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RDA

♪ Music Cataloging at Yale [1] ♪

Note: this page was created with music cataloging in mind.

See also Preferred titles [2]

  • Best practices for music cataloging using RDA and MARC 21 [3] (RDA Toolkit, requires subscription)
  • Transcription [4] (RDA 1.7) including capitalization [5] and abbreviations [6]
    • Capitalization of foreign terms [7] based on RDA Appendix A
  • Recording numbers [8] (RDA 1.8) and dates [9] (RDA 1.9)
  • Copy or new edition [10]? (LC-PCC PS for 2.1) and Revised editions [11]
  • Preferred source of information [12] (RDA 2.1.2.2-3 and 2.2)
  • Titles [13] (RDA 2.3)
    • Title proper [14]
    • Parallel title proper [15]
    • Other title information and other parallel title information [16]
    • Variant title [17]
  • Statement of responsibility for titles [18] (RDA 2.4)
  • Edition statement [19] (RDA 2.5)
  • Production, publication, distribution & manufacture statements and copyright date [20] (RDA 2.7-2.11)
  • Content, media, and carrier type [21] (RDA 6.9, 3.2, 3.3 & MARC 336-338)
  • Extent and dimensions for notated music and text [22] (from RDA 3.4 & 3.5)
  • Sound characteristics [23] (RDA 3.16 & MARC 344)
  • Describing content [24] (from RDA Chapter 7)
  • Publisher's and plate number for music [25] (RDA 2.15.2 & 2.15.3)
  • Names
    • Persons
      • Recording names [26] (RDA 8.4-8.5)
      • Identifying, choosing, and recording preferred and variant names for persons [27] (RDA 9.0-9.2)
        • Surnames that include an article and/or preposition [28] (RDA F.11) | Entry element for Spanish and Portuguese surnames [29]
      • Recording other attributes of persons [30] (RDA 9.3-9.18)
      • Constructing access points and variant access points to represent persons [31] (RDA 9.19-9.2)
      • LC/PCC practice for creating NARs for persons who use pseudonyms [32]
  • Relationship designators
    • Metadata Guidance Documentation: Relationship Labels [33] (LC)
    • relationship designators between: a resource and persons, families, and corporate bodies associated with the resource [34] (RDA Appendix I) | works, expressions, manifestations [35] (RDA Appendix J)
    • From PCC:
      • Training Manual for Applying Relationship Designators in Bibliographic Records [36]
      • PCC Guidelines for the Application of Relationship Designators in NACO Authority Records [37] (Word document)
  • RDA short checklists [38] (Yale)
  • FRBR
    • FRBR, WEMI & music [39]
  • AACR2 to RDA
    • A brief overview of some of the changes from AACR2 to RDA [40]
  • RDA and MARC
    • RDA to MARC bibliographic mapping [41] (maps RDA elements to corresponding MARC 21 bibliographic elements; in RDA Toolkit)
    • RDA in MARC [42]
    • Examples of MARC RDA record [43] (from RDA Steering Committee) (in RDA Toolkit)
  • Presentations
    • RDA for music: classical music audio recordings [44]
    • RDA for music : popular, jazz, and world music audio recordings [45]
    • A brief introduction to RDA for scores & sound recordings [46] / Nancy Lorimer
    • RDA and sound recordings—a cataloging workshop [47] / Kathy Glennan
    • RDA and music basics: scores [48] (ALA webcast) / Kathy Glennan
    • RDA and music basics: sound recordings (ALA webcast) / Kathy Glennan
  • RDA YouTube channel [49]

A brief overview of some of the changes from AACR2 to RDA

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Terminology | Abbreviations | Dimensions | Recording and transcribing | Inaccuracies, omissions | Dashes, brackets
Chief/preferred source | Edition statement | Publication statement | Publication dates and copyright/phonogram dates
Extent (RDA 3.4)/Physical description (AACR2) | Physical description of sound recordings | General material designation | Notation | Uniform titles/Preferred titles

Sources:
RDA and sound recordings—a cataloging workshop [51] by Kathy Glennan
A brief introduction to RDA for scores & sound recordings [46] by Nancy Lorimer
Changes from AACR2 to RDA: a comparison of examples [52] by Adam L. Schiff, Principal Cataloger, University of Washington Libraries
Significant changes for cataloging music: AACR2 vs. RDA [53] by Daniel Paradis, Concordia University
Terminology:
Some RDA terminology differs from that of AACR2:
AACR2 RDA
heading authorized access point (AAP)
uniform title preferred title [2]; conventional collective title
physical description carrier [54]
sound disc, etc. audio disc, etc.
author creator (includes composers, librettists, lyricists)
performer contributor
chief source preferred sources [12]
general material designator

content, media, and carrier type

Abbreviations: [6]

From Kathy Glennan, MLA-L, 1/17/2014

  • RDA generally eschews abbreviations. The primary exceptions are for:
    • Units of measurement
    • Abbreviations that are regularly used in resources and are commonly understood by users (e.g., "SATB", "op.")
    • Abbreviations that a resource uses to identify itself (e.g., "BWV" instead of "Bach-Werke-Verzeichnis")

Abbreviations are used only when they appear on the resource. The exceptions are no. and op. (which will be used the same way as they were in AACR2: in the title area, abbreviate only when abbreviated on the item; abbreviate in access points), thematic index numbers, voice range (SATB, etc.), and units of measurements.
     Use "in." for inches; however, "cm" is no longer considered to be an abbreviation
Use "stereo" and "mono" (also no longer considered to be abbreviations), but spell out other terms ("quadrophonic," etc.)

AACR2 RDA
p. pages
ca. approximately
i.e. that is
acc. accompanied
unacc. unaccompanied
arr. arranged
ill. illustrations
col. color
facsim. facsimile
ed. edition
S.l. [place of publication not identified]
s.n. [publisher not identified]
n.d. [date of publication not identified]
Examples of some of changes to abbreviations used in the physical description (extent of item)
AACR2 RDA
3 vol. 3 volumes
ca. 200 p. approximately 200 pages
48 [i.e. 96] p. 48, that is, 96 pages
[16] p. of plates 16 unnumbered pages [55] of plates
Dimensions [56]:
AACR2: the system of measurement used to record dimensions varies depending on the type of resource.
RDA: metric units are used. (LCPS 3.5.1.3 allows for using inches for discs (RDA 3.5.1.4.4))

Metric units:
AACR2: they are considered abbreviations and are followed by a full stop (e.g., cm.)
RDA: they are treated as symbols and are not followed by a full stop (e.g., cm).

Examples of changes to abbreviations used in dates [57] in authorized access points representing persons (formerly known as name headings)

AACR2 RDA LC practice (when it varies from RDA)
b. 1825 born 1825 1825-
d. 1859 died 1859 -1859
fl. flourished active
ca. 1837 approximately 1837 ----
1836 or 7 1836 or 1837 ----
18th cent. 18th century ----
16th/17th cent. active 16th century-17th century ----
Recording and transcribing:
RDA differentiates between recording and transcribing [4] elements.
   ° Recorded elements: the found information is often adjusted
   ° Transcribed elements: the data is accepted as found on the resource
   ° The transcribed elements are:
Element Associated MARC field
title 245 ‡a, ‡b
statement of responsibility 245 ‡c
edition statement 250 ‡a, ‡b
numbering of serials 490 ‡v
production statement 264 _0 ‡a, ‡b, ‡c
publication statement 264 _1 ‡a, ‡b, ‡c
distribution statement 264 _2 ‡a, ‡b, ‡c
manufacture statement 264 _3 ‡a, ‡b, ‡c
series statement 490 ‡a

New to RDA:
Capitalization [5]: RDA Appendix A: LC policy is to follow the capitalization on the resource or follow the instructions in Appendix A.
Diacritics [58]: Transcribe when they appear; not necessary to add them when they are omitted from the resource.
Abbreviations [6]: RDA Appendix B: Transcribe as found on the RDA preferred source; otherwise do not use abbreviations

Other things:
Parallel titles [15] may be taken from anywhere on the resource, and are not enclosed in brackets
   ° However, other title information [16] must be taken from the same source as the title proper
Statement of responsibility [18] may be taken from anywhere on the resource
   ° Transcribe title, terms of address, etc.
   ° Transcribe all persons named, even when there are four or more
Edition statement:
   ° Abbreviations are used only when they appear on the resource
   ° Use the form of numbering (e.g., Arabic, roman, etc.) that appear on the resource

Inaccuracies, omissions [59]:
AACR2: Inaccuracies are transcribed followed either by [sic] or by "i.e." and the correction in square brackets. Missing letter(s) are supplied in square brackets.
RDA: Inaccuracies are transcribed as they appear on the source of information. If necessary, a note may be made correcting the inaccuracy, and the title as corrected may be recorded as a variant title if it is considered important for access.

Examples
AACR2 1.0F
245 10 ‡a Morton Feldmans Untiteled [sic] composition für Cello und Klavier
246 3  ‡a Morton Feldmans Untitled composition für Cello und Klavier

RDA 1.7.9, 2.3.1.4
245 10 ‡a Morton Feldmans Untiteled composition für Cello und Klavier
246 3  ‡i Title should read: ‡a Morton Feldmans Untitled composition für Cello und Klavier

AACR2 1.0F
245 00 ‡a Horn sonat[a]s
246 3  ‡a Horn sonats

RDA 1.7.9, 2.3.1.4
245 00 ‡a Horn sonats
246 3  ‡i Title should read: ‡a Horn sonatas

Dashes, brackets
AACR2: ... (ellipses) and [ ] square brackets are replace by — and ( ).
RDA: The punctuation is transcribed as it appears on the source.

Example
Title appears on the resource as
...Huésped de las nieblas...
...Guest from the mists...
for flute and piano

AACR2 1.1B1F
245 10 ‡a --Huésped de las nieblas-- = ‡b --Guest from the mists-- : for flute and piano

RDA 1.7.3
245 10 ‡a ...Huésped de las nieblas... = ‡b ...Guest from the mists... : for flute and piano

Chief/preferred source [12]:
Title:
Scores Sound recordings
AACR2 RDA (2.2.2.2) AACR2 RDA (2.2.2.4)
caption
cover
colophon
other preliminaries
other sources
cover
caption
masthead
colophon
  label*
embedded textual material
elsewhere on the resource
   (container, insert, etc.)
*Use the label:
     ° even when there is a collective title elsewhere on the resource
     ° only if the information found there represents the resource as a whole
For multi-disc sets, use the labels collectively
Edition statement [19]: (250 field) will now encompass elements relating to the format of music that were scattered over various areas in AACR2:
° Musical presentation statement (e.g., Score and parts), an AACR2 element tagged in the 254 field
° Statements of responsibility relating to the format of music (e.g., vocal score by [name]), currently tagged in 245/‡c
° Voice range statements (e.g., High voice)
Publication statement [20]: A new, repeatable MARC field (264) is used for production, publication, distribution, printing, and copyright date
1st indicator: always blank
2nd indicator:  
0= production (for unpublished resources)
1= publication
2= distribution
3= manufacture
4= copyright notice date (optional)

Abbreviations [6] are not used unless they appear on the resource.

Place of publication: if more than one, only the first is required (2.8.2)
   ° Include all hierarchies of place, e.g., New Haven, CT, USA
   ° No requirement to include place in the US if the publisher is not in the US
Publisher name: if more than one, on the first is required (2.8.4)
   ° Use the full name as found on the resource, e.g., Theodore Presser Company, Hildegarde Publishing Company
   ° Include all corporate hierarchies of the name of publisher
Date of publication: record the date as found on the resource
   ° LCPS 1.8.2 (first alternative) says to transcribe roman numerals and not convert to Arabic

Place, name, and/or date of publication not identified on resource:
   ° AACR2: [S.l.], [s.n.], [n.d.]
   ° RDA: [place of publication not identified], [publisher not identified], [date of publication not identified]
      ° LCPS instruction strongly encourages: supply a place of publication in brackets or date in brackets
      ° Each subfield is separately bracketed: D1.2.1: When adjacent elements within one area are to be enclosed in square brackets, enclose each in its own set of square brackets.

from: RDA Basics [60] (PPT)

 
Publication dates and copyright (©)/phonogram () dates [61] are different elements in RDA and the copyright date may not be used for the date of publication.

If the date of publication is unknown, use [Date of publication not identified] or an estimated date in brackets, with a question mark, if necessary.
Copyright/phonogram date is not required if a publication date is known. However, for music materials, it is strongly suggested that copyright/phonogram dates are included, even when they are the same as the publication date.
   ° Record the latest copyright date; for recordings, prefer dates over © dates.

Extent [22] (RDA 3.4)/Physical description (AACR2):
The number and type of units (a physical or logical constituent of a resource; e.g., a volume, audiocassette, film reel, a map, a digital file) and/or subunit (a physical or logical subdivision of a unit; e.g., a page of a volume, a frame of a microfiche, a record in a digital file)
   Give the extent if the resource is complete or if the total extent is known

Use the appropriate term, which may be a term from the carrier type list (3.3.1.3 [54]) or a general term (3.4.1.3)

Notated music:
Some terms are no longer used.

AACR2 RDA
(see 7.20.13 or metadata registry [62] for a full list of terms)
v. of music, p. of music, leaves of music score
close score condensed score (now used for both vocal and instrumental scores)
miniature score study score
Examples
AACR2 RDA
16 p. of music 1 score (16 pages)
1 miniature score 1 study score
1 close score 1 condensed score
1 sound disc 1 audio disc
1 sound cassette 1 audiocassette
Physical description of sound recordings:
Most terms for types of carriers used in the extent are modified. The word "sound" is discontinued to avoid confusion with content.
AACR2 RDA
sound cartridge audio cartridge
sound disc audio disc
piano, [etc.] roll audio roll
sound cassette audiocassette
sound tape reel audio tape
sound track film reel, [cassette, etc.] sound-track reel
Additionally, some details are given even if they are standard for the type of resource:
° type of recording: analog, digital (3.16.2.3)
° recording medium (3.16.3.3)
° playing speed (3.16.4.3)
° groove characteristic (3.16.5.3) (e.g., microgroove)
° track configuration (3.16.6.3)
° tape configure (number of tracks on an audiotape) (3.16.7.3) (e.g., 12 track)
° playback (3.16.8.3) (e.g., mono, stereo)
° special playback characteristics (3.16.9.3) (e.g., Dolby, CD audio, DVD audio, MP3, SACD)
° tape configuration (number of tracks on an audiotape)
° dimensions of cartridges and cassettes, including the width of the tape
   ° metric units are used for dimensions, but RDA allows for the use of another system of measure
      (e.g., inches: 4 3/4 in.)
General material designation:

Three new fields (336, 337, 338) collectively replace the General material designation (245 ‡h)
See Content, Media, and Carrier [21] (RDA 6.9, 3.2, 3.3 & MARC 336-338)

Notation [63]: indicating type of notation, even with it is staff notation, is required in RDA (7.13; see also metadata registry [64]) and is given in the 546 field: graphic notation [65], letter notation [66], mensural notation [67], neumatic notation [68], number notation [69], solmization [70], staff notation, tablature [71], tonic sol-fa [72].
Uniform titles/Preferred titles (See also A comparison of uniform titles (AACR2) and preferred titles (RDA) [73] In progress)
Two separate steps in RDA
   1. record attributes (6.2-6.26)
   2. determine which attributes to use in the authorized access point (6.27-6.31)

Authorized access points comprise
   ° preferred name of the creator (if applicable)
   ° preferred title of work (6.2.1 [74], 6.14 [75], 6.28.1.1-6.28.1.8 [76])
   ° additional elements to differentiate among other works/expressions (6.28.1.9-6.28.1.11 [77])

Differences from AACR2:
   ° no equivalent to AACR2's "works of mixed responsibility"
   ° "work(s)" in RDA refers to both individual works and compilations
   ° medium of performance in access point can contain more than three elements
   ° standard chamber combinations (e.g., string quartet, piano trio, etc.) are no longer used
   ° use "cello" not "violoncello"
   ° spell out "acc." "arr." and "unacc."
   ° fewer restrictions on recording key
   ° librettos and operas are considered separate works
Source: RDA and Sound Recordings—A Cataloging Workshop: Cataloging with RDA—Sound Recordings [51]

RDA open metadata registry [78] (controlled lists of vocabulary to be used in RDA) related to music:
   ° carrier type [79] (includes all, not just music)
   ° content type: notated music [80], tactile notated music [81], performed music [82]
   ° format: notated music [83]
   ° extent: notated music [62], performed music [84] (includes non-audio carriers that may or may not apply to performed music)

Specific to sound recordings:
   ° type of recording [85], configuration of playback channels [86], special playback characteristics [87], generation of audio recording [88]
Specific to notated music:
   ° other distinguishing characteristics of the expression of a musical work [89]

Medium of performance:
   ° medium of performance [90], instrumental music for orchestra, string orchestra, or band [91], standard combinations of instruments [92], solo voices [93], choruses [94]
      See also Library of Congress Medium of Performance Thesaurus for Music [95] (not RDA)

Capitalization of foreign terms

Music Cataloging at Yale [1] ♪ RDA [50]

Capitalization of foreign terms based on RDA Appendix A

Note: this page was created with music cataloging in mind.

name headings | other areas of the bib record | calendar divisions, time periods | other: hyphenated prefixes, single letters, abbreviations, etc. | Miscellaneous See also Capitalization of key, opus, and numbers [96]

Name headings
Personal name headings (See also Recording names (RDA 8.4-8.5) [26])
  English (A10-A.30) French (A.40) German (A.41) Italian (A.43) Spanish (A.53)
Prefixes [28] if in a language other than English, follow the usage of the person; if in doubt, capitalize it prefixes consisting of an article or contraction of an article and a preposition      
Names of corporate bodies
  English French German Italian Spanish
  Yes: capitalize the first word of each name
° the name of an international organization or alliance
  » the full name of a legislative or judicial body; administrative department, bureau, or office; armed force (or component part of an armed force) and an accepted shortened form of name for any of these;
° the name of an institution, association, conference, company, religious denomination or order, local church, etc., or of a department or division and a noun, noun phrase, adjective, or adjectival phrase derived from the name that refers to a member or members of the body
but No: an article preceding the name, even when it is part of the official name;
a generic word (e.g., society, company, conference) when used alone or with an article
1st word, adjective preceding 1st noun, the 1st noun, all proper nouns   1st word, proper nouns, religious terms, word following an adjective denoting royal or pontifical privilege  
(A.2.1) For names with unusual capitalization, follow the capitalization of the commonly known form
Other areas of the bibliographic record
  English French German Italian Spanish
Nouns No
° Plural generic term belonging to two or more proper names
Yes: when it precedes the distinctive nouns
No: when it follows the nouns.
capitalize nouns denoting nationality Yes    
Titles of persons Yes:
° any title or term of honour or address that immediately precedes a personal name;
° the name or abbreviation of an academic degree, honour, religious order, etc.;
° esquire, junior, senior and their abbreviations;
° religious title;
° term of honour or respect;
° epithet occurring with, or used in place of, a personal name;
° name of a people, race, tribe, or ethnic or linguistic group and an adjective derived from such a name;
° name of a language
No: titles designation rank or office
Yes: titles of address or reference
° Saint: No: when refers to a person; Yes: otherwise
  Yes for ceremonial titles consisting of a possessive pronoun and a noun expressing an abstract quality; No: otherwise
° San (santo, etc.): No: when refers to a person; Yes: when it is abbreviated and when it is an integral part of the name of a place, a building, etc.
Yes:
° titles of honour and address when they are abbreviated;
° Su Excelencia, Su Majestad, etc., when used alone, written out or abbreviated but No: when used with a name or another title
Proper name derivatives No: a word derived from a personal or place name when it is used with a specialized meaning No: names of and adjective derived from names of:
  » members of religious groups, etc., political, other organizations;
  &#187 religions;
  » languages;
° adjectives derived from geographic names
° common noun used as a generic word in a geographic name
Yes: nouns indicating nationality, but No: adjectives indicating nationality
Yes: adjectives that consist of a personal name followed by an apostrophe and the ending –sche (including its inflected forms, but No: other adjectives containing a personal name
Yes:
° indeclinable adjectives derived from geographic names;
° adjectives, pronouns, and numerals used as parts of a name or title
No: proper adjectives
No: names of and adjective derived from names of:
  » members of religious groups, etc., political, other organizations;
  &#187 religions;
  » languages;
° adjectives derived geographic and personal names;
Yes: nouns indicating nationality, but No: adjectives indicating nationality
No
Personal pronouns No No No but Yes: Sie and Ihr and their inflected forms when used in formal address No: io but Yes: pronouns of formal address No: yo but Yes: pronouns of formal address
Geographic names Yes: name of a geographic feature, region, etc. but No: a descriptive adjective not part of an accepted name        
Political divisions Yes:
° the name of a political division (e.g., a country, state, province, city);
° a popular name of a place, or the name of a legendary place;
° a word such as empire, kingdom, state, country, and city following a proper name if it is a commonly accepted part of the name but No: when such a word when used alone to indicate a political division.
Yes: état when it refers to the nation   Yes: stato when it refers to the nation  
Names of structures, streets, etc. Yes:
° the name of a building, monument, or other structure, and the name of a road or street
No: words such as avenue, bridge, hotel, and park when they are used alone
No: rue and its synonyms
° église: No: when it indicates a building, but Yes: when it refers to the church as an institution
  No: via and its synonyms
° chiesa: No: when it indicates a building, but Yes: when it refers to the church as an institution
° iglesia: No: when it indicates a building, but Yes: when it refers to the church as an institution
Calendar divisions, time periods
  English French German Italian Spanish
days of the week
months
seasons
centuries
cultural periods
holidays
Yes
Yes
No

Yes
Yes

No
No
 
  No
No

Yes when proper names

No
No
 
Other: hyphenated prefixes, single letters, abbreviations, etc.
  English French German Italian Spanish
Single letters used as words or parts of compounds (e.g., A major; A-Dur [97]) Yes including
° the interjection O or Oh;
° a letter that refers to a letter of the alphabet.
  See Capitalization of key [97]    
Hyphenated compounds 1st part: Yes: when guidelines require
2nd part:
Yes: when
  » it is a noun or a proper adjective;
  » it has the same force as the 1st part
No: when
  » it modifies the 1st part;
  » the 2 parts constitute a single word
       
Hyphenated prefixes No: when joined by a hyphen to a capitalized word, unless other guidelines require its capitalization        
Miscellaneous
  English French German Italian Spanish
      No:
° cardinal numbers under one million;
° adverbs;
° verbal phrases;
° adjectives modifying nouns that are implied if the noun has been expressed elsewhere in the same sentence;
° fractions when they directly precede a noun or a cardinal number
   

Constructing access points (RDA 9.19) and variant access points (RDA 9.2) to represent persons

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

General guidelines on constructing access points (9.19.1) | Title or other designation (9.19.1.2) | Date of birth and/or death (9.19.1.3) | Fuller form of name (9.19.1.4) | Period of activity (9.19.1.5) | Profession or occupation (9.19.1.6) | General guidelines on constructing variant access points (9.19.2.1)

(9.19.1.1) General guidelines on constructing access points
Use the preferred name for the person [98] (9.2.2) as the basis for the access point.

Make additions to the name as instructed at 9.19.1.2-9.19.1.6, in that order, as applicable.
     ° Make the additions specified at 9.19.1.2 even if they are not needed to distinguish access points representing different persons with the same name.
     ° Make the additions specified at 9.19.1.3-9.19.1.6 if they are needed to distinguish access points representing different persons with the same name.

Optional addition: Make the additions specified at 9.19.1.3-9.19.1.6 even if they are not needed to distinguish access points representing different persons with the same name.

If no suitable addition is available, use the same access point for all persons with the same name. Use an undifferentiated name indicator (8.11) to indicate that the name is undifferentiated.

LC practice/PCC practice: Differentiating authorized access points for persons
Include the date of birth and date of death if available in the authorized access point for a person when creating a new name authority record.
If an addition is needed to differentiate the authorized access point for one person from the authorized access point for another person, apply cataloger judgment when choosing to add one of the following (not listed in priority order) to the authorized access point being established:
     ° period of activity of the person,
     ° fuller form of name,
     and/or
     ° profession or occupation.
If there are no additions readily available to differentiate the access point in the new authority record, make an addition to the existing authorized access point.

(9.19.1.2-9.19.1.6) Additions to access points representing persons
(9.19.1.2) Title or other designation associated with the person
Add to the name one or more of the following elements (in this order), as applicable:
     ° a title of royalty (9.4.1.4) or nobility (9.4.1.5)
     ° the term Saint [99] (9.6.1.4)
     ° title of religious rank (9.4.1.6-9.4.1.8)
     ° the term Spirit [99] (9.6.1.5)
     ° the profession or occupation [100] (9.16) for a person whose name consists of a phrase or appellation not conveying the idea of a person.

Exceptions:
° Title of nobility: Add a title of nobility only if the title or part of the title commonly appears with the name in resources associated with the person or in reference sources.
     ° Disregard reference sources dealing with the nobility.
     ° In case of doubt, add the title.
° Saint: Do not add Saint to an access point representing a pope or an emperor, empress, king, or queen.

(9.19.1.3) Date of birth and/or death
Add the date of birth [101] (9.3.2) and/or date of death [102] (9.3.3) if needed to distinguish one access point from another.

Optional addition: Add the date of birth and/or death even if there is no need to distinguish between access points.

LC practice/PCC practice for Optional addition: Authority records:
New records: Add a date of birth and/or date of death to new authority records, even if not needed to distinguish between access points.
Existing records: Unless otherwise changing the 100 field, do not add a date of birth and/or date of death to an existing AACR2 or RDA authorized access point without dates.

LC practice/PCC practice (9.19.11): Giving dates for persons:
     ° If giving both a date of birth and a date of death or giving a span of dates for period of activity, separate the dates with a hyphen.
     ° If giving only a date of birth, use a hyphen after the date
          » Do not use the term "born" with the date.
     ° If giving only a date of death, use a hyphen before the date
          » Do not use the term "died" with the date.
     ° If giving a date or dates for period of activity, use "active" and "century" rather than the abbreviations "fl." and "cent."
          » The term "active" should appear before the first period of activity date (e.g., "active 12th century)

Examples:

Year of birth and death both known:
Year and day of birth needed to resolve conflict:
Jolson, Al, ‡d 1886-1950
Schmidt, Franz, ‡d 1874 December 22-1939
Only year of birth or year of death known:
Year of birth known; year of death unknown:
Year of birth unknown; year of death known:
Year of birth unknown; year of birth questionable:
Gragnani, Filippo, ‡d 1767-
Franck, Melchior, ‡d -1639
Bedyngham, John, ‡d -1459?
Year of birth or death known to be one of two years:
Year of birth one of two years; year of death known:
Year of birth known; year of death one of two years:
Year of birth unknown; year of death one of two years:
Year of birth and year of death both one of two years:
Finck, Heinrich, ‡d 1444 or 1445-1527
Fischer, Johann, ‡d 1646-1716 or 1717
Johnson, John, ‡d -1594 or 1595
Leaumont, Marie Robert, ‡c chevalier de, ‡d 1762 or 1764-1812 or 1814
Approximate dates:
Approximate year of birth; year of death known:
Year of birth known; approximate year of death:
Approximate year of birth; year of death unknown:
Year of birth unknown; approximate year of death:
Both year of birth and death approximate:
Year of birth approximate; year of death one of two years:
Bassani, Giovanni Battista, ‡d approximately 1650-1716
Janitsch, Johann Gottlieb, ‡d 1708-approximately 1763
Št'astný, Jan, ‡d approximately 1764-
Biggs, E. S. ‡q (Edward Smith), ‡d -approximately 1820
Brumel, Antoine, ‡d approximately 1460-approximately 1515
Senfl, Ludwig, ‡d approximately 1486-1542 or 1543
Active dates:
Single year:
Single approximate year:
Range of years:
Range of years; beginning date questionable:
Range of years with approximate beginning year:
Range of years with approximate end year:
Range of years with approximate beginning and end years:
Century:
Period of activity crosses centuries:
Schlick, Arnolt, ‡d active 1512
Browne, John, ‡d active approximately 1490
Reiner, André ‡d active 1828-1831
Goscalch, ‡d active 1385?-1395
Rush, ‡c Mr. ‡q (George), ‡d active approximately 1760-1780
Courteville, Raphael, ‡d active 1687-approximately 1735
De Domarto, Petrus, ‡d active approximately 1470-approximately 1485
Ruiz de Ribayaz, Lucas, ‡d active 17th century
Anthonello, ‡c de Caserta, ‡d active 14th century-15th century
(9.19.1.4) Fuller form of name
Add a fuller form of the person's name [103] (9.5) if needed to distinguish one access point from another.
     ° Make this addition when the person's date of birth or date of death (9.19.1.3) is not available.

Optional addition: Add a fuller form of name even if there is no need to distinguish between access points. Add the fuller form of name before the date of birth and/or death.
LC practice/PCC practice for Optional addition: Authority records:
New records
Apply the option to provide a fuller form of name if a part of the forename or surname used in the preferred name is represented by an initial or an abbreviation, if the cataloger considers it important for identification.
     ° Add unused forenames or surnames only if needed to distinguish one access point from another.
Existing records
Unless otherwise changing an existing heading (e.g., conflict), do not change an existing AACR2 or RDA heading merely to add or remove a fuller form of name.

(9.19.1.5) Period of activity of the person
Add the period of activity of the person [104] (9.3.4) if needed to distinguish one access point from another. Make this addition when the following elements are not available:
     ° date of birth and/or death (9.19.1.3)
     or
     ° fuller form of name (9.19.1.4)

Optional addition: Add the period of activity of the person even if there is no need to distinguish between access points.
LC practice/PCC practice for Optional addition: Do not apply.

(9.19.1.6) Profession or occupation
Add a term indicating the class of persons engaged in the profession or occupation of the person [100] (9.16), if needed to distinguish one access point from another.
Make this addition when the following elements are not available:
     ° date of birth and/or death (9.19.1.3)
     or
     ° fuller form of name (9.19.1.4)
     or
     ° period of activity (9.19.1.5)
(9.19.2.1) General guidelines on constructing variant access points
Use a variant name for the person [105] (9.2.3) as the basis for the access point.

Make additions to the name, if considered important for identification, applying the instructions at 9.19.1.2-9.19.1.6, as applicable.

LC practice/PCC practice: In addition to the reason given in the instruction, also make additions to a variant access point when needed to break a conflict with an authorized access point in another record, or with another variant access point in the same record.

Content, media, and carrier type (RDA 6.9, 3.2, 3.3 & MARC 336-338)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Three new fields (336, 337, 338) collectively replace the general material designation (GMD) (245 ‡h):
     ° Content type (RDA 6.9; MARC 336)
     ° Media type (RDA 3.2; MARC 337)
     ° Carrier type (RDA 3.3; MARC 338)
     ° Examples
  AACR2 RDA
GMD (245 ‡h) content (336) media (337) carrier (338)
score: 245 ‡h [music] notated music unmediated volume or sheet
compact disc: 245 ‡h [sound recording] performed music audio audio disc
volume = one or more sheets bound or fastened together to form a single unit
sheet = RDA definition: a flat piece of thin material (paper, plastic, etc.)
= music-specific definition: a single sheet of notated music

source: Significant changes for cataloging music: AACR2 vs. RDA [106] by Daniel Paradis, Concordia University
 

(6.9) Content type (MARC 336 [107])
Content type is the form of communication through which the content is expressed and the human sense through which it is intended to be perceived.
(6.9.1.2) Sources of Information
Take information on content type from any source.
(6.9.1.3) Recording content type
Record the type of content contained in the resource using one or more of the terms listed in 6.9.1.3. [See music-specific content types below.]
     ° Record as many terms as are applicable to the resource being described.

Record content type as a separate element, as part of an access point, or as both.

If none of the terms listed in table 6.1 apply to the content of the resource being described, record other.
If the content type(s) applicable to the resource being described cannot be readily ascertained, record unspecified.

Content type is coded in the 336 field
In bibliographic records: The form of communication through which a work is expressed.
     ° Used in conjunction with Leader /06 (Type of record), which indicates the general type of content of the resource.
     ° Enables expression of more specific content types and content types from various lists.
In authority records: The form of communication through which a work is expressed
     ° Enables expression of content types from various lists when the authority record is for a title or name/title.
Indicators
1st blank
2nd blank
Subfields
‡a = content type term Content type of the work being described
Take the term from the first column at Term and Code List for RDA Content Types [108]
   ° music specific: notated music, performed music; tactile notated music; moving image
‡b = content type code Code representing the content type of the work being described
Take the code from the second column at Term and Code List for RDA Content Types [108]
Notated-music and sound-recording specific codes for 336/‡a & ‡b and /06:
RDA content type (336/‡a) MARC codes for RDA terms (336/‡b) Leader (/06) codes  
notated music ntm c or d
performed music prm j
‡2 = source MARC code for the source of the term or code used to record the content type information
Take the code from Genre/form code and term source codes [109]
   °‡2 rdacontent
‡3 = materials specified part of the described materials to which the field applies
   °should be placed at the end of field

Sources: MARC 21 for bibliographic data [110] and authority data [107]

If more than one term is appropriate, give each term in a separate 336 field OR use the term representing the predominant or most substantial content.

Best practices for music cataloging [111]: If deemed useful for identification and access, record content type(s) associated with accompanying material that is described in 500 note.
Books or scores issued with audio/video carriers:
     Encode in a separate 336 fields. Also code a 006 field.
     Example:
     006 jsynn######n
     336 text ‡2 rdacontent
     336 performed music ‡2 rdacontent

Audio/video carriers with substantial accompanying volume of text (insert, booklet, etc.):
     Encode in a separate 336 fields.
     Example:
     336 performed music ‡2 rdacontent
     336 text ‡2 rdacontent

If a score contains significant textual matter (e.g., critical commentary, libretto, preface), give "text" in a separate 336 field.
Do not give "text" in a separate 336 field merely to represent words that underlay the notated music.

(3.2) Media type (MARC 337 [112])
Media type is the general type of intermediation device required to view, play, run, etc., the content of a resource.
(3.2.1.2) Sources of Information
Use evidence presented by the resource itself (or on any accompanying material or container) as the basis for recording media type. If desired, take additional evidence from any source.
(3.2.1.3) Recording media type
Record the media type using one or more of the terms listed in 3.1.2.3. [See music-specific media types below.]

Alternative: If the resource being described consists of more than one media type, record only
     ° the media type that applies to the predominant part of the resource (if there is a predominant part)
     or
     ° the media types that apply to the most substantial parts of the resource (including the predominant part, if there is one) using one or more of the terms listed in table 3.1, as appropriate.

If none of the terms listed in table 3.1 apply to the media of the resource being described, record other.
If the media type(s) applicable to the resource being described cannot be readily ascertained, record unspecified.

Media type is coded in the 337 field
In bibliographic records: Media type reflects the general type of intermediation device required to view, play, run, etc., the content of a resource.
     ° Used as an alternative to or in addition to the coded expression of Media type in field 007/00 (Category of material).
     ° Enables indication of more specific media types and media types from various lists.
Indicators
1st blank
2nd blank
Subfields
‡a = media type term Term for the category of media used to convey the content of the resource
Take the term from the first column at Term and Code List for RDA Media Types [113]
   ° music specific: audio, video, computer, unmediated
‡b = media type code Code for the category of media used to convey the content of the resource
Take the code from the second column at Term and Code List for RDA Media Types [113]
Notated-music and sound-recording specific codes for 336/‡a & ‡b and 007/00:
RDA media type (337/‡a) MARC codes for RDA terms (337/‡b) MARC media codes (007/00)  
unmediated (score) n t
audio s s
‡2 = source MARC code for the source of the term or code used to record the media type information
Take the code from Genre/form code and term source codes [109]
   °‡2 rdamedia
‡3 = materials specified part of the described materials to which the field applies
   °should be placed at the end of field

Sources: MARC 21 for bibliographic data [112]

(3.2.1.3) If more than one term is appropriate, record the media type that applies to the predominant part of the resource, or to the most predominant part of the resource, or to the most substantial parts of the resource

Scores: use the term "unmediated" when the resource can be perceived directly through one or more of the human senses without the aid of an intermediating device. This will apply to books and notated music that can be read by the human eye.

(3.2.1.3) Recording media type for:
Recordings: use the term audio for media used to store recorded sound, designed for use with a playback device such as a turntable, audiocassette player, CD player, or MP3 player. Includes media used to store digitally encoded as well as analog sound.

Best practices for music cataloging [114]: Follow LC-PCC PS. Record media type associated with the primary content of a resource in all cases.

If feasible, record media type associated with any accompanying material that is described in 300 ‡e or in a separate 300, as follows. Record multiple instances of media type in separate 337 fields:
Books or scores issued with audio/video carriers:
     Encode in 337 and 007/00.
Audio/video carriers with accompanying volume (insert, booklet, etc.):
     Encode in 337.

(3.3) Carrier type (MARC 338 [115])
Carrier type is the format of the storage medium and housing of a carrier in combination with the type of intermediation device required to view, play, run, etc., the content of a resource.
(3.3.1.2) Sources of Information
Use evidence presented by the resource itself (or on any accompanying material or container) as the basis for recording carrier type. If desired, take additional evidence from any source.
(3.3.1.3) Recording carrier type
Record the type of carrier used to convey the content of the resource using one or more of the terms listed in 3.3.1.3. [See music-specific carrier types below.]
     ° Record as many terms as are applicable to the resource being described.

Alternative: If the resource being described consists of more than one carrier type, record only
     ° the carrier type that applies to the predominant part of the resource (if there is a predominant part)
     or
     ° the carrier types that apply to the most substantial parts of the resource (including the predominant part, if there is one) using one or more of the terms listed below, as appropriate.

If none of the terms listed apply to the carrier type(s) of the resource being described, record other.
If the carrier type(s) applicable to the resource being described cannot be readily ascertained, record unspecified.

Carrier type is coded in the 338 field
In bibliographic records: The form of communication through which a work is expressed.
     ° Enables expression of content types from various lists when the authority is for a title or name/title.
Indicators
1st blank
2nd blank
Subfields
‡a = carrier type term Term for the category of carrier used to convey the content of the resource
Take the term from the first column at Term and Code List for RDA Carrier Types [116]
Music specific:
   ° notated music: volume, sheet
   ° audio: audio cartridge, audio cylinder, audio disc, audio roll, audiocassette, audiotape reel,
      sound-track reel
   ° video: video cartridge, videocassette, videodisc, videotape reel
‡b = carrier type code Code representing the category of carrier used to convey the content of the resource
Take the code from the second column at Term and Code List for RDA Carrier Types [116]
Notated-music and sound-recording specific codes for 338/‡a & ‡b and 007/01:
RDA carrier terms (338/‡a) MARC codes for RDA terms (338/‡b) MARC unmediated carrier codes (007/01)  
volume (score) nc none
sheet (score) nb none
RDA carrier terms (338/‡a) MARC codes for RDA terms (338/‡b) MARC audio carrier codes (007/01)
audio cartridge sg g
audio cylinder se e
audio disc sd d
sound track reel si i
audio roll sq q
audiocassette ss s
audiotape reel st t
other [recording] sz z
‡2 = source MARC code for the source of the term or code used to record the carrier type information
Take the code from Genre/form code and term source codes [109]
   °‡2 rdacarrier
‡3 = materials specified part of the described materials to which the field applies
   °should be placed at the end of field

Sources: MARC 21 for bibliographic data [115]

If more than one term is appropriate, record the carrier type that applies to the predominant or most substantial parts of the resource

Don't confuse carrier type with extent (MARC 300 ‡a), as they have some terms in common:

carrier type [79] extent [84]
audio disc
audiocassette
audiotape reel
audio disc(s)
audiocassette(s)
audiotape reel(s)

Best practices for music cataloging [117]: If feasible, record carrier type associated with any accompanying material that is described in 300 ‡e or in a separate 300, as follows.
Record multiple instances of carrier type in separate 338 fields:
Books or scores issued with audio/video carriers:
     Encode in 338 and 007/01.
Audio/video carriers with accompanying volume (insert, booklet, etc.):
      Encode in 338.

Examples of content, media, and carrier type coded in the 336, 337, and 338 fields:

book:
336 __ text ‡b txt ‡2 rdacontent
337 __ unmediated ‡b n ‡2 rdamedia
338 __ volume ‡b nc ‡2 rdacarrier

score:
336 __ notated music ‡b ntm ‡2 rdacontent
337 __ unmediated ‡b n ‡2 rdamedia
338 __ volume ‡b nc ‡2 rdacarrier

score (1 unnumbered leaf):
2013560306
336 __ notated music ‡2 rdacontent
337 __ unmediated ‡2 rdamedia
338 __ sheet ‡2 rdacarrier

recording:
336 __ performed music ‡2 rdacontent
337 __ audio ‡2 rdamedia
338 __ audio disc ‡2 rdacarrier

score with accompanying recording, using ‡3:
OCLC #893675831
336 __ notated music ‡b ntm ‡2 rdacontent ‡3 score
336 __ performed music ‡b prm ‡2 rdacontent ‡3 CD
337 __ unmediated ‡b n ‡2 rdamedia ‡3 score
337 __ audio ‡b s ‡2 rdamedia ‡3 CD
338 __ volume ‡b nc ‡2 rdacarrier ‡3 score
338 __ audio disc ‡b sd ‡2 rdacarrier ‡3 CD

2013568122
336 __ notated music ‡b ntm ‡2 rdacontent
336 __ performed music ‡2 rdacontent ‡3 CD
337 __ unmediated ‡b n ‡2 rdamedia
337 __ audio ‡2 rdamedia ‡3 CD
338 __ volume ‡b nc ‡2 rdacarrier
338 __ audio disc ‡2 rdacarrier ‡3 CD

OCLC #878958253
336 __ notated music ‡b ntm ‡2 rdacontent ‡3 score
336 __ sounds ‡b snd ‡2 rdacontent ‡3 audio disc
337 __ unmediated ‡b n ‡2 rdamedia ‡3 score
337 __ audio ‡b s ‡2 rdamedia ‡3 audio disc
338 __ volume ‡b nc ‡2 rdacarrier ‡3 score
338 __ audio disc ‡b sd ‡2 rdacarrier ‡3 audio disc

OCLC #902818148
336 __ ‡3 score ‡a notated music ‡2 rdacontent
336 __ ‡3 audio disc ‡a performed music ‡b prm ‡2 rdacontent
337 __ ‡3 score ‡a unmediated ‡2 rdamedia
337 __ ‡3 audio disc ‡a audio ‡b s ‡2 rdamedia
338 __ ‡3 score ‡a volume ‡2 rdacarrier
338 __ ‡3 audio disc ‡a audio disc ‡b sd ‡2 rdacarrier

score and part with accompanying recording, using ‡3:
OCLC #873668584
336 __ ‡3 score and part ‡a notated music ‡b ntv ‡2 rdacontent
336 __ ‡3 disc ‡a performed music ‡b prm ‡2 rdacontent
337 __ ‡3 score and part ‡a unmediated ‡b n ‡2 rdamedia
337 __ ‡3 disc ‡a audio ‡b s ‡2 rdamedia
338 __ ‡3 score and part ‡a volume ‡b nc ‡2 rdacarrier
338 __ ‡3 disc ‡a audio disc ‡b sd ‡2 rdacarrier

2013569166: CD-ROM
336 __ notated music ‡b ntm ‡2 rdacontent ‡3 score
336 __ performed music ‡a notated music ‡2 rdacontent ‡3 CD-ROM
337 __ unmediated ‡b n ‡2 rdamedia ‡3 score
337 __ computer ‡b c ‡2 rdamedia ‡3 CD-ROM
338 __ volume ‡b nc ‡2 rdacarrier ‡3 score
338 __ computer disc ‡b cd ‡2 rdacarrier ‡3 CD-ROM

USB flash drive
336 __ notated music ‡b ntm ‡2 rdacontent ‡3 score
336 __ performed music ‡a notated music ‡2 rdacontent ‡3 USB flash drive
337 __ unmediated ‡b n ‡2 rdamedia ‡3 score
337 __ computer ‡b c ‡2 rdamedia ‡3 USB flash drive
338 __ volume ‡b nc ‡2 rdacarrier ‡3 score
338 __ computer chip cartridge ‡b cb ‡2 rdacarrier ‡3 USB flash drive

book with accompanying recording:
2012465727
336 __ text ‡2 rdacontent
337 __ unmediated ‡2 rdamedia
338 __ volume ‡2 carrier
336 __ performed music ‡2 rdacontent
337 __ audio ‡2 rdamedia
338 __ audio disc ‡2 rdacarrier

Copy or new edition? and Revised editions

Music Cataloging at Yale [1] ♪ RDA [50]

Copy or new edition? (LC-PCC PS for 2.1) and Revised editions

Note: this page was created with music cataloging in mind.

These guidelines LC practice/PCC practice followed to determine whether a resource is a copy of an earlier edition or it is a separate edition requiring a separate bibliographic record.
Copy New edition
Consider that the book is a copy if the only variation is one or more of the following:
° a difference in the printing or copyright date when there is also a publication date;
° a minor variation in an entity's name when a publisher uses multiple forms concurrently;
   » A genuine name change, even if minor, should not be considered a variation;
° the addition, deletion, or change of an ISBN;
° a difference in binding;
or,
° a difference in the edition statement or the series whenever the item is a CIP book issued by the publisher in both a hardbound and a softbound version.
Consider that a new edition is involved whenever:
° there is an explicit indication of changes (including corrections) of content;
or,
° anything in the MARC 245 field, 250 field, 300/‡a, or 4XX field differs from one bibliographic record to another.

Revised editions

From Revised editions [118], Dave Reser, LC Policy & Standards Division, December 2011

New Work New expression
The creator is the same but a title change or other information indicates the resource has a very different scope of content or coverage

The creator has changed but the resource is presented as an adaptation or revision of the previous work:
° adaptation or revision of the previous work and is presented as the work of the adapter/reviser (6.27.1.5)
° Optionally, relate the works with an:
     » unstructured description in a note (500 field)
     or
     » authorized access point (7XX name/title field)
° Optionally, use relationship designators applicable to works (Appendix J.2)
     » Do not use "revision of" because that is an expression relationship
 

The creator is the same and:
° there is no indication there has been a major shift in focus
° it is presented as an edition of the original work

° New expression : no change in title proper
     » probably the most common situation
     » often indicated by new edition statements
     » no need for uniform title

° New expression : title proper changes
          » Change in practice between AACR2 and RDA:

AACR2:
° Do not use a uniform title
° Use "edition and history" note
° Make related work added entry to earlier expression
RDA:
° Use a preferred title (the title of the original work or by which it has become known) (6.27.1.5)
° Use edition statement and other elements to identify expression differences

° New expression : order of creators' names differs
     » construct the authorized access point based on the first resource received (6.27.1.3)

° New expression : additional creator
     » New expression if scope/content not vastly different
     » New work if resource has very different scope/content

Relating expressions
° Use an authorized access point to relate all the expressions of the same work
° Optionally, give information on the previous expression using:
     » unstructured description: 500 note
     » structured description: 775 ("Revision of:")

Describing content (from RDA Chapter 7)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Intended audience (7.7) | Date and place of capture (7.11) | Language of the content (7.12) | Form of notation (7.13) | Illustrative content (7.15) | Format of notated music (7.20) | Medium of performance (7.21) | Duration (7.22) | Performer, narrator, and/or presenter (7.23) | Artistic and/or technical credit (7.24)

These are guidelines on recording the attributes of works and expressions associated with the intellectual or artistic content of a resource that users typically rely on when selecting a resource to meet their requirements relating to content (nature of the content, intended audience, language, etc.)
(7.1.1) Sources of information
Take information used to describe content:
     ° from the resource itself
     ° from sources outside the resource in certain cases
     ° sources of information given for specific elements in RDA chapter 7
(7.2) Nature of the content
The nature of the content is the specific character of the primary content of a resource (e.g., legal articles, interim report).
(7.2.1.2) Sources of information
Take information on the nature of the content from any source.
(7.2.1.3) Recording the nature of the content
Record the nature of the content if it is considered to be important for identification or selection.

Best practices for music cataloging [119]: Make a note describing the genre/form of one or more of the works or expressions embodied in the resource if deemed useful for identification and access (i.e., if the work or expression is not adequately described by the title or by using appropriate genre/form or subject headings).
"Hybrid" notes may be constructed stating both genre/form and medium of performance (7.21), especially if compilations of diverse works can be thus described more concisely than by giving the elements separately.

Examples:
2011568262 Musical in three acts.
2010562599 Song cycle for mixed choir with piano accompaniment.

(7.7) Intended audience
The class of user for which the content of a resource is intended, or for whom the content is considered suitable, as defined by age group (e.g., children, young adults, adults), educational level (e.g., primary, secondary), type of disability, or other categorization.
(7.7.1.2) Sources of information
Take information on the intended audience from any source.
(7.7.1.3) Recording the intended audience
Record the intended audience for the content if the information is stated on the resource or is readily available from another source and is considered to be important for identification or selection.

Best practices for music cataloging [119]: If applying this element, routinely encode 008/22. Additionally, make a note in a 521 field if deemed useful for identification and access.

2012562624
     500 __ "Artist level."
OCLC #826876151
     500 __ 500 "Level: advanced."
OCLC #830536867
     521 8_ "Parental advisory, not suitable for the school run"--Container.
OCLC #823831193
     521 1_ "Ages 5 and up."
OCLC #824151427
     521 8_ Music: Grade 5.
OCLC #774046337
     521 2_ Grades 3-6.
OCLC #826863449
     521 8_ Music: Grade 3-4 (ASTA)
OCLC #793521312
     521 8_ Music: Part 1, Grade 6 +; Part 2, Grade 4-5; Part 3, Grade 2-3; Part 4, Grade 1-2 (ABRSM/Trinity).

(7.11) Place and date of capture
The place and date associated with the capture (i.e., recording, filming, etc.) of the content of a resource.
(7.11.1.2) Sources of information
Take information on the place and date of capture from any source.
(7.11.2.1) Place of capture: the place of capture, naming the specific studio, concert hall, etc., if applicable, in addition to the name of the city, etc.
(7.11.3.1) Date of capture: a date or range of dates associated with the capture (i.e., recording, filming, etc.) of the content of a resource.
Sources of information for place and date of capture
(7.11.2.2) Place of capture
(7.11.3.2) Date of capture
Take information on the place of capture from any source.
Recording place and date of capture
(7.11.2.3) Place of capture Record the place of capture, naming the specific studio, concert hall, etc., if applicable, in addition to the name of the city, etc.
(7.11.3.3) Date of capture record the date of capture, giving the year, month, day, and time, as applicable.
Best practices for music cataloging [119]: For audio and video recordings, routinely record place and date of capture if readily ascertainable, in a 518 field. If feasible, also record place and/or date of capture in a 033 field.

If recording multiple places of capture in 033, include a separate field for each place (along with associated dates). Encode multiple dates within one 033 field as either a range or, if feasible, separately.

Examples:
Only place of capture known:
OCLC #809265083
     033 0_ ‡b 5404 ‡c S7
     518 __ ‡o Recorded live ‡p Teatro Paramount, São Paulo.

Only range of dates of capture known:
OCLC #809369217
     033 20 1965---- ‡a 1968----
     518 __ ‡o Recorded ‡d 1965 to 1968.

Place and single date of capture known:
OCLC #836717407
     033 00 20130327 ‡b 3764 ‡c B6
     518 __ ‡p Recorded in Brown Hall ‡d 27 March 2013.
OCLC #825776096
     033 20 20111028 ‡a 20111029 ‡b 5754 ‡c L7
     518 __ ‡o Recorded ‡d 2011 October 28-29 ‡p Henry Wood Hall, London.
OCLC #826876224
     033 20 20120420 ‡a 20120422 ‡b 5754 ‡c C2
     518 __ ‡o Recorded ‡d 2012 April 20-22 ‡p St John's College Chapel, Cambridge.
OCLC #802332076
     033 20 20111128 ‡a 20111201 ‡b 3804 ‡c N4
     518 __ ‡o Recorded at ‡p Avatar Studios, NYC, ‡d 2011 November 28-December 1.

Place and month of capture known:
OCLC #825042684
     033 20 201108-- ‡b 6299 ‡c B3
     518 __ ‡o Recorded ‡d 2011 August ‡p Teldex Studio Berlin.
OCLC #826126819
     033 00 19800429 ‡b 3804 ‡c N4
     033 00 1954----
     518 __ ‡o Recorded ‡d 1980 April 29 ‡p The Juilliard Theater, New York.
     518 __ ‡3 Bonus tracks ‡o recorded ‡d 1954.

Multiple years of capture known:
OCLC #787796719
     033 20 1959---- ‡a 1961----
     518 __ ‡3 Tracks 1-14, 19-22, 27-35 ‡o recorded ‡d 1961.
     518 __ ‡3 Tracks 15-18, 25-26 ‡o recorded ‡d 1960.
     518 __ ‡3 Tracks 23-24 ‡o recorded ‡d 1959.

Single place and multiple years of capture known:
OCLC #824910274
     033 10 1988---- ‡a 1990---- ‡a 1991---- ‡b 5754 ‡c L7
     518 __ ‡3 Discs 1 and 3 ‡o recorded ‡d 1990 ‡p Rosslyn Hill Chapel, Hampstead, London.
     518 __ ‡3 Disc 2 ‡o recorded ‡d 1991 ‡p Rosslyn Hill Chapel, Hampstead, London.
     518 __ ‡3 Disc 4 ‡o recorded ‡d 1988 ‡p Rosslyn Hill Chapel, Hampstead, London.
OCLC #829993730
     033 10 19940628 ‡a 19940629 ‡a 19940428 ‡a 19940429 ‡b 6299 ‡c B3
     518 __ ‡3 Tracks 1-6 ‡o recorded ‡d 1994 June 13-14 ‡p Saal 1, Deutschland Radio Berlin.
     518 __ ‡3 Tracks 7-15 ‡o recorded ‡d 1994 April 28-29 ‡p Saal 1, Deutschland Radio Berlin.

Multiple places and dates of capture:
OCLC #826859539
     033 00 19300602 ‡b 5834 ‡c P3
     033 00 1930---- ‡b 3804 ‡c N4
     033 00 19310513 ‡b 5754 ‡c L7
     518 __ ‡3 Tracks 1-2 ‡o recorded ‡d 1930 June 2 ‡p Salle Chopin, Paris.
     518 __ ‡3 Track 3 ‡o recorded ‡d 1930 ‡p New York.
     518 __ ‡3 Tracks 4-11 ‡o recorded ‡d 1931 May 12-13 ‡p Studio C, Small Queen's Hall, London.
OCLC #818251761
     518 __ ‡o DVD segments filmed ‡d 1974-2008, ‡p various locations in Norway.
     518 __ ‡o CD recorded ‡d 2008 June, ‡p Sollia, Norway.

(7.12) Language of the content
a language used to express the content of a resource.
(7.12.1.2) Sources of information
Take information on the language of the content from any source.
(7.12.1.3) Recording language of the content
Record details of the language or languages used to express the content of the resource if they are considered to be important for identification or selection.

LC-PCC PS: In addition to recording the language of the primary content, also supply the languages of other content (summaries, tables of contents, etc.) if it will assist identification and selection.

Form of language:
When naming a language in a note, base the name on the form found in the current edition of MARC Code List for Languages [120], which provides for some alternatives to the language names in ISO 639-2, in order to correlate the MARC language names with those used in Library of Congress Subject Headings. Note the following when using the names from the code list:
1. Use the name found in boldface type.
2. Use the name for a specific language rather than the name of a language group.
3. Do not include parenthetical dates that appear with the name.
4. Retain other parenthetical qualifiers that appear with the name.
5. For the early form of a modern language that is found in an inverted form, use the early form in direct order within parentheses following the modern language.

Best practices for music cataloging [119]: Follow LC-PCC PS. That is, routinely record language for the following linguistic content:
     ° Text underlying printed music (scores) (008/35-35, 041 ‡a)
     ° Sung or spoken text (sound recordings) (008/35-35, 041 ‡d)
     ° Text presented separately (e.g., librettos) (041 ‡e)
     ° Subtitles (041 ‡j)
     ° Language of accompanying text (e.g., critical commentary, program notes) (041 ‡g)
If readily ascertainable, also record:
     ° Original language of printed, sung or spoken text (041 ‡h)
     ° Original language of text presented separately (e.g., librettos) (041 ‡n)
     ° Original language of accompanying text (‡m)
Optionally, explain the language content in a 546 field (for primary language content) and/or a 500 field (for accompanying text), if deemed useful for identification and access.

Examples:
Single language, no accompanying material:
201256436
     lang: tat
     546 __ Tatar words.
2012564436
     lang: eng
     546 __ Sung and spoken in English

Single language, with accompanying material in the same language:
2012317063
     lang: por
     546 __ Portuguese words.
     500 __ Program notes and commentaries in Portuguese.

Single language, with accompanying material in a different language:
2012563317
     lang: lat
     041 0_ ‡a lat ‡g ger
     546 __ Latin words.
     500 __ ‡a Includes critical report in German.

Single language, with accompanying material in the same language and one other language:
2013560384
     lang: alb
     041 0_ ‡a alb ‡g alb ‡g eng
     546 __ Albanian words.
     500 __ Introduction in Albanian and English.

Multiple languages, neither of which is a translation of the other:
2011568076
     041 0_ ‡a eng ‡a lat
     500 __ Words in English or Latin.

Multiple languages, one of which is the translated language:
2011564848
     lang: mul
     041 1_ ‡a eng ‡a mac ‡a scr ‡a slv ‡a srr ‡h mac ‡h scr ‡h slv ‡h srr
     546 __ Texts in English and the original languages: Croatian, Macedonian, Serbian, and Slovenian.

Multiple languages, none of which is a translation; with accompanying material:
2013560342
     lang: mul
     041 0_ ‡a ger ‡a gre ‡a lat ‡e ger ‡e gre ‡e lat ‡e eng ‡g eng ‡n gre ‡n lat
     546 __ Latin, Greek, and German words.
     500 __ Composer's notes in English also include texts with English translation.

Multiple languages, only the predominant listed; with accompanying material in one of the languages:
2010563377
     041 0_ ‡a eng ‡a lat ‡g eng
     546 __ Principally English and Latin words.
     500 __ Includes notes by the composer.

Single translated language; the original language is not included in the resource:
2012564241
     041 1_ ‡a eng ‡h ger
     546 __ Words in English; originally in German.

Two languages one of which is a translation of the other:
2012564402
     041 1_ ‡a ger ‡a ita ‡h ita
     546 __ Italian words with interlinear German translation.

Two languages, one of which is a translation of the other; includes accompanying material in both languages:
2012560098
     lang: ger
     041 1_ ‡a ger ‡a eng ‡h ger ‡g ger ‡g eng
     546 __ German words with underlaid English translation.
     500 __ Preface in German and English.
2013560514
     041 1_ ‡a eng ‡a ger ‡g eng ‡g ger ‡h ger ‡m ger
     546 __ German words with English translation by Henry S. Drinker revised by John Coombs.
     500 __ Preface in German with English translation.
2013568182
     041 1_ ‡a eng ‡a cze ‡e cze ‡e eng ‡g eng ‡h cze
     546 __ English and Czech words; translated from Czech.
     500 __ Preface includes biography and notes on opera in English.
     500 __ "Czech pronunciation guide with English equivalent sounds and translation"--Page [10].

Two languages, neither of which is a translation of the other; includes accompanying material in two languages, one of which is a translation of the other:
2012564395
     lang: nor
     041 0_ ‡a nor ‡a ger ‡a eng ‡e nor ‡e ger ‡e eng ‡g eng ‡g ger ‡m nor ‡n eng
     546 __ Norwegian and German words with English translation also printed as text preceding each song.
     500 __ Preface in English with German translation.

(7.13) Form of notation
a set of characters and/or symbols used to express the content of a resource.
(7.13.1.2) Sources of information
Take information on the form of notation from any source.
(7.13.1.3) Recording form of notation
Record the following information, as applicable to the content of the resource:
     ° the script used to express the language content (7.13.2)
     ° the form of musical notation used to express the musical content (7.13.3)
     ° See RDA for other forms of notation
(7.13.2) Script
a set of characters and/or symbols used to express the written language content of a resource.
LC-PCC PS: Script is a core element for LC if a language is commonly written in more than one script, and if the resource is in a script other than the primary one for the language.
(7.13.2.2) Sources of information
Take information on the script from any source.
(7.13.2.3) Recording scripts and (7.13.2.4) Details of scripts
(7.13.2.3) Record the script or scripts used to express the language content of the resource using one or more of the terms listed in ISO 15924.
LC practice/PCC practice: Use the English language names of scripts [121]. Generally do not include the parenthetical information found in the list when recording the script name. If a resource is in a language that is commonly written in more than one script, name both the language and the script.
If the resource is in a script other than the primary one for the language, name both the language and the script in the language note (MARC 546).

(7.13.2.4) Record details of the script or scripts used to express the language content of the resource if they are considered to be important for identification or selection.
LC practice/PCC practice: When recording complex notes involving multiple languages, record information about both the language and script in ‡a (Language note) of 546 field (language and script in same subfield because ‡a is not repeatable).

Examples:
2012564287
     546 __ English and Russian (Cyrillic) words.
2013568120
     546 __ Russian words with transliteration.
2012560180
     546 __ Chinese words, transliterated.
2012563459
     lang: heb
     041 0_ ‡a heb ‡g hrv ‡g heb ‡g eng ‡h hrv
     546 __ Hebrew words (romanized).
     500 __ Includes preface in Croatian and comments in Croatian, Hebrew, and English.

(7.13.3) Form of musical notation
a set of characters and/or symbols used to express the musical content of a resource.
LC-PCC PS: Core element for LC/PCC
Best practices for music cataloging [119]: Follow LC-PCC PS. That is, routinely record form of musical notation. Use a separate 546 field.
(7.13.3.2) Sources of information
Take information on the form of musical notation from any source.
(7.13.3.3) Recording form of musical notation
Record the form of musical notation used to express the musical content of the resource using appropriate terms from this list:
     ° graphic notation [65]
     ° letter notation [66]
     ° mensural notation [67]
     ° neumatic notation [68]
     ° number notation [69]
     ° solmization [70]
     ° staff notation
     ° tablature [71]
     ° tonic sol-fa [72]

Encode multiple designations of form of musical notation and/or statements of details of form of musical notation in a single 546 field, in separate occurrences of ‡b. Capitalize the first word of each designation of form of musical notation and/or details of form of musical notation and separate each with a semi-colon (;).

Examples:
     546 __ ‡b Staff notation.
     546 __ ‡b Staff notation; ‡b Tablature.
     546 __ ‡b Verbal instructions.
     546 __ ‡b Staff notation; ‡b Chord symbols; ‡b Guitar chord diagrams.
          ° for a "piano-vocal-guitar" score
2012336791
     546 __ ‡b Letter notation.
OCLC #823679510
     546 __ ‡b Graphic notation.
2013565066
     546 __ ‡b Staff notation.
     546 __ ‡b Graphic notation in the 5th movement.
OCLC #792796794
     546 __ ‡b Italian lute tablature.
2012428885
     546 ‡b Neumatic notation.
2012413279
     500 __ Number notation.
OCLC #793601939
     500 __ "Read-A-Rhythm Notation"--caption.

Best practices for music cataloging [119]: MLA recommendation: Follow LC-PCC PS. Encode form of musical notation and/or details of form of musical notation in a separate 546 field from language and script.
Examples:
2013560384
     546 __ Albanian words.
     546 __ ‡b Staff notation.
2013568178
     546 __ Macedonian words.
     546 __ ‡b Staff notation.
2013560511
     546 __ French words with Ukrainian translation.
     546 __ ‡b Staff notation.
2012336791
     546 __ Words in Telugu.
     546 __ ‡b Letter notation.

(7.13.3.4) Details of form of musical notation
Record details of the form of musical notation used to express the musical content of the resource if they are considered to be important for identification or selection.
Examples:
OCLC #798098908
     500 __ Square notation on five-line staff.
OCLC #834137572
     546 __ ‡b Number notation, ‡b staff notation.
     500 __ 2 works in staff notation.
2012413279
     546 __ ‡b Number notation.
     546 __ ‡b Letter notation.
2012563742
     546 __ ‡b Staff notation.
     500 __ Shape-note notation.
OCLC #660057821
     500 __ In staff and Tonic sol-fa notation.
OCLC #770363409
     500 __ Printed on two staves for voice and keyboard instrument with interlinear text and figured bass.

chord symbols and chord diagrams:
LC practice shows "Chord symbols" and "chord diagrams" tagged in both 500 and 546. However, as Valerie Weinberg (CL) pointed out on MLA-L [122] on 3/10/14 "'Chord symbols' is given as an example under 7.13.3.4, which maps to the 546."

2011569041
     500__ Consists of single melodic lines with chord symbols.
2012562902
     500__ Melody lines with chord symbols and guitar chord and keyboard chord diagrams.
     546 __ ‡b Staff notation.
2013561032
     500__ Includes chord symbols.
2010562780
     500__ In staff notation with tablature and fingering diagrams.
2013568126
     500__ For voice and piano with guitar chord diagrams.
     546 __ ‡b Staff notation.
2013566839
     500 __ Includes chord symbols and ukulele chord diagrams.
     546 __ ‡b Staff notation.
2013562044
     500 __ Originally for voice and orchestra, accompaniment arranged for piano; includes chord symbols and chord diagrams for ukelele, guitar, and banjo.
     546 __ ‡b Staff notation.
2013568495
     500 __ Includes chord symbols, guitar chord diagrams, and interlinear words.
2013568122
     546 __ ‡b Staff notation. Includes tablature and chord symbols.
2013560058
     546 __ ‡b Staff notation, with chord symbols.

(7.15) Illustrative content
The content designed to illustrate the primary content of a resource (see 7.2).
(7.15.1.2) Sources of information
Take information on illustrative content from any source.
(7.15.1.3) Recording illustrative content
If the resource contains illustrative content, record illustration or illustrations, as appropriate.
     ° Tables containing only words and/or numbers are not considered as illustrative content.
     ° Disregard illustrated title pages, etc., and minor illustrations.

Alternative: Record the type of illustrative content in place of or in addition to the term illustration or illustrations, if it is considered to be important for identification or selection, using one or more appropriate terms from the list below.
music-specific: facsimiles illuminations photographs portraits
LC practice/PCC practice for Alternative: Generally do not record the type of illustrative content in place of or in addition to the term illustration or illustrations.
Best practices for music cataloging [119]: Follow LC-PCC PS. In other cases, record illustrative content if deemed useful for identification and access.

Examples:
2010563374
     300 __ 1 score (various pagings) : ‡b illustrations ; ‡c 31 cm
2012428885
     300 __ 1 score (approximately 600 unnumbered pages) : ‡b illustrations (color) ; ‡c 34 cm
2013568120
     300 __ 1 score (157 pages) : ‡b color illustrations ; ‡c 30 cm.
2012562401
     300 __ 1 score (478 pages) : ‡b facsimiles ; ‡c 32 cm
2010562278
     300 __ 1 score (32 pages) : ‡b portrait ; ‡c 31 cm

If none of the terms listed above is appropriate or sufficiently specific, record details of illustrative content as instructed under 7.15.1.4.

Optional addition: Record the number of illustrations if their number can be ascertained readily (e.g., when the illustrations are listed and their numbers stated).

(7.15.1.4) Details of illustrative content
Record details of the illustrative content if they are considered to be important for identification or selection.
(7.16) Supplementary content
content (e.g., an index, a bibliography, an appendix) designed to supplement the primary content of a resource.
LC-PCC PS: Supplementary content is a core element for LC for indexes and bibliographies in monographs.
Best practices for music cataloging [119]: Follow LC-PCC PS. Note that "monographs" means all resources issued monographically, including scores and audio recordings. For audio recordings, this includes bibliographies and indexes found in accompanying inserts and booklets, since those form part of the resource.
(7.16.1.2) Sources of information
Take information on supplementary content from any source.
(7.16.1.3) Recording supplementary content
If the resource contains supplementary content, record the nature of that content (i.e., its type, extent, location within the resource, etc.), if it is considered important for identification or selection.

2006933958
     500 __ Includes works list.
2012563742
     500 __ Includes alphabetical and metrical indexes.
2012564419
     500 __ Includes program notes, performance instructions, and biographical information.
2010562595
     500 __ Includes biographical note with partial works list.
2012495210
     504 __ "Chronik und Werkverzeichnis": pages 337-348 and "Schriftenverzeichnis": pages 350-355.
2012563878
     500 __ "Fonti manoscritti della musica strumentale di Giovanni Battista Martini": pages iv-v.
2013560313
     500 __ Includes notes on performance and information about "paraphernalia" needed to modify the piano and listing of percussion instruments used.

LC-PCC PS: Record the presence of supplementary content in a note when the resource contains sections of special importance or would assist with identification or selection. Routinely consider the following as being important for selection:
bibliographies and bibliographical references, discographies, and filmographies, and indexes; appendices; errata slips that are not printed as part of the publication.
Give pagination or foliation unless the sections are scattered through the resource.

For the types of notes shown in the following examples, generally prefer a standardized construct, rather than a quotation from the resource:
2010476843
     504 __ Discography: pages 327-331.

If a publication contains bibliographical citations in any form, generally use the following note:
2012560741
     504 __ Includes bibliographical references.

If there is a single bibliography, add the foliation/pagination to the note.
2010494901
     504 __ Includes bibliographical references (page 301).
2010538637
     504 __ Includes bibliographical references (pages 167-180).
With respect to bibliographic citations and bibliographies, interpret the phrase "bibliographical references" to include all kinds of resources, including electronic resources; do not give any special treatment to, or provide special mention of, the latter if using this general bibliographical reference note.

Other examples:
2012423091
     504 __ Includes bibliography, discography, filmography, and WWW references (pages [199]-218).
2011493568
     504 __ Includes bibliographical references (pages 239-240), discography (pages 241-242), and index.
2012423093
     504 __ Includes bibliographical references (page [184]), discography (page [174]), and index.
2012468429
     504 __ Includes bibliographical references (pages 389-403), filmography (page 403), discography (pages 403-407) and index.
2012023749
     504 __ Includes bibliographical references (pages 145-151), videography (pages 141-143), discography (pages 127-139), and index.
2011404152
     500 __ Includes discography (pages 232-235) and index.
2012027150
     504 __ Includes bibliographical references and discography.
2012027150
     504 __ Discography: pages 172-173.

(7.20) Format of notation music
the musical or physical layout of the content of a resource that is presented in the form of musical notation.
LC-PCC PS: core element for LC.
Best practices for music cataloging [119]: Follow LC-PCC PS. This element is incorporated into extent of notated music (3.4.3 [22]).
In addition, encode this element in 008/20 or 006/03 ("Format of music") and 008/21 or 006/04 ("Music parts") as appropriate.
(7.20.1.2) Sources of information
Take information on the format of notated music from any source within the resource.
(7.20.1.3) Recording the format of notated music
Record the musical format using one or more appropriate terms from the list below:
  • score (a graphical, symbolic, or word-based musical notation representing the sounds of all the parts of an ensemble or a work for solo performer or electronic media)
         Best practices for music cataloging, draft: Note that the RDA definition of "score" includes music for a solo performer
  • condensed score (score in which the number of staves is reduced to two or a few, generally organized by instrumental sections or vocal parts, and often with cues for individual parts; used for close score, reduced score, short score)
  • study score (score issued in a musical image of reduced size, not primarily intended for use in performance. A descriptive phrase such as "Study score," "Miniature score," "Taschenpartitur," "Partition de poche," etc., usually appears on the resource)
  • piano conductor part (performance part for a piano performer in an ensemble, with cues for the other instruments that enable the performer of that part also to conduct)
  • violin conductor part (a performance part for a violin performer in an ensemble, with cues for the other instruments that enable the performer of that part also to conduct)
  • vocal score (a score showing all vocal parts, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted)
  • piano score (a reduction of an instrumental work or a vocal work with instruments to a version for piano. May include the words of a vocal work)
  • chorus score (a score of a work for solo voices and chorus showing only the parts for chorus, at least in those portions of the work in which the chorus sings, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted)
  • part (a component consisting of the music for the use of one or more, but not all, performers)
  • choir book (a large music book made to be placed on a stand in front of a choir. Each part is notated separately, usually in the configuration that presents, when the book is open, the soprano and tenor parts on the verso of a leaf, and the alto and bass parts on the recto of the next leaf.)
  • table book (a music book made to be placed on a table and displayed in such a way that the performers can read their parts while seated or standing across or around the table. Each part is notated separately, usually in a configuration that presents, when the book is open, different parts in inverted and/or perpendicular positions)

If none of the terms listed is appropriate or sufficiently specific, record details of the format of notated music as instructed under 7.20.1.4.

(7.20.1.4) Details of format of notated music
Record details of the format of notated music if they are considered to be important for identification or selection.

Examples:
2012563885
     500 __ Optional voice part (13 x 21 cm) inserted.
2012465494
     500 __ Includes some loose leaves inserted in each part to facilitate page turns.
OCLC #734038034
     500 __ Additional parts provided for flute, clarinet and bassoon to facilitate page turns.

(7.21) Medium of performance
the instrument, instruments, voice, voices, etc., used (or intended to be used) for performance of musical content.
LC-PCC PS: core element for LC.
(7.21.1.2) Sources of information
Take information on the medium of performance of musical content from any source within the resource.
(7.21.1.3) Recording the format of notated music
Record the medium of performance of musical content if it is considered to be important for identification or selection.
If the musical content is for solo instruments, record them all. If the work is for an orchestra, band, etc., do not list the instruments involved.

Use abbreviations for voices as instructed in Appendix B.5.6:

  A = alto
  B = bass
  Bar = baritone
  Mz = mezzo-soprano
  S = soprano
  T = tenor

Examples:
2012563879
     500 __ For 4 trumpets, 3 tenor trombones, bass trombone, 6 horns, and tuba or contrabass tuba.
2012564384
     500 __ For 2 violins, viola, and cello.
2012562873
     500 __ For flute/alto flute, oboe/English horn, clarinet, horn, trumpet, trombone, percussion (2 players), harp, 2 violins, and cello.
2013570500
     500 __ For solo piano (volumes 1-4), three pianos/pianists (volume 5), and five pianos/pianists (volume 6).
2012562450
     500 __ Includes off-stage female voice, measures 1-43.
2011567286
     500 __ 500 Accompaniment for piano, bass and drum set.
2010498234
     500 __ 500 For (variously) soprano, mezzo-soprano, alto, baritone, bass and bass buffo (ad libitum) alternating the solo part; with orchestra.

Best practices for music cataloging [119]: Apply this element when the medium of performance is not adequately described by the title or by using controlled vocabularies.
Potential applications include, but are not limited to:
     ° specific choral parts (e.g., SATB)
     ° key and/or range of specific instruments
     ° original medium of work of which an arrangement is being cataloged
     ° alternative medium specified in the resource
     ° presence/absence of figured bass and realization of a continuo part

Examples:
2010562151
     500 __ For unaccompanied SSSAATB chorus.
2010562157
     500 __ For TTTBarBarB chorus.
2012564450
     500 __ For flute (and piccolo), clarinet (and bass clarinet), violin, cello, percussion, and piano.
2012563218
     500 __ For two 2 pianos, each with a separate instrumental group: group 1, piano no. 1: flute, bassoon, horn in F, trumpet in C, percussion, violin and cello; group 2, piano no. 2: oboe, clarinet, trombone, tuba, percussion, viola and double bass.
2012564286
     500 __ For clarinet and bass clarinet.
2012562871
     500 __ For flute/piccolo/alto flute, clarinet/bass clarinet, violin, cello, and percussion.
          title has: for amplified flute, clarinet, violin, violoncello, and percussion
2013560448
     500 __ For oboe, soprano saxophone, clarinet, bass clarinet, and bassoon.
2013560336
     500 __ For flute/alto flute, clarinet/bass clarinet, percussion, piano, violin, viola, and cello.
2011568390
     500 __ Accompaniment arranged for piano, with unrealized figured bass.
OCLC #816514318
     500 __ Figured bass realized for keyboard instrument.
OCLC #832709272
     500 __ Figured bass realized for harpsichord; includes continuo part for violoncello, viola da gamba, or bassoon.
OCLC #821263276
     500 __ Figured bass not realized.

"Hybrid" notes may be constructed stating both genre/form (see 7.2) and medium of performance, especially if compilations of diverse works can be thus described more concisely than by giving the elements separately.

Examples:
2012564241
     500 __ Spoken canon; for SATB chorus.
OCLC #821263276
     500 __ Oratorio for Holy Week; for SSTB soloists, SATB chorus, and orchestra.

(7.22) Duration
the playing time, running time, etc., of the content of a resource.
Duration also includes performance time for a resource containing notated music or notated movement.
LC-PCC PS: core element for LC.
(7.22.1.2) Sources of information
Take information on duration from any source.
(7.22.1.3) Playing time, running time, etc.
Record the time as follows, abbreviating terms for units of time as instructed in appendix B.5.3:
  hr. = hour, hours
  min. = minute, minutes
  sec. = second, seconds

If the total playing time, running time, etc.,
     ° is stated on the resource, record the time stated.
     ° is not stated on the resource but is readily ascertainable, record it.
     ° is neither stated on the resource nor readily ascertainable, record an approximate time preceded by approximately.
     ° cannot be approximated, omit it.

Optional addition: If the actual playing time, running time, etc., differs significantly from the time stated on the resource, record the stated playing time followed by that is and the actual playing time, running time, etc.
Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].
Alternative: If the resource consists of more than one unit, and the units have a stated uniform playing time, running time, etc., or an approximate uniform playing time, running time, etc., record the playing time, running time, etc., of each unit followed by each.

Best practices for music cataloging [119]:
     ° Give total duration if the resource embodies one work/expression.
     ° Encode in 300 ‡a, a 500 note and/or a 306 field.
     ° Generally do not apply the alternative.
     ° Optionally, give total duration even if the resource embodies multiple works/expressions, if deemed useful for identification and access;
          » in this case, give total duration in 300 ‡a, and durations of the individual works/expressions in a 500 note and/or a 306 field.

Examples:
OCLC #825042684
     300 __ 1 audio disc (69 min., 22 sec.)
OCLC #830545492
     300 __ 1 compact disc (9 1/2 hours)
OCLC #832452812
     300 __ 1 audio disc (52 min., 31 sec.)
     306 __ 005331
OCLC #714747381
     300 __ 2 audio discs (65 min., 52 sec.; 79 min., 10 sec.)
     306 __ 006552 ‡a 007910
OCLC #828930214
     300 __ 1 audio disc (68 min., 25 sec.)
     306 __ 001524 ‡a 001854 ‡a 001042 ‡a 002323
     505 0_ Partita in E flat major (15:24) -- Eccosais (4:02) -- Partita in B flat major (18:54) -- Sextetto in C minor (10:42) -- Partita in E flat major (23:23).

(7.22.1.4) Performance time
For notated music and notated movement, if the performance time is stated on the resource, record the time stated.

Examples:
2012563880
     500 __ Duration: 2 min., 40 sec.
2013560441
     500 __ Duration: 4 min., 1 sec.
2012564419
     500 __ Duration: approximately 1 hr, 2 min.
2012564291
     500 __ Duration: 7:51.
2013560372
     500 __ Duration: approximately 8 min.
2010563380
     500 __ Duration: approximately 12 min., 30 sec.
2012563876
     500 __ Duration: 4 1/2 min.
2011568214
     500 __ Duration: about 5 min.
2012564324
     500 __ Duration: 8 minutes.
2010562591
     500 __ Duration: approximately 8 minutes.
2012563886
     500 __ Duration: 16-18 min.
2011567218
     500 __ Duration: approximately 25:00.
2012563110
     500 __ Duration: c. 14:00.
2011567206
     500 __ Duration: 15:00.

(7.22.1.5) Duration of individual parts
For a resource consisting of more than one component, record the duration of each component.

Examples:
OCLC #823228641
     300 __ 1 audio disc
     306 __ 000400 ‡a 000739 ‡a 000211 ‡a 000518 ‡a 000331 ‡a 001304 ‡a 000500 ‡a 000400
     505 0_ The "festive" overture (4:00) ; Gov gurvan saikhan : symphonic picture (7:39) ; Song of Mother (2:11) / Ts. Namsraizhav ...
OCLC #828019849
     245 00 Violin concerto in A minor, op. 82 ; Meditation : in D major, op. 32 ; Mazurka-oberek : in D major / ‡c Aleksandr Glazunov. Concerto quasi una fantasia in B flat major, op. 21 / Othmar Schoeck.
     300 __ 1 audio disc (69 min., 11 sec.)
     306 __ 002052 ‡a 000415 ‡a 000956 ‡a 003406
     500 __ Durations: 20:52; 4:15; 9:56; 34:06.

(7.23) Performer, narrator, and/or presenter
a person, family, or corporate body responsible for performing, narrating, and/or presenting a work.
(7.23.1.2) Sources of information
Take information on performers, narrators, and/or presenters from any source.
(7.23.1.3) Recording performers, narrators, and/or presenters
Record the names of performers, narrators, and/or presenters, if they are considered to be important.
For performers of music, indicate the medium in which each performs.

Best practices for music cataloging [119]: For audio and video recordings, routinely give performers, narrators and/or presenters in a 511 field. Optionally, give names of members of a musical group in parentheses after the name of the group, if deemed useful for identification and access.

Examples:
OCLC #793520422
     511 0_ Per Anders Buen Garnås, hardanger fiddle.
OCLC #828930214
     511 0_ Amphion Wind Octet.
OCLC #832461921
     511 0_ Cleveland Quartet ; Yo-Yo Ma, cello.
OCLC #820266468
     511 0_ Frans Brüggen, recorder ; Anner Bylsma, violoncello ; Gustav Leonhardt, harpsichord.
OCLC #793586309
     511 0_ Majorstuen (Jorun Marie Kvernberg; Andreas Ljones; Gjermund Larsen; Tove Dalbakk; Synnøve S. Bjørset; Ragnhild Furebotten)
OCLC #818251761
     511 0_ Personnel varies between performances, but members include: Sven Nyhus, fele (fiddle) ; Tore Løvgreen, trekkspill (accordion) ; Arne Sigurd Haugen, guitar ; Martin Thue, Giara bass, Jan Erik Konshaug, guitar ; Håkon Nilsen, Giara bass.

If there are numerous works/expressions embodied in the resource, and there are performers, etc. who perform only in some of the works/expressions, give all performers names, qualified by a designation for the works/expressions involved, if feasible. Optionally, give "Various performers" if giving fuller detail is not feasible or not deemed useful for identification and access.

Examples:
OCLC #829815414
     511 0_ Andrei Bondarenko, baritone (2nd work) ; Bergen Philharmonic Orchestra ; Andrew Litton, conductor.
OCLC #826876197
     511 0_ Mdi Ensemble (1st, 4th, 6th works) ; Jacopo Bigi, electric violin (2nd work) ; Sonia Formenti, flute (3rd work) ; Luca Ieracitano, piano (5th work) ; RepertorioZero (7th work).
OCLC #823380097
     511 0_ Ensemble Pi (Airi Yoshioka, violin; Claire Bryant, cello; Idith Meshulam, piano) (1st, 3rd, 7th works); Cassatt String Quartet (2nd work); Idith Meshulam, piano (3rd, 6th works); Colorado String Quartet (5th work).
OCLC #838603958
     511 0_ Henri Texier, bass guitar, double bass, oud, percussion, bendir, voice (variously); with various musicians.
OCLC #828935506
     511 0_ Various performers and groups.

(7.24) Artistic and/or technical credit
a listing of persons, families, or corporate bodies making contributions to the artistic and/or technical production of a resource.
(7.24.1.2) Sources of information
Take information on artistic and/or technical credits from any source.
(7.24.1.3) Recording performers, narrators, and/or presenters
Record the names of persons, families, or corporate bodies who have contributed to the artistic and/or technical production of a resource if they are considered to be important.
Include a statement of function with each name or group of names.

Examples:
OCLC #823641305
     508 Recording engineer, Li Dakang.
OCLC #836784816
     508 Producer, Paolo Piangiarelli; recording engineer, Paolo Falascone.
OCLC #829706010
     508 Produced by Glen Roven, Peter Fitzgerald, Richard Cohen.
OCLC #828860468
     508 Original album produced by Thomas Z. Shepard.
OCLC #839297327
     508 Executive producer, Jorge T. Cuevas; produced by Walter White, Jorge T. Cuevas; assistant producer, Steve Brown; recording and mixing engineer, Nate Silas Richardson.

Extent and dimensions

Music Cataloging at Yale [1] ♪ RDA [50]

Extent and dimensions for notated music and text (from RDA 3.4 & 3.5)

Note: this page was created with music cataloging in mind.

Number and type of units and subunits (3.4.1.3-3.4.1.7) | Extent of notated music (4.3.4) (type of score) | Extent of text (3.4.5) (including paging of scores) | Dimensions

(3.4) Extent
Extent is the number and type of units and/or subunits making up a resource.
     ° A unit is a physical or logical constituent of a resource (e.g., a volume, audiocassette)
     ° A subunit is a physical or logical subdivision of a unit (e.g., a page of a volume, a frame of a microfiche, a record in a digital file).
Best practices for music cataloging [119]: If feasible, record carrier type associated with any accompanying material that is described in 300 ‡e or in a separate 300, as follows. Record multiple instances of carrier type in separate 338 fields.
     Books or scores issued with audio/video carriers: Encode in 338 and 007/01.
     Audio/video carriers with accompanying volume (insert, booklet, etc.): Encode in 338.
(3.4.1.2) Sources of information
Use evidence presented by the resource itself (or on any accompanying material or container) as the basis for recording the extent of the resource. If desired, take additional evidence from any source.
(3.4.1.3) Recording extent
Record the extent of the resource by giving the number of units and an appropriate term for the type of carrier as listed under 3.3.1.3 [124], giving the term in the singular or plural, as applicable.
(3.4.1.4) Exact number of units not readily ascertainable
If the exact number of units is not readily ascertainable, record an approximate number preceded by approximately.

Optional omission: If the number of units cannot be readily approximated, omit the number.
LC practice/PCC practice for Optional omission: Apply the option.
Best practices for music cataloging [119]: Follow the LC-PCC PS for the the optional omission.

(3.4.1.5) Other terms used to designate the type of unit
Use a term in common usage (including a trade name, if applicable) to designate the type of unit:
     ° if the carrier is in a newly developed format that is not yet covered in the list under 3.3.1.3 [124]
     ° if none of the terms listed under 3.3.1.3 [124] is appropriate
     or
     ° as an alternative to a term listed under 3.3.1.3 [124], if preferred by the agency preparing the description.

Optional omission: If the number of units cannot be readily ascertained or approximated, omit the number.
LC practice/PCC practice for Optional omission: Apply the option.

(3.4.1.6) Units and sets of units with identical content
If the units of the resource have identical content, add identical before the term designating the type of unit.

Examples:
2011568072 2 identical scores (5 pages)

LC is also using the AACR2 way:
2013560265 2 scores (7 pages each)
2012560065 2 scores (11 pages each)
2013560505 2 scores (25 unnumbered pages each)

If the resource consists of multiple sets of units, and each set has identical content, record the number of sets and the number of units in each set.

(3.4.1.7) Number of subunits
Specify the number of subunits as instructed under 3.4.1.7.1-3.4.1.7.8, as applicable, if readily ascertainable and considered important for identification or selection.

Record the number of subunits, in parentheses, following the term designating the type of unit.

If the format of the resource parallels a print, manuscript, or graphic counterpart or if the resource consists of one or more files in a format that parallels a print, manuscript, or graphic counterpart (e.g., PDF), apply the instructions for extent (for notated music (3.4.3) or for text (3.4.5)) for:
(3.4.1.7.1) Computer discs, cartridges, etc.
     Optional addition: For a resource consisting of one or more program files and/or data files, add the number of statements and/or records, as appropriate.
     Best practices for music cataloging, draft: Routinely specify number of subunits for notated music content and audio files.
(3.4.1.7.4) Microfiches and microfilm
     Best practices for music cataloging, draft: Routinely specify number of subunits for notated music content.
(3.4.1.7.5) Online resources
Optional addition: For a resource consisting of one or more program files and/or data files, add the number of statements and/or records, as appropriate.

Best practices for music cataloging [119]: Routinely specify number of subunits for notated music content and audio files
For all of the instructions above:
° For other types of files (e.g., audio files, video files, data files), specify the number of files using one or more terms listed in 3.19.2.3 (audio file, data file, image file, program file, text file, video file) to designate the file type.
     ° If the number of subunits cannot be stated succinctly, record the details in a note if they are considered important for identification or selection

(3.4.3) Extent of notated music
Apply to the extent of a printed or manuscript resource consisting of notated music (with or without accompanying text and/or illustrations).
(3.4.3.2) Recording extent of notated music
Record the extent of a resource consisting of notated music by giving the number of units and an appropriate term for the format of notated music as listed under 7.20.1.3:
  • score (a graphical, symbolic, or word-based musical notation representing the sounds of all the parts of an ensemble or a work for solo performer or electronic media)
         Best practices for music cataloging, draft: Note that the RDA definition of "score" includes music for a solo performer
  • condensed score (score in which the number of staves is reduced to two or a few, generally organized by instrumental sections or vocal parts, and often with cues for individual parts; used for close score [used pre-RDA for hymnals, etc., not used in RDA], reduced score, short score)
  • study score (score issued in a musical image of reduced size, not primarily intended for use in performance. A descriptive phrase such as "Study score," "Miniature score," "Taschenpartitur," "Partition de poche," etc., usually appears on the resource)
  • piano conductor part (performance part for a piano performer in an ensemble, with cues for the other instruments that enable the performer of that part also to conduct)
  • violin conductor part (a performance part for a violin performer in an ensemble, with cues for the other instruments that enable the performer of that part also to conduct)
  • vocal score (a score showing all vocal parts, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted)
  • piano score (a reduction of an instrumental work or a vocal work with instruments to a version for piano. May include the words of a vocal work)
  • chorus score (a score of a work for solo voices and chorus showing only the parts for chorus, at least in those portions of the work in which the chorus sings, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted)
  • part (a component consisting of the music for the use of one or more, but not all, performers)
  • choir book (a large music book made to be placed on a stand in front of a choir. Each part is notated separately, usually in the configuration that presents, when the book is open, the soprano and tenor parts on the verso of a leaf, and the alto and bass parts on the recto of the next leaf.)
  • table book (a music book made to be placed on a table and displayed in such a way that the performers can read their parts while seated or standing across or around the table. Each part is notated separately, usually in a configuration that presents, when the book is open, different parts in inverted and/or perpendicular positions)

If the resource consists of more than one type of unit, record the number of each applicable type in the order listed above, in the singular or plural, as applicable.

Specify the number of volumes and/or pages, leaves, or columns as instructed under 3.4.5, in parentheses, following the term designating the format of notated music.

Definitions from RDA:

  • page a unit of extent of text consisting of a single side of a leaf
  • leaf a unit of extent of text consisting of a single bound or fastened sheet of paper as a subunit of a volume; each leaf consists of two pages, one on each side, either or both of which may be blank
  • sheet a flat piece of thin material (paper, plastic, etc.)
  • volume one or more sheets bound or fastened together to form a single unit
  • column a unit of extent of text consisting of one of two or more vertical sections of text appearing on the same page or leaf

Examples:
2013560266 1 score (31 pages)
2012564289 1 score (16 leaves)
2012563231 1 study score (49 pages)
2010562267 1 condensed score (24 pages)
2013560347 1 chorus score (9 leaves)
2010562779 1 vocal score (90 pages)
2012564397 1 score (viii, 20 pages)
2014476873 1 score (2 volumes)
2016562056 1 vocal score (2 volumes (350 pages))

Exceptions:
Resource containing a set of parts: when the resource contains a set of parts, record the number of parts but omit the number of volumes and/or pages, leaves, or columns applicable to the parts.
Best practices for music cataloging [119]: For resources consisting of more than one type of unit, separate each type by space-"+"-space.
Generally do not encode extent for scores and parts in separate 300 fields.

Examples:
2010562265 1 score (3 pages) + 1 part (1 unnumbered leaf)
2012563230 1 score (39 pages) + 5 parts

Resource consisting of a score and one or more parts in a single physical unit: when the resource consists of both a score and one or more parts in a single physical unit, record the extent in the form 1 score and 4 parts, etc., followed by the number of pages, leaves, or columns, in parentheses.

Examples:
2011568467 1 vocal score and 1 part (4 pages)
2012562015 1 score (55 pages) and 1 condensed score (1 leaf)
2011477410 1 score (122 pages) and 1 piano score (125-156 pages)
2012564449 1 score (370 pages) and commentary (35 pages)

(3.4.5) Extent of text
(3.4.5.1) Apply to a resource consisting of one or more volumes, sheets, portfolios, or cases containing printed or manuscript text, with or without accompanying illustrations.
(3.4.5.2) Single volume with numbered pages, leaves, or columns
Record the extent in terms of pages, leaves, or columns as appropriate to the presentation used in the resource, applying the following general guidelines:
When the volume: Record:
is paginated (i.e., if there are page numbers on both sides of the leaves) the number of pages
is foliated (i.e., if there are leaf numbers on only one side of the leaves) the number of leaves
consists of pages with more than one column to a page and is numbered in columns the number of columns
consists of sequences of leaves and pages, or pages and numbered columns, or leaves and numbered columns
     a sequence of pages or leaves is:
          ° a separately numbered group of pages, leaves, etc.,
          ° an unnumbered group of pages, etc., that stands apart from other groups in the publication,
          or
          ° a number of pages or leaves of plates distributed throughout the publication.
each sequence

Examples:
2013560472 1 score (88 pages)
2012564298 1 score (57 leaves)
2012571936 1 score (1 leaf)
2012562149 1 score (19 sheets)

Exception: Record pages, etc., that are numbered in words by giving the numeric equivalent.

See 3.4.5.8 for complicated and irregular paging

(3.4.5.3) Single volume with unnumbered pages, leaves, or columns
Record the number of pages, leaves, or columns using one of the following methods:
     a) Record the exact number of pages, leaves, or columns, if readily ascertainable.
     b) If the number is not readily ascertainable, record an estimated number of pages, leaves, or columns preceded by approximately.
     c) Record 1 volume (unpaged)

LC-PCC PS LC practice: For LC original cataloging, usually follow method c)
Best practices for music cataloging [119]: Follow LC-PCC PS. Use the appropriate extent term for notated music instead of "volume."

Examples: Note that LC does not always follow the LC-PCC PS:
2011569059 1 vocal score (3 unnumbered pages)
2013560306 1 score (1 unnumbered leaf)
2012563224 1 score (unpaged)

(3.4.5.3.1) Numbered and unnumbered sequences:

When the resource consists of both numbered and unnumbered sequences of pages, leaves, or columns, disregard the unnumbered sequences, unless:
     ° an unnumbered sequence constitutes a substantial part of the resource
     or
     ° an unnumbered sequence includes pages, etc., that are referred to in a note.

When recording a sequence of unnumbered pages, etc., record either:
     ° the exact number (if the number is readily ascertainable) followed by unnumbered pages, etc.
     or
     ° an estimated number preceded by approximately
     or
     ° unnumbered sequence of pages, etc.

LC-PCC PS LC practice: For LC original cataloging, usually follow method c above.

Examples: Note that LC does not always follow the LC-PCC PS:
2013568519 1 vocal score (1 unnumbered leaf)
2010562254 1 score (58 numbered and unnumbered pages)
2012564329 1 score (63 pages, 69 unnumbered sequence of pages)
2012428885 1 score (approximately 600 unnumbered pages)
2012560673 1 score (approximately 82 sheets)
#852125564 1 score (21 pages, 7 unnumbered pages)

(3.4.5.3.2) Inessential matter:
Disregard unnumbered sequences of inessential matter (advertising, blank pages, etc.)
(3.4.5.4) Change in form of numbering within a sequence
If the form of numbering within a sequence changes (e.g., from roman to arabic numerals), ignore the numbering of the first part of the sequence.
(3.4.5.6) Misleading numbering
If the numbering on the last page, leaf, or column of a sequence does not represent the total number of pages, leaves, or columns in that sequence, let it stand uncorrected unless it gives a completely false impression of the extent of the resource (e.g., when only alternate pages are numbered or when the number on the last page, leaf, or column of the sequence is misprinted).

Examples:
2010562275 1 score (24 pages, that is, 28 pages)
2012560221 1 score (41 leaves, that is, 164 pages)
#14153295 1 score (21, that is, 29 pages)

(3.4.5.8) Complicated or irregular paging, etc.
Record the number of pages, leaves, or columns using one of the following methods:
     a) Record the total number of pages, leaves, or columns (excluding those that are blank or contain advertising or other inessential matter) followed by in various pagings, in various foliations, or in various numberings, as appropriate..
     b) Record the number of pages, leaves, or columns in the main sequences of the pagination and add the total number of the remaining variously numbered or unnumbered sequences.
     c) Record 1 volume (various pagings)

LC-PCC PS LC practice: For LC original cataloging, usually follow method c.
Best practices for music cataloging [119]: Follow LC-PCC PS. Use the appropriate extent term for notated music instead of "volume."

Examples:
2013560445 1 score (various pagings)
2010562148 1 vocal score (various pagings)
2012564393 1 score (27 leaves, 29 leaves, 21 leaves)
2013568397 1 score (1 unnumbered leaf, 26 pages)
2014563041 1 score (1 page, 4 unnumbered pages)

(3.4.5.9) Leaves or pages of plates
If the leaves or pages of plates in a resource are not included in the numbering for a sequence or sequences of pages or leaves of text, etc., record the number of leaves or pages of plates at the end of the sequence or sequences of pagination, etc.
     ° Record the number of leaves or pages of plates after the pagination, etc., whether the plates are found together or distributed throughout the resource.
     ° If the resource contains both leaves and pages of plates, record the number in terms of whichever is predominant.

Disregard unnumbered sequences of plates, unless:
     ° an unnumbered sequence of plates forms a substantial part of the resource (see also 3.4.5.8)
     or
     ° an unnumbered sequence includes plates that are referred to in a note.

Examples:
2012479786 228 pages, 6 pages of plates
2011516336 802 pages, xii pages of color plates
2012011210 xiii, 133 pages, 16 pages of plates
2012445123 77 pages, 32 unnumbered pages of plates
2012009372 viii, 276 pages, 8 unnumbered pages of plates
2011322946 xiii, 328 pages, 40 unnumbered pages of plates

(3.4.5.10) Folded leaves
Describe folded leaves as such.
Example:
122 folded leaves
(3.4.5.14) Single sheet
Record the extent of a resource consisting of a single sheet as 1 sheet.

If the sheet is designed to be read in pages when folded, record the extent as 1 folded sheet followed by the number of imposed pages, in parentheses.

Best practices for music cataloging [119]: This rule does not apply to notated music.
Describe notated music on a numbered single sheet as "1 leaf" if only one side is numbered or as "pages" if both sides are numbered.
If the sheet is unnumbered, describe it as "1 unnumbered leaf" if there is printing on one side or as "unnumbered pages" if there is printing on both sides.
However, note that the carrier type (3.3 [124]) for a single sheet of notated music is still "sheet."

Examples:
2013560306 1 score (1 unnumbered leaf)
2011568466 1 vocal score (1 unnumbered leaf)
2012562021 1 score (2 unnumbered pages)
     338 field [124]: sheet ‡2 rdacarrier

(3.4.5.16) More than one volume
Record the extent by giving the number of volumes and the term volumes.

Examples:
2012560825 1 score (5 volumes)
2013568430 1 study score (2 volumes)

(3.4.5.17) Continuously paged volumes
Specify the number of pages, leaves, or columns, in parentheses, following the term designating the type of unit.
Ignore separately paged sequences of preliminary matter in volumes other than the first.

Optional addition: For multipart monographs and serials, omit the number of pages, etc.
LC practice/PCC practice for Optional omission: Do not omit the pages for multipart monographs.
Best practices for music cataloging [119]: Follow the LC-PCC PS for the the optional omission.

Example:
1 score (2 volumes (588 pages))

(3.4.5.18) Individually paged volumes
Record the number of volumes and omit the pagination.

Optional addition: Specify the number of pages, leaves, or columns in each volume, in parentheses, following the term designating the type of unit.
LC practice/PCC practice for Optional omission: Generally apply the optional addition.
Best practices for music cataloging [119]: Follow the LC-PCC PS for the the optional addition. Give pagination only if the total extent of the resource is known (i.e. the number of units is given).

Example:
1 score (2 volumes (vi, 150; vii, 165 pages))

(3.4.5.20) More than one sheet
Record the extent by giving the number of sheets and the term sheets.

Best practices for music cataloging [119]: Do not apply this rule to notated music. Describe notated music on multiple unbound sheets by combining an extent term with the number of leaves or pages, as appropriate.
However, note that the carrier type (3.3 [124]) for a single sheet of notated music is still "sheet."

Example:
2012564298 1 score (57 leaves)

(3.5) Dimensions
Dimensions are the measurements of the carrier or carriers and/or the container of a resource. Dimensions include measurements of height, width, depth, length, gauge, and diameter.

Best practices for music cataloging [119]: Follow LC-PCC PS, that is, record dimensions in all cases.

(3.5.1.2) Sources of information
Use evidence presented by the resource itself (or on any accompanying material or container) as the basis for recording the dimensions of the resource. If desired, take additional evidence from any source.
(3.5.1.3) Recording dimensions
Unless instructed otherwise, record dimensions in centimeters to the next whole centimeter up, using the metric symbol cm (e.g., if the height measures 17.2 centimeters, record 18 cm).

Examples:
2012564354 27 cm
2013560449 26 cm.
     Note: a period follows "cm" in this example because the element is followed by a series statement.

If the width of the volume is either less than half the height or greater than the height, record the height x width.

Examples:
2012563889 21 x 30 cm
2012563869 28 x 42 cm

(3.5.1.4) Dimensions of carriers
(3.5.14.11) Sheets
Record the height x width of the sheet, excluding any frame or mount.
If the sheet is designed to be read in pages when folded, record only the height of the sheet when folded.
For other folded sheets, record the height x width when extended followed by the height x width when folded.

Example:
2012562260 67 x 42 cm folded to 42 x 34 cm

(3.5.14.14) Volumes:
Record the height of the volume. If the volume measures less than 10 centimeters, record the height in millimeters, using the metric symbol mm.
(3.5.1.6) Resources consisting of more than one carrier
° More than one carrier of the same type and size: record the dimensions of a single carrier as instructed under 3.5.1.4.

Examples:
2012562413 1 score (6 pages) + 1 part (3 pages)
2010562265 1 score (3 pages) + 1 part (1 unnumbered leaf)

° More than one carrier of the same type but different sizes: record the dimensions of the smallest or smaller and the largest or larger size

Example:
2012562185 20 x 24 cm-40 x 30 cm

Alternative: If the carriers are all of two sizes, record both. If they are of more than two sizes, record the dimensions of the largest followed by or smaller.
Exception: Notated music: If the resource consists of more than one carrier of differing sizes, record the dimensions of each carrier containing a different type of unit in the order in which the units are listed under 7.20.1.3.
Best practices for music cataloging [119]: Follow LC-PCC PS for the alternative. Apply the exception for notated music by encoding dimensions of each carrier in after the extent of that carrier, in separate occurrences of 300 ‡c and ‡a, respectively.

Example:
2010562619 1 score (18 leaves) ; ‡c 37 cm + ‡a 1 part (8 leaves) ; ‡c 32 cm

° More than one type of carrier of the same type and size: Follow 3.1.4.2: Recording carrier type, extent, and other characteristics of each carrier:
Record in addition to carrier type (3.3 [124]) and extent (3.4), other characteristics as applicable to each carrier or carrier type

Identifying, choosing, and recording preferred and variant names for persons (RDA 9.0-9.2)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Basic instructions on recording names of persons (9.2.1) | Choosing the preferred name (9.2.2.3) | Recording the preferred name (9.2.2.4) | Different forms of the same name (9.2.2.5) | Different names for the same person (9.2.2.6) | Individuals with more than one identity (9.2.2.8) | Recording names containing a surname (9.2.2.9) | Compound Surnames (9.2.2.10) | Surnames with one or more separately written prefixes (9.2.2.11) | Names containing neither a surname nor a title of nobility (9.2.2.18) | Variant names for persons (9.2.3)

(9.0) Identifying persons
The preferred name for the person is used as the basis for the authorized access point.
The variant name or names for the person are
     ° the name or form of name by which a person is known that differs from the name or form of name chosen as the preferred name for that person
     ° used as the basis for variant access points. Other identifying attributes of the person may also be included in the access point.

Persons include fictitious entities, such as literary figures, legendary figures, etc.

(9.1) General guidelines on identifying persons
(9.1.1) Sources of information
Take the name or names of the person from any source.
     For additional guidance on sources of information for the preferred name for the person, see 9.2.2.2.
Take information on other identifying attributes of the person from any source.
(9.1.2) Using access points to represent persons
An authorized access point is one of the techniques used to represent either a person associated with a resource (18.4.1) or a related person (30.1).
Constructing authorized access points representing persons: 9.19.1
Constructing variant access points representing persons: 9.19.2.
(9.2.1) Basic instructions on recording names of persons
A name of the person is a word, character, or group of words and/or characters by which a person is known.
When identifying persons, there are two categories of names:
     ° preferred name for the person (9.2.2)
     ° variant name for the person (9.2.3).
(9.2.1.2) Sources of Information
Take the name or names of the person from any source.
     For additional guidance on sources of information for the preferred name for the person, see 9.2.2.2.
(9.2.1.3) General guidelines on recording names of persons
Apply the general guidelines on recording names at 8.5 [125]. When those guidelines refer to an appendix, apply the additional instructions in that appendix, as applicable.
Choose Apply
a preferred name for the person: 9.2.2.3 and 9.2.2.5-9.2.2.7.
a preferred name for each identity when an individual has more than one: 9.2.2.8
Record Apply
a preferred name for the person: 9.2.2.4 and 9.2.2.9-9.2.2.26.
names and forms of the name not chosen as the preferred name as variant names: 9.2.2.3
(9.2.2) Preferred name for the person
the name or form of name chosen to identify the person.
It is also the basis for the authorized access point representing that person.
(9.2.2.2) Sources of information
Determine the preferred name for a person from the following sources (in order of preference):
     ° the preferred sources of information (2.2.2 [12]) in resources associated with the person
     ° other formal statements appearing in resources associated with the person
     ° other sources (including reference sources).
When the name of a person Apply
appears in more than one language 9.2.2.5.2
is found in a script that is not a preferred script of the agency creating the data 9.2.2.5.3
(9.2.2.3) Choosing the preferred name
Generally choose the name by which the person is commonly known. The name chosen can be the person's real name, pseudonym, title of nobility, nickname, initials, or other appellation.
When a person is known by Apply
more than one form of the same name 9.2.2.5
by more than one name 9.2.2.6-9.2.2.8
(9.2.2.4) Recording the preferred name
Apply the general guidelines on recording names at 8.5 [125]. When those guidelines refer to an appendix, apply the additional instructions in that appendix, as applicable.

If the name consists of several parts, record as the first element that part of the name under which the person would normally be listed in authoritative alphabetic lists in the person's language, country of residence, or country of activity. Record the other part or parts of the name following the first element.
Exception: If a person's preference is known to be different from normal usage, follow that preference when choosing the part of the name to be recorded as the first element.

(9.2.2.5) Different forms of the same name
If a person is known by more than one form of the same name, choose the preferred name by applying these instructions, as applicable:
Fullness (9.2.2.5.1): ° If the forms of a person's name vary in fullness, choose as the preferred name the form most commonly found.
° If no one form predominates, choose the latest form as the preferred name.
     » In case of doubt about which is the latest form, choose the fuller or fullest form.
° Record the other forms of the name as variant names (9.2.3.10).
Language (9.2.2.5.2): ° If a person's name has appeared in different language forms in resources associated with the person, choose as the preferred name the form that corresponds to the language of most of the resources.
     Alternative:Choose a well-accepted form of name in a language and script preferred by the agency creating the data.
     LC practice/PCC practice for Alternative: Do not apply the alternative.
° If the name does not appear in resources associated with the person, or in case of doubt, choose the form most commonly found in reference sources of the person's country of residence or activity.

Exception: Established form in a language preferred by the agency creating the data.:
° If the first element of a person's preferred name consists of a given name and/or a word or phrase associated with the person (9.2.2.18), determine the well-established form or forms of the name in reference sources.
° If there is a well-established form of the name in a language preferred by the agency creating the data, choose that form of name as the preferred name.
     » In case of doubt, choose the form in the person's native or adopted language or the Latin form.
° Record the other forms of the name as variant names (9.2.3.10)

Names in a non-preferred script (9.2.2.5.3): If the name is found: Transliterate the name:
in a script that differs from a preferred script of the agency creating the data: according to the scheme chosen by the agency
in more than one non-preferred script: according to the scheme for the original language of most of the works
If the name is found: Choose:
only in a transliterated form in resources associated with the person: the transliterated form as the preferred name
in more than one transliterated form in resources associated with the person: the form that occurs most frequently
Alternative:
If there is a well-established form of name in reference sources in a language preferred by the agency creating the data choose that form of name as the preferred name.
If different forms are found in reference sources in a language preferred by the agency creating the data choose the form that occurs most frequently.
LC practice/PCC practice for Alternative: See the LCC-PCC PS for Chinese, Japanese, Korean, Cyrillic
Record the other forms of the transliterated name as variant names (9.2.3.10).
Spelling (9.2.2.5.4): ° If variant spellings of a person's name are found
and
° these variations are not the result of different transliterations
choose the form of name found in the first resource received
Record the other spellings of the name as variant names (9.2.3.10).
(9.2.2.6) Different names for the same person
° If a person is known by more than one name, choose the name by which the person is clearly most commonly known.
° If a person has changed his or her name, see 9.2.2.7
° If a person has more than one identity, see 9.2.2.8
° Otherwise, choose the preferred name according to the following order of preference:
     » the name that appears most frequently in resources associated with the person
     » the name that appears most frequently in reference sources
     » the latest name.
Record the other names by which the person is known as variant names (9.2.3.10).
(9.2.2.7) Change of name
° If a person has changed his or her name, choose the latest name or form of name as the preferred name.
Exception:
° If there is reason to believe that an earlier name will persist as the name by which the person is better known, choose that name as the preferred name.
(9.2.2.8) Individuals with more than one identity
° When an individual has more than one identity, choose the name associated with each identity as the preferred name for that identity.
     » record the relationships between these separate identities applying the instructions in chapter 30.

° Consider an individual to have more than one identity when the individual:
     » uses one or more pseudonyms* (including joint pseudonyms)
     » uses his or her real name as well as one or more pseudonyms
° Record as a variant name a name that was not chosen as the preferred name for an identity (9.2.3.10).

     *RDA definition of pseudonym: A name used by a person (either alone or in collaboration with others) that is not the person's real name.

Exception:
° If an individual uses only one pseudonym and does not use his or her real name as a creator or contributor, choose the pseudonym as the preferred name.
     » Record the individual's real name as a variant name (9.2.3.10).

(9.2.2.9) Recording names containing a surname
Apply the general guidelines on recording names at 8.5 [125].

Record the surname as the first element:

If a name consists of: Record:
a surname preceded by other parts of the name, such as given names the surname, followed by a comma and the parts of the name that precede it
a surname followed by other parts of the name the surname, followed by a comma and the parts of the name that follow it
only a surname the surname alone

Omit terms of honour and terms of address from any name that includes a surname unless:
     ° the name consists only of a surname (9.2.2.9.3
     or
     ° the name is of a married person identified only by a partner's name and a term of address 9.2.2.9.4

Additional instructions:   Record:
(9.2.2.9.1) Surname represented by an initial If a surname is represented by an initial
and
one or more other parts of the name are given in full
the initial that represents the surname as the first element
(9.2.2.9.2) Part of the name treated as a surname If the name does not contain a surname
and
the name contains a part that identifies the individual and functions as a surname
the part that functions as a surname as the first element, followed by a comma and the rest of the name.
(9.2.2.9.3) Persons known by a surname only If the name by which a person is known consists of a surname only
and
the surname is associated with a word or phrase, either in resources that are associated with the person or in reference sources
the surname, followed by a comma and the word or phrase, treating the word or phrase associated with the name as an integral part of the name

the name in direct order as a variant name (9.2.3.10).

(9.2.2.9.4) Married person identified only by a partner's name If a married person is identified only by a partner's name the term of address following the part of the partner's name that is recorded as the last element in that name.
Include a suffix attached to the name of a married woman as part of her name.
(9.2.2.9.5) Words, etc., indicating relationship following surnames Portuguese surnames record Filho, Junior, Neto, Netto, or Sobrinho as part of the surname.
Surnames in languages other than Portuguese record similar terms (e.g., Jr., Sr., fils, père) and numbers (e.g., III) following the person's given name or names, preceded by a comma.
Examples:
Recorded name: Authorized access point:
Thomas Kerr Jr. Kerr, Thomas H., ‡c Jr., ‡d 1915-1988
Doyle Bramhall II Bramhall, Doyle, ‡c II, ‡d 1968-
Loudon Wainwright III Wainwright, Loudon, ‡c III, ‡d 1946-
Grachan Moncur, III Moncur, Grachan, ‡c III, ‡d 1937-
(9.2.2.10) Compound Surnames
Treat a surname as a compound surname when it
     ° consists of two or more proper names, sometimes connected by a hyphen, or conjunction, and/or preposition
     ° has the appearance of compound surnames

Take regular or occasional initializing of a part preceding a surname as an indication that the part is not used as part of the surname.

Record as variant names forms of the name using other parts of the compound surname as the first element (9.2.3.10).

Additional instructions: Record as the first element:
(9.2.2.10.1) Established usage ° the part of the compound surname by which the person prefers to be listed, if known
° the part of the name under which the person is listed in reference sources in the person's language or country of residence or activity
(9.2.2.10.2) Established usage not determined ° the usage for the person's country of residence as specified in Names of Persons: National Usages for Entry in Catalogues when:
     » the preference of the person in unknown
     » established usage cannot be determined in reference sources in the person's language or country of residence or activity
° the first part of the compound surname as the first element when:
     » the usage for the country of residence or activity of the person is not covered in Names of Persons: National Usages for Entry in Catalogues
(9.2.2.11) Surnames with one or more separately written prefixes
Apply the guidelines at 9.2.2.9 and the additional instructions below.

Record as a variant name a form using another part as the first element (9.2.3.10). The first element of the variant name can be another part of the prefix or the part of the name following the prefix.

Additional instructions: Record as the first element:
(9.2.2.11.1) Articles and prepositions:
an article or preposition, or a combination of the two

LC practice/PCC practice: For the application of this instruction, treat English as the preferred language of the agency creating the data.

° the part most commonly used as the first element.
     » Determine common usage by consulting alphabetically arranged lists in the person's language or country of residence or activity.
     » See appendix F.11, summarized here: Recording surnames that include an article and/or preposition [28] (RDA F.11)

° the part of the name used as the first element in references sources in the person's language or country of residence or activity, even when it is in a non-standard form in those reference sources.

° If a person has used two or more languages, record the name by applying the instructions for the language of most of that person's works.

° In case of doubt, apply the following instructions in this order of preference:
     » apply the instructions for a language preferred by the agency creating the data if that is one of the languages used by the person
     » if the person is known to have changed country of residence, apply the instructions for the language of the person's adopted country
     » apply the instructions for the language of the name.

° Record as a variant name a form using another part as the first element (9.2.3.10). The first element of the variant name can be another part of the prefix or the part of the name following the prefix.

(9.2.2.11.2) Other prefixes:
not an article or a preposition, or a combination of the two
° the prefix
° Record as a variant name a form using the part of the name following the prefix as the first element (9.2.3.10).
(9.2.2.12) Prefixes hyphenated or combined with surnames:
not an article or a preposition, or a combination of the two
° the prefix when the prefix is regularly or occasionally hyphenated or combined with the surname
° Record as a variant name a form using the part of the name following the prefix as the first element (9.2.3.10).
(9.2.2.18) Names containing neither a surname nor a title of nobility
If a person is identified by a name that does not include a surname
and
this person is not identified by a title of nobility
     See RDA 9.2.2.13-9.2.2.17 for instructions for names containing a title of nobility
record the name by which the person is identified by applying the general guidelines at 8.5 [26].

Record as the first element the part of the name under which the person is listed in reference sources.
     In case of doubt, record the last part of the name as the first element, applying the instructions at 9.2.2.9.2.
If a person is commonly associated with a place of origin or residence, an occupation, or other characteristics (in resources associated with the person or in reference sources), include these words or phrases as an integral part of the name, preceding such words or phrases by a comma.

Treat a roman numeral associated with a given name as an integral part of the name (e.g., in the case of some popes, royalty, and ecclesiastics).

Record as variant names, as appropriate:
     ° forms using the associated words or phrases as the first element (9.2.3.10)
     ° other language forms of the name (9.2.3.9)
     ° other names by which the person is known (9.2.3.10)

See RDA for:
9.2.2.19 Names including a patronymic
9.2.2.20 Names of royal persons
9.2.2.22 Names consisting of initials, or separate letters, or numerals
9.2.2.23 Names consisting of a phrase
9.2.2.24 Phrase consisting of a given name(s) preceded by a term of address, etc.
9.2.2.25 Phrase containing the name of another person
9.2.2.26 Names consisting of a characterizing word or phrase
(9.2.3) Variant names for persons
The variant name or names for the person are
     ° the name or form of name by which a person is known that differs from the name or form of name chosen as the preferred name for that person
     ° used as the basis for variant access points. Other identifying attributes of the person may also be included in the access point.
(9.2.3.2) Sources of information
Take variant names from resources associated with the person and/or from reference sources.
(9.2.3.3) General guidelines on recording variant names for persons
Record variant names for a person by applying the general guidelines on recording names at 8.5 [26].

Record a variant name when it is different from the name recorded as the preferred name.

Record as a variant name:
     ° a name or form of name used by a person
     or
     ° a name or form of name found in reference sources
     or
     ° a form of name resulting from a different transliteration of the name.

Also apply instructions about recording variant names at 9.2.2.5 [126]-9.2.2.26, as applicable.

Additional instructions:   Record:
(9.2.3.4) Real name If the preferred name or names for an individual are pseudonyms
and
the individual does not use his or her real name as a creator or contributor
and
the individual's real name is known
the individual's real name as a variant name for each pseudonym
(9.2.3.5) Secular name If the preferred name for a person of religious vocation is the person's name in religion the person's secular name as a variant name
(9.2.3.6) Name in religion If the preferred name for a person of religious vocation is the person's secular name the person's name in religion as a variant name
(9.2.3.7) Earlier name of person If the preferred name for a person is a name used after a change of name the person's earlier name or names as variant names
(9.2.3.8) Later name of person If the preferred name for a person is a name used before a change of name the person's later name or names as variant names
(9.2.3.9) Alternative linguistic form of name If the name recorded as the preferred name for a person has one or more alternative linguistic forms
     ° different language
     ° different script
     ° different spelling
     ° different transliteration
the alternative linguistic forms as variant names
(9.2.3.10) Other variant name Record other variant names and variant forms of the name not covered by the instructions above if considered important for identification or access
     ° family, dynastic, etc., name of ruler
     ° name or family name as saint
     ° phrase used to name a person
     ° difference in fullness of name
     ° full form consists of initials
     ° different part of a compound surname
     ° part of surname following a prefix
     ° prefix to surname
     ° first given name of person without surname
     ° epithet or byname
     ° last part of name
     ° inverted form of initials
     ° direct form of a phrase or appellation or inverted form of an appellation
     ° honorary titles and terms of address
     ° first word in title forming part of a phrase

Preferred source of information (RDA 2.1.2.2-3 and 2.2)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

(2.1.2.2) Choosing a source of information for resources issued as a single unit
If the resource Then choose a source of information that
is issued as a single unit identifies the resource as a whole
embodies multiple works has a collective title
If the resource Then
no source of information identifying the resource as a whole
but
one source has a title identifying a main or predominant work or content
consider that source to identify the resource as a whole
no source of information identifying the resource as a whole
and
no source has a title identifying a main or predominant work or content
treat the sources of information identifying its individual contents as a collective source of information for the resource as a whole.
(2.1.2.3) Choosing a source of information for resources issued in more than one part
Choose one of the following, as appropriate, as the basis for identifying the resource as a whole:
If the resource Then choose a source of information that
a: is issued as a set that is unnumbered
or
the numbering does not help to establish an order
identifies the resource as a whole
   ° prefer a source that has a collective title
b: has sequentially numbered issues or parts identifies the lowest numbered issue or part available
c: has unnumbered issues or parts
or
has numbering that does not help to establish an order
identifies the issue or part with the earliest date of issue
If the resource Then
d: has no source of information identifying the resource as a whole
but
one source has a title identifying a main or predominant work or content
consider that source to identify the resource as a whole
e: has no source of information identifying the resource as a whole
and
has no source has a title identifying a main or predominant work or content
treat the sources identifying the individual parts as a collective source of information for the resource as a whole.
If the identification of a resource with ordered parts is not based on the first issue or part, make a note identifying the issue or part used as the basis for identification of the resource.
Music instructions from Best practices for music cataloging [119]:

Scores issued with parts: Generally apply 2.1.2.3 a) and treat the score (along with a cover* or wrapper if present) as a source of information identifying the resource as a whole.

  • *Cover is not defined in RDA; nor was it defined in AACR2. Richard Smiraglia described it in Cataloging Sheet Music : Guidelines for Use with AACR2 as "a wrapper made of material different from that used throughout the rest of the publication. Covers may be made of vellum, paper, fabric, plastic, etc. A paper page is a wrapper if any of the following differ from the score itself: color, texture, thickness, or type. Covers may or may not feature elaborate lettering or illustrations. Despite the popular usage of this term among collectors, most sheet music does not have covers but rather decorative or illustrated title pages." The term "wrapper" is also not defined in RDA.

    Best practices for music cataloging [119] includes the following instruction on determining covers as a source of information:
         ° Use cataloger's judgment in determining whether or not the resource has a cover.
         ° Generally consider a cover to be made of substantially different material (e.g., heavier or different colored paper) than the paper on which the music is printed.

Sets of parts with no score:

  • ° includes cover or wrapper: generally apply 2.1.2.3 a) and treat it as a source of information identifying the resource as a whole.
  • ° no cover or wrapper: apply 2.1.2.3 d) and select one of the parts as the main part
          » give preference to parts that would generally appear first in score order
  • ° Include a note on the source of title

Multi-part sound recordings:
Parts are: Title is: Apply:
numbered repeated on each part 2.1.2.3 a): choose a source of information identifying the lowest numbered issue or part available
not repeated on each part treat the individual parts as a collective source
not numbered repeated on each part 2.1.2.3 c): choose a source of information identifying the resource as a whole
not repeated on each part treat the individual parts as a collective source

Books or scores issued with audio/video carriers:
  • ° treat the book/score as the source of information identifying the resource as a whole (2.1.2.3 c) and apply 2.2.2.2 when
    • ° the audio/video carrier is affixed to the cover or endpapers of the book/score
  • ° treat the audio/video carrier as the source of information identifying the resource as a whole (2.1.2.3 d) and apply 2.2.2.3 or 2.2.2.4 when:
    • ° the book/score and audio/video carrier are housed in a single container, such as a box containing a CD jewel case and a book)
    • ° the book/score is inserted into the container, such as a booklet in a jewel case)
    • ° the book/score is the same size as the audio/video carrier
(2.2.2.1) Choosing a preferred source of information: basic guidelines:
° Treat the storage medium (e.g., paper, tape, etc.) and any housing (e.g., cassette) that is an integral part of the resource as a part of the resource itself.
° Treat accompanying material as part of the resource
° Treat a container such as a box in which a game or kit is issued as part of the resource itself.
(2.2.2.2) Preferred source of information for scores: Resources consisting of one or more pages, leaves, sheets, or cards (or images of them). This includes books and scores and PDF and microform reproductions of them.

(2.2.2.4) Preferred source of information for sound recordings: Other resources (not covered under 2.2.2.2 or 2.2.2.3 (moving images)).
Best practices for music cataloging [119]: This rule applies to all audio carriers.

Preferred source of information is the title page.
For resources lacking a title page, use the following sources, given in order of preference:
  • ° cover
  • ° caption
  • ° masthead*
  • ° colophon
  • ° another source on the resource
    • » give preference to sources in which the information is formally presented

*a statement printed in a fixed position in each edition or issue of a newspaper, magazine, etc., giving the publication's name, the names of the owner and staff, contact information, etc.

Preferred source of information is either:
  • ° label bearing a title that is permanently printed on or affixed to the resource
    • » this excludes accompanying material or a contain
  • or
  • ° embedded metadata in textual form that contains a title, such as metadata embedded in a MP3 audio file
  • ° another source on the resource
    • » give preference to sources in which the information is formally presented
(2.2.3) What to do when there's more than one preferred source of information
When there is more than one source that qualifies as the preferred source of information, use the first occurring of those sources except under these conditions:
The resource: Apply
(2.2.3.1) contains preferred sources of information in more than one language or script: use as the preferred source of information, in order of preference:
   ° the source in the same or predominant language or script of the content of the resource
   ° the source in the translated language or script when the translation is the purpose of the resource
   ° the source in the original language or script on the content, when the original language or script is known
   ° the first occurring of the sources
(2.2.3.2) contains preferred sources of information bearing different dates: use as the preferred source of information, in order of preference:
   ° the source bearing the later or latest date
(2.2.3.3) is a facsimile or reproduction of the original and it includes a preferred source for the both the facsimile or reproduction and the original: use the preferred source of information for the facsimile or reproduction
(2.2.4) What to do when identifying information doesn't appear on the resource
Use the source of information, in order of preference:
  • ° accompanying material
  • ° a container not issued as part of the resource
  • ° published descriptions of the resource
  • ° any other available source (e.g., a reference source)

When information supplied for any of the elements below is taken from a source outside the resource itself, indicate it in a note or enclose the information in square brackets:

  • ° title: title proper, parallel title proper, other title information, parallel other title information
    ° statement of responsibility: statement of responsibility (and parallel statement of responsibility) relating to title proper
    ° edition statement: designation (and parallel designation) of edition or of a named revision of an edition; statement of responsibility (and parallel statement) relating to the edition or to a named revision of an edition
    ° numbering of serials: (see 2.2.4 for list)
    ° production, publication, or distribution statements: place (and parallel place) of production, publication, or distribution; name (and parallel) name of producer, publisher, or manufacturer; date of production, publication, or distribution
    ° series statement: title proper (and parallel title proper) of series and subseries; other title information (and parallel other title information) of series and subseries; statement of responsibility (and parallel statement) relating to series and subseries; numbering within series and subseries

    LC practice/PCC practice: Use square brackets if information taken from a source outside a resource itself is supplied in any of the elements listed. However, apply the exception in this instruction if the resource is of a type that does not normally carry identifying information.

Publisher's and plate number for scores (RDA 2.15.2 & 2.15.3)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

See also MARC 028 field: Publisher or distributor number for scores [127]

Identifier for the manifestation (2.15) | Facsimiles and reproductions (2.15.1.3) | More than one identifier for the manifestation (2.15.1.5) | Qualification (2.15.1.7) | Publisher's number (2.15.2) | Plate number (2.15.3)

(2.15) Identifier for the manifestation
a character string associated with a manifestation that serves to differentiate that manifestation from other manifestations.

If there is more than one identifier for the manifestation, prefer an internationally recognized identifier, if applicable.

Best practices for music cataloging [119]: MLA recommendation: If feasible, record all standard identifiers present on the item, including but not limited to the following. MARC coding is indicated in parentheses:
   ° ISBN (020)
   ° ISMN (024/1st indicator 2)
   ° EAN or ISMN-13 (024/1st indicator 3)
   ° UPC (024/1st indicator 1)
   ° Issue number (sound recordings) (028/1st indicator 0)
   ° Matrix number (sound recordings) (028/1st indicator 1)
   ° Videorecording number (028/1st indicator 4)

(2.15.1.3) Facsimiles and reproductions
When a facsimile or reproduction has an identifier or identifiers associated with the original manifestation as well as with the facsimile or reproduction, record the identifier associated with the facsimile or reproduction.

Record any identifier associated with the original manifestation as an identifier for a related manifestation (27.1).

(2.15.1.5) More than one identifier for the manifestation
If describing a resource consisting of two or more parts and there is an identifier for the resource as a whole as well as identifiers for the individual parts, record the identifier for the resource as a whole.
When describing only a single part, record the identifier for that part.
Optional addition: Record both the identifier for the resource as a whole and any identifiers for individual parts.
Add a qualification to each identifier by applying the instructions at 2.15.1.7
LC practice/PCC practice for Optional addition: When adding a part to a multipart monograph description, always give the identifier for the part. Optionally, add identifiers for any parts of a multipart monograph or serial.

Alternative: If there are more than three identifiers for individual parts, record only the first identifier and the last identifier.
     ° If the identifiers are
          » consecutive, separate them by a hyphen.
          » not consecutive, separate them by a diagonal slash.
LC practice/PCC practice for Alternative: Do not give a span; give each identifier.
Best practices for music cataloging [119]: Follow LC-PCC PS. This includes cases where scores and parts bear separate identifiers.
Follow LC-PCC PS for alternative.

(2.15.1.7) Qualification
If the resource has more than one identifier of the same type, record a brief qualification after the identifier.
If the resource has only one identifier, add the type of binding, if considered important for identification.
If identifiers for parts of the resource are recorded (2.15.1.5), follow each identifier with the designation of the part to which it applies.
(2.15.2) Publisher's number for notated music (2.15.3) Plate number for notated music
numbering designation assigned to a resource by a music publisher that normally appears only on the title page, the cover, and/or the first page of music
     ° may include initials, abbreviations, or words identifying the publisher

Best practices for music cataloging [119]: If feasible, record all publisher's and distributor's numbers appearing on the item.
Record the name of the publisher or distributor associated with the number in 028 ‡b, in the same form as that transcribed in the publisher's/distributor's name element.
For reprint scores, optionally record the publisher's number(s) pertaining to the original manifestation in 028/1st indicator 3. Do this in addition to formulating a structured or unstructured description of the related manifestation (27.1).
     ° If this description includes the publisher's number(s), set 2nd indicator to 0.

Example:
2013560123 Edition Peters no. 7531.
2013560103 Publisher's number: Edition Peters no. 7786.

a numbering designation assigned to a resource by a music publisher that is usually printed at the bottom of each page, and sometimes also appears on the title page
     ° may include initials, abbreviations, or words identifying the publisher
     ° may be followed by a number corresponding to the number of pages or plates

Best practices for music cataloging [119]: If feasible, record all plate numbers appearing on the item.
Record the name of the publisher or distributor associated with the number in 028 ‡b, in the same form as that transcribed in the publisher's/distributor's name element.

When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr." appears with a plate number, do not consider it to be part of the number and do not record it with the number in 028/1st indicator 3). If, however, initials, abbreviations, or words identifying the publisher also appear with the number, transcribe the entire statement as it appears in a 500 note, even if this means giving again a publisher's name already transcribed as such. Do this in addition to recording the number in 028; set 2nd indicator to 0 in this case.

For reprint scores, optionally record the plate number(s) pertaining to the original manifestation in 028/1st indicator 2. Do this in addition to formulating a structured or unstructured description of the related manifestation (27.1).
     ° If this description includes the plate number(s), set 028 2nd indicator to 0.

Sources of information
(2.15.2.2) Take publishers' numbers for music from any source (2.15.3.2) Take plate numbers for music from any source
Recording Publisher's and plate number for music
(2.15.2.3) if a publisher's number is preceded by an abbreviation, word, or phrase identifying the publisher, include that abbreviation, word, or phrase as part of the number (2.15.3.3) If a plate number is preceded by an abbreviation, word, or phrase identifying the publisher, include that abbreviation, word, or phrase as part of the number

When a plate number on a score has an additional number (often after a dash) corresponding to the number of pages or plates, record it as part of the plate number.
The plate number may optionally also be recorded without this additional number. For example:
     028 22 23009-11 ‡b Carl Fischer
     028 20 23009 ‡b Carl Fischer

Recording edition statement (RDA 2.5)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Sources of information (2.5.1.2) | Facsimiles and reproductions (2.5.1.3) | Recording edition statements (2.5.1.4) | Edition statements relating to issues or parts | Designation (2.5.2) and parallel designation (2.5.3) of edition | Statement (2.5.4) and parallel statement (2.5.5) of responsibility | Designation (2.5.6) and parallel designation (2.5.7) of a named revision | Statement (2.5.8) and parallel statement (2.5.9) of responsibility relating to a named revision

(2.5.1) Basic instructions on recording edition statements
An edition statement identifies the edition to which a resource belongs.

An edition statement may include

  • a designation of a named revision of an edition
  • a statement or statements of responsibility relating to the edition and/or to a named revision of an edition
  • statements designating the version of the work contained in an unpublished form (e.g., manuscript drafts, videorecordings that have not been commercially released or broadcast)
(2.5.1.2) Sources of information for edition
See below for sources of information for
     ° designation of edition
     ° parallel designation of edition
     ° statement of responsibility and parallel statement of responsibility relating to the edition
     ° designation and parallel designation of a named revision of an edition
     ° statement of responsibility and parallel statement of responsibility relating to a named revision of an edition.
(2.5.1.3) Facsimiles and reproductions
For a facsimile or reproduction that has an edition statement or statements relating to the original manifestation as well as to the facsimile or reproduction, record the edition statement or statements relating to the facsimile or reproduction.

Record any edition statement relating to the original as an edition statement pertaining to a related manifestation (27.1).

(2.5.1.4) Recording edition statements

Transcribe an edition statement as it appears on the source of information. Apply the general guidelines on transcription given under 1.7 [4].

LC-PCC PS: LC practice/PCC practice: If a resource lacks an edition statement but it is known to contain significant changes from other editions, supply a brief statement in the language and script of the title proper and enclose it in square brackets if considered necessary for identification.

Examples:
2010562256 250 First edition.
2012572206 250 Fourth edition.
2012562787 250 50th edition.
2013560111 250 First edition un-revised.
2011492492 250 1. edición.
2012437595 250 Wydanie I.
2012563881 250 Edizione fac-simile, 1860 (ca.).
2010562209 250 Composer's engraved facsimile edition.
2011568076 250 Revised edition.
2013568401 250 Studien-Edition.
2012564395 250 Urtext.
     ° See authority record no2012071348:
          » The word "Urtext" often appears on resources comprising notated music.
          » Give as a quoted note.
          » Covers all instances when this character string used by any publisher of notated music is considered to be a series-like phrase.

Best practices for music cataloging [119]: Separate multiple designations of edition, designations of named revision of edition, etc. in 250 by a comma.

Example:
2013560108 250 Revised, Full score.

(2.5.1.5) Edition statements relating to issues or parts

If the resource consists of multiple issues or parts, including accompanying material, and there are edition statements relating to the whole as well as to parts, record only the edition statements relating to the whole resource.

Make a note giving edition statements relating to issues or parts if they are considered to be important for identification (2.20.4.3)

Best practices for music cataloging [119]: A common case in music is when a score, cataloged together with parts, bears the statement "Score" (or its equivalent). Per this rule, do not treat such a statement as a designation of edition, as it does not apply to the entire resource.
Note: LC is not following this recommendation:
2013560113 250 Score & parts, Full score.

(2.5.2) Designation of Edition

A designation of edition is a word, character, or group of words and/or characters, identifying the edition to which a resource belongs.

In some languages the same term or terms may be used to designate both edition and printing.
A statement detailing the number of copies printed is not a designation of edition.

In case of doubt about whether a statement is a designation of edition, consider the presence of a word such as edition, issue, release, level, state, or update (or its equivalent in another language), or a statement indicating:
     ° a difference in content
     ° a difference in geographic coverage
     ° a difference in language
     ° a difference in audience
     ° a particular format or physical presentation
     ° a different date associated with the content
     ° a particular voice range or format for notated music
as evidence that such a statement is a designation of edition.

(2.5.2.2) Sources of information for designation of edition
Take designations of edition from the following sources (in order of preference):
     ° the same source as the title proper (2.3.2.2 [128])
     ° another source within the resource itself (2.2.2 [129])
     ° one of the other sources of information specified under 2.2.4 [123]
(2.5.2.3) Recording designation of edition
Apply the basic instructions on recording edition statements given under 2.5.1

If a designation of edition consists of a letter or letters and/or a number or numbers (expressed either as numerals or as words) without accompanying words, add an appropriate word. Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].

If more than one designation of edition is being recorded, record the statements in the order indicated by the sequence, layout, or typography of the statements on the source of information.

Best practices for music cataloging [119]: The most common designations of edition in music resources fall into category g), "a statement indicating ... a particular voice range or format for notated music."

Treat a statement indicating a particular voice range that is not grammatically linked to the title, other title information, etc. as a designation of edition, whether or not it includes the word "edition" or its equivalent.

For the latter type ("format for notated music"), refer to the list of formats given at 7.20.1.3 [130] for guidance in determining whether the statement in question fits the scope or not.

Vocal scores and chorus scores are special cases inasmuch as they have dual identities: as a format of notated music (manifestation), subject to this rule, and as a type of arrangement (expression).

Examples:
2010562144 250 Score.
2013560313 250 Score is in C.
2012563883 250 Conductor's score.
2012563757 250 Playing score.
2012563875 250 A semi-improvisational score.
2012562554 250 Study score.
2010498234 250 Studienpartitiur.
2013560108 250 Revised, Full score.
2013560322 250 Score in C, Full score.
2014399229 250 First edition, Full score & 4 parts.
#841148520 250 Archive edition, score and parts with pre-recorded performance CD.
2010498234 250 Studienpartitiur.
2012560825 250 A performing edition.
2013560475 250 Critical performance edition for harp.
2010562155 250 Orchestral score and libretto.
2012465494 250 Score and parts.
2013560267 250 Scores & parts.

#818906209 250 High voice, corrected edition.
2012563872 250 Transposed score.
2012465681 250 Izdanie pervoe, klavir.
2011568369 250 Vollst. Klavierauszug mit Text.

#860906479 250 Partitur mit Orgelauszug.
2013560461 250 Solo part and piano reduction.
2013563000 250 Klavirski izvod = Reduction pour piano et mezzosoprano.
2012563882 250 Vocal score with piano accompaniment.

Do not treat other statements of arrangement, transposition, etc. as designations of edition; transcribe those statements as statements of responsibility, per 2.4 [18]. When in doubt, treat the statement as a statement of responsibility.

(2.5.2.4) Designation of edition is in more than one language or script
If a designation of edition appears on the source of information in more than one language or script, record the statement in the language and/or script of the title proper. If this criterion does not apply, record the statement that appears first.
(2.5.2.6) Designation of edition integral to title proper, etc.
If a designation of edition is an integral part of the title proper, other title information, or statement of responsibility, or if it is grammatically linked to any of these, record it as such and do not record a further designation of edition.

Example:
2010562156 245 10 Piano-vocal score for five scenes from Criseyde

(2.5.3) Parallel designation of edition
A parallel designation of edition is a designation of edition (2.5.2.1) in a language and/or script that differs from that recorded in the designation of edition element.
(2.5.3.2) Sources of information for parallel designation of edition
Take designations of edition from the following sources (in order of preference):
     ° the same source as the title proper (2.3.2.2 [128])
     ° another source within the resource itself (2.2.2 [129])
     ° one of the other sources of information specified under 2.2.4 [123]
(2.5.3.3) Recording parallel designation of edition
Apply the basic instructions on recording edition statements given under 2.5.1

Best practices for music cataloging [119]: If feasible, transcribe all parallel designations of edition in 250 ‡b.
Examples:
2012562531 250 Score and parts = ‡b Partitur und Stimmen.
2012560098 250 Klavierauszug = ‡b Vocal score.

Any subsequent designations of edition, designations of named revision of edition, etc. should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).
Examples:
2012415193 250 Erstdruck, Partitur und Stimmen = ‡b First print, score and parts.
#839241619 250 Erstdruck = ‡b First edition, Partitur und Stimmen

(2.5.4) Statement of responsibility relating to the edition and (2.5.5) Parallel statement of responsibility relating to the edition
(2.5.4.1) Statement of responsibility (2.5.5.1) Parallel statement of responsibility
A statement of responsibility relating to the edition is a statement relating to the identification of any persons, families, or corporate bodies responsible for the edition being described but not to all editions. A parallel statement of responsibility relating to the edition is a statement of responsibility relating to the edition (2.5.4.1) in a language and/or script that differs from that recorded in the statement of responsibility relating to the edition element.

Best practices for music cataloging [119]: If feasible, transcribe, in 250 ‡b, all parallel statements of responsibility relating to the edition.

Any subsequent designations of edition, designations of named revision of edition, etc. should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).

(2.5.4.2) Sources of information (2.5.5.2) Sources of information
Take statements of responsibility relating to the edition from the same source as the designation of edition (2.5.2.2). Take parallel statements of responsibility relating to the edition from the same source as the parallel designation of edition (2.5.3.2).

If there is no corresponding parallel designation of edition, take parallel statements of responsibility relating to the edition from the same source as the designation of edition (2.5.2.2).

(2.5.4.3) Recording statements of responsibility (2.5.5.3) Recording parallel statements of responsibility
>Record statements of responsibility relating to the edition applying the basic instructions on recording statements of responsibility given under 2.4.1 [131].

Examples:
2012563233 250 Piano-vocal score / ‡b piano reduction by Robert Meikle.
2012564402 250 Klavierauszug / ‡b von A.E. Müller.
2011568363 250 Klavier-Auszug / ‡b von F. Wollank

In case of doubt about whether a statement of responsibility applies to all editions or only to some, or if there is no designation of edition, record such a statement as a statement of responsibility relating to title proper (2.4.2 [132]).

When describing the first edition, record all statements of responsibility as statements of responsibility relating to title proper (2.4.2 [132]).

Best practices for music cataloging [119]: If feasible, transcribe, in 250 ‡b, all statements of responsibility relating to the edition.

Any subsequent designations of edition, designations of named revision of edition, etc. should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).

Record statements of responsibility relating to the edition applying the basic instructions on recording statements of responsibility given under 2.4.1 [131].

If there is more than one parallel statement of responsibility relating to the edition, record the statements in the same order as the parallel designations of edition to which they correspond; if that is not applicable, record them in the order found on the resource.

Best practices for music cataloging [119]: If feasible, transcribe, in 250 ‡b, all parallel statements of responsibility relating to the edition.

Any subsequent designations of edition, designations of named revision of edition, etc. should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).

(2.5.4.4) Statement of responsibility in more than one language or script  
If a statement of responsibility relating to the edition appears on the source of information in more than one language or script, record the statement in the language or script of the title proper. If this criterion does not apply, record the statement that appears first.  
(2.5.6) Designation of a named revision of an edition and (2.5.7) Parallel designation of a named revision of an edition
(2.5.6.1) Named revision of an edition (2.5.7.1) Parallel named revision of an edition
A designation of a named revision of an edition is a word, character, or group of words and/or characters, identifying a particular revision of a named edition. A parallel designation of a named revision of an edition is a designation of a named revision of an edition (2.5.6.1) in a language and/or script that differs from that recorded in the designation of a named revision of an edition element.
(2.5.6.2) Sources of information (2.5.7.2) Sources of information
Take designations of a named revision of an edition from the following sources (in order of preference):
     ° the same source as the designation of edition (2.5.2.2)
     ° another source within the resource itself (2.2.2 [129])
     ° one of the other sources of information specified under 2.2.4 [123]
Take parallel designations of a named revision of an edition from the following sources (in order of preference):
     ° the same source as the designation of a named revision of an edition (2.5.6.2)
     ° another source within the resource itself (2.2.2 [129])
     ° one of the other sources of information specified under 2.2.4 [123]
(2.5.6.3) Recording designations of a named revision of an edition (2.5.7.3) Recording parallel designations of a named revision of an edition
If the source of information has a statement indicating a revision of an edition (e.g., a named reissue of a particular edition containing changes from that edition), record the statement relating to that revision applying the instructions on recording designations of edition (2.5.2.3).

Do not record statements relating to a reissue of an edition that contains no changes unless the resource is considered to be of particular importance to the agency preparing the description.

Best practices for music cataloging [119]: If feasible, transcribe all designations of named revision of edition, in 250 ‡a or ‡b, as applicable.

Separate multiple designations of edition, designations of named revision of edition, etc. in 250 by a comma.

Record parallel designations of a named revision of an edition applying the basic instructions on recording edition statements given under 2.5.1.

Best practices for music cataloging [119]: If feasible, transcribe, in 250 ‡b, all parallel designations of edition.

Any subsequent designations of edition, designations of named revision of edition, etc. should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).

(2.5.6.4) Designation of a named revision of an edition in more than one language or script  
If a designation of a named revision of an edition appears on the source of information in more than one language or script, record the statement in the language or script of the title proper. If this criterion does not apply, record the statement that appears first.  
(2.5.8) Statement of responsibility relating to a named revision of an edition and (2.5.9) Parallel statement of responsibility relating to a named revision of an edition
(2.5.8.1) Statement of responsibility (2.5.9.1) Parallel statement of responsibility
A statement of responsibility relating to a named revision of an edition is a statement relating to the identification of any persons, families, or corporate bodies responsible for a named revision of an edition. A parallel statement of responsibility relating to a named revision of an edition is a statement of responsibility relating to a named revision of an edition (2.5.8.1) in a language and/or script that differs from that recorded in the statement of responsibility relating to a named revision of an edition element.
(2.5.8.2) Sources of information (2.5.9.2) Sources of information
Take statements of responsibility relating to a named revision of an edition from the same source as the designation of a named revision of an edition (2.5.6.2). Take parallel statements of responsibility relating to a named revision of an edition from the same source as the corresponding parallel designation of a named revision of an edition (2.5.7.2).

If there is no corresponding parallel designation of a named revision of an edition, take parallel statements of responsibility relating to a named revision of an edition from the same source as the designation of a named revision of an edition (2.5.6.2).

(2.5.8.3) Recording statements of responsibility (2.5.9.3) Recording parallel statements of responsibility
>Record statements of responsibility relating to one or more named revisions of an edition applying the basic instructions on recording statements of responsibility given under 2.4.1 [131].

Best practices for music cataloging [119]: If feasible, transcribe all statements of responsibility relating to a named revision of edition, in 250 ‡b.

Any subsequent statement of responsibility relating to a named revision of an edition should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).

Record parallel statements of responsibility relating to a named revision of an edition applying the basic instructions on recording statements of responsibility given under 2.4.1 [131].

If there is more than one parallel statement of responsibility relating to a named revision of an edition, record the statements in the same order as the parallel designations of a named revision of an edition to which they correspond.

Best practices for music cataloging [119]: If feasible, transcribe all parallel statements of responsibility relating to a named revision of edition, in 250 ‡b.

Note that any subsequent statement of responsibility relating to a named revision of an edition should follow a comma in ‡b (250 ‡a and ‡b are not repeatable).

(2.5.8.4) Statement of responsibility in more than one language or script  
If a statement of responsibility relating to a named revision of an edition appears on the source of information in more than one language or script, record the statement in the language or script of the title proper. If this criterion does not apply, record the statement that appears first.  

Recording names (RDA 8.4-8.5)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

(8.1.2) The term person refers to an individual or an identity established by an individual (either alone or in collaboration with one or more other individuals).
(8.1.3) The term name refers to a word, character, or group of words and/or characters by which a person is known.
(8.4) Language and script
Record names in the language and script in which they appear on the sources from which they are taken. Alternative: Record a transliterated form of the name either as a substitute for, or in addition to, the form that appears on the source.
     See RDA Toolkit [133] for LC-PCC PS.
(8.5) General guidelines on recording names
(8.5.1) General guidelines
Apply the general guidelines on capitalization, numbers, accents, etc., given under 8.5.2–8.5.7.
When those guidelines refer to an appendix, apply the additional instructions given in that appendix, as applicable.
(8.5.2) Capitalization (see also capitalization, Names of persons, families, corporate bodies, and places [134]
Apply the instructions on the capitalization given in Appendix A2:
     ° In general, capitalize the first word of each name.
     ° Capitalize other words applying the guidelines given under A.10–A.55, as applicable to the language involved.
     ° For names with unusual capitalization, follow the capitalization of the commonly known form.

Guidelines specific to names of persons:
A.2.3: Words or phrases characterizing persons:
     ° Capitalize a word, or the substantive words in a phrase characterizing a person and used as a name.
     ° Capitalize proper names contained in such a phrase applying the guidelines given under A.10–A.55, as applicable to the language involved.
     ° Capitalize a quoted title within a personal name as instructed under A.4.

A.2.4: Other terms associated with names of persons:
     ° Capitalize titles and other terms treated as an integral part of the name of a person or associated with the name applying the guidelines given under A.10–A.55, as applicable to the language involved.
     ° Capitalize the first word and any proper names in other designations associated with a person in terms indicating field of activity and in terms indicating occupation or profession.

A.10: Capitalization: English language:
     ° Where a guideline prescribes the capitalization of the name of a person, understand this to mean that each separate word or initial is to be capitalized excepting articles, prepositions, and conjunctions.
     ° Capitalize a plural generic term when it precedes the distinctive nouns in two or more proper names. Do not capitalize the generic term when it follows the nouns.

(8.5.3) Numbers expressed as numerals or as words
When recording a name, record numbers expressed as numerals or as words in the form in which they appear on the source of information.
Examples:
2012562496 James Lee III
#746949507 Loudon Wainwright III
#767565900 Edgar I. Ailor III and Edgar I. Ailor IV
(8.5.4) Accents and other diacritical mark
Record accents and other diacritical marks appearing in a name as they appear in the source of information. Add them if it is certain that they are integral to a name but have been omitted in the source from which the name is taken.

If the application of the instructions on capitalization in appendix A requires the addition of accents and other diacritical marks to lower case letters in order to reflect standard usage for the language in which the data is recorded, add accents and other diacritical marks accordingly.

(8.5.5) Hyphens
Retain hyphens between given names if they are used by the bearer of the name.
Example:
2012564397 Hans-Martin Theopold
(8.5.6) Spacing of initials and acronyms
Type of name And Instructions
person an initial represents a given name or a surname, and the initial is followed by another initial or a name leave a space after the full stop following the first initial
the name consists entirely or primarily of separate letters leave a space between the letters (regardless of whether they are followed by full stops or not)
the name includes initials or abbreviations forming part of a title or term of address leave a space between the initial or abbreviation and a subsequent initial, abbreviation, number, or word.
corporate an initial is followed by another initial do not leave a space after the full stop, etc., following the first initial
separate letters or initials appear on the source of information without full stops between them record the letters without spaces between them.
(8.5.6.1) Names of persons or families
When recording the name of a person:
     ° leave a space between a full stop following an initial representing a forename or surname and the subsequent initial or name
     Examples:
          2012563437 G. Verdi
          2012563434 J.S. Dwight
     ° if the name consists entirely or primarily of separate letters, leave a space between the letters (regardless of whether they are followed by full stops or not)
     ° if the name includes initials or abbreviations forming part of a title or term of address, leave a space between the initial or abbreviation and a subsequent initial, abbreviation, number, or word.
     Examples:
          2012563802 Mr. Handel
          2012571071 Mlle. Henriette Martin
          2012563880 Bohuslav Czernohorský, o.f.m. conv. 1684-1742
(8.5.7) Abbreviations
Apply the instructions on the use of abbreviations in names of person given in Appendix B.2:
     ° In names of persons use only the abbreviations that are integral parts of the name (e.g., "Wm.") if the person uses the abbreviation.

Recording numbers and dates (RDA 1.8-1.9)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Numbers expressed as numerals or as words | Dates

(1.8) Numbers expressed as numerals or as words
(1.8.1) Apply these guidelines to when recording numbers expressed as numerals or as words in the following elements:
     ° Numeric and/or alphabetic designation of first issue or part of sequence, or last issue or part of sequence
     ° Chronological designation of first issue or part of sequence, or last issue or part of sequence
     ° Alternative numeric and/or alphabetic designation of first issue or part of sequence, or last issue or part of sequence
     ° Alternative chronological designation of first issue or part of sequence, or last issue or part of sequence
     ° Date of production, publication, distribution, manufacture
     ° Copyright date
     ° Numbering within series and subseries
     ° Year degree granted
Alternative: For early printed resources, transcribe numbers expressed as numerals or as words appearing in numbering of serials, date of production, date of publication, date of distribution, or date of manufacture in the form in which they appear on the source of information.
     LC practice/PCC practice for Alternative: Apply the alternative for early printed resources.

When recording numbers expressed as numerals or as words in a transcribed element, transcribe them in the form in which they appear on the source of information, applying the general guidelines on transcription in 1.7 [4], as applicable.

(1.8.2) Form of numerals
Record numerals in the form preferred by the agency creating the data, unless the substitution would make the numbering less clear.

Alternatives:
1st: Record numerals in the form in which they appear on the source of information.
     LC practice for 1st Alternative: Apply the alternative.
          Best practices for music cataloging [119]: Follow LC-PCC PS for 1st alternative.
               ° Note: this may result in a different form of numeral in a series transcription (490) and its corresponding access point (8XX).

Example:
490 _1 Documenta musicologica. Zweite Reihe : Handschriften-Faksimiles ; ‡v Band XLIII
830 _0 Documenta musicologica. ‡n 2. Reihe, ‡p Handschriften-Faksimiles ; ‡v Bd. 43.

2nd: Record the numerals in the form in which they appear on the source. Add the equivalent numerals in the form preferred by the agency creating the data, indicating that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].
     LC practice for 2nd Alternative: Do not apply the alternative.

(1.8.3) Numbers expressed as words
Substitute numerals for numbers expressed as words.
(1.8.4) Inclusive numbers
When recording inclusive dates and other inclusive numbers, record both the first and last number in full.
(1.8.5) Ordinal numbers
When recording ordinal numbers (expressed either as numerals or as words) taken from an English-language source, record them as numerals in the form 1st, 2nd, 3rd, 4th, etc.

When recording ordinal numerals (expressed either as numerals or as words) taken from a source in a language other than English, Chinese, Japanese, or Korean, record them as numerals, following the usage of the language if ascertainable:
     French: 1er, 1re, 2e, 3e, etc.
     German: 1., 2., 3., etc.
     Italian: 1o, 1a, 2o, 2a, 3o, 3a, etc.

If the usage of a language cannot be ascertained, use the form 1., 2., 3., etc.

(1.9) Dates
When recording dates appearing on the source of information, apply the guidelines given under 1.8.

Apply the instructions in 1.9.2 below when recording a supplied date of production (2.7.6.6), publication (2.8.6.6), distribution (2.9.6.6), or manufacture (2.10.6.6) [135].

(1.9.2) Supplied dates
Record a supplied date or dates as instructed below. Indicate that the date was taken from a source outside the resource itself as instructed under 2.2.4 [123].
RDA Type of date Record:
1.9.2.2 either one of two consecutive years both years separated by or
1.9.2.3 probable year the year followed by a question mark
1.9.2.4 probable range of years the earliest probable year preceded by between and followed by and, then the latest probable year followed by a question mark
1.9.2.5 earliest possible date known not before followed by the date
latest possible date known not after followed by the date
earliest and latest possible dates known between followed by the earliest possible date, then and and the latest possible date

name headings | other areas of the bib record | calendar divisions, time periods | other: hyphenated prefixes, single letters, abbreviations, etc. | Miscellaneous See also Capitalization of key, opus, and numbers [96]

Name headings
Personal name headings (See also Recording names (RDA 8.4-8.5) [26])
  English (A10-A.30) French (A.40) German (A.41) Italian (A.43) Spanish (A.53)
Prefixes [28] if in a language other than English, follow the usage of the person; if in doubt, capitalize it prefixes consisting of an article or contraction of an article and a preposition      
Names of corporate bodies
  English French German Italian Spanish
  Yes: capitalize the first word of each name
° the name of an international organization or alliance
  » the full name of a legislative or judicial body; administrative department, bureau, or office; armed force (or component part of an armed force) and an accepted shortened form of name for any of these;
° the name of an institution, association, conference, company, religious denomination or order, local church, etc., or of a department or division and a noun, noun phrase, adjective, or adjectival phrase derived from the name that refers to a member or members of the body
but No: an article preceding the name, even when it is part of the official name;
a generic word (e.g., society, company, conference) when used alone or with an article
1st word, adjective preceding 1st noun, the 1st noun, all proper nouns   1st word, proper nouns, religious terms, word following an adjective denoting royal or pontifical privilege  
(A.2.1) For names with unusual capitalization, follow the capitalization of the commonly known form
Other areas of the bibliographic record
  English French German Italian Spanish
Nouns No
° Plural generic term belonging to two or more proper names
Yes: when it precedes the distinctive nouns
No: when it follows the nouns.
capitalize nouns denoting nationality Yes    
Titles of persons Yes:
° any title or term of honour or address that immediately precedes a personal name;
° the name or abbreviation of an academic degree, honour, religious order, etc.;
° esquire, junior, senior and their abbreviations;
° religious title;
° term of honour or respect;
° epithet occurring with, or used in place of, a personal name;
° name of a people, race, tribe, or ethnic or linguistic group and an adjective derived from such a name;
° name of a language
No: titles designation rank or office
Yes: titles of address or reference
° Saint: No: when refers to a person; Yes: otherwise
  Yes for ceremonial titles consisting of a possessive pronoun and a noun expressing an abstract quality; No: otherwise
° San (santo, etc.): No: when refers to a person; Yes: when it is abbreviated and when it is an integral part of the name of a place, a building, etc.
Yes:
° titles of honour and address when they are abbreviated;
° Su Excelencia, Su Majestad, etc., when used alone, written out or abbreviated but No: when used with a name or another title
Proper name derivatives No: a word derived from a personal or place name when it is used with a specialized meaning No: names of and adjective derived from names of:
  » members of religious groups, etc., political, other organizations;
  &#187 religions;
  » languages;
° adjectives derived from geographic names
° common noun used as a generic word in a geographic name
Yes: nouns indicating nationality, but No: adjectives indicating nationality
Yes: adjectives that consist of a personal name followed by an apostrophe and the ending –sche (including its inflected forms, but No: other adjectives containing a personal name
Yes:
° indeclinable adjectives derived from geographic names;
° adjectives, pronouns, and numerals used as parts of a name or title
No: proper adjectives
No: names of and adjective derived from names of:
  » members of religious groups, etc., political, other organizations;
  &#187 religions;
  » languages;
° adjectives derived geographic and personal names;
Yes: nouns indicating nationality, but No: adjectives indicating nationality
No
Personal pronouns No No No but Yes: Sie and Ihr and their inflected forms when used in formal address No: io but Yes: pronouns of formal address No: yo but Yes: pronouns of formal address
Geographic names Yes: name of a geographic feature, region, etc. but No: a descriptive adjective not part of an accepted name        
Political divisions Yes:
° the name of a political division (e.g., a country, state, province, city);
° a popular name of a place, or the name of a legendary place;
° a word such as empire, kingdom, state, country, and city following a proper name if it is a commonly accepted part of the name but No: when such a word when used alone to indicate a political division.
Yes: état when it refers to the nation   Yes: stato when it refers to the nation  
Names of structures, streets, etc. Yes:
° the name of a building, monument, or other structure, and the name of a road or street
No: words such as avenue, bridge, hotel, and park when they are used alone
No: rue and its synonyms
° église: No: when it indicates a building, but Yes: when it refers to the church as an institution
  No: via and its synonyms
° chiesa: No: when it indicates a building, but Yes: when it refers to the church as an institution
° iglesia: No: when it indicates a building, but Yes: when it refers to the church as an institution
Calendar divisions, time periods
  English French German Italian Spanish
days of the week
months
seasons
centuries
cultural periods
holidays
Yes
Yes
No

Yes
Yes

No
No
 
  No
No

Yes when proper names

No
No
 
Other: hyphenated prefixes, single letters, abbreviations, etc.
  English French German Italian Spanish
Single letters used as words or parts of compounds (e.g., A major; A-Dur [97]) Yes including
° the interjection O or Oh;
° a letter that refers to a letter of the alphabet.
  See Capitalization of key [97]    
Hyphenated compounds 1st part: Yes: when guidelines require
2nd part:
Yes: when
  » it is a noun or a proper adjective;
  » it has the same force as the 1st part
No: when
  » it modifies the 1st part;
  » the 2 parts constitute a single word
       
Hyphenated prefixes No: when joined by a hyphen to a capitalized word, unless other guidelines require its capitalization        
Miscellaneous
  English French German Italian Spanish
      No:
° cardinal numbers under one million;
° adverbs;
° verbal phrases;
° adjectives modifying nouns that are implied if the noun has been expressed elsewhere in the same sentence;
° fractions when they directly precede a noun or a cardinal number
   

Recording other attributes of persons (RDA 9.3-9.18)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Date associated with the person (9.3) | Title of the person (9.4) | Fuller form of name (9.5) | Other designation (9.6) | Gender (9.7) | Place of birth, death, country, and residence; address (9.8-9.12) | Affiliation (9.13) | Language (9.14) | Field of activity (9.15) | Profession or occupation (9.16) | Biographical information (9.17) | Identifier for the person (9.18)

(9.3) Date associated with the person
(9.3.1) Basic instructions on recording dates
A date associated with the person is a significant date associated with a person (e.g., date of birth, date of death).
(9.3.1.2) Sources of information
Take information on dates associated with the person from any source.
(9.3.1.3) Recording dates associated with persons
Record dates associated with persons, applying these instructions, as applicable:
     ° date of birth (9.3.2)
     ° date of death (9.3.3)
     ° period of activity (9.3.4)

Record a date associated with a person by giving the year or years in terms of the calendar preferred by the agency creating the data.
° LC practice/PCC practice: Record dates in terms of the Gregorian calendar.
     Example:
          born November 28 (December 10), 1821, died December 27, 1877 (January 8, 1878)
               Julian calendar dates precede the Gregorian calendar dates, which are in parentheses
               record the Gregorian dates: 1821-1878

Exception: If two or more persons have the same name and are born in the same year, see 9.3.2.3 for instructions on recording their dates of birth.

Type of date Record the date
probable date with a question mark following the year
year is uncertain but known to be either one of two year in the form [year] or [year]
approximate in the form approximately [year]
period of activity in the form [year]–[year] or [century]–[century]
     if either year can only be approximated, precede it with the word approximately

Record dates as separate elements, as parts of access points, or as both.
     ° See Date of birth and/or death [57] (9.19.13) and Period of activity [136] (9.19.1.5) for additional instructions on recording dates as parts of authorized access points

Exceptions:
° Title of nobility: Add a title of nobility only if the title or part of the title commonly appears with the name in resources associated with the person or in reference sources.
     ° Disregard reference sources dealing with the nobility.
     ° In case of doubt, add the title.
° Saint: Do not add Saint to an access point representing a pope or an emperor, empress, king, or queen.

(9.3.2-9.3.3) Date of birth and date of death
Date of birth is the year a person was born.
     ° Date of birth may also include the month and day of the person's birth.
Date of death is the year a person died.
     ° Date of death may also include the month and day of the person's death.
(9.3.2.2-9.3.3.2) Sources of information
Take information on date of birth and date of death from any source.
(9.3.2.3-9.3.3.3) Recording date of birth and date of death
Record the person's date of birth and the date of death of a deceased person, applying the basic instructions on recording dates associated with persons at 9.3.1.

If the person was born in the same year as another person with the same name, record the date of birth in the form [year] [month] [day].
     ° Record the month in a language and script preferred by the agency creating the data.

LC practice/PCC practice for recording date of birth:
     ° Record the month in English.
     ° Use a hyphen after date of birth when recording the date in an authorized access point.
     ° Do not use the term "born" with the date.

LC practice/PCC practice for recording date of death:
     ° Use a hyphen before the date of death when recording the date in an authorized access point.
     ° Do not use the term "died" with the date.

(9.3.4) Period of activity of the person
Period of activity of the person is a date or range of dates indicative of the period in which a person was active in his or her primary field of endeavour
(9.3.4.2) Sources of information
Take information on period of activity of the person from any source.
(9.3.4.3) Recording period of activity
Record a date or range of dates indicative of the person's period of activity, by applying the basic instructions on recording dates associated with persons at 9.3.1.

If it is not possible to establish specific years of activity, record the century or centuries in which the person was active.

LC practice/PCC practice:
     ° Use "active" and "century" rather than the abbreviations "fl." and "cent."
     ° The term "active" should appear before the first period of activity date (e.g., "active 12th century")

(9.4) Title of person
Title of the person is a
     ° word or phrase indicative of royalty, nobility, or ecclesiastical rank or office
     ° term of address for a person of religious vocation.
(9.4.1.2) Sources of information
Take information on the title of the person from any source.
(9.4.1.3) Recording titles of persons
Record the title of the person by applying the instructions below, as applicable.
     ° See RDA 9.4.1.4 (Titles of royalty), 9.4.1.5 (Titles of nobility), and 9.4.1.6-9.4.1.8 for religious titles.
Record titles as separate elements, as parts of access points, or as both.
     ° See Title or other designation associated with the person [137] (9.19.1.2) for additional instructions on recording titles as parts of authorized access points.
(9.5) Fuller form of name
A fuller form of name is the full form of:
     ° a part of a name represented only by an initial or abbreviation in the form chosen as the preferred name,
     or
     ° a part of the name not included in the form chosen as the preferred name.

The most common instances occur when the preferred name contains initials and the spelled out form is known.
Less common instances occur when known given names, surnames, or initials are not chosen as part of the preferred name.

(9.5.1.2) Sources of information
Take information on fuller forms of names from any source.
(9.5.1.3) Recording fuller forms of names
If a fuller form of a person's name is known
and the preferred name [98] (9.2.2) does not include all of that fuller form
then, record, as appropriate:
     ° the fuller form of all the inverted part of the name (given names, etc.)
     and/or
     ° the fuller form of the part of the name recorded as the first element of the name (surname, etc.)

Record fuller forms of names as separate elements, as parts of access points, or as both.
     ° See Fuller form of name [138] (9.19.1.4) for additional instructions on recording a fuller form of the name as part of the authorized access point.

Variant names: Record the name in its fuller form as a variant name [105] (9.2.3.10), when appropriate.

(9.6) Other designation associated with the person
Other designation associated with the person is a term other than a title that is associated with a person's name.
(9.6.1.2) Sources of information
Take information on other designations associated with the person from any source.
(9.6.1.3) Recording other designations associated with the person
Record other designations by applying the instructions below, as applicable.
     ° 9.6.1.4: Saints: For a Christian saint, record Saint
     ° 9.6.1.5: Spirits: For a spirit, record Spirit

Record other designations associated with the person as separate elements, as parts of access points, or as both.
     ° See Title or other designation associated with the person [137] (9.19.1.2) for additional instructions on recording a designation as part of the authorized access points.

(9.7) Gender
Gender is the gender with which a person identifies.
(9.7.1.2) Sources of information
Take information on gender from any source.
Indicate the source of information by applying the instructions at 8.12.1.3:
     ° When recording other identifying attributes of a person indicate, when appropriate, the source from which the information was derived.
     ° Cite other sources consulted that provided no information of use in establishing the preferred name.
          » Record No information found following the citation for the source consulted.
(9.7.1.3) Recording gender
Record the gender of the person as a separate element using an appropriate term from the following list:
     ° female
     ° male
     ° not known
If none of the terms listed is appropriate or sufficiently specific, record an appropriate term or phrase.

Record gender as a separate element.
Gender is not recorded as part of an access point.

(9.8-9.12) Place of birth (9.8), death (9.9), country (9.10), and residence (9.11); and address (9.12)
(9.8.1.1) Place of birth is the town, city, province, state, and/or country in which a person was born.
(9.9.1.1) Place of death is the town, city, province, state, and/or country in which a person died.
(9.10.1.1) A country associated with the person is a country with which a person is identified.
(9.11.1.1) Place of residence is a town, city, province, state, and/or country in which a person resides or has resided.
(9.12.1.1) Address of the person is the address of a person's place of residence, business, or employer and/or an e-mail or Internet address.
(9.8.1.2-9.12.1.2) Sources of information
Take information on place of birth, place of death, country or countries associated with the person, place or places of residence, and address or addresses of the person from any source.
Indicate the source of information by applying the instructions at 8.12.1.3.
(9.8.1.3) Recording lace of birth (9.8.1.3), death (9.9.1.3), country (9.10.1.3), and residence (9.11.1.3); and address (9.12.1.3)
Rule Record
(9.8.1.3) Place of birth
(9.9.1.3) Place of death
Record the place (town, city, province, state, and/or country) in which the person was born or in which in which the person died as instructed in chapter 16.
Abbreviate the names of countries, states, provinces, territories, etc., as instructed in appendix B (B.11), as applicable.

Record the place of birth and place of death as separate elements.
Place of birth and place of death are not recorded as part of an access point.

(9.10.1.3) Country or countries associated with the person
(9.11.1.3) Place of residence
Record the name of the country and the place or places (town, city, province, state, and/or country) in which the person resides or has resided as instructed in chapter 16.
Abbreviate the names of countries and of of countries, states, provinces, territories, etc.,as instructed in appendix B (B.11), as applicable.

Record a country and a place of residence as separate elements.
Country associated with the person and place of residence are not recorded as part of an access point.

(9.12.1.3) Address of the person Record the address of the person's place of residence, business, or employer, and/or an e-mail or Internet address.

Record an address as a separate element.
Address is not recorded as part of an access point.

(9.13) Affiliation
An affiliation is a group with which a person is affiliated or has been affiliated through employment, membership, cultural identity, etc.
(9.13.1.2) Sources of information
Take information on affiliation or affiliations from any source.
Indicate the source of information by applying the instructions at 8.12.1.3.
(9.13.1.3) Recording affiliations
Record the names of groups with which the person is affiliated or has been affiliated through employment, membership, cultural identity, etc.

Record an affiliation as a separate element.
Affiliation is not recorded as part of an access point.

(9.14) Language of the person
Language of the person is a language a person uses when writing for publication, broadcasting, etc.
(9.14.1.2) Sources of information
Take information on the language of the person from any source.
Indicate the source of information by applying the instructions at 8.12.1.3.
(9.14.1.3) Recording languages of the person
Record the language or languages the person uses when writing for publication, broadcasting, etc.
Use an appropriate term or terms in a language preferred by the agency creating the data, selecting terms from a standard list of names of languages, if available.

Record a language used by the person as a separate element.
Language is not recorded as part of an access point.

(9.15) Field of activity of the person
Field of activity of the person is a field of endeavour, area of expertise, etc., in which a person is engaged or was engaged.
(9.15.1.2) Sources of information
Take information on the field or fields of activity of the person from any source.
Indicate the source of information by applying the instructions at 8.12.1.3.
(9.15.1.3) Recording fields of activity of the person
Record the field or fields of endeavour, area or areas of expertise, etc., in which the person is engaged or was engaged by recording a term indicating the field.

Record a field of activity of the person as a separate element.
Field of activity is not recorded as part of an access point.

(9.16) Profession or occupation
Profession or occupation is a profession or occupation in which a person works or has worked.
(9.16.1.2) Sources of information
Take information on the profession or occupation of the person from any source.
Indicate the source of information by applying the instructions at 8.12.1.3.
(9.16.1.3) Recording fields of activity of the person
Record the profession or occupation in which the person works or has worked by recording a term indicating the class of persons engaged in the profession or occupation.

Record professions or occupations as separate elements, as parts of access points, or as both.
     ° See Profession or occupation [139] (9.19.1.4) for additional instructions on recording recording a profession or occupation as part of the authorized access point.

(9.17) Biographical information
Biographical information is information about the life or history of a person.
(9.17.1.2) Sources of information
Take biographical information from any source.
Indicate the source of information by applying the instructions at 8.12.1.3.
(9.17.1.3) Recording fields of activity of the person
Record information about the life or history of the person.
As appropriate, incorporate information associated with specific identifying elements (see 9.3–9.16 above) into a biographical information element.

Record biographical information as a separate element.
Biographical information is not recorded as part of an access point.

(9.18) Identifier for the person
An identifier for the person is a character string uniquely associated with a person, or with a surrogate for a person (e.g., an authority record). The identifier serves to differentiate that person from other persons.
(9.18.1.2) Sources of information
Take information on identifiers for the person from any source.
(9.18.1.3) Recording fields of activity of the person
Record an identifier for the person preceding the identifier with the name or an identification of the agency, etc., responsible for assigning the identifier, if readily ascertainable.

Recording other title information and other parallel title information (RDA 2.3.4-2.3.5)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

See Recording titles [13] (RDA 2.3) for basic instructions on recording titles
For specific information on recording categories of titles that most commonly apply to notated and performed music, see
title proper [14] (2.3.2) | parallel title proper [15] (2.3.4) | variant title [17] (2.3.6) | Examples

(2.3.4) Other title information (2.3.5) Parallel other title information
Other title information is information that appears in conjunction with, and is subordinate to, the title proper of a resource.

Other title information includes:

  • ° any phrase appearing with a title proper that is indicative of the character, contents, etc., of the resource or the motives for, or occasion of, its production, publication, etc.
  • ° Other title information includes subtitles, avant-titres, etc., but does not include variations on the title proper such as spine titles, sleeve titles, etc. (2.3.6 [17]) or designations and/or names of parts, sections, or supplements (2.3.1.7 [140])
Parallel other title information is other title information in a language and/or script different from that recorded in the other title information element.
(2.3.4.2) Sources of information for other title information (2.3.5.2) Sources of information for parallel other title information
Take other title information from the same source as the title proper [141]. Take parallel other title information from the same source as the corresponding parallel title proper 2.3.3.2 [142]

If there is no corresponding parallel title proper, take parallel other title information from the same source as the title proper 2.3.2.2) [128]

(2.3.4.3) Recording other title information (2.3.5.3) Recording parallel other title information
Record other title information appearing on the same source of information as the title proper applying the basic instructions on recording titles given under 2.3.1 [13].

If more than one element of other title information is being recorded, record the elements in the order indicated by the sequence, layout, or typography of the elements on the source of information.

If an original title appears on the same source of information as the title proper, and it is in the same language as the title proper, record it as other title information.

LC-PCC PS: LC practice/PCC practice: When there is a section title (2.3.1.7 [140]), give other title information that is appropriate only for the title of the larger resource in a note.
Best practices for music cataloging [119]: Follow LC-PCC PS. That is, routinely transcribe other title information appearing in the same source as the title proper.

Give subtitles, alternative titles, etc., appearing on other sources (e.g., cover, caption, container, spine of an audio carrier) if deemed useful for identification and access. Since other title information as defined in RDA can only be transcribed from the same source as the title proper, record such subtitles as variant titles (per 2.3.6 [17]) in 246 13/‡i, or other indicator values according to local practice, as appropriate.

Record parallel other title information in the same order as the parallel titles proper to which the information corresponds

If there are no parallel titles proper, and if other title information appears in one or more languages or scripts that are different from that of the title proper, record the other title information that appears first as other title information (2.3.4.4) and record the other title information in other languages as parallel other title information.

Best practices for music cataloging [119]: If feasible, transcribe all parallel other title information. See D.1.2.2 for guidance on recording parallel data in the 245 field, using ISBD presentation.

(2.3.4.4) Other title information in more than one language or script  
If other title information appears in more than one language or script, record the other title information that is in the language or script of the title proper. If this criterion does not apply, record the other title information that appears first.  
Examples:

Other title information:
2012564415
     245 10 Tracking inland : ‡b (2001) : flute, clarinet/bass clarinet, harp, string quartet
2013560414
     245 10 Above and beyond : ‡b for wind ensemble : 2012
2013465273
     245 10 Chiemsee-Quintett : ‡b für Holzbläser, 2011/2012
2013560386
     245 10 Night songs : ‡b op. 22, for high voice and piano
2013560387
     245 10 Not worth : ‡b for voice, two bass clarinets, viola, cello, bass
2012564366
     245 10 The promise of the far horizon : ‡b string quartet
2013560319
     245 10 Raíces = ‡b ("Roots") : concerto suite for orchestra

Parallel other title information
2011560796
     245 10 Jazz sonata : ‡b for violoncello and piano = für Violoncello und Klavier
2010562595
     245 10 Suita giocosa : ‡b for woodwind quintet = pro dechové kvinteto
2012562531
     245 10 To a wild rose : ‡b from "Woodland sketches" : for 4 violoncellos = aus "Amerikanische Wald-Idyllen" : für 4 Violoncelli

Examples of recording multiple instances of parallel other title information data using ISBD in MARC
taken and edited from Supplements to Best practices for music cataloging using RDA and MARC21 [143] version 1.21 August 11, 2015

On resource:
     LYRISCHE SUITE LYRIC SUITE / SUITE LYRIQUE für Streichquartett for String Quartet / pour Quatuor à Cordes
ISBD in MARC 245:
     245 10 Lyrische Suite : ‡b für Streichquartett = Lyric suite : for string quartet = Suite lyrique : pour quatuor à cordes
Explanation:
     When more than one element within a single area is recorded in two or more languages, the elements in the same language are given together using appropriate preceding punctuation for each element within that language. Subsequent language groups are preceded by an equal sign preceded and followed by a space.

On resource:
     Konzert in C Für Klavier, Violine, Violoncello und Orchester >>Tripelkonzert<< Concerto in C major For piano, violin, cello and orchestra >>Triple Concerto<< op. 56
ISBD in MARC 245:
     245 10 Konzert in C für Klavier, Violine, Violoncello und Orchester op. 56 : ‡b Tripelkonzert = Concerto in C major for piano, violin, cello and orchestra : Triple concerto
Explanation:
     The medium of performance, key, and number are considered to be part of the title proper because the title is a type of composition (2.3.2.8.1 [144]. Since "op. 56" is linguistically neutral, it has been included as part of the title proper. When more than one element within a single area is recorded in two or more languages, the elements in the same language are given together using appropriate preceding punctuation for each element within that language. Subsequent language groups are preceded by an equal sign preceded and followed by a space. This justifies the presentation of the all the German titles together, followed by the English titles.

On resource:
     Auf Christi Himmelfahrt allein On Jesus Christ's ascent on high BWV 128
     Kantate zum Fest Christi Himmelfahrt
     für Soli (ATB), Chor (SATB) 2 Oboen, Obeo d'amore, Oboe da caccia, Trompete, 2 Hörner 2 Violinen, Viola und Basso continuo
     Cantata for Ascension Day
     for soli (ATB), choir (SATB) 2 oboes, oboe d'amore, oboe da caccia, trumpet, 2 horns 2 violins, viola and basso continuo
ISBD in MARC 245:
     245 10 Auf Christi Himmelfahrt allein = ‡b On Jesus Christ's ascent on high : BWV 128 : Kantate zum Fest Christi Himmelfahrt für Soli (ATB), Chor (SATB), 2 Oboen, Oboe d'amore, Oboe da caccia, Trompete, 2 Hörner, 2 Violinen, Viola und Basso continuo = cantata for Ascension Day for soli (ATB), choir (SATB), 2 oboes, oboe d'amore, oboe da caccia, trumpet, 2 horns, 2 violins, viola and basso continuo

Explanation:
     In general, ISBD favors that languages are grouped together when there is parallel data across elements within the same area. It would be possible to group the German language elements of the title proper and other title information together, followed by the English titles. However the presence of "BWV 128" presents a problem since it has no parallel form. Should it follow after all the parallel title statements, but before the statement of responsibility or should it be given after the parallel title proper, but before the other title information in German, which would then be followed by the other title information in English? ISBD does not provide an answer for this situation. 2.3.4.3 [145] says that "if more than one element of other title information is recorded, it should be recorded in the order indicated by the sequence, layout, or typography of the elements on the source of information." This provides enough justification to place "Kantate zum Fest Christi Himmelfahrt für Soli (ATB), Chor (SATB), 2 Oboen, Oboe d'amore, Oboe da caccia, Trompete, 2 Hörner, 2 Violinen, Viola und Basso continuo" directly after "BWV 128," thus separating the presentation of the title proper and parallel title proper from the other title and other parallel title information.

Recording parallel title proper (RDA 2.3.3)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

see Recording titles [13] (RDA 2.3) for basic instructions on recording titles
For specific information on recording categories of titles that most commonly apply to notated and performed music, see
title proper [14] (2.3.2) | other title information [16] (2.3.4) and parallel other title information [16] (2.3.5) | variant title [17] (2.3.6)

(2.3.3) Parallel title proper
A parallel title proper is the title proper title proper in another language and/or script

The parallel title proper includes:

  • ° an alternative title in another language and/or script is treated as part of the parallel title proper
  • ° an original title in a language different from that of the title proper that is presented as the equivalent of the title proper
(2.3.3.2) Sources of information for parallel title proper
Take parallel titles proper from any source within the resource.
     ° If the parallel title is not taken come from the same source as the title proper, indicate the source in a note if that fact is considered important for identification.
(2.3.3.3) Recording parallel titles proper
If there is more than one parallel title proper, record the titles in the order indicated by the sequence, layout, or typography of the titles on the source or sources of information.

If an original title in a language different from that of the title proper is presented as an equivalent to the title proper, record it as a parallel title proper.
Examples:
2013560319
     245 10 Raíces = ‡b ("Roots")
2012564395
     245 10 Centenary song album = ‡b Jubiläumus-Liederalbum
2012563437
     245 10 Ah che la morte ognora = ‡b Ah I have sighed to rest me
2012396912
     245 10 Koncert pro violu a orchestr = ‡b Konzert für Viola und Orchester = Concerto for viola and orchestra
2010562251
     245 10 Melodie für Flföte, Oboe, Klarinette, Horn und Fagott = ‡b Melody for flute, oboe, clarinet, French horn and bassoon
2011568270
     245 10 Sonate za violinu i orgulje = ‡b Sonate pour violon et orgue
2012564397
     245 10 Barcarolle Fis-Dur, Opus 60 = ‡b Barcarolle in F# major, op. 60
          Note: on the resource "Opus" is spelled out in the German; it appears as an abbreviation in the English parallel title
2010562251
     245 10 Melodie für Flöte, Oboe, Klarinette, Horn und Fagott = ‡b Melody for flute, oboe, clarinet, French horn and bassoon

If a parallel title proper is taken from a different source than the title proper, and that fact is considered important, make a note on the source (2.20.2.3)

Best practices for music cataloging [119]:
If feasible, record all parallel titles proper appearing on the preferred source.
     Optionally, record parallel titles appearing elsewhere in the item.
Parallel titles from any source in the item may be transcribed in 245/‡b or ‡c, without square brackets.
Record the form in which the title appears on the source of information as a variant title if it is considered to be important for identification or access Parallel titles should also be recorded as variant titles (in the 246 field) to ensure proper indexing.

When a parallel title is taken from outside the preferred source and included in 246 (in addition to 245/‡b or ‡c), apply 2.20.2.3 (Note on title source) by including a note or or an introductory phrase in the 246/‡i.

Alternatively, parallel titles from outside the preferred source may be recorded only in 246 1_ with an introductory phrase in 246/‡$i.
Examples:
2012572074
     246 1_ ‡i Parallel title on caption: ‡a Ninnerella
2012564279
     246 1_ ‡i Parallel title in caption: ‡a Jin jiang ba jing

This approach may be preferable when multiple parallel titles appear in different sources, and therefore the second paragraph at 2.3.3.3 is difficult to apply

(2.3.3.4) Medium of performance, key, etc.

If the source of information includes statements of medium of performance, key, date of composition, and/or number that are treated as part of the title proper (2.3.2.8.1 [146]) in more than one language or script, record such statements in the order in which they appear on the source of information as part of the parallel title proper.

Examples:
OCLC #808842294
     245 10 Sonatina for violoncello and piano, C minor = ‡b für Violoncello und Klavier, c-Moll = ut mineur
OCLC #793653629
     245 10 Sonate für Flöte, Violine und konzertierendes Cembalo (Klavier), C-Dur = ‡b for flute, violin and obbligato harpsichord (piano), C major
OCLC #779254288
     245 10 Rêverie : ‡b für Violoncello und Klavier, g-Moll, opus 92/2 = for violoncello and piano, G minor = sol mineur

Example of recording parallel other title proper information data using ISBD in MARC
taken and edited from Supplements to Best practices for music cataloging using RDA and MARC21 [143] version 1.21 August 11, 2015
Some but not all of the key is in another language and the key is part of the title proper:
On resource:
     OCTET For 4 Violins, 2 Violas and 2 Violoncellos E♭ major/Es-Dur/Mi♭ majeur Op. 20
ISBD in MARC 245:
     245 10 Octet for 4 violins, 2 violas and 2 violoncellos E♭ major op. 20 = $b Es-Dur = mi♭ majeur
Explanation:
     The medium of performance, key, and number are considered to be part of the title proper because the title is a type of composition (2.3.2.8.1 [144]). Since "Op. 20" is linguistically neutral, it has been included as part of the title proper, even though it appears at the end of the title on the resource. For the parallel title proper, 2.3.3.4 [147] applies since a statement of medium of performance, key, date of composition, and/or number is being treated as part of the title proper and the statement is in more than one language. Even though just the key is in multiple languages, it can be considered as a parallel title proper.

Recording production, publication, distribution & manufacture statements and copyright date (RDA 2.7-2.11)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Place and Parallel place of production, publication, distribution, and manufacture
Name and Parallel name of producer, publisher, distributor, and manufacturer
Date of of production, publication, distribution, and manufacture
Copyright date

See also Production, publication, distribution, manufacture, and copyright notice (MARC 264) [148]

(2.7.1.1) production statement:
     ° the place(s) of production, producer(s), and date(s) of production of a resource in an unpublished form.
     ° includes statements relating to the inscription, fabrication, construction, etc., of a resource in an unpublished form.
(2.8.1.1) publication statement:
     ° identifies the place(s) of publication, publisher(s), and date(s) of publication of a resource.
     ° includes statements relating to the publication, release, or issuing of a resource.
(2.9.1.1) distribution statement:
     ° identifies the place(s) of distribution, distributor(s), and date(s) of distribution of a resource in a published form.
(2.10.1.1) manufacture statement:
     ° identifies the place(s) of manufacture, manufacturer(s), and date(s) of manufacture of a resource in a published form.
     ° includes statements relating to the printing, duplicating, casting, etc., of a resource in a published form.
Facsimiles and reproductions
(2.7.1.3) production
(2.8.1.3) publication
(2.9.1.3) distribution
(2.10.1.3) manufacture
For a facsimile or reproduction that has a production (2.7.1.3), publication (2.8.1.3), distribution (2.9.1.3), or manufacture (2.10.1.3) statement or statements relating to the original manifestation as well as to the facsimile or reproduction record:
     ° the production, publication, distribution, or manufacture statement or statements relating to the facsimile or reproduction
     ° any production, publication, distribution, or manufacture statement relating to the original as pertaining to a related manifestation
Recording statements of production, publication, distribution, and manufacture
(2.7.1.4) production statement for a resource that is in an unpublished form (e.g., a manuscript, a painting, a sculpture, a locally made recording).
     ° transcribe places of production and producers' names in the form in which they appear on the source of information.
(2.8.1.4) publication statement:
     ° transcribe places of publication and publishers' names in the form in which they appear on the source of information..
(2.9.1.4) distribution statement:
     ° transcribe places of distribution and distributors' names in the form in which they appear on the source of information.
(2.10.1.4) manufacture statement for a resource that is in a published form:
     ° record a manufacture statement or statements if neither the publisher's name nor the distributor's name is identified, and/or if neither the date of publication nor date of distribution is identified.
Optional omission for recording statements of production, publication, distribution, and manufacture: Omit levels in a corporate hierarchy that are not required to identify the producer, publisher, distributor, or manufacturer.
LC practice/PCC practice for Optional omission: Generally do not omit levels in corporate hierarchy.
Place of production, publication, distribution, and manufacture
(2.7.2) production
(2.8.2) publication
(2.9.2) distribution
(2.10.2) manufacture
If more than one place of publication (2.8.2), distribution (2.9.2), or manufacture (2.10.2) appears on the source of information, only the first recorded is required.
Place of: is associated with the:
(2.7.2.1) production inscription, fabrication, construction, etc., of a resource in an unpublished form
Best practices for music cataloging [149]: If deemed useful for identification and access, transcribe place of production in 264 [148] _2 ‡a or 260 ‡e. (260 field: MLA strongly recommends using the 264 [148] field).
(2.8.2.1) publication publication, release, or issuing of a resource
If more than one place of publication appears on the source of information, only the first recorded is required.
Best practices for music cataloging [149]: Follow LC-PCC PS: If more than one place is given in the resource and it is unclear which is the "true" place of publication and which is a place of distribution, foreign office, etc., give all places
(2.9.2.1) distribution distribution of a resource in a published form

Best practices for music cataloging [149]: If transcribing a distribution statement separately from a publication statement, record it in 264 [148] _2. It is usually not necessary to record a separate date of distribution if date of publication and copyright are already recorded. When in doubt as to whether a person, family or corporate body is functioning as publisher or distributor, transcribe the name as a publisher's name.

(2.10.2.1) manufacture printing, duplicating, casting, etc., of a resource in a published form

LC-PCC PS: (2.10) LC practice: If manufacture data elements are being given in lieu of missing publication and missing distribution elements, give a complete manufacture statement.
Best practices for music cataloging [149]: Follow LC-PCC PS
Record place of manufacture in 264 [148] _3 ‡a or 260 ‡e.

Sources of information for place of production, publication, distribution, and manufacture
(2.7.2.2) production
(2.8.2.2) publication
(2.9.2.2) distribution
(2.10.2.2) manufacture
Take places of production (2.7.2.2), publication (2.8.2.2), distribution (2.9.2.2), and manufacture (2.10.2.2) from the following sources (in order of preference):
     ° a) the same source as the producer's name (2.7.4.2), publisher's name (2.8.4.2), distributor's name (2.9.4.2), or manufacturer's name (2.10.4.2)
          » a) the same source as the title proper (2.3.2.2 [128])
          » b) another source within the resource itself (2.2.2 [129])
          » c) one of the other sources of information specified under 2.2.4 [123]
     ° b) another source within the resource itself (2.2.2 [129])
     ° c) one of the other sources of information specified under 2.2.4 [123].
Recording place of production, publication, distribution, and manufacture
(2.7.2.3) production
(2.8.2.3) publication
(2.9.2.3) distribution
(2.10.2.3) manufacture
Include both the local place name (city, town, etc.) and the name of the larger jurisdiction or jurisdictions (state, province, etc., and/or country) if present on the source of information

Examples:
2013560372 New York, NY
2011922634 New York, New York
2011564848 N.Y.C.
2012564238 Boston, Massachusetts
2012560046 Bryan, Tx
2011567284 Woodstock, IL
2013560454 Corvallis, OR, USA
2013561038 Asbury Park, NJ, USA
2013560449 Lake Forest, Illinois, U.S.A.
2011568265 Oxford, England

Optional additions: Include the full address as part of the local place name if it is considered to be important for identification or access.
Supply the name of the larger jurisdiction (state, province, etc., and/or country) as part of the local place name if it is considered to be important for identification or access. Indicate that the information was taken from a source outside the resource itself.

Include any preposition appearing with the place name that is required to make sense of the statement.
If the place name as transcribed is known to be fictitious, or requires clarification, make a note giving the actual place name, etc.

More than one place of production, publication, distribution, and manufacture
(2.7.2.4) production
(2.8.2.4) publication
(2.9.2.4) distribution
(2.10.2.4) manufacture
If more than one place of production, publication, distribution, or manufacture is named on the source of information, record the place names in the order indicated by the sequence, layout, or typography of the names on the source of information.

Examples:
2011477410 Kassel ; ‡a Basel ; ‡a London ; ‡a New York ; ‡a Praha
2011568072 Mainz ; ‡a London ; ‡a Berlin ; ‡a Madrid ; ‡a New York ; ‡a Paris ; ‡a Prague ; ‡a Tokyo ; ‡a Toronto

If there are two or more producers, publishers, distributors, or manufacturers, and two or more places associated with one or more of them, record the place names associated with each producer, publisher, distributor, or manufacturer in the order indicated by the sequence, layout, or typography of the place names on the source of information.

Place of production, publication, distribution, and manufacture in more than one language or script
(2.7.2.5) production
(2.8.2.5) publication
(2.9.2.5) distribution
(2.10.2.5) manufacture
If the place of production, publication, distribution, or manufacture appears on the source of information in more than one language or script, record the form that is in the language or script of the title proper. If this criterion does not apply, record the place name in the language or script that appears first.
Place of production, publication, distribution, and manufacture not identified in the resource
(2.7.2.6) production
(2.8.2.6) publication
(2.9.2.6) distribution
(2.10.2.6) manufacture
If the place of production, publication, distribution, or manufacture is not identified in the resource, supply the place or probable place of production, publication, distribution, or manufacture as instructed below. Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].

Note that according to D1.2.1, "when adjacent elements within one area are to be enclosed in square brackets, enclose each in its own set of square brackets."


If neither a known nor a probable local place or country, state, province, etc., of production, publication, distribution, or manufacture can be determined, record Place of production not identified, Place of publication not identified, Place of distribution not identified, or Place of manufacture not identified.

Examples:
2011568079 [Place of publication not identified]
2012562168 London : ‡b Boosey & Hawkes ; ‡a [Place of distribution not identified]

LC-PCC PS: (2.8.2.6) LC practice/PCC practice: Supply a probable place of publication if possible rather than give "[Place of publication not identified]."
Best practices for music cataloging [149]: Follow LC-PCC PS. Interpret "if possible" to mean "if feasible."


Known place of production (2.7.2.6.1), publication (2.8.2.6.1), distribution (2.9.2.6.1), or manufacture (2.10.2.6.1)
If the place of production, publication, distribution, or manufacture is known, supply the local place name (city, town, etc.). Include the name of the larger jurisdiction if necessary for identification.

Examples:
2013560266 [New York]
2012560043 [King of Prussia, Pennsylvania]
2010619286 [San Juan, Puerto Rico]
2012564320 [Mallorca, Spain]


Probable place of production (2.7.2.6.2), publication (2.8.2.6.2), distribution (2.9.2.6.2), or manufacture (2.10.2.6.2)
If the place of production, publication, distribution, or manufacture is uncertain, supply the name of the probable local place. Include the name of the larger jurisdiction if necessary for identification.

If only the local place name is supplied, follow it with a question mark. If the name of the larger jurisdiction is included, and the place of production, publication, distribution, or manufacture is known to be within that jurisdiction, but the locality within that jurisdiction is uncertain, add a question mark following the name of the probable local place. Otherwise, add a question mark following the name of the larger jurisdiction.

Example:
2012564321 [Mallorca, Spain?]


Known country, state, province, etc., of production (2.7.2.6.3), publication (2.8.2.6.3), distribution (2.9.2.6.3), or manufacture (2.10.2.6.3)
If the probable local place is unknown, supply the name of the country, state, province, etc.

Example:
2012563872 [United States]


Probable country, state, province, etc., of production (2.7.2.6.4), publication (2.8.2.6.4), distribution (2.9.2.6.4), or manufacture (2.10.2.6.4)
If the country, state, province, etc., of publication, distribution, or manufacture is uncertain, supply the name of the probable country, state, province, etc., followed by a question mark.

Example:
2012564297 [United States?]

Parallel place of production, publication, distribution, and manufacture
A parallel place of production (2.7.3), publication (2.8.3), distribution, (2.9.3), or manufacture (2.10.3) is in a language and/or script that differs from that recorded in the place of production, publication, distribution, and manufacture elements.
Sources of information for parallel place of production, publication, distribution, and manufacture
(2.7.3.2) production
(2.8.3.2) publication
(2.9.3.2) distribution
(2.10.3.2) manufacture
Take parallel places of production (2.7.3.2), publication (2.8.3.2), distribution (2.9.3.2), and manufacture (2.10.3.2) from the following sources (in order of preference):
     ° a) the same source as the place of production, publication, distribution, and manufacture,
     ° b) another source within the resource itself 2.2.2 [129]),
     ° c) one of the other sources of information specified under 2.2.4 [123].
Recording parallel place of production, publication, distribution, and manufacture
(2.7.3.3) production
(2.8.3.3) publication
(2.9.3.3) distribution
(2.10.3.3) manufacture
Record parallel places of production (2.7.3.3), publication (2.8.3.3), distribution, (2.9.3.3), or manufacture (2.10.3.3) applying the basic instructions on recording production (2.7.1), publication (2.8.1), distribution (2.9.1), and manufacture (2.10.1) statements.

If there is more than one parallel place of production, publication, distribution, or manufacture, record the names in the order indicated by the sequence, layout, or typography of the names on the source or sources of information.

Name of producer, publisher, distributor, and manufacturer
(2.7.4) producer
(2.8.4) publisher
(2.9.) distributor
(2.10.4) manufacturer
If more than one publisher's name (2.8.4), distributor's name (2.9.4), or manufacturer's name (2.10.4) appears on the source of information, only the first recorded is required.
Name of: is the name of a person, family, or corporate body responsible for:
(2.7.4.1) producer inscribing, fabricating, constructing, etc., a resource in an unpublished form
Best practices for music cataloging [149]: If deemed useful for identification and access, transcribe producer's name in 264 [148] _4 ‡b. Alternatively, transcribe it in 260 ‡f.
(2.8.4.1) publisher publishing, releasing, or issuing a resource.
     Treat printers and booksellers of early printed resources as publishers
Best practices for music cataloging [149]: Transcribe the names of all publishers appearing on the preferred source. If feasible, transcribe the names of all publishers appearing anywhere in the item. Transcribe in 264 [148] _1 ‡b or 260 ‡b.
If an audio/video recording bears both the name of the publishing company and the name of a subdivision of that company or a trade name or brand name used by that company (i.e., a "label" in the case of audio recordings), give the name of the subdivision or the trade name or brand name as the name of the publisher.
Note that there is no option to transcribe a publisher name in the "shortest form in which it can be understood and identified internationally." Thus, when in doubt as to whether a presentation of two names in the same source represents a publishing company and the name of a subdivision of that company or a trade name or brand name used by that company, or whether it represents two unrelated publishers, transcribe both names as separate publishers.
(2.9.4.1) distributor distributing a resource in a published form.
(2.10.4.1) manufacturer printing, duplicating, casting, etc., a resource in a published form.
Sources of information for name of producer, publisher, distributor, and manufacturer
(2.7.4.4) producer
(2.8.4.4) publisher
(2.9.4.4) distributor
(2.10.4.4) manufacturer
Take name of producer (2.7.4.4), publisher (2.8.4.4), distributor (2.9.4.4), and manufacturer (2.10.4.4) from the following sources (in order of preference):
     ° a) the same source as the title proper (2.3.2.2 [128])
     ° b) another source within the resource itself (2.2.2 [129])
     ° c) one of the other sources of information specified under 2.2.4 [123].
Recording producers', publishers', distributors', and manufacturers' names
(2.7.4.3) producer
(2.8.4.3) publisher
(2.9.4.3) distributor
(2.10.4.3) manufacturer
Record name of producer (2.7.4.3), publisher (2.8.4.3), distributor (2.9.4.3), or manufacturer (2.10.4.3) names applying the basic instructions on recording statement of production (2.7.1), publication (2.8.1), distribution (2.9.1), and manufacture (2.10.1).

If the name as transcribed is known to be fictitious, or requires clarification, make a note giving the actual name, etc. (2.20.7.3).

Best practices for music cataloging [149]: 2.10.4. Manufacturer's name: Record manufacturer's name in 264 [148] _2 ‡b or 260 ‡f.

Examples:
Publisher:
2012439060 L'Harmattan
2011568088 Neil A. Kjos Music Company
2012563886 Dan Coleman/Crowded Air Music (BMI)
2012564342 M. Witmark & Sons
2012562555 Merion Music : ‡b Theodore Presser Company, sole representative
2012562026 Published by Irma Von Lackey
2013560449 Tropp Music Editions, LLC
2012571074 Chez Mme. Lemoine & Cie
2012560036 chez Adolphe Martin Schlesinger
#785504701 Amadeus Verlag : ‡b Bernhard Päuler
The abbreviations appear on the resource:
2012560206 The George M. Krey Co.
2012563237 Associated Music Publishers, Inc.
2013560414 JSGS Publishing
2013560320 G. Schirmer, Inc.
Distributor:
2012562449 Exclusively distributed by Hal Leonard Corporation
2013560322 Administered exclusively by G. Schirmer, Inc.
#827561203 Maryland Heights, MO : ‡b Exclusively distributed by Keiser Classical ; ‡a Milwaukee, WI : ‡b Exclusively distributed by Hal Leonard Corporation.
Manufacturer:
2012563742 Printed by Osiris Publication

Statement of function of producer, publisher, distributor, and manufacturer
(2.7.4.4) producer
(2.8.4.4) publisher
(2.9.4.4) distributor
(2.10.4.4) manufacturer
Record words or phrases indicating the function performed by a person, family, or corporate body as they appear on the source of information.
Optional addition: If the function of a person, family, or corporate body recorded in the producer's, publisher's, distributor's, or manufacturer's name sub-element is not stated explicitly or is not clear from the context, add a term indicating the function. Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].

Best practices for music cataloging [149]: 2.8.4.4. Publisher's name, statement of function: Generally do not apply the optional addition.

More than one producer, publisher, distributor, and manufacturer
(2.7.4.5) producer
(2.8.4.5) publisher
(2.9.4.5) distributor
(2.10.4.5) manufacturer
If more than one person, family, or corporate body is named as a producer, publisher, distributor, or manufacturer of the resource, record the producers', publishers', distributors', or manufacturers' names in the order indicated by the sequence, layout, or typography of the names on the source of information.
Name of producer, publisher, distributor, or manufacturer in more than one language or script
(2.7.4.6) producer
(2.8.4.6) publisher
(2.9.4.6) distributor
(2.10.4.6) manufacturer
If the name of a producer, publisher, distributor, or manufacturer appears on the source of information in more than one language or script, record the form that is in the language or script of the title proper. If this criterion does not apply, record the name in the language or script that appears first.
No producer, publisher, distributor, or manufacturer identified
(2.7.4.7) producer If no producer is named within the resource itself, record producer not identified.
(2.8.4.7) publisher For a resource in a published form, if no publisher is named within the resource itself, and the publisher cannot be identified from other sources as specified under 2.2.4 [123], record publisher not identified.

Note that according to D1.2.1, "when adjacent elements within one area are to be enclosed in square brackets, enclose each in its own set of square brackets."

Best practices for music cataloging [149]: If transcribing a separate distributor statement in 264 [148] _2, record "[publisher not identified]" in 264 [148] _2 ‡b or 260 ‡b. If not transcribing a separate distributor statement in 264 [148] _2, and it is believed the distributor is also the publisher, transcribe the distributor name in square brackets in 264 [148] _1 ‡b or 260 ‡b.

(2.9.4.7) distributor For a resource in a published form, if no publisher is named within the resource itself, and the publisher cannot be identified from other sources as specified under 2.2.4 [123], record distributor not identified. Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].
(2.10.4.7) manufacturer If no manufacturer is named within the resource itself, record manufacturer not identified.
Parallel name of producer, publisher, distributor, and manufacturer
A parallel producer's (2.7.5.1), publisher's (2.8.5.1), distributor's (2.9.5.1), or manufacturer's (2.10.5.1) name is a producer's name, publisher's name, distributor's name, or manufacturer's name in a language and/or script that differs from that recorded in the producer's, publisher's, distributor's, or manufacturer's name elements.
Sources of information for parallel name of producer, publisher, distributor, and manufacturer
Take parallel name of producer (2.7.5.2), publisher (2.8.5.2), distributor (2.9.5.2), and manufacturer (2.10.5.2) from the following sources (in order of preference):
     ° a) the same source as the name of producer, publisher, distributor, and manufacturer,
     ° b) another source within the resource itself 2.2.2 [129]),
     ° c) one of the other sources of information specified under 2.2.4 [123].
Recording parallel name of producer, publisher, distributor, and manufacturer
(2.7.5.3) producer
(2.8.5.3) publisher
(2.9.5.3) distributor
(2.10.5.3) manufacturer
Record parallel producer's (2.7.5.3), publisher's (2.8.5.3), distributor's (2.9.5.3), or manufacturer's (2.10.5.3) names applying the basic instructions on recording statement of production (2.7.1), publication (2.8.1), distribution (2.9.1), and manufacture (2.10.1).

If there is more than one parallel producer's, publisher's, distributor's, or manufacturer's name, record the names in the order indicated by the sequence, layout, or typography of the names on the source or sources of information.

Date of production, publication, distribution, and manufacture
Date of: is associated with the:
(2.7.6.1) production inscription, fabrication, construction, etc., of a resource in an unpublished form.
(2.8.6.1) publication publication, release, or issuing of a resource.
Date of distribution is a core element for a resource in a published form if the date of publication is not identified.
(2.9.6.1) distribution distribution of a resource in a published form.

Date of manufacture is a core element for a resource in a published form if neither the date of publication, the date of distribution, nor the copyright date is identified.

(2.10.6.1) manufacture printing, duplicating, casting, etc., of a resource in a published form.
Sources of information for date of production, publication, distribution, and manufacture
(2.7.6.2) production
(2.8.6.2) publication
Take date of production (2.7.6.2) and date of manufacture (2.10.6.2) from any source
(2.9.6.2) distribution
(2.10.6.2) manufacture
Take date of publication (2.8.6.2) and date of distribution (2.9.6.2) from the following sources (in order of preference):
     ° a) the same source as the title proper (2.3.2.2 [128])
     ° b) another source within the resource itself (2.2.2 [129])
     ° c) one of the other sources of information specified under 2.2.4 [123].
For multipart monographs and serials, take the beginning and/or ending date of publication from the first and/or last released issue or part, or from another source.
Recording date of production, publication, distribution, and manufacture
(2.7.6.3) production
(2.8.6.3) publication
(2.9.6.3) distribution
(2.10.6.3) manufacture
Record date of production (2.7.6.3), publication (2.8.6.3), distribution (2.9.6.3), or manufacture (2.10.6.3) applying the basic instructions on recording statement of production (2.7.1), publication (2.8.1), distribution (2.9.1), and manufacture (2.10.1).
Best practices for music cataloging [149]: 2.7.6: record date of production in 264 [148] _2 ‡c. Alternatively, record date of production in 260 ‡c.
Best practices for music cataloging [149]: 2.10.6: Follow LC-PCC PS, that is, routinely infer a publication date from a date of manufacture and/or copyright date. Do this even if also giving date of manufacture separately in 264 [148] _2 ‡c or 260 ‡g.

Example:
2012563758 2011

If the date as it appears in the resource is not of the Gregorian or Julian calendar, add the corresponding date or dates of the Gregorian or Julian calendar. Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].
If the date as it appears in the resource is known to be fictitious or incorrect, make a note giving the actual date (2.20.6.3).

Chronograms
A chronogram is a sentence or inscription in which specific letters, interpreted as numerals, stand for a particular date when rearranged.
(2.7.6.4) production
(2.8.6.4) publication
(2.9.6.6) distribution
(2.10.6.4) manufacture
If the date of production (2.7.6.4), publication (2.8.6.4), distribution (2.9.6.4), or manufacture (2.10.6.4) as it appears on the source of information is in the form of a chronogram, transcribe the chronogram as it appears.

Optional addition:
Add the date in numerals (in the script and calendar preferred by the agency preparing the description). Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].
Alternative:
In place of the chronogram, record a supplied date in numerals (in the script and calendar preferred by the agency preparing the description). Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123].
Make a note giving the chronogram if it is considered to be important for identification (2.20.6.3, 2.20.7.3, 2.20.8.3, 2.20.9.3).

Multipart monographs, serials, and integrating resources
(2.7.6.5) production
(2.8.6.5) publication
(2.9.6.5) distribution
(2.10.6.5) manufacture
If the first issue, part, or iteration of a multipart monograph, serial, or integrating resource is available, record the date of production, publication, distribution, or manufacture of that issue, part, or iteration, followed by a hyphen.

If production, publication, distribution, or manufacture of the resource has ceased or is complete and the first and last issues, parts, or iterations are available, record the dates of production of those issues, parts, or iterations, separated by a hyphen.

If production, publication, distribution, or manufacture of the resource has ceased or is complete and the last issue, part, or iteration is available, but not the first, record the production date of the last issue, part, or iteration, preceded by a hyphen.

If the date of production, publication, distribution, or manufacture is the same for all issues, parts, or iterations, record only that date as the single date.

If the first and/or last issue, part, or iteration of production, publication, distribution, or manufacture is not available, supply an approximate date or dates applying the instructions given under 2.7.6.6, 2.8.6.6, 2.9.6.6, or 2.10.6.6.

If the date or dates of publication, distribution, or manufacture cannot be approximated, do not record a date of publication, distribution, or manufacture.

Date of production, publication, distribution, or manufacture not identified in a single-part resource
(2.7.6.6) production
(2.8.6.6) publication
(2.9.6.6) distribution
(2.10.6.6) manufacture
If the date of production, publication, distribution, or manufacture is not identified in the single-part resource, supply the approximate date of production, publication, distribution, or manufacture. Apply the instructions on supplied dates given under 1.9.2 [150].

Note that according to D1.2.1, "when adjacent elements within one area are to be enclosed in square brackets, enclose each in its own set of square brackets."

Examples:
2012564266 [1995?]
2013561035 [not after 2004]
2012560221 [not before 1772]
2013560310 [between 1995 and 2012]
2012564398 [January 2004]

If the date or an approximate date of production, publication, distribution, or manufacture for a single-part resource cannot reasonably be determined, record date of production not identified, date of publication not identified, date of distribution not identified, or date of manufacture not identified.

Best practices for music cataloging [149]: 2.8.6.6: Follow LC-PCC PS. Note that copyright date (whether © or ) is a separate element in RDA. It may be used to infer a publication date, but may not "stand in" as one. Give such inferred dates in square brackets. Routinely give copyright date separately, even if it is the same as the stated or inferred publication date. Give both dates in 260/264 [148] ‡c. See 2.11 for guidelines on selecting and recording copyright dates.

Examples:
2012563883 [2002]
2012564374 [1998?]

If the resource is in an unpublished form (e.g., a manuscript, a painting, a sculpture), record nothing in the date of distribution element.

Copyright date (2.11)
(2.11.1.1) A copyright date is a date associated with a claim of protection under copyright or a similar regime.
Copyright dates include phonogram dates ()(i.e., dates associated with claims of protection for sound recordings).
Copyright date is a core element if neither the date of publication nor the date of distribution is identified.
(2.11.1.2) Sources of information for copyright date
Take information on copyright dates from any source.
(2.11.1.3) Recording copyright dates
Record copyright dates applying the general guidelines on numbers expressed as numerals or as words given under 1.8 [8].
Precede the date by the copyright symbol (©) or the phonogram symbol (), or by copyright or phonogram if the appropriate symbol cannot be reproduced.
If the resource has multiple copyright dates that apply to: Record:
various aspects (e.g., text, sound, graphics): any that are considered important for identification or selection.
a single aspect (e.g., text, sound, or graphics): only the latest copyright date.
   Optional addition: Make a note giving the other copyright dates (2.20.10.3) or record the other dates as copyright dates of related manifestations (27.1)

LC-PCC PS: Record a copyright date for a single-part monograph if neither the date of publication nor the date of distribution is identified. It is not required to record copyright dates for multipart monographs, serials, and integrating resources.
Best practices for music cataloging [149]: Follow LC-PCC PS, that is, generally do not record copyright dates for incomplete multivolume monographs.
   For notated music:
      ° Routinely record the latest copyright date, either following a transcribed or inferred publication date in 264 [148] _1 ‡c or 260 ‡c, or in a separate 264 [148] _4 ‡c.
      ° Do not transcribe a copyright renewal date as the copyright date.
      ° Do not transcribe a date of copyright transfer as the copyright date.
   For audio recordings:
      ° Record the latest phonogram copyright date either in a separate 264 [148] _4 ‡c, or following a transcribed or inferred publication date in 260 ‡c.
      ° Code Date type and Dates 1 and 2 [151] in 008/06-14 as appropriate.

Note: According to MARC 21 format for bibliographic data: 008: all materials [152], 06 - Type of date/Publication status, t - Publication date and copyright date: "Deposit dates (i.e., those preceded by "D.L." (Dépot légal), etc.) may be treated as copyright dates."

Examples:

2013560320 008 date q 2011
264 _1 New York, NY : ‡b G. Schirmer, Inc., ‡c [2011?]
264 _4 ‡c ©2012
2012564227 008 date s 2012
264 _1 [Duluth, MN] : ‡b Christina Cotruvo, ‡c [2012]
264 _4 ‡c ©2012
2013560472 008 date t 2012 2010
264 _1 [Cali, Colombia] : ‡b Universidad del Valle, Programa Editorial, ‡c [2012]
264 _4 ‡c ©2010
2013560386 008 date t 2012 19871
264 _1 King of Prussia : ‡b Theodore Presser Company, ‡c [2012]
264 _4 ‡c ©1987
2012563869 008 date t 2012 2011
264 _1 New York : ‡b G. Schirmer, ‡c [2012]
264 _4 ‡c ©2011
2012564291 008 date t 2011
264 _1 [Oakland, CA?] : ‡b Shotsky Music, ‡c [2011]
264 _4 ‡c ©2011
2012564374 008 date t 1998 1998
264 _1 [United States?] : ‡b [Sarah Dawson?], ‡c [1998?]
264 _4 ‡c ©1998
#834623436 008 date t 2012 1995
264 _1 New York, NY : ‡b Hendon Music : ‡b Boosey & Hawkes, ‡c [2012]
264 _2 Milwaukee, WI : ‡b Distributed by Hal Leonard Corporation
264 _4 ‡c ©1995
#794592394 264 _1 London : ‡b Chester Music, part of the Music Sales Group, ‡c [2012]
264 _2 Bury St Edmunds, Suffolk : ‡b Exclusive distributors: Music Sales Ltd.
264 _4 ‡c ©2012
#852392960 264 _1 [Hamden, Connecticut] : ‡b Quixotic Music, ‡c [2013].
264 _4 ‡c ©2013
500     Place and date of publication provided by the author.

Problematic copyright dates:

#988540648 264 _1 München : ‡b G. Henle Verlag, ‡c [2013]
264 _4 ‡c ©2013
500     Score and unmarked violin part have copyright date ©2000; supplemental violin part has copyright date ©2013.
#5033594 264 1 Bryn Mawr, Pennsylvania : ‡b Theodore Presser Co., ‡c [1946]
264 4 ‡c ©1946
500     Copyright date from page 3; date on title page: ©1945.
#1107701472 264 1 [Canada] : ‡b [Susan Griesdale], ‡c [2011]
264 4 ‡c ©2011
500     Copyright date on title page: ©2009.
#976013620 264 1 [Place of publication not identified] : ‡b José-Luis Hurtado, ‡c [2009]
264 4 ‡c ©2009
500     Parts have copyright date of 2007.

If the resource has multiple copyright dates that apply to various aspects (e.g., text, sound, graphics), record only the latest copyright date.

Optional addition: Make a note giving the other copyright dates (2.20.10.3) or record the other dates as copyright dates of related manifestations (27.1).

Recording statement of responsibility for titles (RDA 2.4)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Basic instructions (2.4.1.1) | Sources of information (2.4.1.2) | Facsimiles and reproductions (2.4.1.3) | Recording statements of responsibility (2.4.1.4) | Statement naming more than one person, etc. (2.4.1.5) | More than one statement of responsibility (2.4.1.6) | Clarification of role (2.4.1.7) | Noun phrases occurring with a statement of responsibility (2.4.1.8) | No person, family, or corporate body named in the statement of responsibility (2.4.1.9) | Statement of responsibility relating to title proper (2.4.2) and parallel title proper (2.4.3)

(2.4.1.1) Basic instructions on recording statements of responsibility
A statement of responsibility is a statement relating to the identification and/or function of any persons, families, or corporate bodies responsible for the creation of, or contributing to the realization of, the intellectual or artistic content of a resource.
     ° The persons, families, or corporate bodies include:
          » performers of music whose participation is confined to performance, execution, or interpretation
          » performers, narrators, and/or presenters
          » persons who have contributed to the artistic and/or technical production of a resource
          » persons, families, or corporate bodies responsible for the production, publication, distribution, or manufacture of a resource

A statement of responsibility may:
     ° include words or phrases that are neither names nor linking words
     ° occur in association with a title, a designation of edition or named revision of an edition, or the title of a series or subseries

(2.4.1.2) Sources of information
statement of responsibility relating to title proper and parallel title proper
(2.4.1.3) Facsimiles and reproductions
When describing a facsimile or reproduction that has a statement or statements of responsibility relating to the original manifestation as well as to the facsimile or reproduction, record the statement or statements of responsibility relating to the facsimile or reproduction. [emphasis added]

Record any statement of responsibility relating to the original manifestation as a statement of responsibility pertaining to a related manifestation (27.1)

(2.4.1.4) Recording statements of responsibility
Transcribe a statement of responsibility as it appears on the source of information. Apply the general guidelines on transcription given under 1.7 [4].

Optional omission:
   ° Abridge a statement of responsibility only if it can be abridged without loss of essential information,
   ° Use a mark of omission (…) to indicate such an omission,
   ° Always record the first name appearing in the statement.
   ° When omitting names from a statement of responsibility naming more than one person, etc., apply the instructions given under 2.4.1.5.

LC practice/PCC practice for Optional omission: Generally do not abridge a statement of responsibility.

Examples:
2013560450
     F.W Meacham ; arr. Bunton ; transcribed for wind quintet by Don Stewart
          The abbreviation "arr." appears on the resource.
2012571928
     composed and arranged for the piano forte by George Hews
2012564321
     transcribed for orchestra by Samuel Coleridge-Taylor
2010562277
     edited by Kamelija Galijan-Simovic, Margaret Summers
2011569041
     Julia Makosz, Urszula Makosz, Paweŀ Pierzchaŀa
2012564227
     all arrangement, music typesetting and artwork by Christina Cotruvo
2013560345
     music by Jerome Kern, composer of "Oh boy" & "Leave it to Jane"
2012562030
     music and lyrics by David Billings, Rob Fairbairn, Mark Leehy and Kevin O'Mara ; book by Lynne Bartlett, Mark Leehy, and Kevin O'Mara.

(2.4.1.5) Statement naming more than one person, etc.
Record a statement of responsibility naming more than one person, etc., as a single statement regardless of whether the persons, families, or corporate bodies named in it perform the same function or different functions.

Optional omission:
If a single statement of responsibility names more than three persons, families, or corporate bodies performing the same function, or with the same degree of responsibility, omit all but the first of each group of such persons, families, or bodies.
     ° Indicate the omission by summarizing what has been omitted in the language and script preferred by the agency preparing the description.

LC practice/PCC practice for Optional omission: Generally do not omit names in a statement of responsibility.
Best practices for music cataloging [119]: Follow the LC-PCC PS, that is, generally do not apply the optional omission.

If the members of a group, ensemble, company, etc., are named as well as the name of the group, etc., omit the names of the members from the statement of responsibility.
     ° If they are considered important, record them in a statement identifying performers, narrators, and/or presenters (7.23)

(2.4.1.6) More than one statement of responsibility
If there is more than one statement of responsibility, record the statements in the order indicated by the sequence, layout, or typography of the source of information from which the associated title, designation of edition, or designation of a named revision of an edition is taken.
     ° If the sequence, layout, and typography are ambiguous or insufficient to determine the order, record the statements in the order that makes the most sense.

Examples:
2011569000
     John G. Bilotta ; libretto by John F. McGrew ; art work by Dale Dombrowski
2012563881
     Michele Novaro ; introduzione di Cesare Mancini
2012564253
     by Samuel Coleridge-Taylor ; editor Lionel Harrison.
2010562150
     words and music by David Lang ; (after Stephen Foster)
2012564397
     Frédéric Chopin ; herausgegeben von Norbert Müllemann ; Fingersatz von Hans-Martin Theopold
2012562441
     music by Jack Beeson ; libretto by Sheldon Harnick, based on the story "Dr. Heidegger's experiment" by Nathaniel Hawthorne.
2012563878
     Giovanni Battista Martini (1706-1784) ; edizione critica a cura di Federico Ferri e Daniele Proni

When recording statements of responsibility in sources other than the source from which the associated title, designation of edition, or designation of a named revision is taken, record them in the order that makes the most sense.

(2.4.1.7) Clarification of role
If the relationship between the title, designation of edition, etc., and any person, family, or corporate body named in a statement of responsibility is not clear, add a word or short phrase clarifying the relationship. Indicate that the information was taken from a source outside the resource itself as instructed under 2.2.4 [123]

Examples:
2010562762
     Joseph Goodman ; [words by] Marya Zaturenska
2012563857
     Carafa ; [arranged by] H. Lemoine

(2.4.1.8) Noun phrases occurring with a statement of responsibility
If a noun or noun phrase occurs with a statement of responsibility, treat the noun or noun phrase as part of the statement of responsibility.

Examples:
2012564236
     poem by Sara Teasdale ; music by David Dickau
2012563878
     edizione critica a cura di Federico Ferri e Daniele Proni

Best practices for music cataloging [119]: This rule applies regardless of whether the noun(s) or noun phrase(s) is/are indicative of the nature of the work, and regardless of whether the noun(s) or noun phrase(s) appear(s) immediately adjacent to the prepositional phrase(s) following it.

If deemed useful for identification and access, record a variant title in 246, using indicators 13, for any noun(s) or noun phrase(s) not already recorded as title information.

(2.4.1.9) No person, family, or corporate body named in the statement of responsibility
Record a statement of responsibility even if no person, family, or corporate body is named in that statement.
 
(2.4.2) Statement of responsibility relating to title proper and (2.4.3) parallel title proper
(2.4.2.1) Title proper (2.4.3.1) Parallel title proper
a statement that relates to the identification and/or function of any persons, families, or corporate bodies responsible for the creation of, or contributing to the realization of, the intellectual or artistic content of the resource. a statement in a language and/or script that differs from that recorded in the statement of responsibility relating to title proper element.
(2.4.2.2) Sources of information (2.4.3.2)Sources of information
° the same source as the title proper (2.3.2.2 [128])
° another source within the resource itself (2.2.2 [129])
° one of the other sources of information specified under 2.2.4 [123]
° the same source as the corresponding parallel title proper (2.3.3.2 [142]).
° If there is no corresponding parallel title proper, take parallel statements of responsibility relating to title proper from the same source as the title proper (2.3.2.2 [128])
(2.4.2.3) Recording statements of responsibility (2.4.3.3) Recording parallel statements of responsibility
Record statements of responsibility relating to title proper applying the basic instructions in 2.4.1.

If not all statements of responsibility appearing on the source or sources of information are being recorded, give preference to those identifying creators of the intellectual or artistic content.
     ° In case of doubt, record the first statement.

Best practices for music cataloging [119]: If feasible, record all statements of responsibility relating to title proper appearing on the preferred source. Optionally, record statements of responsibility relating to title proper appearing elsewhere in the item.

Example:
2012562142 book by David Simpatico ; song by Matthew Gerrard and Robbie Nevil ; Ray Cham, Greg Cham and Andrew Seeley ; Randy Petersen and Kevin Quinn ; Andy Dodd and Adam Watts ; Bryan Louiselle ; David N. Lawrence and Faye Greenberg ; Jamie Houston ; music adapted, arranged, and produced by Bryan Louiselle ; based on a Disney Channel original movie written by Peter Barsocchini

Statements of responsibility relating to title proper from any source in the item may be transcribed in 245 ‡c, without square brackets.

Example:
OCLC #829707457
     arranged by Graham Bastable
          Arranger's name appears on the title page; "arranged by" appears on the caption, thus no brackets are used.

If transcribing statements from multiple sources, apply 2.4.1.6 and give them in the order that makes the most sense, according to judgment. Generally, give statements from prominent sources (e.g., cover [153], caption, title page verso) before statements from other sources, and give all statements appearing in the item before statements from outside the item (which are given in square brackets).

Note that according to D1.2.1, "when adjacent elements within one area are to be enclosed in square brackets, enclose each in its own set of square brackets."

Example:
2012563227
     Mark Adamo ; [traditional spiritual arr. Mark Adamo]

For the purposes of this rule, do not consider attributions, etc. embedded in text to be statements of responsibility. If desired, apply 2.20.3 and give such attributions as notes on statement of responsibility.

Record statements of responsibility relating to title proper applying the basic instructions in 2.4.1

If there is more than one parallel statement of responsibility relating to title proper, record the statements in the same order as the parallel titles proper to which they correspond; if that is not applicable, record them in the order found on the resource.
Example:
2012562413
     edited by = herausgegeben von Wolfgang Birtel ; fingerings and bowings by = Fingersätze und Striche von Claus Kanngiesser.

Best practices for music cataloging [119]: If feasible, transcribe all parallel statements of responsibility relating to the title proper. See D.1.2.2 [154] for guidance on record parallel data in 245, using ISBD presentation.

Examples:
2011560794
     herausgegeben von = edited by Maria Kliegel
2012562531
     arranged by = bearbeitet von Wolfgang Birtel
2012562413
     edited by = herausgegeben von Wolfgang Birtel ; fingerings and bowings by = Fingersätze und Striche von Claus Kanngiesser.

Recording surnames that include an article and/or preposition (RDA F.11)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

The entry element for a personal name consisting of several words is based on:
     °  agreed usage in the of which the author is a citizen
     or, if that is not possible for whatever reason,
     ° agreed usage in the language the author generally uses.
The guidelines for determining entry element can be found in the 4th edition of Names of persons : national usages for entry in catalogues [155].
     This resource is out of print (but available in PDF) and is under revision.
For a complete list of languages and their entry elements, see RDA Appendix F.

Entry element for Spanish and Portuguese surnames

Language: RDA: Article/preposition: Record as first element:
Afrikaans F. 11.1 De, Du, Van der, Von prefix
Czech F. 11.2 z part following prefix
Danish F.11.10 is of Scandinavian, German, or Dutch origin: af, av part following prefix
is Dutch de or is of other origin prefix
Dutch F.11.3 ver (when the surname is of Dutch origin) prefix
De, Den, op de, ter, Van, Van der, ten, Van 't part following prefix
If the surname is not of Dutch origin:
   ° the name of a Netherlander part following the prefix
   ° the name of a Belgian follow the instructions for the language of the name
English F.11.4 À D', De, De la, Du, Le, Van, Van der Von prefix
Flemish F.11.3 See Dutch
French F.11.5 prefix consisting of a contraction of article and preposition: La, Le, Du, Des prefix
prefix consisting of a preposition alone: D', De part following preposition
German F.11.6 German names: prefix consists of an article or of a contraction of an article and a preposition: Am, Aus'm, Vom, Zum, Zur;
Dutch names: De, Ten
prefix
other German and Dutch names: Von, Von der, Zu part following prefix
the name is neither German nor Dutch follow the instructions for the language
Italian F.11.7 Modern names: A, D', Da, De, Del, Della, Di, Li, Lo prefix
Medieval and early modern names: consult reference sources: When the preposition is sometimes omitted part following the prefix
Do not treat the preposition in an Italian title of nobility used as the first element as a prefix
Norwegian F.11.10 is of Scandinavian, German, or Dutch origin: af, av part following prefix
is Dutch de or is of other origin prefix
Portuguese F.11.8 Da, Dos part following prefix
Romanian F.11.9 A prefix
De part following prefix
Slovak F.11.2 z part following prefix
Spanish F.11.11 prefix consists of an article only: El, La, Las prefix
all other prefixes: De, De las, Del part following prefix
Swedish F.11.10 is of Scandinavian, German, or Dutch origin: af, av part following prefix
is Dutch de or is of other origin prefix
Entry element for Spanish and Portuguese surnames
Portuguese and Spanish names are set up differently.
The names below mean the same thing, but are established differently:
In both cases the entry is under the father's surname.
Spanish John <father's surname> <mother's surname> Juan López Rodríguez In Spanish that is the first surname. Enter under López.
Portuguese John <mother's surname> <father's surname> João Rodrigues Lopes In Portuguese it is the last surname. Enter under Lopes.

Recording title proper (RDA 2.3.2)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

see Recording titles [13] (RDA 2.3) for basic instructions on recording titles
For specific information on recording categories of titles that most commonly apply to notated and performed music, see parallel title proper [15] (2.3.3) | other title information [16] (2.3.4) and parallel other title information [16] (2.3.5) | variant title [17] (2.3.6)

Sources of information ((2.3.2.2) | Facsimiles and reproductions (2.3.2.3) | Title in more than one language or script (2.3.2.4) | Title in more than one form (2.3.2.5) | Collective title and titles of individual contents (2.3.2.6) | Recording the title proper (2.3.2.7) | Other elements recorded as part of the title proper (2.3.2.8) | Resource lacking a collective title (2.3.2.9) | Resource with no title (2.3.2.10) | Recording devised titles (2.3.2.11)

(2.3.2) Title proper
The title proper is the chief name of a resource (i.e., the title normally used when citing the resource)
  • The title proper includes:
    • ° an alternative title:
      • the second part of a title proper that consists of two parts (each of which has the form of an independent title), joined by a word such as "or" or its equivalent in another language
  • The title proper excludes:
    • ° any parallel titles proper (2.3.3 [15])
    • ° other title information (2.3.4 [16])
    • ° parallel other title information (2.3.5 [16])
  • A file name or data set name is not considered a title proper unless it is the only title appearing in the resource.
(2.3.2.2) Sources of information for title proper
Take the title proper from the preferred source of information for the identification of the resource:
Scores: 2.2.2.2 [141]
Sound recordings: 2.2.2.4 [156]
If there is no title provided within the resource itself, take the title proper from one of the sources specified under 2.2.4 [123]
Make a note on the source of the title proper, if required, applying the instructions given under 2.20.2.3:
(2.20.2.3) Make a note on the source from which the title proper is taken if it is a source other than the title page, title sheet, or title card (or image thereof) of a resource consisting of multiple pages, leaves, sheets, or cards (or images thereof)
(2.3.2.3) Facsimiles and reproductions
The title of the facsimile or reproduction is different from the title of the original manifestation:

Record the title of the facsimile or reproduction as the title proper

The title of the facsimile or reproduction appears on the same source of information as the title of the original manifestation: Record the title of the original as either:
   ° as a parallel title proper, if it is in a language or script different from the title of the facsimile (2.3.3 [15])
or
   ° as other title information (2.3.4 [16])
or
   ° as the title of a related manifestation (27.1)
The title of the original manifestation appears elsewhere in the resource: Record it as the title of a related manifestation (27.1)
(2.3.2.4) Title in more than one language or script

When the source of information for title proper bears a title in more than one language or script, choose as the title proper the one in the language or script of the main written, spoken, or sung content of the resource.

If this criterion is not applicable, choose the title proper on the basis of the sequence, layout, or typography of the titles on the source of information

(2.3.2.5) Title in more than one form

When the source of information for title proper:
° bears a title in more than one form (e.g., such as one in acronym form and one in spelled out form, or two titles, both spelled out, that are very different)
and
° both or all of the titles are in the same language and script
choose the title proper on the basis of the sequence, layout, or typography of the titles on the source of information.
     » If the sequence, layout, and typography do not provide the basis for a clear choice, choose the most comprehensive title.

If the other title or titles are considered to be important for identification or access, record them either as:
     ° other title information (2.3.4 [16])
or
     ° variant titles (2.3.6 [17])

(2.3.2.6) Collective title and titles of individual contents
The resource has a source of information for the title proper bearing both a collective title and the titles of individual contents within the resource:

Record the collective title as the title proper
     ° Optional addition: Record the titles of the individual contents as titles of related works (25.1)

The resource has a source of information for the title proper bearing both the title of the content being described and a collective title for the larger resource: Record the title of the content being described as the title proper
Record the collective title for the larger resource as a series title (2.12.2)
     ° Optional addition: Record the collective title for the larger resource as a series title (2.12.2)

LC-PCC PS: LC practice for Optional addition (2nd): Do not record the collective title for the larger work as an authorized access point for the series for LC's original cataloging.

(2.3.2.7) Recording the title proper
Record the title proper applying the basic instructions on recording titles given under 2.3.1

LC-PCC PS: LC practice/PCC practice: Generally set the 2nd indicator [157] position (nonfiling characters) of the field 245 to disregard initial articles [158] for sorting and filing purposes.

However, retain an initial article when:
     ° it appears as part of a personal, family, geographic, or corporate name and is retained in such a name
     ° the context or cataloger's judgment require its retention

Examples:
2010562278
     245 00 Great French composers for folk harp
2010562759
     245 10 Five songs on poems of García Lorca
2012564321
     245 10 Five "Negro Melodies"
2012560066
     245 14 The four seasons of Lake Superior
2012564391
     245 10 2 excerpts from Lost objects
2012562030
     245 12 A kidsummer night's dream
2012562175
     245 14 The distance (this)
2013560105
     245 10 ...de la mas sabrosa y agradable vida...
2010562749
     245 10 Be just!
2013560337
     245 10 8 --> [infinity]
     500 __ In title, "[infinity]" appears as the infinity symbol.
OCLC #754708091
     245 13 An English suite
OCLC #773593807
     245 14 The greater good, or, The passion of Boule de Suif

(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 a music title consists only of the name or names of one or more types of composition [159], or the name or names of one or more types of composition and one or more of the following:
     ° medium of performance [160]
     ° numeric designation [161]
     ° date of composition [162]
     ° key [163]
Treat all the elements together (in the order in which they appear on the source of information) as the title proper.

Examples:
2012564376
     245 10 Quartet for Piano and Strings (1996)
2013560266
     245 10 Trio for horn, violin, and piano (June 2010)
2012415718
     245 10 II. Streich-Quartett G-Dur
2012564451
     245 10 String quartet #5 (2001)
2010563380
     245 10 Trio no. 2, opus 85, for piano, violin and violoncello
2013560339
     245 10 Simfonietta for nineteen instruments
2010451701
     245 10 Andante (1883) for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and 2 horns
2011567307
     245 10 Fünf deutsche Lieder mit Begleitung der Guitarre oder des Fortepiano, op. 25
2011567300
     245 10 Fünf Gesaenge mit Begleitung der Guittare und ein Canon zu drey Stimmen, Opus 13
2012563878
     245 10 Sinfonia a 4 strumenti (HH.27 n. 8), in re magg. per archi e basso continuo
          Note: the abbreviation "magg." appears as such on the resource

If one or more statements of medium of performance, key, date of composition, and/or number are found on the source of information, treat those elements as other title information (2.3.4 [16])

Example:
2011560183
     245 10 Sonate für Klarinette (in A) und Klavier = ‡b for clarinet (in A) and piano

In case of doubt, treat statements of medium of performance, key, date of composition, and number as part of the title proper.

Best practices for music cataloging [119]:
° Consult the alphabetical list at Types of Composition for Use in Authorized Access Points for Music [159] to determine whether the title in question meets the condition of the rule.
     ° Do not consider such titles as "Double concert," "Triplekonzert," etc. to be names of types of composition.

Example:
2013560320
     245 10 Triple concerto : ‡b for horn, trumpet, tuba, and orchestra

° When a composer uses a word that is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition.

° A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title.
     ° Generally treat such a compound title as a distinctive title.

(2.3.2.9) Resource lacking a collective title
When a resource lacks a collective title, record the titles proper of the parts as they appear on the source of information for the resource as a whole.

Examples:
2010562280
     245 10 Quatre câpres ; ‡b et Douze huîtres : pour batterie et piano
2013560509
     245 10 Moderato ; ‡b Maestoso : for organ
OCLC #75954169
     245 10 Gretchen am Spinnrade = ‡b Margaret at the spinning wheel ; Ungeduld = Impatience (Die schöne Müllerin)

If the sources of information identifying the individual parts are being treated as a collective source of information for the resource as a whole (2.1.2), record the titles proper of the parts in the order in which they appear in the resource.

Alternative: Devise a collective title, 2.3.2.11: Record the titles of individual parts as the titles proper of related manifestations (27.1), if considered to be important.
LC-PCC PS: LC practice/PCC practice for Alternative: Generally, do not apply.
Best practices for music cataloging [119]: Follow LC-PCC PS, that is, generally do not apply the alternative. Apply the alternative in cases of archival or other large collections.
Note that since resources of this type do not normally carry title information, the exception at 2.2.4 [123] applies and no square brackets are necessary.

(2.3.2.10) Resource with no title
When a resource lacks a title, record as the titles proper either:
     ° a title taken from another source (2.2.4 [123])
      or
     ° a devised title (2.3.2.11)
Make a note to indicate the source of the title proper as instructed under 2.20.2.3.
(2.3.2.11) Recording devised titles
When a resource itself bears no title (2.3.2.10), and a title cannot be found in any of the other sources of information specified under 2.2.4 [123], devise a brief descriptive title that indicates either:
     ° the nature of the resource (e.g., map, literary manuscript, diary, advertisement)
      or
     ° its subject (e.g., names of persons, corporate bodies, objects, activities, events, geographical area and dates)
      or
     ° a combination of the two, as appropriate.

Except where specific terminology is prescribed, use the language and script appropriate to the content of the resource being described.
Alternative: Devise a title in the language and script of the agency preparing the description.
     LC-PCC PS: LC practice/PCC practice for Alternative: Devise a title in English.
           Best practices for music cataloging [119]: Follow LC-PCC PS for the alternative

Examples:
2011567215
     245 00 [Collection of 18th century English songs and ballads]
     500 __ Title devised by cataloger.
2012562187
     245 10 [Time suite]
     500 __ Title devised by cataloger.
2012562265
     245 10 [Revenez, revenez, amours, from Théseée]
     500 __ Title from reference source.
2012563448
     245 10 [Beyond rivers of vision]
     500 __ Title from Kennedy Center program notes online: Beyond Rivers of Vision is a three-movement work for orchestra.

If the resource is of a type that would normally carry identifying information, (e.g., a published book), make a note to indicate that the title has been devised (2.20.2.3)

(2.3.2.11.1) Devised titles for music
In a devised title proper for music, include medium of performance, numeric designation (e.g., serial number, opus number), key, and/or other distinguishing characteristic, as applicable.

Recording titles (RDA 2.3)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

For specific information on recording categories of titles that most commonly apply to notated and performed music, see
title proper [14] (2.3.2) | parallel title proper [15] (2.3.3) | other title information [16] (2.3.4) and parallel other title information [16] (2.3.5) | variant title [17] (2.3.6)

(2.3.1.1) Basic instructions on recording titles
A title is a word, character, or group of words and/or characters that names a resource or a work contained in it.

More than one title may appear in the resource itself (e.g., on a title page, title frame; as a caption title, running title; on a cover, spine; on a title bar), on a jacket, sleeve, container, etc., or in material accompanying the resource.

The categories of titles that most commonly apply to scores and recordings are:
     ° title proper (2.3.2 [14])
     ° parallel title proper (2.3.3 [15])
     ° other title information (2.3.4 [16])
     ° parallel other title information (2.3.5 [16])
     ° variant title (2.3.6 [17])

Record as part of the title a name, etc. that would normally be treated as statement of responsiblity, but which is an integral part of the title.

(2.3.1.1) Facsimiles and reproductions
When describing a facsimile or reproduction that has a title or titles relating to the original manifestation as well as to the facsimile or reproduction, record the title or titles relating to the facsimile or reproduction. [emphasis added]

Record any title relating to the original manifestation as a title pertaining to a related manifestation (27.1)

Exception: Apply 2.3.2.3 [164] when the title of the original manifestation appears on the same source of information as the title of the facsimile or reproduction

(2.3.1.3) Sources of information
portion/type of title instructions for source of information
title proper [14] 2.3.2.2 [128]: Take the title proper from the preferred source of information as specified at 2.2.2–2.2.3.
     ° If there is no title provided within the resource itself, take the title proper from one of the sources specified at 2.2.4.
     ° Make a note on the source of the title proper, if required (2.20.2.3).
2.20.2.3: Make a note on the source of the title proper when it is taken if it is not one of these sources (2.20.2.3):
the title page, title sheet, or title card (or image of it) of a resource consisting of multiple pages, leaves, sheets, or cards (or images of them)
parallel title proper [15] 2.3.3.2 [142]: Take parallel titles proper from any source within the resource.
     ° If a parallel title proper is taken from a different source than the title proper, and that fact is considered important for identification, make a note on the source (see 2.20.2.3).
2.20.2.3: If a parallel title proper is taken from a different source than the title proper, make a note on the source of the parallel title proper if considered important for identification or access.
other title information [16] 2.3.4.2 [165]: Take other title information from the same source as the title proper
parallel other title information [16] 2.3.5.2 [166]: Take parallel other title information from the same source as the corresponding parallel title proper (2.3.3.2)
     ° If there is no corresponding parallel title proper, take parallel other title information from the same source as the title proper (2.3.2.2).
variant title [17] 2.3.6.2 [167]: Take variant titles from any source.
2.20.2.3: If considered important for identification or access, make a note on the source or basis for a variant title
Only information taken froum outside the resource is bracketed.
(2.3.1.4) Recording titles
Transcribe a title as it appears on the source of information. Apply the general guidelines on transcription given under 1.7.

Optional omission:
   ° Abridge a long title only if it can be abridged without loss of essential information,
   ° Use a mark of omission (...) to indicate such an omission,
   ° Never omit any of the first five words.

(2.3.1.5) Names of persons, families, and corporate bodies
If a title consists solely of the name of a person, family, or corporate body, record the name as the title.

If a title includes a name that would normally be treated as part of a statement of responsibility or as the name of a publisher, distributor, etc., and the name is an integral part of the title (e.g., connected by a case ending), record it as part of the title.

(2.3.1.6) Introductory words
Do not transcribe words that serve as an introduction and are not intended to be part of the title.
      » Optional addition: Record the form in which the title appears on the source of information as a variant title if it is considered to be important for identification or access.

Examples:
2010562779 245 10 Oscar Wilde's The happy prince
                 246 30 Happy prince

(2.3.1.7) Titles of parts, sections, and supplements
The resource is a separately issued part or section of, or supplement to, another resource
and
its title as presented on the source of information consists of:
° the title common to all parts or sections (or the title of the larger resource)
as well as
° the title of the part, section, or supplement
and
° these two titles are grammatically independent of each other,
Record the common title, followed by
° the title of the part, section, or supplement:
     ° disregard the order in which the parts of the title are presented on the source of information
     ° use a full stop to separate the common title from the title of the part, etc.:
            [Common title]. [Title of part, etc.]
When the the title of the part, section, or supplement has an enumeration or alphabetic designation, Record the common title, followed by
° the enumeration or designation, followed by
° the title of the part, section, or supplement
     ° disregard the order in which the parts of the title are presented on the source of information
     ° use a full stop to separate the common title from the enumeration or alphabetic designation
     ° use a comma to separate the alpha/numeric designation from the title of the part, etc:
            [Common title]. [alpha/numeric designation], [Title of part, etc.]
When If the title of a part, section, or supplement is presented on the source of information without the title that is common to all parts or sections Record the title of the part, section, or supplement as the title
° For a part or section, record the title that is common to all parts or sections as part of the series statement (2.12)
° For a supplement, record the title of the main resource as the title of a related work (25.1)
LC-PCC PS: When the the title of the part of a monographic series or multipart monograph lacks a title other than that of the comprehensive title or has a title that is dependent on the comprehensive title, prepare a separate bibliographic record for that publication or part, regardless of whether it is numbered or not.
Best practices for music cataloging [119]: Follow LC-PCC PS

Examples:
2012563876 Buddhist songs. ‡n No. 2, ‡p With excellent raiments
2012562903 Brazilian music for piano. ‡n Part 2, ‡p Samba and bossa nova

° Transcribe the title proper of the monographic series or multipart monograph in 245/‡a
° Transcribe any numbering as enumeration in 245/‡n
° Transcribe a dependent title as a section title in 245/‡p
° Do not formulate a series statement.

Recording variant title (RDA 2.3.6)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

see Recording titles [13] (RDA 2.3) for basic instructions on recording titles
For specific information on recording categories of titles that most commonly apply to notated and performed music, see
title proper [14] (2.3.2) | parallel title proper [15] (2.3.3) | other title information [16] (2.3.4) and parallel other title information [16] (2.3.5)

(2.3.6) Variant title
A variant title a title associated with a resource that differs from a title recorded as the title proper, a parallel title proper, other title information, parallel other title information, earlier title proper, later title proper, key title, or abbreviated title.

Variant titles include

  • ° those that appear in the resource itself (e.g., on a title page, title frame, title screen; as a caption title, running title; on a cover, spine), on a jacket, sleeve, container, etc., or in accompanying material
  • ° those associated with a resource through reference sources
  • ° those assigned by an agency registering or preparing a description of the resource (e.g., a title assigned by a repository, a cataloger's translation or transliteration of the title)
  • ° those assigned by the creator or by previous owners or custodians of the resource, etc.
  • ° corrections to titles that appear in the resource in an incorrect form
  • ° part of a title (e.g., an alternative title or a section title recorded as part of the title proper)
  • ° variations in parallel titles proper, other title information, or parallel other title information appearing on an earlier iteration of an integrating resource or on a later issue or part of a multipart monograph
(2.3.6.2) Sources of information for variant title
Take variant titles from any source.
(2.3.6.3) Recording variant titles
Record variant titles that are considered to be important for identification or access applying the basic instructions on recording titles given under 2.3.1 [13]

Make a note on the source or basis for the variant title (2.20.2.3) if it is considered important for identification or access.

LC-PCC PS: LC practice/PCC practice: There are two ways to accommodate variant titles in the MARC bibliographic record:
     ° Recording a variant title in the 246 field [168];
     ° Recording a variant title for a component of an aggregate work in a form other than would be recorded as the authorized access point for that component work. This form of variant title is recorded in the 740 field [169]

When recording variant titles in 246 or 740 field, omit any initial article from the variant title unless the intention is to file on the article.
     See 2.3.2.7 [170] for circumstances under which the title is filed under the initial article.

Best practices for making variant titles for permutations related to titles proper

A. General: The best practices in the following subsections represent an attempt to standardize, to a certain extent, practice in giving variant forms of the title proper. They are not meant to be an exhaustive treatment. Apply cataloger's judgment to situations not addressed here. When in doubt, be liberal in making variant titles but generally do not make a variant title that is not sufficiently distinctive to be a useful access point.

B. Alternate forms:

  • ° Abbreviations: When an abbreviation occurs as one of the first five words in a title proper, make a variant title substituting the corresponding spelled-out form of the abbreviation if it is thought that some catalog users might reasonably expect that the form was spelled out in the source.
  • ° Ampersand: When an ampersand (or other symbol, e.g., +, representing the word "and") occurs as one of the first five words in a title proper, make a variant title substituting the word "and" in the language of the title.
  • ° Letters and initialisms (including acronyms): When a series of letters or an initialism occurs as one of the first five words in a title proper with separating punctuation (hyphen, period, slash), make a variant title in the form without any separating punctuation if it is thought that some catalog users might expect that the letters would be recorded in that form in the source.
  • ° Arabic numbers (excluding dates): Make a variant title substituting the corresponding spelled-out form of the number in the language of the title proper if it is thought that some users of the catalog might reasonably expect that the form was spelled out in words in the source. In spelling out numbers in English, follow the style indicated in The Chicago Manual of Style, University of Chicago Press. For other languages, follow the preferred style of the language.
      101 = one hundred one; use also one hundred and one
      425 = four hundred twenty-five, not four hundred and twenty-five
      1001 = one thousand one; use also one thousand and one
      1226 = one thousand two hundred twenty-six, not twelve hundred twenty-six or twelve hundred and twenty-six
      2500 = twenty-five hundred, not two thousand five hundred
  • ° Dates representing a single year or span of years (e.g., 1915; 1945-1975):
         ° Generally do not make variant titles substituting the corresponding spelled-out form for dates written in arabic numerals
         ° For dates in roman numerals, make a variant title substituting arabic numerals for the roman numerals.
  • ° Other dates: dates other than those representing a single year or a span of years (e.g., XXth century)
         ° For dates in roman numerals, make a variant title substituting arabic numerals for the roman numerals.
         ° Make a variant title substituting the corresponding spelled-out form if it is thought that some users of the catalog might reasonably expect that form.
  • ° Roman numerals (excluding dates):
         ° Make a variant title substituting arabic numerals for the roman numerals.
         ° Make an additional variant title with the spelled-out form, in the language of the title proper, if it is reasonable to expect that the form was spelled out in the source.
  • ° Spelled-out form of numbers: Make a variant title substituting an arabic numeral for the spelled-out form if it is thought that some users of the catalog might reasonably expect that form.
  • ° Signs and symbols (e.g., pound sign, percent sign, dollar sign, etc.): When a sign or symbol occurs as one or in one of the first five words filed on in a title proper, make a variant title substituting the name or a written form for the corresponding sign or symbol if this can be done concisely and if it is thought that some users of the catalog might reasonably expect that the sign/symbol would be recorded in that form.
  • ° Other: If a title proper contains data within the first five words for which there could be an alternate form that would be filed differently, make a variant title under that form if it is thought that some users of the catalog might reasonably expect that form.

Examples:
2012560066
     245 10 The four seasons of Lake Superior
     246 30 4 seasons of Lake Superior

2010562594
     245 10 Deux souvenirs de Dalmatie
     246 30 Souvenirs de Dalmatie
     246 3_ 2 souvenirs de Dalmatie

2013560058
     245 10 Building a 12 key facility for the jazz bassist
     246 3_ Building a twelve key facility for the jazz bassist

2012564330
     245 The marriage of heaven & hell
     246 3_ Marriage of heaven and hell

2012563878
     245 10 Sinfonia a 4 strumenti (HH.27 n. 8), in re magg. per archi e basso continuo
     246 3_ Sinfonia a quattro strumenti (HH.27 n. 8), in re maggiore per archi e basso continuo

2012564379
     245 10 Entre funérailles IV : ‡b for solo flute
     246 3_ Entre funérailles 4
     246 3_ Entre funérailles quatre
     246 3_ Entre funérailles four

2012465727
     245 00 100 Jahre Saarländisches Staatsorchester 1912-2012
     246 3_ Hundert Jahre Saarländisches Staatsorchester 1912-2012

2011568268
     245 10 Kvartet D-dur
     246 36 Quartett op. 15

2012564424
     245 10 Colour red......... your mouth..... heart
     246 30 Color red-- your mouth-- heart

C. Corrected titles proper: For titles proper that contain an incorrect form of some kind, insure that there is title access through both the incorrect and the corrected forms by making a variant title for the corrected form of the title proper.

Examples:
2012572148
     245 10 Augusta waltzs
     246 3_ Augusta waltzes

2011567300
     245 10 Fünf Gesaenge mit Begleitung der Guittare und ein Canon zu drey Stimmen, Opus 13
     246 1_ ‡i Corrected spelling: ‡a Fünf Gesaenge mit Begleitung der Guitarre und ein Canon zu drey Stimmen, Opus 13

OCLC #780269398
     245 10 Petite fantasie "Les barricades mysteriusies" de Francios Couperin (already a revelation)
     246 1_ ‡i Title should read: ‡a Petite fantasie "Les baricades mystérieuses" de Francois Couperin

D. Portion of title proper:

  • ° Alternative title: For titles proper that contain an "alternative title [171]," insure access to:
         ° the complete title proper (245 field)
         ° the first part of the title proper up to the word "or" or its equivalent in another language that signals an alternative title (246 field)
         ° the part following the word "or" or its equivalent in another language (246 field)
  • ° Part or designation of part: If the title proper contains a part or a designation of a part or both, make a variant title (usually for the part) when it is judged intelligible enough to be a likely candidate for access.
  • ° Partial title: Make a variant title for a portion of a title proper when it is judged that some users would consider the portion as the title proper

Examples:
2012563876
     245 10 Buddhist songs. ‡n No. 2, ‡p With excellent raiments
     246 30 With excellent raiments

2012562903
     245 10 Brazilian music for piano. ‡n Part 2, ‡p Samba and bossa nova
     246 30 Samba and bossa nova

2013568122
     245 02 A modern method for guitar. ‡n Volume 1, ‡p Rock songbook
     246 30 Rock songbook
     246 30 Rock song book

E. Introductory words to title proper: If introductory words to the title proper were not transcribed as part of the title proper (2.3.1.6 [172]), make a variant title including those words

Examples:
2010562779
     245 Oscar Wilde's The happy prince
     246 30 Happy prince

2012562023
     245 00 Mel Bay presents Old-time hymns & gospel favorites for mountain dulcimer
     246 30 Old-time hymns & gospel favorites for mountain dulcimer
     246 3_ Old-time hymns and gospel favorites for mountain dulcimer

(2.3.6.4) Translations or transliterations of the title proper

Record a translation or transliterated form of the title proper created by the agency preparing the description as a variant title applying the basic instructions on recording titles given under 2.3.1 [13]

Relationship designators between a resource and persons, families, and corporate bodies associated with the resource (RDA Appendix I)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Consult RDA Appendix I for a complete list of relationship designators.

See also LC's Metadata Guidance Documentation: Relationship Labels [33] and scroll down to "Relationship Labels for Persons"
See also PCC's Training Manual for Applying Relationship Designators in Bibliographic Records [173]
See also Relationship designators between works, expressions, manifestations, and items (RDA Appendix J) [35]

A relationship designator indicates the nature of the relationship between entities represented by authorized access points, descriptions, and/or identifiers.

(I.1) General guidelines on using relationship designators used to specify the relationship between a resource and a person, family, or corporate body associated with that resource:
° If the relationship element is considered sufficient for the purposes of the agency creating the data, do not use a relationship designator to indicate the specific nature of the relationship.
° Use relationship designators at the level of specificity that is considered appropriate for the purposes of the agency creating the data.

PCC guidelines [174]:
° PCC highly encourages including relationship designators for all access points whenever it is clear what the relationship is.
° It is recommended that PCC catalogers use relationship designators from the RDA appendices.
° Include a relationship designator for all creators, whether they are coded in the 1XX or 7XX field, even if the MARC field definition already implies a relationship.
° Include a relationship designator, even if it repeats a term used as a qualifier to the name.
° If the nature of the relationship cannot be ascertained even at a general level, do not assign a relationship designator.
° Prefer a specific term to a general one if it is easily determined. For example, use librettist rather than author for the creator of a libretto.
° Apply relationship designators in accordance with their definitions. For example, note the difference between artist and illustrator.
° If more than one relationship designator is appropriate because the same entity has multiple roles, preferably use repeating ‡e (or ‡j for MARC X11 fields).
     » Add relationship designators in WEMI [39] order.
     » If necessary, multiple headings may be used instead.
° The relationship designators in RDA Appendix I may be applied to families and corporate bodies as well as to individuals

The LC-PCC PS for I.1 links to a PCC training manual that says ‡e is always preceded by a comma unless the preceding field is an open date, e.g.:
      [Name], ‡e composer.
      [Name], ‡d 1953- ‡e composer.
      [Name], ‡d 1953- ‡e composer, ‡e arranger of music.
      [Name], ‡c (Composer), ‡e composer, ‡e lyricist.

Appendix I relationship designators should not be used in:
     » a name/title access point tagged MARC 700-711 or 800-811
     » a name/title linking field tagged MARC 76X-78X.

Relationship designators for persons, families, or corporate bodies associated with a work (I.2) | an expression (I.3)

(I.2) Relationship designators for persons, families, or corporate bodies associated with a work
(I.2.1) Relationship designators for creators
author Creates a work that is primarily textual in content, regardless of media type (e.g., printed text, spoken word, electronic text, tactile text) or genre (e.g., poems, novels, screenplays, blogs).

Use also for persons, etc., creating a new work by paraphrasing, rewriting, or adapting works by another creator if the modification has substantially changed the nature and content of the original or changed the medium of expression.

Music-related creators under the category of author are also:

librettist An author of the words of an opera or other musical stage work, or an oratorio.
For an author of the words of just the songs from a musical, see lyricist.
lyricist An author of the words of a popular song, including a song or songs from a musical.
For a writer of words added to an expression of a musical work, see writer of added lyrics in I.3.1.
For an author of the words of just the songs from a musical, see librettist.
compiler Responsible for creating a new work (e.g., a bibliography, a directory) by selecting, arranging, aggregating, and editing data, information, etc.
composer Creates a musical work.
Use also for persons, etc., who
     ° adapt another musical work to form a distinct alteration (e.g., free transcription), paraphrasing a work
     ° create a work in the general style of another composer
     ° create a work that is based on the music of another composer (e.g., variations on a theme).
honouree person, family, or corporate body honoured by a work (e.g., the honouree of a festschrift)
     ° may be used for person, family, or corporate body associated with a work written "in memory of"
     ° "dedicatee" has also been used in this situation
MARC subfield coding for relationship designators between works, expressions, manifestations, and items:
In bibliographic records:
‡e the designation of function that describes the relationship between a name and a work
Examples:

2013560472 Cruz, Orfa V., ‡e compiler
2013560337 Diesendruck, Tamar, ‡e composer
2012562315 McDonough, Glen, ‡e librettist
2013563161 Clay, Amelia, ‡e lyricist

Multiple relationship designators for creators:

2012560047 Clark, Larry, ‡d 1963- ‡e composer, ‡e compiler
2011567286 Post, Douglas, ‡e composer, ‡e lyricist, ‡e author
2012564348 Smith, Harry B. ‡q (Harry Bache), ‡d 1860-1936, ‡e librettist, ‡e lyricist

(I.2.2) Relationship designators for other persons, families, or corporate bodies associated with a work
producer Responsible for most of the business aspects of a production for screen, audio recording, television, webcast, etc. The producer is generally responsible for fund raising, managing the production, hiring key personnel, arranging for distributors, etc.
producer Responsible for most of the business aspects of a production for screen, audio recording, television, webcast, etc. The producer is generally responsible for fund raising, managing the production, hiring key personnel, arranging for distributors, etc.
production company Responsible for financial, technical, and organizational management of a production for stage, screen, audio recording, television, webcast, etc.
sponsoring body Sponsors some aspect of a work, e.g., funding research, sponsoring an event.
(I.3) Relationship designators for persons, families, or corporate bodies associated with an expression
(I.3.1) Relationship designators for contributors
arranger of music Rewrites the composition for a medium of performance different from that for which the work was originally intended.
     ° may also modify the work for the same medium of performance, etc., keeping the musical substance of the original composition essentially unchanged.
For extensive modification that effectively results in the creation of a new musical work, see composer at I.2.1.
For a work transcribed from one system of notation to another, see transcriber in I.3.1.
composer (expression) Adds music to a work that originally lacked it, by composing new music to substitute for the original music, or by composing new music to supplement the existing music.
editor Revises or clarifies the content, e.g., adding an introduction, notes, or other critical matter.
     ° may also prepare an expression of a work for production, publication, or distribution.
For major revisions, adaptations, etc., that substantially change the nature and content of the original work, resulting in a new work, see author at I.2.1
editor of compilation Note: with the April 22, 2014 update to the RDA Toolkit, this relationship has will be deleted. Use editor
musical director A person, family, or corporate body contributing to an expression of a work by coordinating the activities of the composer, the sound editor, and sound mixers for a moving image production or for a musical or dramatic presentation or entertainment.
performer Contributes to an expression of a work by performing music, acting, dancing, speaking, etc., often in a musical or dramatic presentation, etc.

Music-related contributors under the category of performer are also:

conductor leads a performing group (orchestra, chorus, opera, etc.) in a musical or dramatic presentation, etc..
instrumentalist Plays a musical instrument.
narrator Reads or speaks in order to give an account of an act, occurrence, course of events, etc.
singer Uses his/her/their voice, with or without instrumental accompaniment, to produce music.
     ° the performance may or may not include actual words.
recording engineer Supervises the technical aspects of a sound or video recording session.
recordist Uses a recording device to capture sound and/or video during a recording session, including field recordings of natural sounds, folkloric events, music, etc.
transcriber Changes the work from one system of notation to another.
For a work transcribed for a different instrument or performing group, see arranger of music at I.3.1
translator Expresses the original text of the work in a language different from that of the original work.
A translator may also translate a text from an older form of a language into the modern form.
writer of supplementary textual content Provides supplementary textual content (e.g., an introduction, a preface) to the original work.

Music-related contributors under the category of performer are also:

writer of added commentary A person, family, or corporate body contributing to an expression of a work by providing an interpretation or critical explanation of the original work.
writer of added lyrics A writer of words added to an expression of a musical work.
For lyric writing in collaboration with a composer to form an original work, see lyricist in I.2.1.
writer of introduction

A person, family, or corporate body contributing to an expression of a work by providing an introduction to the original work.
Definition of introduction from ODLIS [175]: the part of a book in which the subject, purpose, and limits of the work are briefly stated; usually written by the author or a recognized authority in the field; normally appears in the front matter, following the preface or foreword; is considered an integral part of the work and is not necessarily changed in subsequent editions.

Also: an introduction may establish definitions and methodology used throughout the book

writer of preface A person, family, or corporate body contributing to an expression of a work by providing a preface to the original work.
Definition of preface from ODLIS [175]: a preliminary statement at the beginning of a book normally preceding the introduction in which the origin, scope, purpose, plan, and intended audience of the work, and acknowledgment are stated; usually written by the author (when written by a person other than the author, it is a foreword [writer of foreword to be added in the April 2015 RDA update]); when a new edition is published, the preface may be rewritten to state the extent of additions or changes in the text.

Also: a preface may be understood as standing outside the book proper and being about the book; may be used by the author to explain why and/or why s/he wrote the book or to establish the author's credibility, experience in the topic, or professional suitability to address such a topic.

Examples:

Arrangers:
2013568194 Dunker, Amy, ‡e arranger of music
2012560047 Clark, Larry, ‡d 1963- ‡e arranger of music
2013568062 Schweitzer, M., ‡e arranger

Composers of expression:
2012563742 Hastings, Thomas, ‡d 1784-1872, ‡e composer (expression)
     ° used for the composer of harmonies to melodies by another composer

Editors:
2012428885 Instituto Nacional de las Artes Escénicas y de la Música (Spain), ‡e editor
2012564397 Theopold, Hans-Martin, ‡e editor
     ° used for the person who added fingerings to the edition.

Performers:
2010624123 Meunier, Alain, ‡d 1942- ‡e conductor
#845368629 Zimmermann, Bernhard ‡c (Conductor), ‡e conductor
#845368629 Franz, Helmut ‡c (Choral director), ‡e conductor
#847801531 Jones, Carly ‡c (Clarinetist), ‡e instrumentalist
#819636600 Cambell, James, ‡e narrator
2010619295 Metropolitan Opera (New York, N.Y.), ‡e performer
2010615053 Ardeeva, Elizaveta Pavlovna, ‡d 1933- ‡e singer
#847801531 Jones, Timothy ‡c (Bass-baritone), ‡e singer

Musical directors:
2013570568 Sarv, Mikk, ‡e musical director

Recordists:
2010615053 Niemi, Jarkko, ‡e recordist
     ° used for the person who recorded folk songs

Transcribers:
2013562082 Ippolitov-Ivanov, Mikhail Mikhaĭlovich, ‡d 1859-1935, ‡e transcriber
2012465663 Mader, Wolfgang, ‡e transcriber
     ° used for the person who realized the continuo part for keyboard instrument
2010563374 Howard, Elbereth, ‡e transcriber
     ° used for the person who wrote out the music for popular songs

Translators:
2013560508 Wicker, Jutta, ‡e translator

writers of supplementary textual content:
2012564449 Konrad, Ulrich, ‡e writer of added commentary
2011568265 Bennett, Charles, ‡d 1954- ‡e writer of added lyrics
2013562135 Cepeda Astudillo, Franklin, ‡d 1975- ‡e writer of added text

Relationship designators not found in Appendix I:
2013560465 Tunick, Jonathan, ‡e orchestrator of music
2013560465 Abell, David Charles, ‡e annotator of music
2012458022 Rancapino, ‡d 1945- ‡e vocalist

Multiple relationship designators for creators:

Arrangers, etc.:
2010619286 Colón Zayas, Edwin, ‡d 1965- ‡e arranger, ‡e conductor
#867178181 Kramer, Worth, ‡e arranger of music, ‡e conductor
2013560475 Sherman, Laura ‡c (Harpist), ‡e arranger, ‡e editor
2011564848 Newman, Grace West, ‡e arranger, ‡e translator
#813928070 Bovet, Guy, ‡e arranger of music, ‡e writer of preface

2013563006 Firfov, Živko, ‡e compiler, ‡e editor
2013570569 Mular, Hristu, ‡d 1955- ‡e compiler, ‡e arranger of music, ‡e performer
2013560511 Strikha, Maksym, ‡e editor, ‡e translator, ‡e writer of added text
#839294791 Assad, Sérgio, ‡e instrumentalist, ‡e arranger of music
#839294791 Kremer, Gidon, ‡d 1947- ‡e instrumentalist, ‡e arranger of music, ‡e writer of added commentary
2013570571 Torop, Kristjan, ‡e musical director, ‡e writer of added text

Composers as well as contributors:
2013563003 Schwarz, Gerard, ‡d 1947- ‡e composer, ‡e arranger
#864721682 Mazzeo, Frank, ‡e composer, ‡e performer
2012394566 Leopoldi, Hermann, ‡d 1888-1959, ‡e composer, ‡e singer, ‡e instrumentalist
#856997337 Shacklock Meth Party (Musical group), ‡e composer, ‡e performer, ‡e producer, ‡e recording engineer

Relationship designators between works, expressions, manifestations, and items (RDA Appendix J)

Music Cataloging at Yale [1] ♪ RDA [50]

See definitions for work [176], expression [177], and manifestation [178].
This page does not cover relationships between items.

Note: this page was created with music cataloging in mind. Consult RDA Appendix J for a complete list of relationship designators.

See also PCC's Training Manual for Applying Relationship Designators in Bibliographic Records [173]
See also Relationship designators between a resource and persons, families, and corporate bodies associated with the resource (RDA Appendix I) [34]

Relationship designators for related:
works (J.2): Derivative relationships (J.2.2) | Whole-part relationships (J.2.4) | Accompanying relationships (J.2.5)
expressions (J.3): Derivative relationships (J.3.2) | Whole-part relationships (J.3.4) | Accompanying relationships (J.3.5)
manifestations (J.4): Equivalent relationships (J.4.2) | Whole-part relationships (J.4.4) | Accompanying relationships (J.4.5)

A relationship designator indicates the nature of the relationship between between works, expressions, manifestations, or items (e.g., related work, related item).
Relationship designators provide more specific information about the nature of the relationship (e.g., parody of, facsimile of).

(J.1) General guidelines on using relationship designators:
° Relationship designators provide more specific information about the nature of the relationship (e.g., parody of, facsimile of).
° If the relationship element is considered sufficient for the purposes of the agency creating the data, do not use a relationship designator to indicate the specific nature of the relationship.
° Use relationship designators at the level of specificity that is considered appropriate for the purposes of the agency creating the data.
° If none of the terms listed in Appendix J is appropriate or sufficiently specific, use another concise term to indicate the nature of the relationship.

PCC guidelines [174]:
° The use of relationship designators for resource-to-resource relationships is encouraged.
° Do so even if the field coding otherwise already expresses a relationship.
° It is recommended that PCC catalogers use relationship designators from the RDA appendices.
° Prefer a specific term to a general one if it is easily determined.
° If the nature of the relationship cannot be ascertained even at a general level, do not assign a relationship designator.
° Where multiple relationships exist, e.g., an abridged translation, provide separate access points, each with a single relationship designator in a single ‡i subfield.
           LC-PCC PS for RDA J.1: LC practice: When MARC subfield ‡i for a relationship designator is used in a bibliographic record,
    ° give ‡i as the first subfield,
    ° capitalize the first word in the designator,
    ° end the subfield with a colon.
        » Alternatively, identify one relationship as primary and record that relationship alone.
° Include a 7XX field with a relationship designator referring to a specific related resource even if a 130 or 240 field is already present implying that they are versions of the same work.
° If there is reason to believe that the resource being cataloged is related to another resource, but the resource in question cannot be identified (e.g., in the case of an expression that is believed to be a translation but the original is unknown), give the information in a note.
° When constructing a reference to a related resource sharing the same principally responsible creator as the resource being described, use a 7XX author-title entry explicitly naming the creator in its ‡a rather than a 740 title entry with an implied relationship to the 1XX in the same record.

Relationship designators for related works (J.2) | related expressions (J.3) | related manifestations (J.4)

(J.2) Relationship designators for related works

Derivative relationships (J.2.2) | Whole-part relationships (J.2.4) | Accompanying relationships (J.2.5)

(J.2.2) Derivative work relationships
based on (work) A work used as the source for a derivative work.
   Reciprocal relationship: derivative (work)
Music-related relationships under this category are:
adaptation of (work) A work that has been modified for a purpose, use, or medium other than that for which it was originally intended.
   Reciprocal relationship: adapted as (work)
Specific examples of "adaptation of (work)":
° libretto based on (work) A work used as the basis for the text of an opera or other work for the musical stage, or an oratorio.
   Reciprocal relationship: adapted as libretto (work)
° motion picture adaptation of (work) A work that has been adapted as a motion picture.
   Reciprocal relationship: adapted as motion picture (work)
° musical theatre adaptation of (work) A work that has been adapted as a musical theatre work.
   Reciprocal relationship: adapted as musical theatre (work)
° opera adaptation of (work) A work that has been adapted as opera.
   Reciprocal relationship: adapted as opera (work)
expanded version of (work) A work used as the basis for a derivative work that enlarges upon the content of the source work
   Reciprocal relationship: expanded as (work)
imitation of (work) A work whose style or content is copied in a derivative work.
   Reciprocal relationship: imitated as (work)
musical setting of (work) A work that provides the text for a non-dramatic musical work, other than an oratorio.
   Reciprocal relationship: set to music as (work)
paraphrase of (work) A work used as the basis for a paraphrase, i.e., a restating of the content of the source work in a different form.
   Reciprocal relationship: paraphrased as (work)
variations based on (work) A musical work from which melodic, thematic, or harmonic material is taken to form a discrete theme, which is repeated one or more times with subsequent modifications.
   Reciprocal relationship: modified by variation as (work)
derivative (work) A work that is a modification of a source work.
   Reciprocal relationship: based on (work)
Music-related relationships under this category are:
adapted as (work) A work that modifies the source work for a purpose, use, or medium other than that for which it was originally intended.
   Reciprocal relationship: adaptation of (work)
Specific examples of "adapted as (work)":
° adapted as libretto (work) A work that consists of the text of an opera or other work for the musical stage, or an oratorio, based on the source work.
   Reciprocal relationship: libretto based on (work)
° adapted as motion picture (work) A motion picture based on the source work.
   Reciprocal relationship: motion picture adaptation of (work)
° adapted as musical theatre (work) A musical theatre work based on the source work.
   Reciprocal relationship: musical theatre adaptation of (work)
° adapted as opera (work) An opera based on the source work.
   Reciprocal relationship: opera adaptation of (work)
expanded as (work) A work that enlarges upon the content of the source work.
   Reciprocal relationship: expanded version of (work)
imitated as (work) A work that copies the style or content of the source work.
   Reciprocal relationship: imitation of (work)
modified by variation as (work) A musical work in which melodic, thematic, or harmonic material is taken from the source work to form a discrete theme, which is repeated one or more times with subsequent modifications.
   Reciprocal relationship: modified by variation as (work)
paraphrased as (work) A work that restates the content of the source work in a different form.
   Reciprocal relationship: paraphrased as (work)
set to music as (work) A non-dramatic musical work, other than an oratorio, that uses the text of the source work.
   Reciprocal relationship: musical setting of (work)
MARC subfield coding for relationship designators between works, expressions, manifestations, and items:
In bibliographic records and authority records:
‡i may contain either
    ° a designation of a relationship of the entity
OR
    ° a textual reference instruction phrase that is to be used for a user display indicating the relationship
Examples of derivative work relationships
Note: Some examples use relationship designators from previous updates of RDA
Bibliographic records:

Musical work on which another musical work is based:
#858583527
700 1_ ‡i Based on (work): ‡a Gounod, Charles, ‡d 1818-1893. ‡t Faust. ‡p Valse.
        a new musical work by one composer based on a musical work by a different composer
2012564388
700 1_ ‡i Based on (work): ‡a Gordon, Geoffrey. ‡t Concerto, ‡m violin, orchestra.
        a new musical work based on another musical work; both works by the same composer
2013563023
730 0_ ‡i Based on (work): ‡a Southern harmony and musical companion.

Musical work on which variations are based:
2012564412
730 0_ ‡i Musical variations based on (work): ‡a Arirang.

Musical work that was adapted to create a new musical work:
#795893642
700 1_ ‡i Adaptation of (work): ‡a Ewazen, Eric, ‡d 1954- ‡t Palisades suite.
        a musical work for flute, clarinet, and piano adapted by the same composer for tenor trombone, bass trombone, and trombone sextet
#811138943
700 1_ ‡i Adaptation of (work): ‡a Norlén, Håkan, ‡d 1917-2003. ‡t Visa vid midsommartid.
        song adapted by another composer as a choral work.
#844461365
700 1_ ‡i Adaptation of (work): ‡a Slonimsky, Nicolas, ‡d 1894-1995. ‡t Thesaurus of scales and melodic patterns.
        adapted for guitar

Musical work that was adapted to create motion picture:
#864939725
700 1_ ‡i Motion picture adaptation of (work): ‡a Lehár, Franz, ‡d 1870-1948. ‡t Lustige Witwe. ‡p Es lebt' eine Vilja.

Literary work on which the an instrumental work was based:
2013560440
700 1_ ‡i Based on (work): ‡a Kotsiubyns'kyĭ, Mykhaĭlo, ‡d 1864-1913. ‡t Tini zabutykh predkiv.

Literary work on which the libretto was based:
2012564356
700 1_ ‡i Libretto based on (work): ‡a Decourcelle, Adrien, ‡d 1824-1892. ‡t Je dîne chez ma mère.

Book on which an opera is based:
2013560407
700 1_ ‡i Based on (work): ‡a Machiavelli, Niccolò, ‡d 1469-1527. ‡t Mandragola.

Text that the composer set to music and the work on which the text was based:
2013560232
700 1_ ‡i Musical setting of (work): ‡a Pinsky, Robert. ‡t Canto V.
700 0_ ‡i Libretto based on (work): ‡a Dante Alighieri, ‡d 1265-1321. ‡t Inferno. ‡n Canto 5.

Text that the composer set to music:
2012465663
700 1_ ‡i Musical setting of (work): ‡a Schubart, Tobias Henrich. ‡t Da Jesu, deinen Ruhm zu mehren.


Authority records:

no 97067728
100 1_ Loeffler, Charles Martin, ‡d 1861-1935. ‡t Rhapsodies, ‡m piano, oboe, viola
500 1_ ‡i Based on (work): ‡a Loeffler, Charles Martin, ‡d 1861-1935. ‡t Rhapsodies, ‡m voice, instrumental ensemble ‡w r
no2003128417
100 1_ Loeffler, Charles Martin, ‡d 1861-1935. ‡t Rhapsodies, ‡m voice, instrumental ensemble
500 1_ ‡i Derivative (work): ‡a Loeffler, Charles Martin, ‡d 1861-1935. ‡t Rhapsodies, ‡m piano, oboe, viola ‡w r
_________________________________________
no2013083192
100 1_ Campo, Frank, ‡d 1927- ‡t Paraphrase on a theme of Verdi
500 1_ ‡i Based on (work): ‡a Verdi, Giuseppe, ‡d 1813-1901. ‡t Rigoletto. ‡p Questa o quella per me pari sono ‡w r
n 85367877
100 1_ Verdi, Giuseppe, ‡d 1813-1901. ‡t Rigoletto. ‡p Questa o quella per me pari sono
500 1_ ‡i Derivative work: ‡a Campo, Frank, ‡d 1927- ‡t Paraphrase on a theme of Verdi ‡w r
_________________________________________
no2013080339
100 1_ Živković, Nebojša. ‡t Oriental fantasy
500 1_ ‡i Adaptation of (work): ‡a Živković, Nebojša. ‡t Tales from the center of the earth. ‡n No. 1, ‡p Misterioso ‡w r
no2013080340
100 1_ Živković, Nebojša. ‡t Tales from the center of the earth. ‡n No. 1, ‡p Misterioso
500 1_ ‡i Adapted as (work): ‡a Živković, Nebojša. ‡t Oriental fantasy ‡w r
_________________________________________
Opera adapted from another work:
no 95057470
100 1_ Harbison, John. ‡t Full moon in March
500 1_ ‡i Opera adaptation of (work): ‡a Yeats, W. B. ‡q (William Butler), ‡d 1865-1939. ‡t Full moon in March ‡w r
n 84040514
100 1_ Yeats, W. B. ‡q (William Butler), ‡d 1865-1939. ‡t Full moon in March
500 1_ ‡i Adapted as opera (work): ‡a Harbison, John. ‡t Full moon in March ‡w r
___________________
no2014055807
100 1_ Auletta, Pietro, ‡d 1698-1771. ‡t Orazio
530 _0 ‡i Adapted as opera (work): ‡a Maestro di musica ‡w r
no 97082391
130 _0 Maestro di musica
500 1_ ‡i Opera adaptation of (work): ‡a Auletta, Pietro, ‡d 1698-1771. ‡t Orazio ‡w r
_________________________________________
Variations based on another work:
n 2015015284
100 1_ Rzewski, Frederic. ‡t Andante con moto
500 1_ ‡i Variations based on work: ‡a Beethoven, Ludwig van, ‡d 1770-1827. ‡t Sonatas, ‡m piano, ‡n no. 23, op. 57, ‡r F minor. ‡p Andante con moto ‡w r
n 2015015278
100 1_ Beethoven, Ludwig van, ‡d 1770-1827. ‡t Sonatas, ‡m piano, ‡n no. 23, op. 57, ‡r F minor. ‡p Andante con moto
500 1_ ‡i Modified as variation as (work): ‡a Rzewski, Frederic. ‡t Andante con moto ‡w r
___________________
n 87803729
100 1_ Paganini, Nicolò, ‡d 1782-1840. ‡t Caprices, ‡m violin, ‡n M.S. 44, ‡r G major
500 1_ ‡i Variations based on (work): ‡a Paisiello, Giovanni, ‡d 1740-1816. ‡t Molinara. ‡p Nel cor più non mi sento ‡w r
n 81047357
100 1_ Paisiello, Giovanni, ‡d 1740-1816. ‡t Molinara. ‡p Nel cor più non mi sento
500 1_ ‡i Modified by variation as (work): ‡a Paganini, Nicolò, ‡d 1782-1840. ‡t Caprices, ‡m violin, ‡n M.S. 44, ‡r G major ‡w r
___________________
n 89629704
100 1_ Paganini, Nicolò, ‡d 1782-1840. ‡t Non più mesta accanto al fuoco
500 1_ ‡i Variations based on (work): ‡a Rossini, Gioacchino, ‡d 1792-1868. ‡t Cenerentola. ‡p Non più mesta ‡w r
n 83176516
100 1_ Rossini, Gioacchino, ‡d 1792-1868. ‡t Cenerentola. ‡p Non più mesta
500 1_ ‡i Modified by variation as (work): ‡a Paganini, Nicolò, ‡d 1782-1840. ‡t Non più mesta accanto al fuoco ‡w r
_________________________________________
Works by two composers (Timofeev and Say) based on the same work by another composer (Mozart):
no2014075333
100 1_ Timofeev, Alexander, ‡d 1983- ‡t Fantasy on a theme by Mozart
500 1_ ‡i Musical variations based on (work): ‡a Mozart, Wolfgang Amadeus, ‡d 1756-1791. ‡t Sonatas, ‡m piano, ‡n K. 331, ‡r A major. ‡p Andante grazioso ‡w r
no2008055569
100 1_ Say, Fazıl, ‡d 1970- ‡t Patara
500 1_ ‡i Based on (work): ‡a Mozart, Wolfgang Amadeus, ‡d 1756-1791. ‡t Sonatas, ‡m piano, ‡n K. 331, ‡r A major. ‡p Andante grazioso ‡w r
no 98000623
100 1_ Mozart, Wolfgang Amadeus, ‡d 1756-1791. ‡t Sonatas, ‡m piano, ‡n K. 331, ‡r A major. ‡p Andante grazioso
500 1_ ‡i Musical variations (work): ‡a Timofeev, Alexander, ‡d 1983- ‡t Fantasy on a theme by Mozart ‡w r
500 1_ ‡i Derivative (work): ‡a Say, Fazıl, ‡d 1970- ‡t Patara ‡w r

(J.2.4) Whole-part work relationships
container of (work) A work that is a discrete component of a larger work.
Examples of whole-part work relationships:
2013560123
700 12 ‡i Container of (work): ‡a Chopin, Frédéric, ‡d 1810-1849. ‡t Ballades, ‡m piano, ‡n no. 1, op. 23, ‡r G minor.
2013568120
700 12 ‡i Container of (work): ‡a Shostakovich, Dmitriĭ Dmitrievich, ‡d 1906-1975. ‡t Romansy na slova E. Dolmatovskogo.
_________________________________________
#849651813
700 12 ‡i Container of (work): ‡a Bach, Johann Sebastian, ‡d 1685-1750. ‡t Concertos, ‡m harpsichord, string orchestra, ‡n BWV 1056, ‡r F minor.
700 12 ‡i Container of (work): ‡a Bach, Johann Sebastian, ‡d 1685-1750. ‡t Concertos, ‡m harpsichord, string orchestra, ‡n BWV 1052, ‡r D minor.
700 12 ‡i Container of (work): ‡a Bach, Johann Sebastian, ‡d 1685-1750. ‡t Concertos, ‡m harpsichord, string orchestra, ‡n BWV 1058, ‡r G minor.
(J.2.5) Accompanying work relationships
augmentation of (work) A work whose content is added to by another work.
   Reciprocal relationship: augmented by (work)
Music-related relationships under this category are:
cadenza composed for (work) A work used as the basis for the text of an opera or other work for the musical stage, or an oratorio.
   Reciprocal relationship: cadenza (work)
augmented by (work) A work that adds to the content of a predominant work.
   Reciprocal relationship: augmentation of (work)
Music-related relationships under this category are:
cadenza (work) A musical work consisting of an ornamental passage for a soloist, added to a musical work such as a concerto, either by the same or a different composer.
   Reciprocal relationship: cadenza composed for (work)
complemented by (work) A work paired with another work without either work being considered to predominate.
   Reciprocal relationship: complemented by (work)
Music-related relationships under this category are:
libretto (work) A work that provides the text of an opera or other work for the musical stage, or an oratorio.
   Reciprocal relationship: libretto for (work)
libretto for (work) A musical work such as an opera or other work for the musical stage, or an oratorio, that uses the text of the related work as a libretto.
   Reciprocal relationship: libretto (work)
music (work) A musical work that is used in a motion picture, play, television program, etc.
   Reciprocal relationship: music for (work)
Specific examples of "music (work)":
° incidental music (work) A musical work that provides the incidental music for a play or other spoken work for the stage.
   Reciprocal relationship: incidental music for (work)
° motion picture music (work) A musical work that is used in a motion picture.
   Reciprocal relationship: music for motion picture (work)
° radio program music (work) A musical work that is used in a radio program.
   Reciprocal relationship: music for radio program (work)
° television program music (work) A musical work that is used in a television program.
   Reciprocal relationship: music for television program (work)
° video music (work) A musical work that is used in a video.
   Reciprocal relationship: music for video (work)
music for (work) A work such as a motion picture, play, television program, etc., that uses the musical work.
   Reciprocal relationship: music (work)
Specific examples of "music for (work)":
° incidental music for (work) A work such as a play or other spoken work for the stage that uses the musical work as incidental music.
   Reciprocal relationship: incidental music (work)
° music for motion picture (work) A work that uses the musical work in a motion picture.
   Reciprocal relationship: motion picture music (work)
° music for radio program (work) A work that uses the musical work in a radio program.
   Reciprocal relationship: radio program music (work)
° music for television program (work) A work that uses the musical work in a television program.
   Reciprocal relationship: television program music (work)
° music for video (work) A work that uses the musical work in a video.
   Reciprocal relationship: video music (work)
Examples of accompanying work relationships:
Bibliographic records:
#835648240
700 1_ ‡i Augmentation of: ‡a Legendre, Louis, ‡d 1851-1908. ‡t Beaucoup de bruit pour rien.
#858280397
700 1_ ‡i Augmentation of (work): ‡a Browne, Walter, ‡d 1856-1911. ‡t Everywoman.
2013568122
700 1_ ‡i Complemented by (work): ‡a Leavitt, William, ‡d 1926-1990. ‡t Modern method for guitar.

Incidental music:
Bibliographic record:
#20915131
700 1_ ‡i Incidental music for (work): ‡a Raupach, Ernst Benjamin Salomo, ‡d 1784-1852. ‡t König Enzio.
Authority records:
n 2015041456
100 1_ Olding, Grant. ‡t One man, two guvnors
500 1_ ‡i Incidental music for (work): ‡a Bean, Richard, ‡d 1956- ‡t One man, two guvnors ‡w r
no2012092497
100 1_ Bean, Richard, ‡d 1956- ‡t One man, two guvnors
500 1_ ‡i Incidental music (work): ‡a Olding, Grant. ‡t One man, two guvnors ‡w r

(J.3) Relationship designators for related expressions

Derivative relationships (J.3.2) | Whole-part relationships (J.3.4) | Accompanying relationships (J.3.5)

(J.3.2) Derivative expression relationships
based on (expression) An expression used as the basis for a derivative expression.
   Reciprocal relationship: derivative (expression)
Music-related relationships under this category are:
adaptation of (expression) An expression of a work that has been modified for a purpose, use, or medium other than that for which it was originally intended.
   Reciprocal relationship: adapted as (expression)
Specific examples of "adaptation of (expression)":
° libretto based on (expression) An expression of a work used as the basis for the text of an opera or other work for the musical stage, or an oratorio.
   Reciprocal relationship: adapted as libretto (expression)
° motion picture adaptation of (expression) An expression of a work that has been adapted as a motion picture.
   Reciprocal relationship: adapted as motion picture (expression)
° musical theatre adaptation of (expression) An expression of a work that has been adapted as a musical theatre work.
   Reciprocal relationship: adapted as musical theatre (expression)
° opera adaptation of (expression) An expression of a work that has been adapted as opera.
   Reciprocal relationship: adapted as opera (expression)
expanded version of (expression) An expression of a work used as the basis for a derivative work that enlarges upon the content of the source work.
   Reciprocal relationship: expanded as (expression)
arrangement of An expression of a musical work that has been rewritten for a medium of performance different from that for which the work was originally intended.
   Reciprocal relationship: arranged as
imitation of (expression) An expression of a work whose style or content is copied in a derivative work.
   Reciprocal relationship: imitated as (expression)
musical setting of (expression) An expression of a work that provides the text for a non-dramatic musical work, other than an oratorio.
   Reciprocal relationship: set to music as (expression)
paraphrase of (expression) An expression of a work used as the basis for a paraphrase, i.e., a restating of the content of the source work in a different form.
   Reciprocal relationship: paraphrased as (expression)
variations based on (expression) An expression of a musical work from which melodic, thematic, or harmonic material is taken to form a discrete theme, which is repeated one or more times with subsequent modifications.
   Reciprocal relationship: modified by variation as (expression)
derivative (expression) An expression that is a modification of a source expression.
   Reciprocal relationship: based on (expression)
Music-related relationships under this category are:
adapted as (expression) An expression of a work that modifies the source expression for a purpose, use, or medium other than that for which it was originally intended.
   Reciprocal relationship: adaptation of (expression)
Specific examples of "adapted as (expression)":
° adapted as libretto (work) An expression of a work that consists of the text of an opera or other work for the musical stage, or an oratorio, based on the source work.
   Reciprocal relationship: libretto based on (expression)
° adapted as motion picture (expression) A motion picture based on the source expression.
   Reciprocal relationship: motion picture adaptation of (expression)
° adapted as musical theatre (expression) An expression of a musical theatre work based on the source expression.
   Reciprocal relationship: musical theatre adaptation of (expression)
° adapted as opera (expression) An expression of an opera based on the source expression.
   Reciprocal relationship: opera adaptation of (expression)
arranged as An expression of a musical work that rewrites the source expression for a medium of performance different from that for which the work was originally intended.
   Reciprocal relationship: arrangement of
expanded as (expression) An expression of a work that enlarges upon the content of the source work.
   Reciprocal relationship: expanded version of (expression)
imitated as (expression) An expression of a work that copies the style or content of the source work.
   Reciprocal relationship: imitation of (expression)
modified by variation as (expression) An expression of a musical work in which melodic, thematic, or harmonic material is taken from the source work to form a discrete theme, which is repeated one or more times with subsequent modifications.
   Reciprocal relationship: modified by variation as (expression)
paraphrased as (expression) An expression of a work that restates the content of the source work in a different form.
   Reciprocal relationship: paraphrased as (expression)
set to music as (expression) A non-dramatic musical work, other than an oratorio, that uses the text of the source work.
   Reciprocal relationship: musical setting of (expression)
Examples of derivative expression relationships:
Musical arrangement:
2012564253
730 0_ ‡i Musical arrangement of (work): ‡a Keep me from sinking down.
2013465261
700 1_ ‡i 2nd and 3rd movements arrangement of (work): ‡a Kaprálová, Vítězslava, ‡d 1915-1940. ‡t Dubnová preludia.

Literary work on which the libretto was based:
2012564348
700 1_ ‡i Libretto based on (expression): ‡a Rostand, Edmond, ‡d 1868-1918. ‡t Cyrano de Bergerac. ‡l English.
2012564401
700 1_ ‡i Libretto based on (expression): ‡a Cervantes Saavedra, Miguel de, ‡d 1547-1616. ‡t Celoso extremeño. ‡l English.

Text that the composer set to music and the work on which the text was based:
2012563876
700 1_ ‡i Musical setting of (expression): ‡a Śāntideva, ‡d active 7th century. ‡t Bodhicaryāvatāra. ‡l English.
2013561052
700 1_ ‡i Musical setting of (expression): ‡a Yevtushenko, Yevgeny Aleksandrovich, ‡d 1933- ‡t Babiĭ IAr.
700 1_ ‡i Musical setting of (expression): ‡a Yevtushenko, Yevgeny Aleksandrovich, ‡d 1933- ‡t Poems. ‡k Selections.

(J.3.4) Whole-part expression relationships
contained in (expression) An expression of a larger work of which the expression is a discrete component.
   Reciprocal relationship: container of (expression)
container of (expression) An expression of a work that is a discrete component of a larger expression.
   Reciprocal relationship: contained in (expression)
Examples of whole-part expression relationships:
2012560098
700 12 ‡i Container of (expression): ‡a Bach, Johann Sebastian, ‡d 1685-1750. ‡t Ich armer Mensch, ich Sündenknecht. ‡s Vocal score. ‡l German.
700 12 ‡i Container of (expression): ‡a Bach, Johann Sebastian, ‡d 1685-1750. ‡t Ich armer Mensch, ich Sündenknecht. ‡s Vocal score. ‡l English.
_________________________________________
#18206386
700 12 ‡i Container of (expression): ‡a Bach, Carl Philipp Emanuel, ‡d 1714-1788. ‡t Stücke, ‡m musical clock, ‡n H. 635. ‡n No. 19; ‡o arranged.
700 12 ‡i Container of (expression): ‡a Bach, Carl Philipp Emanuel, ‡d 1714-1788. ‡t Stücke, ‡m musical clock, ‡n H. 635. ‡n No. 20; ‡o arranged.
700 12 ‡i Container of (expression): ‡a Bach, Carl Philipp Emanuel, ‡d 1714-1788. ‡t Stücke, ‡m musical clock, ‡n H. 635. ‡n No. 21; ‡o arranged.
(J.3.5) Accompanying expression relationships
augmentation of (expression) An expression of a work whose content is added to by another expression.
   Reciprocal relationship: augmented by (expression)
Music-related relationships under this category are:
cadenza composed for (expression) An expression of a musical work such as a concerto for which an ornamental passage for a soloist has been composed, either by the same or a different composer.
   Reciprocal relationship: cadenza (expression)
augmented by (expression) An expression of a work that adds to the content of a predominant expression.
   Reciprocal relationship: augmentation of (expression)
Music-related relationships under this category are:
cadenza (expression) An expression of a musical work consisting of an ornamental passage for a soloist, added to a musical work such as a concerto, either by the same or a different composer..
   Reciprocal relationship: cadenza composed for (expression)
complemented by (expression) An expression of a work paired with another expression without either expression being considered to predominate.
   Reciprocal relationship: complemented by (expression)
Music-related relationships under this category are:
libretto (expression) An expression of a work that provides the text of an opera or other work for the musical stage, or an oratorio.
   Reciprocal relationship: libretto for (expression)
libretto for (expression) An expression of a musical work such as an opera or other work for the musical stage, or an oratorio, that uses the text of the related work.
   Reciprocal relationship: libretto (expression)
music (expression) An expression of a musical work that is used in a motion picture, play, television program, etc.
   Reciprocal relationship: music for (expression)
Specific examples of "music (expression)":
° incidental music (expression) An expression of a musical work that provides the incidental music for a play or other spoken work for the stage.
   Reciprocal relationship: incidental music for (expression)
° motion picture music (expression) An expression of a musical work that is used in a motion picture.
   Reciprocal relationship: music for motion picture (expression)
° radio program music (expression) An expression of a musical work that is used in a radio program.
   Reciprocal relationship: music for radio program (expression)
° television program music (expression) An expression of a musical work that is used in a television program.
   Reciprocal relationship: music for television program (expression)
° video music (expression) An expression of a musical work that is used in a video.
   Reciprocal relationship: music for video (expression)
music for (expression) An expression of a work such as a motion picture, play, television program, etc., that uses the musical work.
   Reciprocal relationship: music (expression)
Specific examples of "music for (expression)":
° incidental music for (expression) An expression of a work such as a play or other spoken work for the stage that uses the musical work as incidental music.
   Reciprocal relationship: incidental music (expression)
° music for motion picture (expression) An expression of a work that uses the musical work in a motion picture.
   Reciprocal relationship: motion picture music (expression)
° music for radio program (expression) An expression of a work that uses the musical work in a radio program.
   Reciprocal relationship: radio program music (expression)
° music for television program (expression) An expression of a work that uses the musical work in a television program.
   Reciprocal relationship: television program music (expression)
° music for video (expression) An expression of a work that uses the musical work in a video.
   Reciprocal relationship: video music (expression)

(J.4) Relationship designators for related manifestations

Equivalent relationships (J.4.2) | Whole-part relationships (J.4.4) | Accompanying relationships (J.4.5)

(J.4.2) Equivalent manifestations relationships
See the discussion paper Instructions for recording structured descriptions of related manifestations [179] for tentative instructions for the following relationships: Reproduced as (Manifestation); Reproduction of (Manifestation)
equivalent manifestation A manifestation that embodies the same expression of a work.
   Reciprocal relationship: equivalent (manifestation)
Music-related relationships under this category are:
reproduced as (manifestation) A manifestation that reproduces another manifestation.
   Reciprocal relationship: equivalent (manifestation)
Specific examples of "reproduced as (manifestation)" encountered in music cataloging:
facsimile (manifestation) A manifestation that exactly reproduces another manifestation.
   Reciprocal relationship: facsimile of (manifestation)
reprinted as (manifestation) A manifestation that is a reissue of another printed manifestation.
   Reciprocal relationship: reprint of (manifestation)
reproduction of (manifestation) A manifestation that is used as the basis for a reproduction.
   Reciprocal relationship: reproduced as (manifestation)
Specific examples of "reproduction of (manifestation)" encountered in music cataloging:
facsimile of (manifestation) A manifestation that is used as the basis for an exact reproduction.
   Reciprocal relationship: facsimile (manifestation)
reprint of (manifestation) A printed manifestation that is used as the basis for a reissue of a manifestation.
   Reciprocal relationship: reprinted as (manifestation)
(J.4.4) Whole-part manifestation relationships
See the discussion paper Instructions for recording structured descriptions of related manifestations [179] for tentative instructions for the following relationships: Container of (Manifestation); Contained in (Manifestation)
contained in (manifestation) A larger manifestation of which a part is a discrete component.
   Reciprocal relationship: container of (manifestation)
Music-related relationships under this category are:
facsimile contained in A larger manifestation of which a part is a discrete component that exactly reproduces another manifestation embodying the same expression of a work.
   Reciprocal relationship: facsimile container of
special issue of A serial or newspaper containing a single issue or a supplementary section devoted to a special subject, with or without serial numbering, such as an anniversary number of a periodical or newspaper.
   Reciprocal relationship: special issue
container of (manifestation) A manifestation that is a discrete component of a larger manifestation.
   Reciprocal relationship: contained in (manifestation)
Music-related relationships under this category are:
facsimile container of A manifestation used as the basis for an exact reproduction that is a discrete component of a larger manifestation.
   Reciprocal relationship: facsimile contained in
special issue A manifestation that consists of a single issue or a supplementary section of a serial or newspaper devoted to a special subject.
   Reciprocal relationship: special issue of
Examples of whole-part manifestation relationships:
2013364306
700 12 ‡i Container of (manifestation): ‡a Krutikov, G. A. ‡q (Geliĭ Andreevich), ‡d 1931- ‡t Akh ty, Rus' razdol'naia.
2013560346
730 0_ ‡i Container of (manifestation): ‡a World magazine, ‡g December 23, 1917.
(J.4.5) Accompanying manifestation relationships
See the discussion paper on Instructions for describing accompanying material in RDA [180]
accompanied by (manifestation) A manifestation issued with another manifestation, without any relationship to its content.
   Reciprocal relationship: accompanied by (manifestation)
Music-related relationships under this category are:
issued with A manifestation that is issued on the same carrier as the manifestation being described.
   Reciprocal relationship: issued with

Sound characteristics (RDA 3.16 & MARC 344)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

RDA 3.16 Sound characteristics
(3.16.1.1) Sound characteristics are technical specifications relating to the encoding of sound in a resource that include:
     ° type of recording (3.16.2)
     ° recording medium (3.16.3)
     ° playing speed (3.16.4)
     ° groove characteristics (3.16.5)
     ° track configuration (3.16.6)
     ° tape configuration (3.16.7)
     ° configuration of playback channels (3.16.8)
     ° special playback characteristics (3.16.9)

For instructions on recording additional characteristics of digitally encoded sound (e.g., audio encoding formats such as MP3), see 3.19.

(3.16.1.2) Sources of information
Use evidence presented by the resource itself (or on any accompanying material or container)
     ° If desired, take additional evidence from any source.
(3.16.1.3) Recording sound characteristics
If the resource consists primarily of recorded sound, record the sound characteristics in 3.16.1.1, as applicable to the resource, if they are considered important for identification or selection.

Optional addition: Record the sound characteristics listed above for a resource other than one that consists primarily of sound, as applicable, if they are considered important for identification or selection.

Record details of sound characteristics as instructed under 3.16.1.4

(3.16.1.4) Details of sound c characteristic
Record details of any special equipment requirements for the playback of sound as instructed under 3.20.1.3:
(3.20.1.3) Recording equipment or system requirements:
Record any equipment or system requirements beyond what is normal and obvious for the type of carrier or type of file (e.g., the make and model of equipment or hardware, the operating system, the amount of memory, programming language, other necessary software, or any plug-ins or peripherals required to play, view, or run the resource).
Alternative: Record the equipment or system requirements as they are presented on the resource.

Example:
OCLC 826023537
538 __ SACD surround 5.1 requires multi-channel SACD player and compatible surround sound system; SACD stereo requires SACD player; CD audio playable on all standard CD players.

(3.16.2) Type of recording
the method used to encode audio content for playback (e.g., analog, digital).
(3.16.2.2) Sources of information
Use evidence presented by the resource itself (or on any accompanying material or container)
     ° If desired, take additional evidence from any source.
(3.16.2.3) Recording type of recording
Record the type of recording using an appropriate term from the list below:
     ° analog
     ° digital

If neither of the terms listed above is appropriate or sufficiently specific, use a term designating the type of recording as concisely as possible.

Best practices for music cataloging [119]: If feasible, record type of recording for all audio carriers.

(3.16.2.4) Details of type of recording
Record details of the type of recording if they are considered important for identification or selection.
MARC 344
Definition
Technical specifications relating to the encoding of sound in a resource.
Indicators
1st blank
2nd blank
Subfields
‡a Type of recording
     ° The method used to encode audio content for playback (e.g., analog, digital)
‡b Recording medium
     ° The type of medium used to record sound on an audio carrier (e.g., magnetic, optical)
‡c Playing speed
     ° The speed at which an audio carrier must be operated to produce the sound intended
‡d Groove characteristic
     ° The groove width of an analog disc or the groove pitch of an analog cylinder
‡e Track configuration
     ° The configuration of the audio track on a sound-track film
‡f Tape configuration
     ° The number of tracks on an audiotape
‡g Configuration of playback channels
     ° The number of sound channels used to make a recording (e.g., one channel for a monophonic recording, two channels for a stereophonic recording)
‡h Special playback characteristics
     ° An equalization system, noise reduction system, etc., used in making an audio recording
Source: LC MARC 21 format for bibliographic date [181]

Transcription (RDA 1.7)

Music Cataloging at Yale [1] ♪ RDA [50]

Note: this page was created with music cataloging in mind.

Capitalization (1.7.2) | Punctuation (1.7.3) | Diacritical marks (1.7.4) | Symbols (1.7.5)
Spacing of initials and acronyms (1.7.6) | Letters or words intended to be read more than once (1.7.7) | Abbreviations (1.7.8) | Inaccuracies (1.7.9)

First, a discussion of transcribing versus recording:

Transcription:

RDA's emphasis on transcription is consistent with the International Cataloging Principles' [182] principle of representation, that is: represent the resource the way it represents itself. This is a shift away from AACR2's rules on abbreviations, capitalization, punctuation, numerals, and symbols, and on the correction of data that is known to be incorrect, such as typos. RDA favors generally not altering what is on the resource when transcribing information for certain elements.

Transcribed information = "Take what you see" and "accept what you get."

General guidelines in 1.7.1 (and appendices A (capitalization) and B (abbreviations) address transcription of what is on the resource: punctuation, abbreviations, inaccuracies, symbols, initials, numbering. In short, generally follow what is on source. However, 1.7.1 includes alternatives that allow for adjusting data following in-house guidelines or a preferred style manual.

Transcribed elements are "recorded" exactly as they appear on the resource, except when specific instructions say otherwise. In fact, RDA's instructions in Chapter 2, on "recording" the attributes of manifestations and items, use the verb "record."

RDA 1.4 contains a list of elements to be transcribed from the resource in the found language and script:

Element Associated MARC field
Title: title and parallel title proper, other title and parallel other title information, variant title 245 ‡a, ‡b
Statement and parallel statement of responsibility relating to title proper 245 ‡c
Edition: designation and parallel designation, statement and parallel statement of responsibility, designation and parallel designation of a named revision of an edition, statement and parallel statement of responsibility relating to a named revision 250 ‡a, ‡b
Production: place and parallel place, name and parallel name, and date 264 _0 ‡a, ‡b, ‡c
Publication: place and parallel place, name and parallel name, and date 264 _1 ‡a, ‡b, ‡c
Distribution: place and parallel place, name and parallel name, and date 264 _2 ‡a, ‡b, ‡c
Manufacturer: place and parallel place, name and parallel name, and date 264 _3 ‡a, ‡b, ‡c
Series statement: Series and subseries: title proper and parallel title proper, other title and parallel other title information, statement and parallel statement of responsibility, numbering 490 ‡a, ‡v

When information for any of these elements does not appear on the resource and is taken from a source outside the resource, indicate it in a note or enclose the information in square brackets (see 2.2.4 [123]).

Recording:

For those elements that recorded, the found information may be adjusted or taken from another source. The information is taken on the source, but not necessarily exactly as it appears on the source (for example, the hyphens in an ISBN are omitted).

For non-transcribed elements:
° record them in the language and script preferred by the agency creating the data (at LC, this is English);
° when adding information within an element, record it in the language and script of the element to which it is being added;
° when supplying an entire element, generally supply it in English.

Sources: rda-l [183]; LC's RDA training module Module 1: Introduction to RDA [184]; RDA in brief : the body of the record [185] © 2012-2013 Mark K. Ehlert

(1.7.1) These are guidelines on general guidelines on capitalization, punctuation, symbols, abbreviations, etc., when transcribing an element as it appears on the source of information.

Alternative 1: If the agency creating the data has established in-house guidelines for capitalization, punctuation, numerals, symbols, abbreviations, etc., or has designated a published style manual, etc., use those guidelines or that style manual in place of the instructions given under 1.7.2-1.7.9 and in the appendices.
LC practice/PCC practice for Alternative 1:
For capitalization of transcribed elements, catalogers are encouraged (but not required) to follow Appendix A;
   ° it is permitted to "take what you see" on the resource.
For punctuation, numerals, symbols, abbreviations, etc., follow the guidelines in 1.7.3-1.7.9 and in the appendices.
   ° If supplying information in brackets or providing a romanized form, apply cataloger's judgment to follow the appropriate appendix or not.

Alternative 2: If a description created by another agency is used or if data are derived from a digital source of information using an automated scanning, copying, or downloading process, accept the data without modification.
LC practice for Alternative 2: Follow appropriate LC copy cataloging guidelines with respect to accepting and modifying data from other agencies:
   ° Generally accept data derived from digital sources;
   ° Make any adjustments to the supplied information judged appropriate.
PCC practice for Alternative 2:
PCC practice for Alternative (2nd): Generally accept data derived from digital sources;
   ° Make any adjustments to the supplied information judged appropriate.

Note: Catalogers using data derived from a digital source are permitted (though not required) to make the capitalization conform to Appendix A.

Best practices for music cataloging [119]: Follow LC-PCC PS, including for both alternatives. That is, for each separate element, either "take what you see" from the resource or apply Appendix A, per local policy and/or cataloger's judgment.

If applying Appendix A, or when in doubt, leave a space between a caption (e.g., "op.") and an opus or thematic index number.

(1.7.2) Capitalization
See also Capitalization of foreign terms based on RDA Appendix A [7]
Apply the instructions on capitalization given in appendix A:
Guidelines on capitalization for English and a selected number of other languages that are to be applied when transcribing or recording specified elements.
   ° Unless there are specific guidelines under guidelines below, capitalize words according to the guidelines for the language involved.
      » Record any words not covered by the guidelines in this appendix in lower case.

Alternative: When recording the attributes of a manifestation or item, if the agency creating the data has established in-house guidelines on capitalization, or has designated a published style manual, etc., as its preferred guide, use those guidelines or that style manual in place of the instructions given in this appendix.
LC practice for Alternative: For capitalization of transcribed elements, either "take what you see" on the resource or follow this appendix.
   ° For other elements, follow this appendix. If supplying information in brackets or providing a romanized form, apply cataloger's judgment to follow this appendix or not.

° (A.2) Names of persons, families, corporate bodies, and places
   » In general, capitalize the first word of each name.
   » Capitalize other words applying the guidelines applicable to the language involved.
   » For names with unusual capitalization, follow the capitalization of the commonly known form.
   » Capitalize in names of persons:
       · a word, or the substantive words in a phrase characterizing a person and used as a name
       · a quoted title within a personal name
       · titles and other terms treated as an integral part of the name of a person
       · the first word and any proper names in other designations associated with a person, in terms indicating field of activity and in terms indicating occupation or profession
   » Initialisms and acronyms of the letters of an initialism or acronym used by a corporate body
       · Follow the the capitalization in the predominant usage of the body.
   » Capitalize other terms associated with names of families and corporate bodies:
       · the first word of a term indicating type of family
       · the first word of a designation associated with a corporate body
       · other words in the term or designation applying the guidelines applicable to the language involved.

° (A.3) Titles of works
   » Capitalize the title of a work as instructed under A.4.
   » Other terms associated with titles of works, capitalize:
       · the first word of each term.
       · other words in the term applying the guidelines applicable to the language involved.
       Exceptions:
            Music: Do not capitalize words or abbreviations indicating medium of performance (6.15 [160]) or numeric designation of a musical work (6.16 [161]),
            unless the word is, or the abbreviation stands for, a proper name.
            For thematic index numbers (6.16.1.3.3 [186]), follow the capitalization practice used in the thematic index.
            Series: Do not capitalize words or abbreviations indicating numbering of a part (24.6) unless the word or abbreviation is capitalized in the language concerned.

° (A.4) Titles of manifestations
       · Capitalize the first word or the abbreviation of the first word in a title and in a title of a part, section, or supplement.
       · Capitalize other words within titles applying the guidelines applicable to the language involved.
      Exceptions:
          » Other title information: Do not capitalize the first word or the abbreviation of the first word in other title information (2.3.4 [16]) unless the word or abbreviation is listed under             A.10-A.55 or in appendix B as one that should be capitalized.
          » Unusual capitalization: Follow the capitalization of the title as found on the source of information.
       · Do not capitalize the first word of a title if it is preceded by punctuation indicating that the beginning of the phrase from which the title was derived has been omitted.

° (A.5) Edition statement
   » Capitalize:
       · the first word or abbreviation of the first word in a designation of edition (2.5.2 [187]).
       · other words in an edition statement applying the guidelines applicable to the language involved.

° (A.7) Numbering within series and subseries
   » Do not capitalize a term that is part of the numbering within a series (2.12.9) or subseries (2.12.17)
     unless the guidelines given applicable to the language involved require capitalization.
   » Capitalize other words and alphabetic devices according to the usage on the resource.

° (A.8) Notes
   » Capitalize the first word or abbreviation of a word in a note (2.20, 3.22, 5.9, 8.13, 24.8, and 29.7).
   » If a note consists of more than one sentence, capitalize the first word of each subsequent sentence.
   » Capitalize a title as instructed under A.4.
   » Capitalize other words as applicable to the language involved.

° (A.10) English language
   » Where a guideline prescribes the capitalization of the name of a person, corporate body, or place, or of a title of nobility, term of honour, appellation, epithet, etc.,
     understand this to mean that each separate word or initial is to be capitalized excepting articles, prepositions, and conjunctions.
   » However, in a place name, capitalize an article that forms an accepted part of the name according to gazetteers.
   » Capitalize a plural generic term when it precedes the distinctive nouns in two or more proper names.
   » Do not capitalize the generic term when it follows the nouns.

(1.7.3) Punctuation
Transcribe punctuation as it appears on the source, omitting punctuation on the source that separates data to be recorded as one element from data to be recorded as a different element, or as a second or subsequent instance of an element.
Add punctuation, as necessary, for clarity.

Instructions on the use of prescribed punctuation for the display of descriptive data in ISBD form are in Appendix D.1.2:
(D.1.2.1) General instructions on the use of prescribed punctuation for the display of descriptive data in ISBD form
[Some instructions have been omitted, as they are usually supplied by an OPAC or are not used in an OPAC display.
Instructions for the marks of punctuation that is used within a MARC field is included.]

When in an area or an element the same information appears in two or more languages and/or scripts, the following provisions apply:
   ° When one element is recorded in two or more languages and/or scripts, the information in each language and/or script after the first is preceded by an equals sign (=).
   Examples:
      2012563437
         245 10 Ah che la morte ognora = ‡b Ah I have sighed to rest me
      2012564395
         245 10 Centenary song album = ‡b Jubiläumus-Liederalbum

   ° When, in a single area, two or more elements are recorded in two or more languages and/or scripts, the elements in each language and/or script are given together with the appropriate preceding punctuation for each element. The whole group of elements for the first language and/or script recorded is preceded by punctuation appropriate to the first element and each group after the first is preceded by an equals sign.
   Examples:
      2011568261
         245 10 Četiti skiche : ‡b za klavir = Quatre esquisses : pour piano
      2012562531
         245 10 To a wild rose : ‡b from "Woodland sketches" : for 4 violoncellos = aus "Amerikanische Wald-Idyllen" : für 4 Violoncelli

   ° When a single statement (e.g., a statement of responsibility) is recorded partly in one language and/or script and partly in two or more languages and/or scripts, the several linguistic forms are transcribed together. Equals signs or other punctuation symbols are used as appropriate.
   Example:
      2010562595
         245 10 Suita giocosa : ‡b for woodwind quintet = pro dechové kvinteto

(D.1.2.2) Title and statement of responsibility area

Precede: With:
the title of a section or supplement (2.3.1.7 [140]) period
the enumeration or alphabetic designation preceding the title of a section or supplement the enumeration or alphabetic designation with period;
the title by a comma
Examples:
2012563876
   245 10 Buddhist songs. ‡n No. 2, ‡p With excellent raiments
2012562903
   245 10 Brazilian music for piano. ‡n Part 2, ‡p Samba and bossa nova
each parallel title equals sign (=)
each unit of other title information colon (:)
the first statement of responsibility by a diagonal slash diagonal slash (/)
each subsequent statement of responsibility semicolon (;)

The parts are all by the same person(s) or emanate from the same body (bodies): Separate the titles proper of the parts by semicolons, even if the titles are linked by a connecting word or phrase.
Examples:
2010562280
   245 10 Quatre câpres ; ‡b et Douze huîtres
OCLC #826876216
   245 10 Symphony no. 2 ; ‡b Four Shakespeare preludes
OCLC #826876229
   245 10 Lukaspassion ; ‡b &, Die Sieben Worte

Follow the title proper of each part by its parallel title(s) (preceded by an equals sign) and other title information (preceded by a colon).

The parts are by different persons or families, or corporate bodies, or in case of doubt: Follow the title proper of each part by its parallel title(s) (preceded by an equals sign), other title information (preceded by a colon), and statement(s) of responsibility (preceded by a diagonal slash or by a semicolon, as appropriate).
Separate the groups of data with a full stop.
OCLC #832457650
   245 10 Symphony no. 6 in E minor / ‡c Vaughan Williams. The sea / Bridge.

(D.1.2.3) Edition statement

Precede the: With:
first statement of responsibility following an edition statement diagonal slash (/)
Example:
2012563233
   250 Piano-vocal score / ‡b piano reduction by Robert Meikle.
each subsequent statement of responsibility semicolon (;)

(D.1.2.5) Publication, production, distribution, etc., area

Precede the: With:
second or subsequent place of production, publication, distribution, manufacturer semicolon (;)
name of producer, publisher, distributor, manufacturer colon (:)
date of production, publication, distribution, manufacturer comma

(D.1.2.6) Physical description area

Precede: With:
other physical details (i.e., other than extent or dimensions) colon (:)
dimensions semicolon (;)
each statement of accompanying material plus sign (+)
Enclose: With:
extent, other physical details, and dimensions of accompanying material parentheses

(D.1.2.7) Series description area

Precede: With:
each parallel title equals sign (=)
other title information colon (:)
the first statement of responsibility diagonal slash (/)
each subsequent statement of responsibility semicolon (;)
the ISSN of a series or sub-series comma
the numbering within a series or sub-series or multipart monographic resource semicolon (;)

(LC-PCC PS for 1.7.1) Notes area

Precede: With:
additional information expected precede or follow a hyphen with one space
end each note with one of these marks of punctuation period, question mark, exclamation mark, hyphen
note endings with a quotation mark put final mark of punctuation inside the quotation mark
incomplete contents note no final punctuation
square brackets do not use unless used in quoted data
   ° Page 4 of cover not Page [4] of cover

(LC-PCC PS for 1.7.1) Ending punctuation by MARC field

MARC field Ending punctuation
245 [13] title add a period if the field does not end with one
246 [17] variant title use an ending mark of punctuation only when it is part of the data
250 [19] edition add a period if the field does not end with one
264/0, 264/1, 264/2, 264/3 [20]
production/publication/distribution/manufacture
usually ends with a period, a closing bracket, or a hyphen
264/4 [61] copyright date does not have ending punctuation
300 [188] extent may end in:
   ° no punctuation
   ° a right parenthesis when the last element of the field is a parenthetical qualifier
   ° a period when
      » the last element is an abbreviation
      » the bibliographic record includes a 490 field
490 series use an ending mark of punctuation only when it is part of the data
(1.7.4) Diacritical marks
Transcribe diacritical marks such as accents as they appear on the source of information.
Add diacritical marks that are not present on the source of information in accordance with standard usage for the language of the data.
(1.7.5) Symbols
Transcribe diacritical marks such as accents as they appear on the source of information.
   ° Make an explanatory note if necessary (see 2.20).
Ignore typographical devices that are used as separators, etc.

LC practice/PCC practice: The objective in treating signs and symbols not represented in the character set is to render or convey the intention without undue time and effort and with a minimum of interpolation, using one of the techniques described in this section. Note that a minimum of interpolation is wanted because those searching the machine catalog cannot very often be expected to "second-guess" the cataloger in this respect, i.e., users will normally formulate search queries that necessarily do not take interpolations into account. As judged appropriate, use notes to explain and use access points to provide additional access; the examples below are illustrative, not prescriptive.
Best practices for music cataloging [119]: Follow LC-PCC PS.

1. If the symbol is judged not to be an integral or essential part of the title, do not intervene in the transcription.
   ° Instead, omit the symbol; explain its omission in a note if it is judged worth mentioning.

2. Use existing characters when this can be done without serious distortion or loss of intelligibility.

3. Use the double underscore convention (see the section on Special Letters, Diacritical Marks, and Punctuation Marks in Policy Statement 1.4.)

4. Substitute in the language of the context the word, phrase, etc., that is the obvious spoken/written equivalent (if unknown in the language of the context, use English); bracket the interpolated equivalent. If the element in the source is not preceded or followed by a space, in general precede or follow the bracketed interpolation by a space unless a space would create an unintended result for searching.
   Example:
      2013560337
         245 10 8 --> [infinity]
         500 In title, "[infinity]" appears as the infinity symbol.

Exception 1: Do not transcribe symbols that indicate birth (e.g., an asterisk) or death (e.g., a dagger) even if such characters are in the character set.
   ° Do not use a mark of omission;
   ° instead, explain the omission in a note and provide a variant title with an interpolated word or phrase if it seems useful.

Exception 2: Ignore symbols indicating trademark (registered or otherwise), patent, etc.
   ° These include:
      · a superscript or subscript "R" enclosed in a circle (®) (ignore although included in the character set)
      · the superscript or subscript letters "TM" (TM).
   ° Explain their presence in a note if considered important. Ignore such symbols also when they appear with elements used in access points.

5. If the spoken/written equivalent is not obvious, give an explanation or a description in the language of the context (if unknown in the language of the context, use English).

6. If a title consists solely of a sign or symbol or one or more marks of punctuation, provide an equivalent in all cases, even if the particular symbol is itself in the character set.

(1.7.6) Spacing of initials and acronyms
If separate letters or initials appear on the source of information without full stops between them, transcribe the letters without spaces between them, regardless of spacing on the source.

If such letters or initials have full stops between them, omit any internal spaces.

(1.7.7) Letters or words intended to be read more than once
If a letter or word appears only once but the design of the source of information makes it clear that it is intended to be read more than once, repeat the letter or word.
(1.7.8) Abbreviations
Apply the instructions on the use of abbreviations in transcribed elements given in appendix B.4:
   ° For transcribed elements, use only those abbreviations found in the sources of information for the element.
   ° If supplying all or part of a transcribed element, generally do not abbreviate words.
The abbreviations allowed in appendex B4 that are encountered frequently in music are:
alto A1
Band [189] Bd.
baritone Bar1
bass B1
book bk
hour, hours hr.
inch, inches in.
mezzo-soprano Mz1
minute, minutes min.
nombor, number, numbers, número (Spanish) no.
numer, nummer nr
numéro, numéros (French) no, nos
numero (Italian) n.
Nummer [190] Nr.
opus op.
part, parts pt., pts.2
partie, parties part
revolutions per minute rpm
second, seconds sec.
soprano S1
tenor T1
volume, volumes (English) v.
volume, volumes (French) vol.
1Use only when recording details of medium of performance of musical content to indicate voice range of vocal works when two or more voices are given. (See an explanation of SATB, Mz, and Bar [191])
2Do not use when recording the extent of notated music.
(1.7.9) Inaccuracies
When instructed to transcribe an element as it appears on the source of information, transcribe an inaccuracy or a misspelled word as it appears on the source, except where instructed otherwise.

Make a note correcting the inaccuracy if it is considered to be important for identification or access (see 2.20).
If the inaccuracy appears in a title, record a corrected form of the title as a variant title (2.3.6 [17]) if it is considered to be important for identification or access.

Examples:
2012572148
   245 10 Augusta waltzs
   246 3_ Augusta waltzes
2011567300
   245 10 Fünf Gesaenge mit Begleitung der Guittare und ein Canon zu drey Stimmen, Opus 13
   246 1_ ‡i Corrected spelling: ‡a Fünf Gesaenge mit Begleitung der Guitarre und ein Canon zu drey Stimmen, Opus 13
2011567301
   245 10 Grande polonoise
   246 1_ ‡i Corrected title: ‡a Grande polonaise
2011567299
   245 10 Momento capricioso
   246 1_ Corrected title: ‡a Momento capriccioso
OCLC #841611013
   245 14 The pure impure : ‡b three abastracts for piano
   246 1_ ‡i Subtitle should read: ‡a Three abstracts for piano
OCLC #774492480
   245 10 Varhanní skladby : ‡b preludia, preambula, fantasie = Organ compositions : preludes, preambules, fantasias
   246 31 Organ compositions : ‡b preludes, preambules, fantasias
   500 __ Parallel title should read: Organ compositions : preludes, preambles, fantasias.


Source URL:https://web.library.yale.edu/cataloging/music/rda

Links
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http://web.library.yale.edu/cataloging/music/othertitle [17] http://web.library.yale.edu/cataloging/music/varianttitle [18] http://web.library.yale.edu/cataloging/music/responsibility [19] http://web.library.yale.edu/cataloging/music/edition [20] http://web.library.yale.edu/cataloging/music/publication [21] http://web.library.yale.edu/cataloging/music/MARC336338 [22] http://web.library.yale.edu/cataloging/music/extent [23] http://web.library.yale.edu/cataloging/music/soundchar [24] http://web.library.yale.edu/cataloging/music/content [25] http://web.library.yale.edu/cataloging/music/pubplnum [26] http://web.library.yale.edu/cataloging/music/recordnames [27] http://web.library.yale.edu/cataloging/music/prefvariantname [28] http://web.library.yale.edu/cataloging/music/RDAentryele [29] http://web.library.yale.edu/cataloging/music/RDAentryele#spanport [30] http://web.library.yale.edu/cataloging/music/attributespersons [31] http://web.library.yale.edu/cataloging/music/accpointspersons [32] 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