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RDA & Authorities: A MOUG Panel Discussion

RDA & Authorities: A MOUG Panel Discussion. February 25, 2014. Kathy Glennan, University of Maryland Jean Harden, University of North Texas Morris Levy, Northwestern University. What Do We Mean?. Creating authority records using RDA

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RDA & Authorities: A MOUG Panel Discussion

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  1. RDA & Authorities:A MOUG Panel Discussion February 25, 2014 Kathy Glennan, University of Maryland Jean Harden, University of North Texas Morris Levy, Northwestern University

  2. What Do We Mean? • Creating authority records using RDA • Creating authorized access points in bibliographic records, following RDA • Some not supported by name-authority records

  3. Problems In Both Cases • Keeping current with changes in RDA, LC-PCC Policy Statements, MLA Best Practices, etc. • Avoiding split files • Balancing the need to create accurate access points and/or authority records with overall cataloging productivity • Dealing with authority records that have the • Maintenance of AAPs may be out of your control 667 of doom

  4. Panelists’ Comments

  5. Your Questions

  6. Question #1: Arrangements Work with a distinctive title, arranged for another medium • Should I create an authority for the work, and not for the expression? • How should I encode the 382?

  7. Question #2: Excerpts, Arranged Two excerpts from a ballet, each from a different act, arranged, with the title: Adagio and Andante for bassoon and piano • When I create the ARs for the two, how would I use the title proper of the expression and in which AR would it be included as a VAP? 1st AAP: 100 1 Name. $t Ballet title. $p Distinctive title of one part; $o arranged Possible VAP: 400 1 Name. Adagio, $m bassoon, piano 2nd AAP: 100 1 Name. $t Ballet title.  $p Distinctive title of the other part; $o arranged Possible VAP: 400 1 Name. Andante, $m bassoon, piano Would I use “Adagio and andante, $m bassoon, piano” in either AR?

  8. Question #3: Key If the key is known or can be determined, • Is it included in a new AAP with a generic title, regardless of the period of composition or whether or not it was stated on the resource or other source? • Should it be added to an existing AAP with a generic title for a pre-20th century work as part of updating the record to RDA?

  9. Question #4: Which RDA Instructions? What parts of RDA and which LC-PCC Policy Statements or Best Practices can/should be brought to bear on the following: • Title consists of a word meaning Song or Lied(er). The work is for solo voice with accompanying instrumental ensemble consisting of violin, viola, clarinet, and piano. • Title is distinctive but requires qualifier to break a conflict. Work is for solo voice with accompanying instrumental ensemble consisting of violin, viola, clarinet, and piano. • How would each situation change if the accompanying ensemble were larger, e.g. saxophone, flute, oboe, 2 violins, viola, 2 trombones, cello, double bass, and 2 percussionists? Are there any circumstances under which it would be correct to use the term “instrumental ensemble” in an authorized access point for a vocal work for solo voice?

  10. Question #5: Content of 368 Field Why aren’t catalogers using the 368 Field to describe corporate bodies’ fields of activity or essential natures? • LCSH is weak in this regard – is there any move afoot to address this? • Can we enter free text in the 368 Field instead?

  11. Question #6: Punting on Access Points? • What should I do for a CD of polyphonic chansons from the 1300s and 1400s by different composers, with no hope of determining the preferred title for each of the pieces? • Make 700s for each the composer’s names without an attempt to add a title? • In RDA, would I just use $e composer, the relationship designator from Appendix I? • If I do end up with an authorized access point that’s collective, e.g., “Instrumental music. Selections”, how do I use $i (Contains work)? Isn’t the singular form misleading?

  12. Question #7: Order of Additions to AAPs Has the prescribed order for additions to name/title authorized access points changed? • Under AACR2, the prescribed order was: • $o arranged • $s format • $l language • $k Selections The exception to this was that $o arr. followed $k Selections when it was the last element • Is this still the order under RDA?

  13. Question #8:Arrangements/Transcriptions Have the instructions changed between AACR2 & RDA about what constitutes an arrangement vs. a new work? • Simplified versions for the same medium are addressed, but what about elaborations?

  14. More Questions?!

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