27. 27. Beethoven, Violin concerto in D, op. 61 Place and date of capture (7.11): 033 10 $a 19800914 $a 19800915 $b 5754 $c L7 518 __ $o Recorded $p No. 1 Studio, Abbey Road, London $d 1980 September 14-15.
    28. 28. Beethoven, Violin concerto in D, op. 61 Performer, narrator or presenter (7.23), Note on statement of responsibility (2.17.3), Supplementary content (7.16): 511 0_ $a Itzhak Perlman, violin ; Philharmonia Orchestra ; Carlo Maria Giulini, conductor. 500 __ $a Cadenzas in 1st and 3rd movements by Fritz Kreisler. 500 __ $a Program notes by Basil Deane inserted in container.
    29. 29. Beethoven, Violin concerto in D, op. 61 Access points – The work embodied (6.14, 19.2, 6.28.1) 100 1_ $a Beethoven, Ludwig van, $d 1770-1827, $e composer. 240 10 $a Concertos, $m violin, orchestra, $n op. 61, $r D major – The persons and corporate body involved (20.2) 700 1_ $a Kreisler, Fritz, $d 1875-1962, $e composer (expression). 700 1_ $a Perlman, Itzhak, $d 1945- $e instrumentalist. 700 1_ $a Giulini, Carlo Maria, $e conductor. 710 2_ $a Philharmonia Orchestra (London, England), $e instrumentalist.
    30. 30. Beethoven, Violin concerto in D, op. 61 Complete MARC record (variable fields only) 028 02 $a 7243 5 56210 2 3 $b EMI Classics 028 00 $a 5 56210 2 3 $b EMI Classics 033 10 $a 19800914 $a 19800915 $b 5754 $c L7 100 1_ $a Beethoven, Ludwig van, $d 1770-1827, $e composer. 240 10 $a Concertos, $m violin, orchestra, $n op. 61, $r D major 245 10 $a Violin concerto in D, op. 61 / $c Beethoven. 264 _1 $a New York, NY : $b EMI Classics, $c [1997] 264 _4 $c ℗1981, $c ©1997 300 __ $a 1 audio disc (44:00) ; $c 4 3/4 in. 336 __ $a performed music $2 rdacontent 337 __ $a audio $2 rdamedia 338 __ $a audio disc $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda 511 0_ $a Itzhak Perlman, violin ; Philharmonia Orchestra ; Carlo Maria Giulini, conductor. 500 __ $a Cadenzas in 1st and 3rd movements by Fritz Kreisler. 518 __ $o Recorded $p No. 1 Studio, Abbey Road, London $d 1980 September 14-15. 500 __ $a Title from disc label. 500 __ $a Program notes by Basil Deane inserted in container. 700 1_ $a Kreisler, Fritz, $d 1875-1962, $e composer (expression). 700 1_ $a Perlman, Itzhak, $d 1945- $e instrumentalist. 700 1_ $a Giulini, Carlo Maria, $e conductor. 710 2_ $a Philharmonia Orchestra (London, England), $e instrumentalist.
    31. 31. Works for Cello and Orchestra
    32. 32. We will focus on… • Determining titles and statements of responsibility • Determining required work authorized access points and their placement in MARC • Recording and coding the dates of the manifestation and related manifestations
    33. 33. We will focus on… • Determining titles and statements of responsibility • Determining required work authorized access points and their placement in MARC • Recording and coding the dates of the manifestation and related manifestations
    34. 34. We will focus on… • Determining titles and statements of responsibility • Determining required work authorized access points and their placement in MARC • Recording and coding the dates of the manifestation and related manifestations
    35. 35. We will focus on… • Determining titles and statements of responsibility • Determining required work authorized access points and their placement in MARC • Recording and coding the dates of the manifestation and related manifestations
    36. 36. 2.2.2 Preferred Source of Information • 2.2.2.4 Other Sources – Disc label • Record the source in a note (2.17.2.3) • 500 __ $a Title from disc label.
    37. 37. 2.3.2.9 Resource Lacking a Collective Title • If the resource lacks a collective title, and is being described comprehensively, record the titles proper of the parts as the appear on the source of information • Alternative to devise a collective title – Do not apply per the LC-PCC PS and MLA Best Practices
    38. 38. 2.3.2.9 Resource Lacking a Collective Title • If the resource lacks a collective title, and is being described comprehensively, record the titles proper of the parts as the appear on the source of information • Alternative to devise a collective title – Do not apply per the LC-PCC PS and MLA Best Practices
    39. 39. 2.3.2.9 Resource Lacking a Collective Title • If the resource lacks a collective title, and is being described comprehensively, record the titles proper of the parts as the appear on the source of information • Alternative to devise a collective title – Do not apply per the LC-PCC PS and MLA Best Practices
    40. 40. What is the Title Proper? a) Konzert b) Cello concerto c) Concerto d) Konzert für Violoncello und Orchester op. 104
    41. 41. What is the Title Proper? a) Konzert b) Cello concerto c) Concerto d) Konzert für Violoncello und Orchester op. 104
    42. 42. 2.3.2.4 Title in More Than One Language or Script If: the content is not written, spoken, or sung, then: choose the title proper on the basis of the sequence, layout, or typography of the titles on the source of information.
    43. 43. 2.3.2.8 Other Elements Recorded as Part of the Title Proper • 2.3.2.8.1 Type of Composition, Medium of Performance, Key, Etc. – If the title consists only of the name or names of one or more types of composition and one or more of: • Medium of performance • Key • Date of composition • Number – Then treat all of them together as the title proper
    44. 44. 2.3.2.8 Other Elements Recorded as Part of the Title Proper • Use Types of Composition for Use in Authorized Access Points for Music for assistance • Available at http://www.library.yale.edu/cataloging/music /typesrda.htm
    45. 45. Treat the opus number as Other Title Information according to 2.3.4
    46. 46. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 Schelomo Kol nidrei
    47. 47. 2.3.2 Title Proper Core 2.3.3 Parallel Title Proper 2.3.4 Other Title Information
    48. 48. 2.3.2 Title Proper Core 2.3.3 Parallel Title Proper LC-PCC Core 2.3.4 Other Title Information LC-PCC Core
    49. 49. Sources of Information • 2.3.3 Parallel Title Proper – Preferred source of information – Another source forming part of the resource itself – A source outside the resource
    50. 50. Sources of Information • 2.3.3 Parallel Title Proper – Preferred source of information – Another source forming part of the resource itself – A source outside the resource – Best Practices: record all parallel titles proper on the preferred source. Optionally provide parallel titles proper found elsewhere on the resource
    51. 51. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle Schelomo Kol nidrei
    52. 52. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle Schelomo = Salomo = Solomon = Salomon Kol nidrei
    53. 53. Putting the Puzzle Together Provide a source for these parallel titles proper since they come from outside the preferred source of information, per 2.17.2.3. Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle 500 __ $a German, English, and French titles for 2nd work from container. Schelomo = Salomo = Solomon = Salomon Kol nidrei or 246 1_ $i German, English, and French titles for 2nd work from container: $a Salomo = $b Solomon = Salomon
    54. 54. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle Schelomo = Salomo = Solomon = Salomon Kol nidrei
    55. 55. Sources of Information • 2.3.4 Other Title Information – May only be the same source of information as the title proper
    56. 56. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle Schelomo = Salomo = Solomon = Salomon Kol nidrei : op. 47
    57. 57. 2.4 Statement of Responsibility • For statements identifying performers of music whose participation is limited to performance, execution, or interpretation, see 7.23 • 7.23 Performer, Narrator, and/or Presenter – 511 0_ $a Pierre Fournier, cello ; Berliner Philharmoniker, George Szell (1st work), Alfred Wallenstein (2nd work), conductors ; Orchestre Lamourex, Paris, Jean Martinon, conductor (3rd work).
    58. 58. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle / Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch.
    59. 59. Putting the Puzzle Together Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle / Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch.
    60. 60. Putting the Puzzle Together 245 00 Konzert für Violoncello und Orchester op. 104 = Cello concerto = Concerto pour violoncelle / Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch.
    61. 61. Putting the Puzzle Together 245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = Concerto pour violoncelle / $c Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch.
    62. 62. Putting the Puzzle Together 245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = Concerto pour violoncelle / $c Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch. 246 31 $a Cello concerto 246 31 $a Concerto pour violoncelle … 740 02 $a Schelomo. 740 02 $a Salomo. 740 02 $a Solomon. 740 02 $a Salomon. 740 02 $a Kol nidrei. Consult LC-PCC PS 2.3.6.3 for using fields 246 and 740 to provide access for titles
    63. 63. 2.3.6 Variant Title • A title that differs from the titles recorded according to 2.3.2-2.3.5 and 2.3.7-2.3.10 • Best Practices: Record subtitles found outside of the preferred source of information, if considered important for identification and access • In MARC: Use field 246
    64. 64. Putting the Puzzle Together 245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = Concerto pour violoncelle / $c Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch. 246 0_ $i German, English, and French subtitles for 2nd work on container: $a Hebräische Rhapsodie für Violoncello und Orchester = $b Hebraic rhapsody for violoncello and orchestra = Rhapsodie hebraïque pour violoncelle et orchestre 246 0_ $i German, English, and French subtitles for 3rd work on container: $a Adagio nach hebräischen Melodien für Violoncello und Orchester = $b Adagio on Hebrew melodies for violoncello and orchestra = Adagio sur des mélodies hébraïques pour violoncelle et orchestre Continued 
    65. 65. Putting the Puzzle Together 246 31 $a Cello concerto 246 31 $a Concerto pour violoncelle … 740 02 $a Schelomo. 740 02 $a Salomo. 740 02 $a Solomon. 740 02 $a Salomon. 740 02 $a Kol nidrei.
    66. 66. Work Access
    67. 67. Finding the “Main” Work • Start at 6.28 for musical works a) Musical works with lyrics, libretto, text, etc. b) Pasticcios, ballad operas, etc. c) Works composed for choreographic movement d) Adaptations e) Operas and other dramatic works with new text and title f) Cadenzas g) Musical scores for dramatic works, etc. • If none of the above apply, go to 6.27.1
    68. 68. 6.27.1 Authorized Access Point Representing a Work • 6.27.1.2 Works Created by One Person, Family, or Corporate Body • 6.27.1.3 Collaborative Works • 6.27.1.4 Compilations of Works by Different Persons, Families, or Corporate Bodies – If the compilation lacks a collective title, construct separate access points for each of the works in the compilation. – Do not apply the Alternative to construct an authorized access point using a devised title
    69. 69. 6.27.1 Authorized Access Point Representing a Work • 6.27.1.2 Works Created by One Person, Family, or Corporate Body • 6.27.1.3 Collaborative Works • 6.27.1.4 Compilations of Works by Different Persons, Families, or Corporate Bodies – If the compilation lacks a collective title, construct separate access points for each of the works in the compilation. – Do not apply the Alternative to construct an authorized access point using a devised title
    70. 70. 6.27.1 Authorized Access Point Representing a Work • 6.27.1.2 Works Created by One Person, Family, or Corporate Body • 6.27.1.3 Collaborative Works • 6.27.1.4 Compilations of Works by Different Persons, Families, or Corporate Bodies – If the compilation lacks a collective title, construct separate access points for each of the works in the compilation. – Do not apply the Alternative to construct an authorized access point using a devised title
    71. 71. 6.27.1 Authorized Access Point Representing a Work • 6.27.1.2 Works Created by One Person, Family, or Corporate Body • 6.27.1.3 Collaborative Works • 6.27.1.4 Compilations of Works by Different Persons, Families, or Corporate Bodies – If the compilation lacks a collective title, construct separate access points for each of the works in the compilation. – Do not apply the Alternative to construct an authorized access point using a devised title
    72. 72. Authorized Access Points Needed Dvořák, Antonín, 1841-1904. Concertos, cello, orchestra, op. 104, B minor Bloch, Ernest, 1880-1959. Schelomo Bruch, Max, 1838-1920. Kol nidrei
    73. 73. MARC Display • 1XX field is for the Creator of the whole work – Consult RDA 19 for instructions • Our resource – No one composer can be considered the Creator for the whole work – Performers are not Creators! – Therefore no 1XX field
    74. 74. Authorized Access Points in MARC 245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = Concerto pour violoncelle / $c Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch. […] 700 1_ $a Fournier, Pierre, $d 1906-1986, $e instrumentalist. 700 1_ $a Szell, George, $d 1897-1970, $e conductor. 700 1_ $a Wallenstein, Alfred, $e conductor. 700 1_ $a Martinon, Jean, $d 1910-1976, $e conductor 700 12 $i Container of (work): $a Dvořák, Antonín, $d 1841-1904. $t Concertos, $m cello, orchestra, $n op. 104, $r B minor. 700 12 $i Container of (work): $a Bloch, Ernest, $d 1880-1959. $t Schelomo. 700 12 $i Container of (work): $a Bruch, Max, $d 1838-1920. $t Kol nidrei. 710 2_ $a Berliner Philharmoniker, $e instrumentalist. 710 2_ $a Orchestre des concerts Lamoureux, $e instrumentalist.
    75. 75. Authorized Access Points in MARC 245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = Concerto pour violoncelle / $c Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch. […] 700 1_ $a Fournier, Pierre, $d 1906-1986, $e instrumentalist. 700 1_ $a Szell, George, $d 1897-1970, $e conductor. 700 1_ $a Wallenstein, Alfred, $e conductor. 700 1_ $a Martinon, Jean, $d 1910-1976, $e conductor 700 12 $i Container of (work): $a Dvořák, Antonín, $d 1841-1904. $t Concertos, $m cello, orchestra, $n op. 104, $r B minor. 700 12 $i Container of (work): $a Bloch, Ernest, $d 1880-1959. $t Schelomo. 700 12 $i Container of (work): $a Bruch, Max, $d 1838-1920. $t Kol nidrei. 710 2_ $a Berliner Philharmoniker, $e instrumentalist. 710 2_ $a Orchestre des concerts Lamoureux, $e instrumentalist.
    76. 76. 2.8.6 Date of Publication Core • 2.8.6.6 Date of Publication Not Identified – Supply the date or approximate date of publication using 1.9.2 or – Record date of publication not identified
    77. 77. 2.8.6 Date of Publication Core • 2.8.6.6 Date of Publication Not Identified – Supply the date or approximate date of publication using 1.9.2 or – Record date of publication not identified – LC, PCC, and Best Practices strongly encourage you to use the first option
    78. 78. 2.8.6 Date of Publication Core • In most circumstances, the (p) or © dates can be used to infer a date of publication • But our resource has – (p)1961, (p)1962, and (p)1967 – CD format not available until 1982 • 1.9.2.5 Earliest and/or Latest Possible Date Known – In MARC: 264 _1 … $c [not before 1982]
    79. 79. 2.8.6 Date of Publication Core • In most circumstances, the (p) or © dates can be used to infer a date of publication • But our resource has – (p)1961, (p)1962, and (p)1967 – CD format not available until 1982 • 1.9.2.5 Earliest and/or Latest Possible Date Known – In MARC: 264 _1 … $c [not before 1982]
    80. 80. 2.8.6 Date of Publication Core • In most circumstances, the (p) or © dates can be used to infer a date of publication • But our resource has – (p)1961, (p)1962, and (p)1967 – CD format not available until 1982 • 1.9.2.5 Earliest and/or Latest Possible Date Known – 264 _1 … $c [not before 1982]
    81. 81. 2.11 Copyright Date • Best Practices recommends to routinely record • Record the latest date of copyright – Optional addition to record the additional copyright dates in a note (2.17.10.3) • Our resource – 264 _4 $c (p)1967 500 __ $a The 1st work (p)1964, 2nd work (p)1967, 3rd work (p)1961.
    82. 82. LDR njm Ii 007 sd fsngnnmmnee 008 140915r1982uuuugw conn n zxx d 040 $a ENG $b eng $e rda $c ENG 024 10 $a 028942915527 028 02 $a 429 155-2 $b Deutsche Grammophon 245 00 $a Konzert für Violoncello und Orchester op. 104 = $b Cello concerto = Concerto pour violoncelle / $c Antonín Dvořák. Schelomo = Salomo = Solomon = Salomon / Ernest Bloch. Kol nidrei : op. 47 / Max Bruch. 246 0_ $i German, English, and French subtitles for 2nd work on container: $a Hebräische Rhapsodie für Violoncello und Orchester = $b Hebraic rhapsody for violoncello and orchestra = Rhapsodie hébraïque pour violoncelle et orchestre 246 0_ $i German, English, and French subtitles for 3rd work on container: $a Adagio nach hebräischen Melodien für Violoncello und Orchester = $b Adagio on Hebrew melodies for violoncello and orchestra = Adagio sur des mélodies hébraïques pour violoncelle et orchestre 246 31 $a Cello concerto 246 31 $a Concerto pour violoncelle 264 _1 $a Hamburg : $b Deutsche Grammophon, $c [not before 1982] 264 _4 $c (p)1967 300 __ $a 1 audio disc (71 min.,11 sec.) ; $c 4 3/4 in. 306 __ $a 011111 336 __ $a performed music $b prm $2 rdacontent 337 __ $a audio $b s $2 rdamedia 338 __ $a audio disc $b sd $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda 490 0_ $a Musikfest
    83. 83. 500 __ $a Title from disc label. 500 __ $a German, English, and French titles for 2nd work from container. 511 0_ $a Pierre Fournier, cello ; Berliner Philharmoniker, George Szell (1st work), Alfred Wallenstein (2nd work), conductors ; Orchestre Lamourex, Paris, Jean Martinon, conductor (3rd work). 500 __ $a All selections previously released. 500 __ $a The 1st work (p)1964, 2nd work (p)1967, 3rd work (p)1961. 500 __ $a Made from analog originals. 500 __ $a Durations: 38:26; 21:47; 10:29. 700 1_ $a Fournier, Pierre, $d 1906-1986, $e instrumentalist. 700 1_ $a Szell, George, $d 1897-1970, $e conductor. 700 1_ $a Wallenstein, Alfred, $e conductor. 700 1_ $a Martinon, Jean, $d 1910-1976, $e conductor. 700 12 $i Container of (work): $a Dvořák, Antonín, $d 1841-1904. $t Concertos, $m cello, orchestra, $n op. 104, $r B minor. 700 12 $i Container of (work): $a Bloch, Ernest, $d 1880-1959. $t Schelomo. 700 12 $i Container of (work): $a Bruch, Max, $d 1838-1920. Kol nidrei. 710 2_ $a Berliner Philharmoniker, $e instrumentalist. 710 2_ $a Orchestre des concerts Lamoureux, $e instrumentalist. 740 02 $a Schelomo. 740 02 $a Salomo. 740 02 $a Solomon. 740 02 $a Salomon. 740 02 $a Kol nidrei.
    84. 84. 500 __ $a Title from disc label. 500 __ $a German, English, and French titles for 2nd work from container. 511 0_ $a Pierre Fournier, cello ; Berliner Philharmoniker, George Szell (1st work), Alfred Wallenstein (2nd work), conductors ; Orchestre Lamourex, Paris, Jean Martinon, conductor (3rd work). 500 500 __ __ $a $All a All selections selections previously previously released. released. 500 __ $a The 1st work (p)1964, 2nd work (p)1967, 3rd work (p)1961. 500 __ $a Made from analog originals. 500 __ $a Durations: 38:26; 21:47; 10:29. 700 1_ $a Fournier, Pierre, $d 1906-1986, $e instrumentalist. 700 1_ $a Szell, George, $d 1897-1970, $e conductor. 700 1_ $a Wallenstein, Alfred, $e conductor. 700 1_ $a Martinon, Jean, $d 1910-1976, $e conductor. 700 12 $i Container of (work): $a Dvořák, Antonín, $d 1841-1904. $t Concertos, $m cello, orchestra, $n op. 104, $r B minor. 700 12 $i Container of (work): $a Bloch, Ernest, $d 1880-1959. $t Schelomo. 700 12 $i Container of (work): $a Bruch, Max, $d 1838-1920. Kol nidrei. 710 2_ $a Berliner Philharmoniker, $e instrumentalist. 710 2_ $a Orchestre des concerts Lamoureux, $e instrumentalist. 740 02 $a Schelomo. 740 02 $a Salomo. 740 02 $a Solomon. 740 02 $a Salomon. 740 02 $a Kol nidrei.
    85. 85. Coding Dates in the 008 • Byte 06 (OCLC: DtSt) – Possible codes for this resource • r (Reprint) • t (Publication Date and Copyright Date) • q (Questionable Date)
    86. 86. Coding Dates in the 008 Precedence of Codes from OCLC Single items or multipart items complete in one year b B.C. date r Reprint/Original date e Detailed date s Single date p Distribution/production date t Publication and copyright date q Questionable date n Unknown date
    87. 87. Coding Dates in the 008 • Byte 06 (OCLC: DtSt) – Possible codes for this resource • r (Reprint) • t (Publication Date and Copyright Date) • q (Questionable Date) – Code for this resource: “r” • Bytes 07-14 (OCLC: Date 1 and Date 2) – “1982uuuu” or “19821961” depending on your confidence
    88. 88. Titles, titles everywhere!
    89. 89. What is the Title Proper? Exercise Transcribe: Title proper (2.3.2) Statement of responsibility relating to the title proper (2.4.2)
    90. 90. What is the Title Proper? 245 10 $a Symphonies / $c Stravinsky. not 245 10 $a Symphony in three movements ; $b Symphony in C ; Symphony of Psalms / $c Igor Stravinsky.
    91. 91. What is the Title Proper?
    92. 92. What is the Title Proper? • 2.1.2.3 Resource issued as a single unit “If the resource embodies multiple works (e.g., a compact disc embodying multiple works), prefer a source that has a collective title.”
    93. 93. What is the Title Proper? • 2.1.2.3 Resource issued as a single unit “If the resource embodies multiple works (e.g., a compact disc embodying multiple works), prefer a source that has a collective title.” • So: 245 10 $a Symphonies / $c Stravinsky.
    94. 94. What is the Title Proper? • 2.1.2.3 Resource issued as a single unit “If the resource embodies multiple works (e.g., a compact disc embodying multiple works), prefer a source that has a collective title.” • So: 245 10 $a Symphonies / $c Stravinsky. • Applying 2.4.2.2 for the SOR
    95. 95. What about those other titles?
    96. 96. What about those other titles? 505 0_ $a Symphony in three movements = Sinfonie in drei Sätzen (23:04) -- Symphony in C = Sinfonie in C (31:15) -- Symphony of Psalms = Psalmensinfonie (22:57). 740 02 $a Sinfonie in drei Sätzen. 740 02 $a Symphony in C. 740 02 $a Sinfonie in C. 740 02 $a Symphony of Psalms. 740 02 $a Psalmensinfonie.
    97. 97. Multiple Recording Dates 033 10 $a 20030325 $a 20030326 $a 20051207 $a 20051208 $a 20060502 $a 20060503 $a 20060504 518 __ $3 1st work $o recorded $p Konzerthaus Freiburg $d 2003 March 25-26. 518 __ $3 2nd work $o recorded $p Konzerthaus Freiburg $d 2006 May 2-4. 518 __ $3 3rd work $o recorded $p Konzerthaus Freiburg $d 2005 December 7-8.
    98. 98. Works embodied • The “kitchen sink”: applying 6.14.2.8.6, Alternative • Identifying the aggregate work (6.14.2.8.2, 6.14.2.8.6) 100 1_ $a Stravinsky, Igor, $d 1882-1971, $e composer. 240 10 $a Works. $k Selections • Identifying the constituent works (25.1.1.3, 6.28.1, 6.14.2) 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphony in three movements. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonies, $r C. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonie de Psaumes.
    99. 99. Works embodied • The “kitchen sink”: applying 6.14.2.8.6, Alternative • Identifying the aggregate work (6.14.2.8.2, 6.14.2.8.6) 100 1_ $a Stravinsky, Igor, $d 1882-1971, $e composer. 240 10 $a Works. $k Selections • Identifying the constituent works (25.1.1.3, 6.28.1, 6.14.2) 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphony in three movements. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonies, $r C. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonie de Psaumes.
    100. 100. Works embodied • The “kitchen sink”: applying 6.14.2.8.6, Alternative • Identifying the aggregate work (6.14.2.8.2, 6.14.2.8.6) 100 1_ $a Stravinsky, Igor, $d 1882-1971, $e composer. 240 10 $a Works. $k Selections • Identifying the constituent works (25.1.1.3, 6.28.1, 6.14.2) 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphony in three movements. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonies, $r C. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonie de Psaumes.
    101. 101. Works embodied • The “kitchen sink”: applying 6.14.2.8.6, Alternative • Identifying the aggregate work (6.14.2.8.2, 6.14.2.8.6) 100 1_ $a Stravinsky, Igor, $d 1882-1971, $e composer. 240 10 $a Works. $k Selections • Identifying the constituent works (25.1.1.3, 6.28.1, 6.14.2) 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphony in three movements. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonies, $r C. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882- 1971. $t Symphonie de Psaumes.
    102. 102. Summary of elements discussed 033 10 $a 20030325 $a 20030326 $a 20051207 $a 20051208 $a 20060502 $a 20060503 $a 20060504 100 1_ $a Stravinsky, Igor, $d 1882-1971, $e composer. 240 10 $a Works. $k Selections 245 10 $a Symphonies / $c Stravinsky. 518 __ $3 1st work $o recorded $p Konzerthaus Freiburg $d 2003 March 25-26. 518 __ $3 2nd work $o recorded $p Konzerthaus Freiburg $d 2006 May 2-4. 518 __ $3 3rd work $o recorded $p Konzerthaus Freiburg $d 2005 December 7-8. 505 0_ $a Symphony in three movements = Sinfonie in drei Sätzen (23:04) -- Symphony in C = Sinfonie in C (31:15) -- Symphony of Psalms = Psalmensinfonie (22:57). 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882-1971. $t Symphony in three movements. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882-1971. $t Symphonies, $r C. 700 12 $i Container of (work): $a Stravinsky, Igor, $d 1882-1971. $t Symphonie de Psaumes. 740 02 $a Sinfonie in drei Sätzen. 740 02 $a Symphony in C. 740 02 $a Sinfonie in C. 740 02 $a Symphony of Psalms. 740 02 $a Psalmensinfonie.
    103. 103. Cantatas by Bach
    104. 104. Cantatas by Bach
    105. 105. Cantatas by Bach • 43 page booklet • Program notes in German, English and French • Librettos in German and English
    106. 106. Preferred Source of Information a) The container b) The label on disc 1 c) The label on disc 2 d) The label on both of the discs e) The booklet
    107. 107. Preferred Source of Information a) The container b) The label on disc 1 c) The label on disc 2 d) The label on both of the discs e) The booklet
    108. 108. Going Backward to Go Forward • 2.2.2 Preferred Source of Information – Disc label of some kind • 2.1 Basis for Identification of the Resource – 2.1.2 Comprehensive Description – 2.1.2.3 Resource Issued in More Than One Part
    109. 109. Going Backward to Go Forward • 2.2.2 Preferred Source of Information – Disc label of some kind • 2.1 Basis for Identification of the Resource – 2.1.2 Comprehensive Description – 2.1.2.3 Resource Issued in More Than One Part
    110. 110. Going Backward to Go Forward • 2.2.2 Preferred Source of Information – Disc label of some kind • 2.1 Basis for Identification of the Resource – 2.1.2 Comprehensive Description – 2.1.2.3 Resource Issued in More Than One Part
    111. 111. Going Backwards to Go Forward
    112. 112. Going Backwards to Go Forward
    113. 113. Going Backwards to Go Forward
    114. 114. Going Backward to Go Forward • 2.1.2.3 Resource Issued in More Than One Part b) If the resource has sequentially numbered issues or parts, choose a source of information identifying the lowest numbered issue or part available – Best Practices recommends using this option if the title information of the numbered discs is repeated across the discs
    115. 115. Going Backward to Go Forward • 2.1.2.3 Resource Issued in More Than One Part b) If the resource has sequentially numbered issues or parts, choose a source of information identifying the lowest numbered issue or part available – Best Practices recommends using this option if the title information of the numbered discs is repeated across the discs
    116. 116. Going Backwards to Go Forward
    117. 117. Going Backwards to Go Forward
    118. 118. 245 10 $a Secular cantatas
    119. 119. 245 10 $a Secular cantatas
    120. 120. 2.3.2.6 Collective Titles and Titles of Individual Contents • 2.3.2.6.1 Comprehensive Description – If there is a collective title and titles of individual contents present on the preferred source of information, only consider the collective title to be the title proper – Optional addition to record the titles of the individual works as Related Works
    121. 121. Methods for Coding Parallel Titles 245 10 $a Secular cantatas = $b Weltliche Kantaten = Cantates profanes 246 1_ $i German and French titles from container: $a Weltliche Kantaten = $b Cantates profanes 246 31 $a Cantates profanes
    122. 122. Methods for Coding Parallel Titles 245 10 $a Secular cantatas = $b Weltliche Kantaten = Cantates profanes 246 31 $a Weltliche Kantaten 246 31 $a Cantates profanes 500 __ $a German and French titles from container.
    123. 123. Methods for Coding Parallel Titles 245 10 $a Secular cantatas 246 1_ $i German and French titles from container: $a Weltliche Kantaten = $b Cantates profanes 246 31 $a Cantates profanes
    124. 124. 245 10 $a Secular cantatas /$c Johann Sebastian Bach. 246 1_ $i German and French titles from container: $a Weltliche Kantaten = $b Cantates profanes 246 31 $a Cantates profanes
    125. 125. 245 10 $a Secular cantatas /$c Johann Sebastian Bach. 246 1_ $i German and French titles from container: $a Weltliche Kantaten = $b Cantates profanes 246 31 $a Cantates profanes Use 7.23 for this
    126. 126. Where is the librettist?
    127. 127. Where is the librettist?
    128. 128. Where is the librettist?
    129. 129. 500 __ $a Words by Christian Friedrich Henrici, known as Picander.
    130. 130. Publication Statement 264 _1 $a Arles [France] : $b harmonia mundi, $c [2014] Added using the Optional addition at 2.8.2.3 Recording Place of Publication
    131. 131. Publication Statement 264 _1 $a Arles [France] : $b harmonia mundi, $c [2014] Added using the Optional addition at 2.8.2.3 Recording Place of Publication
    132. 132. Publication Statement 264 _1 $a Arles [France] : $b harmonia mundi, $c [2014] Added using the Optional addition at 2.8.2.3 Recording Place of Publication
    133. 133. Publication Statement 264 _1 $a Arles [France] : $b harmonia mundi, $c [2014] • Transcription applies (1.7) • Appendix A Capitalization – A.2.1 allows for unusual capitalization to be preserved for names commonly found that way • Given throughout the resource as lower-case
    134. 134. Publication Statement 264 _1 $a Arles [France] : $b harmonia mundi, $c [2014] • ©2014 on the disc label has been used to infer the Date of Publication
    135. 135. 2.11 Copyright Date 264 _4 $c (p)1996, $c ©2014 • If copyright date pertaining to different aspects of the resource are present, both may be recorded if important for identification and selection • (p) = sound • © = text or packaging
    136. 136. 2.12.2 Title Proper of Series 490 0_ $a hmGold • Unusual capitalization transcribed using Exception to Appendix A.4.1 for Titles of Manifestations
    137. 137. 2.15 Identifier for the Manifestation
    138. 138. 2.15 Identifier for the Manifestation
    139. 139. 2.15 Identifier for the Manifestation
    140. 140. 2.15 Identifier for the Manifestation
    141. 141. 2.15 Identifier for the Manifestation • Best Practices: transcribe all the numbers • Also apply 2.5.1.7 and supply qualifications for each of the numbers 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 2.5.1.4: “Precede the identifier with a trade name or the name of the agency, etc., responsible for assigning the identifier, if readily ascertainable.” • Notice that because of MARC, the agency is recorded by itself in $b
    142. 142. 2.15 Identifier for the Manifestation • Best Practices: transcribe all the numbers • Also apply 2.5.1.7 and supply qualifications for each of the numbers 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 2.5.1.4: “Precede the identifier with a trade name or the name of the agency, etc., responsible for assigning the identifier, if readily ascertainable.” • Notice that because of MARC, the agency is recorded by itself in $b
    143. 143. 2.15 Identifier for the Manifestation • Best Practices: transcribe all the numbers • Also apply 2.5.1.7 and supply qualifications for each of the numbers 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 2.5.1.4: “Precede the identifier with a trade name or the name of the agency, etc., responsible for assigning the identifier, if readily ascertainable.” • Notice that because of MARC, the agency is recorded by itself in $b
    144. 144. 2.15 Identifier for the Manifestation • Dates on the resource indicate this is a re-issue • RDA 27 allows for a structured or unstructured description (note) of the related manifestation 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 028 00 $a HMC 905144.45 $b harmonia mundi 028 00 $a HMC 905144 $b harmonia mundi 028 00 $a HMC 905145 $b harmonia mundi 500 __ $a Originally released in 1996 as harmonia mundi HMC 905144.45 (HMC 905144--HMC 905145).
    145. 145. 2.15 Identifier for the Manifestation • Dates on the resource indicate this is a re-issue • RDA 27 allows for a structured or unstructured description (note) of the related manifestation 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 028 00 $a HMC 905144.45 $b harmonia mundi 028 00 $a HMC 905144 $b harmonia mundi 028 00 $a HMC 905145 $b harmonia mundi 500 __ $a Originally released in 1996 as harmonia mundi HMC 905144.45 (HMC 905144--HMC 905145).
    146. 146. 2.15 Identifier for the Manifestation • Dates on the resource indicate this is a re-issue • RDA 27 allows for a structured or unstructured description (note) of the related manifestation 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 028 00 $a HMC 905144.45 $b harmonia mundi 028 00 $a HMC 905144 $b harmonia mundi 028 00 $a HMC 905145 $b harmonia mundi 500 __ $a Originally released in 1996 as harmonia mundi HMC 905144.45 (HMC 905144--HMC 905145).
    147. 147. Coding Dates in the 008 • Byte 06 (OCLC: DtSt) – “r” for reprint • Bytes 07-14 (OCLC: Date 1 and Date 2) – “20141996”
    148. 148. Dealing with Accompanying Material Method 1: LDR njm Ii 006 aa 000 0d 007 sd fsngnnmmned 300 __ $a 2 audio discs ; $c 4 ¾ in. 300 __ $a 43 pages ; 12 cm 336 __ $a performed music $2 rdacontent 336 __ $a text $2 rdacontent 337 __ $a audio $2 rdamedia 337 __ $a unmediated $2 rdamedia 338 __ $a audio disc $2 rdacarrier 338 __ $a volume $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda
    149. 149. Dealing with Accompanying Material Method 1: LDR njm Ii 006 aa 000 0d 007 sd fsngnnmmned 300 __ $a 2 audio discs ; $c 4 ¾ in. 300 __ $a 43 pages ; 12 cm 336 __ $a performed music $2 rdacontent 336 __ $a text $2 rdacontent 337 __ $a audio $2 rdamedia 337 __ $a unmediated $2 rdamedia 338 __ $a audio disc $2 rdacarrier 338 __ $a volume $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda
    150. 150. Dealing with Accompanying Material Method 2: LDR njm Ii 007 sd fsngnnmmned 300 __ $a 2 audio discs ; $c 4 ¾ in. 300 __ $a 43 pages ; 12 cm 336 __ $a performed music $2 rdacontent 337 __ $a audio $2 rdamedia 338 __ $a audio disc $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda 500 __ $a Booklet with librettos in German with English translation and program notes in German with English and French translations (43 pages) laid in container. Note based on combining 3.21.2 (Note on Extent of Manifestation) and 7.16 (Supplementary Content)
    151. 151. Dealing with Accompanying Material Method 2: LDR njm Ii 007 sd fsngnnmmned 300 __ $a 2 audio discs ; $c 4 ¾ in. 300 __ $a 43 pages ; 12 cm 336 __ $a performed music $2 rdacontent 337 __ $a audio $2 rdamedia 338 __ $a audio disc $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda 500 __ $a Booklet with librettos in German with English translation and program notes in German with English and French translations (43 pages) laid in container. Note based on combining 3.21.2 (Note on Extent of Manifestation) and 7.16 (Supplementary Content)
    152. 152. Dealing with Accompanying Material Method 2: LDR njm Ii 007 sd fsngnnmmned 300 __ $a 2 audio discs ; $c 4 ¾ in. 300 __ $a 43 pages ; 12 cm 336 __ $a performed music $2 rdacontent 337 __ $a audio $2 rdamedia 338 __ $a audio disc $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda 500 __ $a Booklet with librettos in German with English translation and program notes in German with English and French translations (43 pages) laid in container. Note based on combining 3.21.2 (Note on Extent of Manifestation) and 7.16 (Supplementary Content)
    153. 153. Main and Related Works • Multiple works by 1 composer – Conventional collective title AAP for the “main” work 100 1_ $a Bach, Johann Sebastian, 1685-1750, $e composer. 240 10 $a Cantatas. $k Selections
    154. 154. Main and Related Works • Multiple works by 1 composer – Conventional collective title AAP for the “main” work 100 1_ $a Bach, Johann Sebastian, 1685-1750, $e composer. 240 10 $a Cantatas. $k Selections See Appendix I for terms Recommended by Best Practices
    155. 155. Main and Related Works • Multiple works by 1 composer – Related work AAP for the individual works (“related” to the “main” work) 700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Geschwinde, geschwinde, ihr wirbelnden Winde. 700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Zerreisset, zersprenget, zertrümmert die Gruft. 700 12 $i Container of (work): $a Bach, Johann Sebastian, 1685-1750. $t Hercules auf dem Scheidewege.
    156. 156. Main and Related Works • Multiple works by 1 composer See Appendix J for terms Recommended by Best Practices – Related work AAP for the individual works (“related” to the “main” work) 700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Geschwinde, geschwinde, ihr wirbelnden Winde. 700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Zerreisset, zersprenget, zertrümmert die Gruft. 700 12 $i Container of (work): $a Bach, Johann Sebastian, 1685-1750. $t Hercules auf dem Scheidewege.
    157. 157. 25 Related Works: Contents Note Core 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02).
    158. 158. 25 Related Works: Contents Note Core 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02).
    159. 159. 25 Related Works: Contents Note Core 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02).
    160. 160. 25 Related Works: Contents Note Core 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02).
    161. 161. 25 Related Works: Contents Note Core 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02).
    162. 162. 25 Related Works: Contents Note Core 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02). Playing time is covered by 7.22.1.5. May give as separate note instead
    163. 163. 25 Related Works: Unstructured Description 500 __ $a The 3rd work consists of previously composed material. The opening chorus and all five of the arias were later incorporated into the Christmas oratorio by Bach, using different words.
    164. 164. 7 Describing Content 500 __ $a The 1st work for 6 solo voices, chorus (SATTBB) and orchestra; 2nd work for 4 solo voices, chorus (SATB) and orchestra; 3rd work for 4 solo voices, chorus (SAATB), and orchestra. 7.21 Medium of Performance of Musical Content
    165. 165. 7 Describing Content 511 0_ $a Maria Cristina Kiehr (1st work), Efrat Ben- Nun (2nd-3rd works), sopranos ; Katharina Kammerloher, alto (2nd work) ; Andreas Scholl, countertenor (1st and 3rd works) ; Christoph Prégardien (2nd work), James Taylor (1st and 3rd work), Kurt Azesgerger (1st work), tenors ; Roman Trekel, baritone (1st work) ; Peter Lika (1st work), Klaus Häger (2nd-3rd works), basses ; RIAS Kammerchor ; Akademie für Alte Musik Berlin ; René Jacobs, conductor. 7.23 Performer, Narrator, and/or Presenter
    166. 166. 20 Contributors 700 1_ $a Ben-Nun, Efrat, $e singer. 700 1_ $a Kiehr, Maria Cristina, $e singer. 700 1_ $a Kammerloher, Katharina, $e singer. 700 1_ $a Scholl, Andreas, $e singer. 700 1_ $a Prégardien, Christoph, $e singer. 700 1_ $a Taylor, James, 1966- $e singer. 700 1_ $a Azesberger, Kurt, $e singer. 700 1_ $a Trekel, Roman, $e singer. 700 1_ $a Lika, Peter, $e singer. 700 1_ $a Häger, Klaus, $e singer. 700 1_ $a Jacobs, René, $e conductor. 710 2_ $a RIAS-Kammerchor, $e singer. 710 2_ $a Akademie für Alte Musik Berlin, $e instrumentalist. Relationship designators from Appendix I
    167. 167. 7 Describing Content 033 00 $a 199411-- 033 00 $a 199509-- 518 __ $3 2nd-3rd works $o recorded $d 1994 November. 518 __ $3 1st work $o recorded $d 1995 September. 7.11 Place and Date of Capture
    168. 168. 7.12 Language of the Content Core • Best Practices recommends recording: – Language of sung text – Language of separately printed librettos – Language of any accompanying text – Original language of librettos – Original language of accompanying text • Code, at a minimum, in the 008/35-37 (OCLC: Lang) and 041 fields – May also be explained in a 546 for the “main” content or in a 500 note describing accompanying material
    169. 169. 7.12 Language of the Content Core MARC coding 008/35-37: ger 041 1_ $d ger $e ger $e eng $n ger $g ger $g eng $g fre $m ger 500 __ $a Booklet with librettos in German with English translation and program notes in German with English and French translations (43 pages) laid in container.
    170. 170. LDR njm Ii 008 140915r20141996fr ctnn di n ger d 007 sd fsngnnmmned 040 ENG $b eng $e rda $c ENG 024 30 $a 3149020154410 028 02 $a HMG 501544.45 $b harmonia mundi $q (set) 028 02 $a HMG 501544 $b harmonia mundi $q (disc 1) 028 02 $a HMG 501545 $b harmonia mundi $q (disc 2) 028 00 $a HMC 905144.45 $b harmonia mundi 028 00 $a HMC 905144 $b harmonia mundi 028 00 $a HMC 905145 $b harmonia mundi 033 00 $a 199411-- 033 00 $a 199509-- 041 1_ $d ger $e ger $e eng $n ger $g ger $g eng $g fre $m ger 100 1_ $a Bach, Johann Sebastian, 1685-1750, $e composer. 240 10 $a Cantatas. Selections. 245 10 $a Secular cantatas / $c Johann Sebastian Bach. 246 1_ $i German and French titles from container: $a Weltliche Kantaten = $b Cantates profanes 246 31 $a Cantates profanes 264 _1 $a Arles [France] : $b harmonia mundi, $c [2014] 264 _4 $c ℗1996, $c ©2014
    171. 171. 300 __ $a 2 audio discs (2 hr., 14 min., 30 sec.) ; $c 4 3/4 in. 306 __ $a 021430 336 __ $a performed music $b prm $2 rdacontent 337 __ $a audio $b s $2 rdamedia 338 __ $a audio disc $b sd $2 rdacarrier 344 __ $a digital $g stereo $2 rda 347 __ $a audio file $b CD audio $2 rda 490 0_ $a hmGold 500 __ $a Title from disc label. 500 __ $a Secular cantatas composed between 1725 and 1733 for the Zimmermann coffee-house or gardens in Leipzig, Germany. 500 __ $a The 1st work for 6 solo voices, chorus (SATTBB) and orchestra; 2nd work for 4 solo voices, chorus (SATB) and orchestra; 3rd work for 4 solo voices, chorus (SAATB), and orchestra. 500 __ $a The 3rd work consists of previously composed material. The opening chorus and all five of the arias were later incorporated into the Christmas oratorio by Bach, using different words. 500 __ $a Words by Christian Friedrich Henrici, known as Picander. 511 0_ $a Maria Cristina Kiehr (1st work), Efrat Ben-Nun (2nd-3rd works), sopranos ; Katharina Kammerloher, alto (2nd work) ; Andreas Scholl, countertenor (1st and 3rd works) ; Christoph Prégardien (2nd work), James Taylor (1st and 3rd work), Kurt Azesgerger (1st work), tenors ; Roman Trekel, baritone (1st work) ; Peter Lika (1st work), Klaus Häger (2nd-3rd works), basses ; RIAS Kammerchor ; Akademie für Alte Musik Berlin ; René Jacobs, conductor. 518 __ $3 2nd-3rd works $o recorded $d 1994 November. 518 __ $3 1st work $o recorded $d 1995 September.
    172. 172. 500 __ $a Originally released in 1996 as harmonia mundi HMC 905144.45 (HMC 905144-- HMC 905145). 500 __ $a Booklet with librettos in German with English translation and program notes in German with English and French translations (43 pages) laid in container. 505 00 $t Geschwinde, ihr wirbelnden Winde : $g BWV 201 : $g Der Streit zwischen Phoebus und Pan = $g Le défi entre Phébus et Pan = $g The contenst between Phoebus and Pan $g (48:58) -- $t Zerreisset, sersprenget, zertrümmert die Gruft : $g BWV 205 : $g Der zufriedengestellre Aeolus = $g Éole apaisé = $g The pacified Aeolus $g (38:16) -- $t Lass uns sorgen, lasst uns wachen : $g BWV 213 : $g Hercules auf dem Scheidewege = $g Hercule à la croisée des chemins = $g Hercules at the crossroads (47:02). 700 0_ $a Picander, $d 1700-1764, $e librettist. 700 1_ $a Ben-Nun, Efrat, $e singer. 700 1_ $a Kiehr, Maria Cristina, $e singer. 700 1_ $a Kammerloher, Katharina, $e singer. 700 1_ $a Scholl, Andreas, $e singer. 700 1_ $a Prégardien, Christoph, $e singer. 700 1_ $a Taylor, James, 1966- $e singer. 700 1_ $a Azesberger, Kurt, $e singer. 700 1_ $a Trekel, Roman, $e singer. 700 1_ $a Lika, Peter, $e singer. 700 1_ $a Häger, Klaus, $e singer. 700 1_ $a Jacobs, René, $e conductor.
    173. 173. 700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Geschwinde, geschwinde, ihr wirbelnden Winde. 700 12 $i Container of (work): $a Bach, Johann Sebastian, $d 1685-1750. $t Zerreisset, zersprenget, zertrümmert die Gruft. 700 12 $i Container of (work): $a Bach, Johann Sebastian, 1685-1750. $t Hercules auf dem Scheidewege. 710 2_ $a RIAS-Kammerchor, $e singer. 710 2_ $a Akademie für Alte Musik Berlin, $e instrumentalist.
    174. 174. Q&A
    175. 175. Bryn Terfel sings
    176. 176. What is the Title Proper? Exercise Transcribe: Title proper (2.3.2) Statement of responsibility relating to the title proper (2.4.2)
    177. 177. What is the Title Proper? Two possible answers! 245 05 $a “The vagabond” & other songs / $c by Ralph Vaughan Williams, Gerald Finzi, George Butterworth, John Ireland. or 245 05 $a “The vagabond” / $c & other songs by Ralph Vaughan Williams, Gerald Finzi, George Butterworth, John Ireland.
    178. 178. What is the Title Proper? 245 05 $a “The vagabond” : $b & other songs / $c by Ralph Vaughan Williams, Gerald Finzi, George Butterworth, John Ireland. Not allowed per 2.4.1.8 But why not this?
    179. 179. Hedging our bets (thanks, 2.3.6!) 245 05 $a “The vagabond” & other songs / $c by Ralph Vaughan Williams, Gerald Finzi, George Butterworth, John Ireland. 246 3_ Vagabond and other songs 246 30 Vagabond 246 1_ $i Title on container spine: $a Vagabond : $b English songs or 245 05 $a “The vagabond” / $c & other songs by Ralph Vaughan Williams, Gerald Finzi, George Butterworth, John Ireland. 246 3_ Vagabond and other songs 246 3_ Vagabond & other songs 246 1_ $i Title on container spine: $a Vagabond : $b English songs
    180. 180. Creators galore Exercise List all creators involved in this resource
    181. 181. Creators galore 700 1_ $a Vaughan Williams, Ralph, $d 1872-1958. 700 1_ $a Finzi, Gerald, $d 1901-1956. 700 1_ $a Butterworth, George, $d 1885-1916. 700 1_ $a Ireland, John, $d 1879-1962. and also… 700 1_ $a Stevenson, Robert Louis, $d 1850-1894 700 1_ $a Shakespeare, William, $d 1564-1616 700 1_ $a Housman, A. E. $q (Alfred Edward), $d 1859-1936 700 1_ $a Masefield, John, $d 1878-1967
    182. 182. Works embodied and (all of) their creators (25.1, 6.28.1.2, 19.2, 18.5) 700 1_ $a Stevenson, Robert Louis, $d 1850-1894, $e author. 700 1_ $a Shakespeare, William, $d 1564-1616, $e author. 700 1_ $a Housman, A. E. $q (Alfred Edward), $d 1859-1936, $e author. 700 1_ $a Masefield, John, $d 1878-1967, $e author. 700 12 $i Container of (work): $a Vaughan Williams, Ralph, $d 1872-1958. $t Songs of travel. 700 12 $i Container of (work): $a Finzi, Gerald, $d 1901-1956. $t Let us garlands bring. 700 12 $i Container of (work): $a Butterworth, George, $d 1885-1916. $t Bredon Hill and other songs. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Sea fever. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Vagabond. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Bells of San Marie. 700 12 $i Container of (work): $a Butterworth, George, $d 1885-1916. $t Songs from A Shropshire lad.
    183. 183. Full complement of access points (25.1, 19.2, 20.2, 18.5) 700 1_ $a Terfel, Bryn, $e singer. 700 1_ $a Martineau, Malcom, $e singer. 700 1_ $a Stevenson, Robert Louis, $d 1850-1894, $e author. 700 1_ $a Shakespeare, William, $d 1564-1616, $e author. 700 1_ $a Housman, A. E. $q (Alfred Edward), $d 1859-1936, $e author. 700 1_ $a Masefield, John, $d 1878-1967, $e author. 700 12 $i Container of (work): $a Vaughan Williams, Ralph, $d 1872-1958. $t Songs of travel. 700 12 $i Container of (work): $a Finzi, Gerald, $d 1901-1956. $t Let us garlands bring. 700 12 $i Container of (work): $a Butterworth, George, $d 1885-1916. $t Bredon Hill and other songs. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Sea fever. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Vagabond. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Bells of San Marie. 700 12 $i Container of (work): $a Butterworth, George, $d 1885-1916. $t Songs from A Shropshire lad. No 100!!
    184. 184. Identifiers for the manifestation (2.15) 024 1_ 028944594621 028 02 445 946-2 $b Deutsche Grammophon UPC Issue number
    185. 185. Summary of elements discussed 024 1_ 028944594621 028 02 445 946-2 $b Deutsche Grammophon 245 05 $a “The vagabond” & other songs / $c by Ralph Vaughan Williams, Gerald Finzi, George Butterworth, John Ireland. 246 3_ Vagabond and other songs 246 30 Vagabond 246 1_ $i Title on container spine: $a Vagabond : $b English songs 700 1_ $a Terfel, Bryn, $e singer. 700 1_ $a Martineau, Malcom, $e singer. 700 1_ $a Stevenson, Robert Louis, $d 1850-1894, $e author. 700 1_ $a Shakespeare, William, $d 1564-1616, $e author. 700 1_ $a Housman, A. E. $q (Alfred Edward), $d 1859-1936, $e author. 700 1_ $a Masefield, John, $d 1878-1967, $e author. 700 12 $i Container of (work): $a Vaughan Williams, Ralph, $d 1872-1958. $t Songs of travel. 700 12 $i Container of (work): $a Finzi, Gerald, $d 1901-1956. $t Let us garlands bring. 700 12 $i Container of (work): $a Butterworth, George, $d 1885-1916. $t Bredon Hill and other songs. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Sea fever. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Vagabond. 700 12 $i Container of (work): $a Ireland, John, $d 1879-1962. $t Bells of San Marie. 700 12 $i Container of (work): $a Butterworth, George, $d 1885-1916. $t Songs from A Shropshire lad.
    186. 186. Final Q & A
    187. 187. Resources for RDA music cataloging Bibliographic Control Committee (MLA) http://bcc.musiclibraryassoc.org/bcc.html • MLA RDA workshops and sessions • Best Practices for Music Cataloging Using RDA and MARC21 Hit the Ground Running! RDA Training for Music Catalogers (MLA 2013 preconference workshop) http://guides.library.cornell.edu/MLARDA2013 • Spreadsheets, sample records, exercises, handouts
    188. 188. Thanks for attending! Damian Iseminger Damian.Iseminger@necmusic.edu Casey Mullin cmullin@stanford.edu

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