Cambridge University Library RDA Training Module 3 Identifying

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

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

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

Naming the work Generally, the instructions for identifying works (and expressions) are found in Chapter 6 “Naming the work” § Just like “naming” persons, families and corporate bodies § Similar to AACR 2 concept of “main entry” Achieved via the creation of an authorised access point for the work: § “The standardised access point representing an entity” 4

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

Authorised access points for works Construction 6. 27. 1. 1 - 6. 27. 1. 8 How to put together the elements to construct an authorised access point: § Preferred title is the basis § Authorised access point for the creator precedes the preferred title, if applicable § Make any additions to the preferred title as instructed under 6. 27. 1. 9 6

Authorised access points for works MARC has four possibilities for where work a. a. p. information can be coded: § 1 XX + 240 § 1 XX + 245 § 130 § 245 7

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

Entities responsible for a work – Sources RDA 19. 1. 1 Take information on persons, families, and corporate bodies associated with a work from: § Preferred sources of information (RDA 2. 2. 2) in resources embodying the work Or, failing that: § Other statements appearing prominently in the resource § Information appearing only in the content of the resource § Other sources 9

Creator CORE ELEMENT RDA 19. 2 “A person, family, or corporate body responsible for the creation of a work” E. g. Authors, artists, compilers, composers, photographers RDA Appendix I. 2. 1 for relationship designators 10

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

Creator – Changes from AACR 2 No “Rule of Three” to instruct us to identify the work only by its preferred title when there are more than three creators § Knock-on effect on cuttering for some classification schemes A performer of works by different composers presented in a sound recording is not automatically considered a creator 12

Compilers & modifiers as creators RDA 19. 2. 1. 1 An entity responsible for compiling an aggregate work may be considered a creator of the compilation if the selection, arrangement, editing, etc. , of content for the compilation effectively results in the creation of a new work An entity responsible for modifying a previously existing work in a way that substantially changes the nature or content of the original is considered a creator of the new work 13

Compilers & modifiers as creators Examples Authorised access point representing the creator for: A bibliography of Sanskrit works on astronomy and mathematics 100 1# $a Sen, S. N. $q (Samarendra Nath), $d 1918 -1992, $e compiler. Authorised access point representing the creator for: History of Angola. A new edition by W. Martin James, based on Susan H. Broadhead’s work with the same title 100 1# $a James, W. Martin, $e author. RDA 6. 27. 1. 5 14

Corporate bodies as creators Categories of works are given in RDA 19. 2. 1. 1. 1 (Similar to AACR 2 21. 1 B 2) Corporate body takes precedence over a first-named person or family as creator Cambridge policy is to follow LC-PCC PS 19. 2. 1. 1. 1 (similar to LCRI for 21. 21 B 2) RDA 19. 2. 1. 1. 2 covers government and religious officials as creators 15

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

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

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

Works resulting from collective activity of performing group Applied where the responsibility of the group goes beyond that of mere performance, execution, etc. Authorised access point representing the creator for: Songs of Freedom / Bucket of Witches. 110 1# $a Bucket of Witches (Musical group), $e composer. 19

Cartographic works originating with a corporate body Applied where the corporate body is responsible for more than just publication or distribution Authorised access point representing the creator for: The new Oxford atlas for Pakistan / all maps drawn by the Cartographic Unit, Oxford University Press ; editorial adviser, Fazle Karim Khan. 110 1# $a Oxford University Press. Cartographic Department, $e cartographer. 20

What about contributors? A contributor is a person, family, or corporate body contributing to the realisation of a work through an expression E. g. editors, translators, illustrators, arrangers of music, performers, writers of commentary, etc. Chapter 20; Appendix I. 3. 1 Covered in Module 4 when we look at Expressions 21

Title of the work - Terminology Title of the work (RDA 6. 2. 1. 1) § “A word, character, or group of words and/or characters by which a work is known” Preferred title for the work (RDA 6. 2. 2. 1) § “The title or form of title chosen to identify the work. . . [and used as] the basis for the authorised access point representing that work” Variant title for the work (RDA 6. 2. 3. 1) § “A title or form of title by which a work is known that differs from. . . the preferred title” § The form used when constructing a variant access point 22

Title of the work - Language & script RDA 5. 4 tells us to “Record titles for works in the language and script in which they appear on the sources from which they are taken” The alternative says “Record a transliterated form of the title either as a substitute for, or in addition to, the form that appears on the source” Cambridge policy in authorised access points is to apply the alternative to give a romanised form May give original in additional 880 field Other attributes for a work are recorded in the language and script prescribed in the appropriate sections of Chapter 6 23

Title of the work - Recording RDA 6. 2. 1 Capitalisation Numbers Diacritics Articles Spacing Abbreviations NB “recording”, not “transcribing” 24

Preferred title for the work CORE ELEMENT RDA 6. 2. 2 Scope and sources: 6. 2. 2. 1 – 6. 2. 2. 2 Choosing preferred titles: 6. 2. 2. 3 – 6. 2. 2. 7 Recording preferred titles: 6. 2. 2. 8 – 6. 2. 2. 10 25

Sources of information for preferred titles RDA 6. 2. 2. 2 For a work created after 1500 § From resources embodying the work or from reference sources § Usually: title proper of the first manifestation received For a work created before 1501 § From modern reference sources § If this evidence is inconclusive, use (in this order): a) modern editions b) early editions c) manuscript copies 26

Preferred title for specific categories of work Certain categories of work have their instructions located in the appropriate sections of Chapter 6: § some musical works (6. 14. 2) § some legal works (6. 19. 2) § some religious works (6. 23. 2) § some official communications (6. 2) Each of these is a general instruction which should be applied unless more specific instructions are relevant 27

Preferred title for the work - Examples 245 10 $a Introduction to the physics of waves / $c Tim Freegarde, University of Southampton. 240 10 $a Electron paramagnetic resonance of exchange coupled systems 245 10 $a EPR of exchange coupled systems / $c Alessandro Bencini. 240 10 $a Pickwick papers 245 14 $a The posthumous papers of the Pickwick Club / $c Charles Dickens. 28

Additions to access points representing works (1) 100 1# $a Steinbeck, John, $d 1902– 1968, $e author. 245 10 $a Of mice and men / $c John Steinbeck. 100 1# $a Steinbeck, John, $d 1902– 1968, $e author. 245 10 $a Of mice and men : $b a play in three acts / $c by John Steinbeck. RDA 6. 27. 1. 9: Must differentiate all works Each possible addition discussed in detail in earlier sections of Chapter 6 29

Additions to access points representing works (2) In MARC 130 or 240 Form of work (6. 3) Date of the work (6. 4) Place of origin of the work (6. 5) Another distinguishing characteristic of the work (6. 6) No priority order Can give more than one if needed 30

Additions to access points representing works (3) LC-PCC PS 6. 27. 1. 9 Check catalogue to see if there is any conflict. I. e. does the work a. a. p. for the resource in hand match the a. a. p. for a different work? § Fairly unlikely to happen for academic works of personal authorship, or where the preferred title is distinctive § Very likely to happen for a resource without 1 XX and with a generic title, e. g. , “Bulletin” or “Two plays” § Worth checking for literary works 31

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

Additions - Form of work CORE ELEMENT when needed to differentiate RDA 6. 3 A class or genre to which a work belongs Take from any source No controlled vocabulary Added after preferred title in parentheses 100 1# $a Steinbeck, John, $d 1902– 1968, $e author. 240 10 $a Of mice and men (Play) 33

Additions - Date of work CORE ELEMENT when needed to differentiate RDA 6. 4 The earliest date associated with a work – either when it was created, or when first published/released Take from any source Year(s) alone Added after preferred title in parentheses 110 2# $a Connecticut Commission on Children. 240 10 $a Annual report (2005) 34

Additions – Place of origin of work CORE ELEMENT when needed to differentiate RDA 6. 5 The country or other territorial jurisdiction from which a work originated Take from any source Record the place name as instructed in Chapter 16 & B. 11 Added after preferred title in parentheses 130 0# $a Renaissance history (Boston, Mass. ) 35

Additions – Other distinguishing characteristic CORE ELEMENT when needed to differentiate RDA 6. 6 Characteristic other than form, date, or place of origin of work Take from any source In established form (if appropriate) Added after preferred title in parentheses 130 0# $a Genesis (Anglo-Saxon poem) 130 0# $a Genesis (Middle High German poem) 36

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

Authorised access points for works Examples 100 1# $a Freegarde, Tim, author. 245 10 $a Introduction to 245 10/$a waves $c. Introduction Tim Freegarde, to waves / $c Tim Freegarde, Southampton. $d 1965 - $e author. the physics of the University physicsof of University of 100 1# $a Steinbeck, John, $d 1902– 1968, $e author. 240 10 $a Of mice and men (Play) 245 10 $a Of mice and men : $b a play in three acts / $c by John Steinbeck. 38

Parts of a work – One part RDA 6. 2. 2. 9. 1 Record the preferred title for the part by applying the basic instructions at 6. 2. 1 Preferred title for a part of J. R. R. Tolkien’s The lord of the rings: The two towers 240 10 $a Two towers If the part has only a general designation, not a title, use the part designation. Record any numeric designation as a numeral Preferred title for a part of Homer’s Iliad : Book 1 240 10 $a Iliad. $n Book 1 39

Parts of a work – Two or more parts (1) RDA 6. 2. 2. 9. 2 For consecutively numbered parts, with only a general designation: Record the designation of the parts in the singular, followed by the inclusive numbers of the parts Preferred title for the first six books in Homer’s Iliad 240 10 $a Iliad. $n Book 1 -6 40

Parts of a work – Two or more parts (2) For unnumbered or non-consecutively numbered parts: Cambridge policy is to follow the alternative instruction at 6. 2. 2. 9. 2 and record the conventional collective title Selections as the preferred title for the parts Preferred title for a parts of the work in a compilation comprising J. R. R. Tolkien’s The fellowship of the ring and The two towers, but not The return of the king 240 10 $a Lord of the rings. $k Selections Preferred title for the parts of the work in a compilation comprising books 1 and 6 of Homer’s Iliad 240 10 $a Iliad. $k Selections 41

Authorised access point for part(s) of a work RDA 6. 27. 2 Generally: § preferred title for part(s) § preceded by authorised access point for the creator, if appropriate Authorised access point for part of J. R. R. Tolkien’s The lord of the rings: The two towers 100 1# $a Tolkien, J. R. R. $q (John Ronald Reuel), $d 1892 -1973, $e author. 240 10 $a Two towers 42

Authorised access point for part(s) of a work – Exceptions 6. 27. 2. 2 & 6. 27. 2. 3 Applies to: § non-distinctive titles § serials and integrating resources § television/radio programs § consecutively-numbered parts Instruction: § preferred title for part(s) § preceded by authorised access point for the work 43

Authorised access point for part(s) of a work – Exceptions – Example Authorised access point for part of Homer’s Iliad: Book 1 “Authorised access point” (Creator a. a. p. + Preferred title) for part of Homer’s Iliad: Book 1 100 0# $a Homer, $e author. 240 10 $a Book 1 “Authorised access point” (Creator a. a. p. + Preferred title) for part of Homer’s Odyssey: Book 1 100 0# $a Homer, $e author. 240 10 $a Book 1 Authorised access point (Work a. a. p. + Preferred title) for part of Homer’s Iliad: Book 1 100 0# $a Homer, $e author. 240 10 $a Iliad. $n Book 1 44

Compilations & Collaborations Works may be either compilations or collaborations Decision determines how each is “identified” Compilations RDA 6. 27. 1. 4 Collaborations RDA 6. 27. 1. 3 45

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

Multiple works by one creator Must be treated as a compilation as there are no collaborators Identified by: Creator + Preferred title RDA 6. 2. 2. 10 – constructing preferred title RDA 6. 27. 1. 2 – constructing access point 47

Preferred title for one-creator compilations – Complete works RDA 6. 2. 2. 10. 1 Record the conventional collective title: Works Preferred title for a compilation of the complete works of William Shakespeare: 100 1# $a Shakespeare, William, $d 1564– 1616, $e author. 240 10 $a Works 48

Preferred title for one-creator compilations – Complete works in a single form RDA 6. 2. 2. 10. 2 Record the chosen conventional collective title from the list: Correspondence, Essays, Novels, Plays, Poems, Prose works, Short stories, Speeches Exceptionally, if none of these is appropriate, choose another in consultation with supervisor Preferred title for compilation of all Baudelaire’s poetry: 100 1# $a Baudelaire, Charles, $d 1821 -1867, $e author. 240 10 $a Poems 49

Preferred title for one-creator compilations – Selections (1) RDA 6. 2. 2. 10. 3 Alternative For compilations of two or more (but not all) works, assign a conventional collective title as directed in: § 6. 2. 2. 10. 1 (for more than one form), or § 6. 2. 2. 10. 2 (for a single form), and add Selections No need to consider whether or not title proper is “distinctive” Also provide access points for all contained works unless unduly onerous 50

Preferred title for one-creator compilations – Selections (2) Preferred title for a resource containing selections from Shakespeare’s plays and sonnets: 100 1# $a Shakespeare, William, $d 15641616, $e author. 240 10 $a Works. $k Selections Preferred title for a selection of poems by Baudelaire: 100 1# $a Baudelaire, Charles, $d 1821 -1867, $e author. 240 10 $a Poems. $k Selections 51

Compilation of 2 works by same creator – Example (1) AACR 2: Use the title proper of the first work as the preferred title (but this misidentifies the compilation) 100 245 505 1# 10 10 0# $a Miller, Arthur, $d 1915 -2005. $a Archbishop’s ceiling $a Two plays / $c Arthur Miller. $a The Archbishop’s ceiling -- The American clock. 700 12 $a Miller, Arthur, $d 1915 -2005. $t American clock. 52

Compilation of 2 works by same creator – Example (2) RDA: Use a conventional collective title 100 245 505 1# 10 10 0# $a Miller, Arthur, $d 1915 -2005. $a Plays. $k Selections $a Two plays / $c Arthur Miller. $a The Archbishop’s ceiling -- The American clock. 700 12 $a Miller, Arthur, $d 1915 -2005. $t Archbishop’s ceiling. *700 12 $a Miller, Arthur, $d 1915 -2005. $t American clock. * Second 700 is not core, but is Cambridge policy 53

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

Preferred title for compilations of works by multiple creators Identify the compilation by its preferred title (RDA 6. 27. 1. 4) If the work is a compilation of works by different persons, families, or corporate bodies, construct the authorised access point representing the work using the preferred title for the compilation A compilation of stories by different authors: 245 00 $a Working-class stories of the 1890 s / $c edited with an introduction by P. J. Keating. 700 1# $a Keating, P. J. , $e editor of compilation. In this case the preferred title is the title proper 55

Compilation of works by multiple creators lacking a collective title RDA 6. 27. 1. 4 Generally use the title proper of the first work in the compilation as the preferred title, and provide authorised access points for all contained works unless unduly onerous 56

Compilation of works by multiple creators lacking a collective title – Example (1) AACR 2: Use the title proper of the first work as the preferred title (but this misidentifies the compilation) 100 1# $a Polk, Sharon. 240 10 $a Community band concerts 245 10 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 700 12 $a Swanson, Terri. $t Fall harvest festivals. 57

Compilation of works by multiple creators lacking a collective title – Example (2) RDA: Use the title proper of the first work as the preferred title (follow LC-PCC PS and do not devise a title) 245 00 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 700 12 $a Polk, Sharon. $t Community band concerts. *700 12 $a Swanson, Terri. $t Fall harvest festivals. * Second 700 is not core, but is Cambridge policy 58

Collaborative works RDA 6. 27. 1. 3 Principally-responsible, or first-named creator Exceptions: § moving image resources § some resources involving both corporate bodies and persons § some musical collaborations § treaties § most serials 59

Multiple creators - Principal responsibility No major change from AACR 2, except for “added entries” 100 1# $a Sweet, Martha, $e author. 245 10 $a Georgia history / $c by Martha Sweet and Linda Bruce ; with contributions by Gus Peterson and Marilee James. *700 1# $a Bruce, Linda, $e author. *700 1# $a Peterson, Gus, $e author. *700 1# $a James, Marilee, $e author. * Cambridge policy: provide authorised access points for additional creators unless unduly onerous 60

Multiple creators - No principal responsibility (1) AACR 2: “Enter” under title, with no 1 XX field 245 00 $a Architecture / $c by Susan Brown … [et al. ]. 700 1# $a Brown, Susan. Other authors (Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson) listed on source, but not recorded in 245 61

Multiple creators - No principal responsibility (2) RDA: Precede preferred title by first-named creator 100 1# $a Brown, Susan, $e author. 245 10 $a Architecture / $c by Susan Brown, Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson. *700 1# $a Carlson, Melanie, $e author. *700 1# $a Lindell, Stephen, $e author. *700 1# $a Ott, Kevin, $e author. *700 1# $a Wilson, Janet, $e author. * Cambridge policy: provide authorised access points for additional creators unless unduly onerous 62

More information The slides for this presentation, along with lots of other RDA resources and documentation, are available from: http: //www. lib. cam. ac. uk/libraries/login/RDA/docs. html 63