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Streaming videos
Although RDA 6.27.1.3 contains an instruction to enter moving images under title, it only
applies when there are two or more creators (i.e., ͞ ollaborative Works͟). In situations where
only one person is responsible for all aspects of a work͛s creation do not treat the resource as a
collaborative work. In such situations, follow RDA 6.27.1.2 and construct the authorized access
point representing the work by combining the authorized access point of the creator and
preferred title of the work.
For streaming audio of musical works, (e.g., mp3 files of musical performances), follow the
above instructions in RDA 6.27.1 if they do NOT fall within one of the following categories:
a)
musical works with lyrics, libretto, text, etc. (e.g., a song, opera, musical comedy)
b)
pasticcios, ballad operas, etc.
c)
works composed for choreographic movement
d)
adaptations of musical works
e)
operas and other dramatic works with new text and title
f)
cadenzas
g)
incidental music for dramatic works
If a resource falls into one of the above categories, apply RDA 6.28.1.2-6.28.1.8 as appropriate:
For a) and c) follow the instructions in RDA 6.28.1.2 and 6.28.1.4 to record an authorized access
point representing the composer of the music, followed by the preferred title for the work.
For b) follow the instructions at RDA 6.28.1.3.1 and 6.28.1.3.4 to do the same if music of a
pasticcio was especially composed for it or if the work is a single excerpt from a larger musical
work. But enter under preferred title if the music consists of previously existing compositions
by various composers per RDA 6.28.1.3.2. Enter under preferred title of the work from which
excerpts are taken if the work is a compilation of musical excerpts from a pasticcio, ballad
opera, etc. per RDA 6.28.1.3.3.
For d), follow RDA 6.28.1.5 by constructing an authorized access point representing an
adaption of a musical work by recording the authorized access point for the adapter of the
music followed by the preferred title of the adaptation only if there is one adapter. If there is
more than one adapter, treat the work as a collaborative effort and follow the rule RDA
6.27.1.3 to enter the work under the person, corporate body or family with principal
responsibility or that is named first.
For e), follow RDA 6.28.1.6 using the authorized access point of the original work followed by
the title of the adaptation, enclosed in parentheses.
For f), follow the instructions in RDA 6.28.1.7. For g), follow the instructions in RDA 6.28.1.8.
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Recording access points for streaming audio recordings of musical works:
100 1_ ǂa Tan, Dun, ǂd 1957, ǂe composer.
245 10 ǂa Peony Pavilion. ǂk Selections
700 1 _ ǂi Adaptation of (work): ǂa Tang, Xianzu, ǂd 1550-1616.
ǂt Mu dan ting.
(An audio recording of a Chinese opera)
Note: In this case, Tan Dun, the composer, is the sole creator. This work is an adaptation of
another work, so the authorized access point consists of the one representing the adapter of the
music followed by the preferred title of the adaptation per RDA 6.28.1.5.2.
Best Practice Recommendations for streaming video performances of musical works
The cataloger should first judge whether there is more than one ͞creator,͟ using the categories
in RDA Appendix I for guidance. As a best practice, look at RDA I.2.1 (Relationship Designators
for Creators) and RDA I.2.2 (Relationship Designators for Other Persons, Families, or
Corporate Bodies Associate with a Work), and use cataloger͛s judgment to determine the
significance of the roles in both categories with regard to the ͞creation͟ of the work. (Follow
the exception in RDA 6.27.1.3 for ͞ orporate bodies as creators.͟)
In the case of filmed performances, consider the roles that groups or individuals play in the
creation of the filmed performance itself (i.e., consider that film a ͞work͟ in its own right),
rather than for the original musical or dramatic work that is being performed.
If there is one single ͞creator͟ who is responsible for all aspects of a filmed performance, follow
RDA 6.27.1.2 in constructing the authorized access point by combining the authorized access
point representing that creator and the preferred title for the work.
If there is more than one creator (e.g., the work is ͞collaborative͟), follow the RDA 6.27.1.3
exception for Moving Image Works and construct the authorized access point by using the
preferred title for the work.
See section b) below for examples of streaming videos for filmed musical performances.
b)
Works where two or more persons, families, or corporate bodies are collaboratively
responsible for creating the work (RDA 6.27.1.3)
For streaming video, follow the exception for moving image works under RDA 6.27.1.3 and
construct the authorized access point for the work using the preferred title of the work.
(Examples follow on the next page.)
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Recording access points for streaming video for original works created by two or more collaborators:
245 00 ǂa Doing the job
245 00 ǂa Mine me good now
Recording access points for streaming videos where more than one collaborator is responsible for a
filmed performance:
Note: Refer to best practices for streaming video performances of musical works in previous
section a) for further explanation.
130 0_ ǂa Cos椀 fan tutte (Motion picture : 1983)
245 10 ǂa Cos椀 fan tutte
700 1_ ǂi Video adaptation of: ǂa Mozart, Wolfgang Amadeus, ǂd
1756-1791. ǂt Cos椀 fan tutte.
(A filmed performance of opera composed by Mozart, which took place in 1983)
Note: Although RDA 6.28.1.2 instructs to construct the authorized access point for musical
works with lyrics, libretto, text, etc. using a combination of the one for composer and the
preferred title of the work, we enter the filmed performance under preferred title, since it is the
film, and not the work performed that is being cataloged. Since the preferred titled for the video
conflicts with that of another filmed performance of the same work, it is qualified by form and
year per RDA 6.27.1.9.
245 00 ǂa Enchanted island.
(A filmed performance of an opera with music consisting of previously existing works from various
composers)
Note: This access point was recorded as it would have been if there had been no conflicting
authorized access point in the database for another work at the time this work was cataloged.
No 700 field for the authorized access point of the work being filmed was given since it would be
identical to the one for the film.
130 0_ ǂa Peony pavilion (Motion picture : 2012)
245 10 ǂa Peony pavilion
700 1_ ǂi Video adaptation of (work): ǂa Tan, Dun, ǂd 1957- , ǂt
Peony pavilion.
700 1 _ ǂi Based on (work): ǂa Tang, Xianzu, ǂd 1550-1616. ǂt Mu
dan ting.
(A filmed performance of a Chinese opera)
Note: In this case, Tan Dun is the creator of the opera being filmed, but the FILM (the work being
cataloged) was created in collaboration with Chen Shi-Zheng, who worked with Tan to distill his
original play from 19 hours to 70 minutes.
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130 0_ ǂa Swan lake (Motion picture : 1997 : New York City
Ballet)
(The filmed performance is considered the work being cataloged, not the actual ballet being performed)
Note: Although Appendix 1 of LC-PCC 6.27.1.9 instructs to follow the year qualifier by director,
the cataloger judged that the ballet company would be more recognizable than the director’s
name to users in a controlled browse list in an OPAC in support of the FRBR task of
identification)
For streaming audio, follow the instructions in RDA 6.27.1.3 to construct authorized access
points of a work if it has more than one creator and does not fall in one of the musical
categories in RDA 6.28.1:
a)
Authorized access point representing the person, family, or corporate body with
principal responsibility (if two or more have principal responsibility, enter under first
named)
b)
Preferred title of a work
If a streaming audio resource does fall into one of the categories of musical works in RDA
6.28.1.1, apply RDA 6.27.1. See the previous section a) in this document for more details.
Recording access points for streaming audio files created by two or more collaborators:
100 1_ ǂa Schwartz, Tony, ǂe recordist, ǂe creator.
245 12 ǂa An actual story in sound of a dog's life : ǂb as
broadcast on the CBS radio workshop / ǂc conceived and recorded
by Tony Schwartz.
Note: Although multiple individuals were involved with various aspects of the work’s creation,
Tony Schwartz is the only person whose name is formally presented in the resource and can be
considered to have principal responsibility.
245 00 ǂa Enchanted island.
(An audio recording of an opera with music consisting of previously existing works from various
composers)
Note: The work above is entered under title per RDA 6.28.1.3.2 for musical works consisting of
previously existing compositions. This access point was recorded as it would have been if there
had been no conflicting authorized access point in the database for another work at the time
this work was cataloged.
100 1_ ǂa Mozart, Wolfgang Amadeus, ǂd 1756-1791, ǂe composer.
245 10 ǂa Cos椀 fan tutte
700 1_ǂa Da Ponte, Lorenzo, ǂd 1749-1838, ǂe librettist.
(An audio recording of opera composed by Mozart)
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Note: RDA 6.28.1.2 instructs us to construct the authorized access point for musical works with
lyrics, libretto, text, etc. using a combination of the one for composer and the preferred title of
the work. In this case, it is a collaborative work between composer and librettist.
c)
Compilations of works by different persons, families, or corporate bodies (6.27.1.4)
Construct the authorized access point representing the work by using the preferred title for the
compilation; if the compilation lacks a collective title, construct separate access points for each
of the works in the compilation.
Best Practice Recommendation: If the compilation lacks a title and the number of works
within the resource is too numerous, devise a title and record in square brackets. Provide an
unstructured note to give the source of the title (e.g., Title supplied by cataloger). Provide
authorized access points for as many works within the resource as practical or desired.
Recording access points for streaming video:
245 00 ǂa Potterpuppetpals
(Name of YouTube website that compiles streaming videos by different creators parodying J.K. Rowling’s
series of novels and the films based on them)
245 00 ǂa Yavanika video library
(Name of website that compiles videos featuring theatrical performances in Asian countries)
245 00 ǂa History. ǂp Famous speeches & audio
(Name of website that provides links to streaming audio recordings of famous speeches by various
historical figures)
Recording access points for streaming audio:
245 00 ǂa Delius in Norway.
505 0_ ǂa ... Folkeraadet = The people's parliament : incidental
music to the play by Gunnar Heiberg (25:29) / Frederick Delius
... (entire contents note not shown)
700 1_ ǂi Container of (work): ǂa Delius, Frederick, ǂd 1862-
1934. ǂt Folkeraadet.
700 1_ ǂi Incidental music for (work): ǂa Heiberg, Gunnar, ǂd
1857-1929. ǂt Folkeraadet.
(An audio recording of a compilation of incidental musical works by two different composers)
Note: The above example does not fit the categories in RDA 6.281.1, so we follow its
instructions to follow RDA 6.27.1. We enter under title since RDA 6.27.1.4 instructs us to do so
for compilations with multiple creators.
245 00 ǂa Bennett/Brubeck : ǂb the White House sessions, live
1962
700 1_ ǂa Bennett, Tony, ǂd 1926- ǂe vocalist.
710 2_ ǂa Dave Brubeck Quartet, ǂe instrumentalist.
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(An audio recording of an impromptu collaborative set by Tony Bennett and the Dave Brubeck Quartet)
Note: The above example also does not fit into the categories covered by RDA 6.28.1.1, so we
follow its instructions to follow RDA 6.27.1 for “other types of musical works.” This resource is a
compilation, so we follow RDA 6.27.1.4, which tells us to use the preferred title of the
compilation when constructing this work’s authorized access points.
d)
Adaptations and revisions (RDA 6.27.1.5)
If one person, family, or corporate body is responsible for an adaptation or revision of a
previously existing work that substantially changes the nature and content of that work and the
adaptation or revision is presented as the work of that person, family, or body then construct
the authorized access point representing the new work by combining in this order:
1.
The authorized access point representing the person, family, or corporate body
responsible for the adaptation or revision, as applicable
2.
The preferred title for the adaptation or revision
In the case of musical performances (either streaming audio or video) where there is a musical
group that goes beyond mere execution and performance, they may be considered creators
according to RDA 19.2.1.1.1. Thus, in this case, the group would get the authorized access point
representing the performing group would be followed by the title of the adaptation. This
practice would be consistent with the situation where a work has a single corporate body as its
creator, as the adaptation would be considered a new ͞work͟ in this scenario. (See the Music
Library Association͛s Best Practices for Music Cataloging guide at
http://bcc.musiclibraryassoc.org/BCC-Historical/BCC2014/RDA Best Practices for Music
Cataloging_v101.pdf for more guidance on Categories of Adaptations of Musical Works and an
explanation of RDA 6.28.1.5.1.)
Recording access points for parodies with single creators:
100 1_ ǂa Cicierega, Neil, ǂe filmmaker.
245 10 ǂa Potter puppet pals. ǂp Harry’s nightmares
(Online video parodying J.K. Rowling’s Harry Potter series)
100 1_ ǂa Trimble, Ryan P. C., ǂe filmmaker.
245 10 ǂa Mr. Bingley’s post
(Online video parodying Jane Austen’s novel Pride and Prejudice)
If more than one person, family, or corporate body is responsible for the adaptation or revision,
follow the instructions on collaborative works at RDA 6.27.1.3.
Recording access points for streaming video that is a collaborative adaptation/remake:
245 00 Star wars uncut
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Note: According to its website, this resource is a “crazy fan remake” of the film Star Wars with
multiple creators, substantially changing the nature of the original work.
e)
Recording additional elements to break conflicts between different works (RDA
6.27.1.9)
Make additions to access points if needed to distinguish the access point for a work: from one
that is the same or similar but represents a different work or from one that represents a
person, family, corporate body, or place by adding one or more (when a preferred qualifier
does not resolve a conflict) of the following elements:
a)
the form of the work
b)
the date of the work
c)
the place of origin of the work
d)
and/or
e)
another distinguishing characteristic of the work
Best Practice Recommendations
Catalogers should generally follow RDA 6.27.1.9 and Appendix 1: Motion Pictures, Television
Programs, Radio Programs of the LC-PCC PS for RDA 6.27.1.9, regarding the choice of elements
and the order they should record them in. However, use judgment about which element(s)
would best distinguish between different works and how many to record when there is a
conflict.
Do not anticipate conflict per LC-PCC PS for RDA 6.27.1.9. Do not add elements in RDA 6.27.1.9
to the authorized access point for a work if there is no conflict.
For form, use ͞Motion picture͟ or ͞Television program͟ as applicable for streaming video. Use
any form as appropriate for streaming audio (e.g., Play, Radio program, Poem, etc.). This best
practice corresponds with instructions in Section III.D. of this document on recording form of a
work in the bibliographic description (MARC field 380).
Recording authorized access points for authorized access points for works:
130 0_ ǂa Hunger games (Motion picture : 2012)
130 0_ ǂa Harry Potter (Online resource : 2006- )
(Website that consists of streaming videos submitted by Harry Potter fans; it is ongoing as more people
add content to it)
130 0_ ǂa Harry Potter and the half-blood prince (Motion picture
: 2006)
(A fan-made trailer)
See earlier parts of this Section (III.E.) for more examples.
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f)
Authorized Access Point representing a part or parts of a work (6.27.2.2 and 6.27.2.3)
If a resource consists of one part of a larger work:
Construct the authorized access point representing a part of a work by combining in this order
per RDA 6.27.2.2:
a)
the authorized access point representing the person, family, or corporate body,
responsible for the part
b)
the preferred title for the part
If the part is a season, episode, excerpt, etc., of a television program, radio program
etc., whether the title of the part is distinctive or not, construct the authorized access
point representing the part by combining in this order:
a)
the authorized access point representing the work as a whole
b)
the preferred title for the part
Recording authorized access points for television programs with part titles:
130 0_ ǂa Simpsons (Television program). ǂp King of the hill
130 0_ ǂa Nova (Television program). ǂp Earth from space
If the part is a work for which instructions at RDA 6.27.1.3-6.27.1.8 specify the use of the
preferred title as the authorized access point for the work, use the preferred title for the part
for the authorized access point representing the part.
If a resource consists of two or more parts of a larger work:
Construct the authorized access point representing those parts according to RDA 6.27.2.3:
If two or more parts are consecutively numbered AND each is identified only by a general
term and a number, construct the authorized access point by combining in this order:
a)
the authorized access point representing the work as a whole.
b)
the preferred title for the sequence of parts
Recording access points for television program with consecutive numbering:
130 0_ǂa Hype (Television program). ǂn Episodes 1-8
(A hypothetical example of a website containing 8 consecutively numbered untitled episodes of a fictitious
talk show)
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