Rebecca Wedl—Assignment 4—Libr. 248—Dr. Karpuk—p. 1 Item #1: Polkas for a Gloomy World 010 ## 020 ## 0-11661-9045-4 (corrected) 028 53 ROUN9045 $b Rounder Records 110 2# Brave Combo (AC) 245 10 Polkas for a gloomy world $h [sound recording] / $c Brave Combo 250 ## 260 ## Cambridge, Mass. : $b Rounder Records, $c p1995 300 ## 1 sound cassette (ca. 40 min.) : $b analog 306 ## 004000 500 ## Produced by Brave Combo 505 00 Contents: $t Hosna dyna $g (2:08) – $t Flying saucer $g (2:59) – $t Eloina’s marbles $g (3:30) – $t Katiusha $g (3:10) – $t Near the Karpat mountain $g (2:47) – $t Quiero que sepas $g (2:51) – $t Mystery spot polka $g (2:52) – $t Potato chips polka $g (2:44) – $t Breslau $g (2:37) – $t Pije kuba $g (2:10) – $t Buscando tu corazon $g (3:31) – $t The faithful hussar $g (1:57) – $t Camino de dolores $g (4:06) – $t In heaven, there is no beer $g (2:41) 511 0# Jeffrey Barnes, clarinet, saxophones, Casio electronic horn, harmonica, vocals; Joseph Cripps, drums and percussion (including lagerphone and boombas), vocals; Alan Emert, drums; Carl Pinch, guitar, keyboards, accordion, vocals; Bubba Hernandez, bass, vocals; Danny O’Brien, trumpet, flugelhorn 518 ## Recorded at Inside Track Studio, Denton, Texas Notes/Specific Rules Used in #1: 020 field : 1. 1.8A2. Sources of information. Take information included in this area from any source. Do not enclose any information in brackets. (ISBN from Rounder Web site.) 2. 1.8B4. If a number is known to be incorrectly printed in the item, give the correct number if it can be readily ascertained and add (corrected) to it. 028 field :
(3:10) – $t Near the Karpat mountain $g (2:47) – $t Quiero que sepas $g (2:51) – $t Mystery spot polka $g (2:52) – $t Potato chips polka $g (2:44) – $t Breslau $g (2:37) – $t Pije kuba $g (2:10) – $t Buscando tu corazon $g (3:31) – $t The faithful hussar $g (1:57) – $t Camino de dolores $g (4:06) – $t In heaven, there is no beer $g (2:41)
511 0# Jeffrey Barnes, clarinet, saxophones, Casio electronic horn, harmonica, vocals; Joseph Cripps, drums and percussion (including lagerphone and boombas), vocals; Alan Emert, drums; Carl Pinch, guitar, keyboards, accordion, vocals; Bubba Hernandez, bass, vocals; Danny O’Brien, trumpet, flugelhorn
518 ## Recorded at Inside Track Studio, Denton, Texas Notes/Specific Rules Used in #1: 020 field:
1. 1.8A2. Sources of information. Take information included in this area from any source. Do not enclose any information in brackets. (ISBN from Rounder Web site.)
2. 1.8B4. If a number is known to be incorrectly printed in the item, give the correct number if it can be readily ascertained and add (corrected) to it.
1. I need a little bit more information to be sure I’m doing this correctly, but it seems that publisher number might be a useful search field for users searching for a particular item. Clue from label affixed to cassette that there is a publisher number. The number is different on paper insert in plastic case. Checked publisher number used by Rounder at their Web site. $b is source of number used (Rounder Records).
110 field: 1. Brave Combo is the authorized form of the name. (I checked OCLC authority files. OCLC ARN: 03327310.)
260 field: 1. Production date and copyright date are both 1995. Using AACR2R rules, wouldn’t use both dates. I chose to designate
the date as a production date, as it seems more specific to music publication. 300 field:
1. 6.5B1. Record the number of physical units of a sound recording by giving the number of parts in arabic numerals and one of the following terms as appropriate:…sound cassette.
2. 6.5B2. Give the playing time of a sound recording as instructed in 1.5B4. 3. 1.5B4 c). If the playing time is neither stated on the item, nor readily ascertainable, give an approximate time.
(Complete playing time not indicated on item. Complete playing time is not necessarily exactly the sum of separate title playing times. If had item in hand, and it was important to my library, could time playing time myself.)
4. 6.5C2. Type of recording. Give…the type of recording. This looks like a standard audio cassette tape (analog). 5. 6.5C3. …Do not give the playing speed if it is standard for the type of item (e.g. 1 7/8 inches per second for an analog
tape cassette). 306 field:
1. Playing time. Six numeric characters, in the pattern hhmmss, that represent the playing time for a sound recording. I’m not sure if this field is necessary. Per examples, it looks like it’s OK to use approximate playing time in this field.
505 field:
1. 6.7B18. Contents. List the titles of individual works contained on a sound recording. Add to each title statements of responsibility not included in the title (this helped me to determine that Brave Combo should be named in the 245--seems to make more sense to put them there than after each title here) and the duration of the piece.
2. Will “Contents” at beginning of note be automatically generated (MARC indicator 0)—thus not needed in description? 511 field: 1. Participant or performer note. 2. 6.7B6. Statements of responsibility…Give the names of performers and the medium in which they perform if they have
not been named in the statements of responsibility and if they are judged necessary. Make notes relating to any other persons or bodies connected with a work that are not named in the statement of responsibility.
3. Seems to be much less awkward to put individual performers in performer note (511) than contents note (505) in this case.
518 field: 1. Textual information on the date/time and/or place of creation, capture, or broadcast associated with an event… Analysis #1:
Retrieval Issues: At the very least, users should be able to access a record for this item by the name of the musical group or the collective title of the work. Authorized corporate name (name of group) will facilitate access. If system searches note fields, users will also be able to find names of musicians and individual songs.
OCLC Bibliographic Record: 33852013
Analysis: I’m not sure if I handled the Rounder publisher number correctly. Why is Massachusetts abbreviated “MA” in the OCLC record? Performers not individually named in OCLC record. I guess I didn’t need to add “Contents” to the 505 field.
010 ## 020 ## 245 10 Lighthouses of the Seaway Trail $h [videorecording] / $c Sweetgrass Foundation ; producer and videographer,
Tracy DuFlo ; executive producer, Ross New
250 ## 260 ## Hammond, N.Y. : $b Sweetgrass Foundation, $c c2000 270 ## $i WPBS Television URL: $a http://www.wpbstv.org/ 300 ## 1 videocassette (81 min.) : $b sd., col. ; $c ½ in. 306 ## 012100 500 ## “A Production of WPBS – TV” 500 ## Sponsored by WPBS Television; Sweetgrass Foundation; and Seaway Trail 508 ## Production assistants: George Haley, Natasha Newroth, Dan DuFlo 511 0# Narrator: Joseph L. Brosh 520 2# The stories of the lighthouses along New York’s Seaway Trail, including: Barcelona Lighthouse; Braddock Point
Lighthouse; Buffalo Main Lighthouse; Charlotte – Genessee Lighthouse; Crossover Island Lighthouse; Dunkirk Lighthouse; East Charity Shoal Lighthouse; Horse Island Lighthouse; Ogdensburg Lighthouse; Old Fort Niagara Lighthouse; Old Sodus Point Lighthouse; Oswego West Pierhead Lighthouse; Rock Island Lighthouse; Selkirk Lighthouse; Sisters Island Lighthouse; Sodus Outer Lighthouse; Stony Point Lighthouse; Sunken Rock Lighthouse; Thirty Mile Point Lighthouse; Tibbetts Point Lighthouse; and these Erie Pennsylvania Lighthouses: Land Lighthouse; Presque Isle Light Station; Presque Isle North Pier Lighthouse
538 ## VHS format 710 20 Seaway Trail, Inc. (AC) Notes/Specific Rules Used in #2: 245 field:
1. 7.0B1. Chief source of information…is (in order of preference): a) the item itself b) its container (and container label) if the container is an integral part of the piece…
2. 7.1F1. Transcribe statements of responsibility relating to those persons or bodies credited in the chief source of information with a major role in creating the film. Give all other statements of responsibility (including those relating
to performance) in notes. Put production assistants in note because their role in creating the film is not major. I put the narrator in note (511) because his contribution was not in creating film, but in performance.
270 field: 1. Contains an address…associated with a bibliographic item. 2. $i - Type of address 300 field:
1. 7.5B1. Record the number of physical units of a …videorecording by giving the number of parts in arabic numerals and one of the following terms…videocassette.
2. Discrepancy in length of video (1 hr. 21 min. on label affixed to video. 82 minutes on box). I recorded length from label on the video because information from the item itself is preferred over information on the container.
3. 7.5C3. Sound characteristics. Give sd. (sound)… 4. 7.5C4. Colour. Give col… 5. 7.5D3. Give the gauge (width) of a videotape in inches or millimeters.
306 field: 1. Playing time. Six numeric characters, in the pattern hhmmss, that represent the playing time for a sound recording. I’m
not sure if this field is necessary. 508 field:
1. The names of the persons (other than members of the cast) or organizations who participated in the artistic or technical production of the work.
511 field: 1. Participant or performer note. 520 field:
1. Chose this field to detail lighthouses highlighted over 505 field because didn’t think the information met “contents” requirements. Nonetheless, information regarding specific lighthouses covered might very well be useful to a user searching the catalog, especially if the system allows a user to search this field.
538 field: 1. System details note… For sound and videorecordings, information about the trade name or recording system(s) (e.g.,
VHS), modulation frequency and number of lines of resolution may be included. 710 field: 1. Authorized form of the name. (I checked OCLC authority files. OCLC ARN: 03482094.)
Retrieval Issues: I think must users in this case will be interested in lighthouses or the Seaway Trail generally. Title main entry. Users should be able to access record by title of work, the Seaway Trail, or (if possible) the names of the individual lighthouses. 520 note added with the names of all lighthouses—if the system searches notes, users will be able to find this record by searching any of the named lighthouses. No added entries for producers, etc. These individuals are working for a local public television station, thus likely are not well-known, big-name producers.
OCLC Bibliographic Record: 45055507
Analysis: My record is different in many ways from the OCLC record. WPBS Television and Seaway Trail are named in the statement of responsibility in the OCLC record. Also, the OCLC record provides additional, authority controlled access points (710s) for WPBS Television and the Sweetgrass Foundation. In retrospect, I probably should have done this. Producers, etc. are not named in the OCLC record. The narrator is not named in the OCLC record. I think I messed up publication information. Aaggrr! The names of lighthouses are in a 500 note in the OCLC record. I put the lighthouses in a 520 note in my record. Web site information not listed in OCLC record.
010 ## 020 ## 0-922668-17-5 100 ## 245 10 Here $h [electronic resource] : $b 50 years of poetry in Buffalo / $c General editor, Robert J. Bertholf ; research,
Cynthia Kimball ; production manager, Kristin Prevallet
246 10 50 years of poetry in Buffalo 246 10 Fifty years of poetry in Buffalo 250 ## 256 ## Computer program 260 ## Buffalo, N.Y. : $b University at Buffalo, $c [1996?] 270 ## Poetry/Rare Books Collection $a University of Buffalo $a 420 Capen Hall $b Buffalo $c NY $e 14260 $k 1-716-
300 ## 1 CD-ROM : $b sd. ; $c 4¾ in. 500 ## Title affixed to CD-ROM 500 ## “Made with Macro-Media” 508 ## Associate editors: Cynthia Kimball, Michael Basinski 518 ## “This CD-ROM began as a library exposition entitled Here: 50 Years of Poetry in Buffalo prepared in honor of
Robert Creeley’s 70th birthday, celebrated in October 1996 at Buffalo.”
520 2# Interactive presentation of the acquisitions, history, and context of The Poetry/Rare Books Collection at the University of Buffalo. In this CD, users take a virtual tour of the collection, which consists of poetry books, reference books, literary magazines, and manuscript items.
538 ## System requirements: Macintosh; 5 MB available RAM; System 7.01 or higher; 68040 or faster processor at 40 Mhz; double-speed CD-ROM drive
538 ## System requirements: PC; 8 MB available RAM; Windows 3.1 or higher; 468 or faster processor; double-speed CD-ROM drive
710 20 State University of New York at Buffalo. $b Poetry/Rare Books Collection (AC)
1. I hesitate to include price information (subfield $c), as this information will quickly be outdated. 245 field:
1. 9.1F1. Transcribe statements of responsibility relating to those persons or bodies credited with a major role in creating the content of the resource…
256 field: 1. AACR2R says use “Electronic.” MARC examples show “Computer.” What’s correct? 260 field: 1. 9.4F1. Give the date of publication, distribution, etc. of a published electronic resource as instructed in 1.4F. 2. 1.4F7. If no date of publication, distribution, etc. copyright date, or date of manufacture appears in an item, supply an
approximate date of publication. 300 field:
1. 9.5B1. Instead, could have entered “1 computer disk” into this field. I chose to use Optional rule (use conventional terminology to record the specific format of the specific carrier) to identify the carrier because “CD-ROM” seems more descriptive than “computer disk,” and I think is a term that will be better understood by users.
2. I know there is sound on the CD-ROM because music is used. 500 field:
1. 9.1B2 & 9.7B3. Always give the source of the title in a note. 520 field:
1. Would like to mention names of poets (James Joyce, Wyndham Lewis…) in this field, but it is unclear from the information at hand which specific holdings of the collection are covered in the CD-ROM.
538 field: 1. Field is repeatable-separated into two notes, as the information is clearer this way. 2. 9.7B1. b) Make a note on the system requirements of the resource if the information is readily accessible. Begin the
note with System requirements:. Give the following characteristics in…order…Precede each characteristic…by a semicolon.
710 field: 1. Authorized form of the name. (I checked OCLC authority files. OCLC ARN: 01003491.)
Retrieval Issues: Title main entry. “Here” portion of title may be difficult to remember for users. Need 246 for second portion of title. “50” is a number, thus also must spell out Fifty in another 246. It appears that the Poetry and Rare Books Collection is substantial, important. I thought many academic users might be familiar with this collection.
OCLC Bibliographic Records: 48477546 & 37175353
Analysis: My record is different from both OCLC records (it’s somewhat in-between in terms of detail). The biggest differences, again, are the 245 statement of responsibility and 700 access points areas. I included the name of major editors, researcher in the 245, but not in the authority controlled 700 area. Again, I assumed these were not big name people, so that additional access points would not be particularly useful as users wouldn’t be familiar with the names. However, I’m assuming I am cataloging for a library here in California. I probably would have made a different decision if I were cataloging at the University of Buffalo or at a special film, etc. library. What should I have done, Dr. Karpuk? I used 508 & 518 fields. OCLC records do not.
Item #4: Terry King, Cello: Part II: Authority Records
A. Dvorak, Antonin OCLC ARN: 00578873 LC ARN: 81033190 Local Authority Record 010 ## n 81033190 $z no 98060104 $z no 98031590 040 ## DLC $b eng $c DLC $d DLC $d PPi-MA 100 1# Dvor�a k, Antoni n, $d 1841-1904 400 1# Dvorzhak, Antonin, $d 1841-1904 400 1# Dvor�a k, Antoni n Leopold, $d 1841-1904 400 1# Dvor�a k, Anton, $d 1841-1904 400 1# Dvorzhak, A. $q (Antonin), $d 1841-1904 400 1# Dvor�a k, A. $q (Antoni n), $d 1841-1904 667 ## Thematic-index numbers used in uniform titles for string quartets and works without opus numbers are from
Burghauser, J. Antoni n Dvor�ak, thematicky katalog, 1960 670 ## Pr�ihoda, V. Vasha Prshigoda, skripka [SR] 1981: $b label (A. Dvorzhak) container (A. Dvor�ak [in rom.]) 670 ## New Grove, 2nd ed. $b (Dvor�a k, Antoni n (Leopold); b. Sept. 8, 1841, Nelahozeves, near Kralupy, d. May 1, 1904,
Prague; Czech composer) Local Library Authority File Dvor�ak, Antoni n, 1841-1904 X Dvorzhak, Antonin X Dvor�a k, Antoni n Leopold X Dvor�a k, Anton X Dvorzhak, A. X Dvor�a k, A.
Public Access Catalog (OPAC Display) Dvorzhak, Antonin See Dvor�ak, Antoni n, 1841-1904 Dvor�ak, Antoni n Leopold See Dvor�ak, Antoni n, 1841-1904 Dvor�ak, Anton See Dvor�ak, Antoni n, 1841-1904 Dvorzhak, A. See Dvor�ak, Antoni n, 1841-1904 Dvor�ak, A. See Dvor�ak, Antoni n, 1841-1904 B. Reger, Max OCLC ARN: 4566677 LC ARN: 97080453
Local Library Authority File Saint-Sae�ns, Camille, 1835-1921. Allegro appassionato, violoncello, piano Public Access Catalog (OPAC Display) Saint-Sae�ns, Camille, 1835-1921. Allegro appassionato, violoncello, piano E. Schumann, Robert OCLC ARN: 00605418 LC ARN: 81059986 Local Authority Record 010 ## n 81059986 $z n 81141819 040 ## DLC $c DLC $d DLC 100 1# Schumann, Robert, $d 1810-1856. $t Adagio und Allegro, $m horn, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Romanze und Allegro, $m horn, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Adagio and allegro, $m horn, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Adagio und Allegro, $m violin, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Adagio und Allegro, $m viola, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Adagio und Allegro, $m violoncello, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Adagio and Allegro, $m horn, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert, $d 1810-1856. $t Adagio & Allegro, $m horn, piano, $n op. 70, $r Aa major 400 1# Schumann, Robert Alexander, $d 1810-1856. $t Adagio und Allegro, $m horn & piano, $n op. 70, $r Aa major $w
nnaa 400 1# Schumann, Robert, $d 1810-1856. $t Adagio et allegro, $m horn, piano, $n op. 70, $r Aa major 670 ## His Adagio & allegro, opus 70, for viola and piano, c1980 670 ## New Grove $b (Adagio and allegro, hn (vn/vc ad lib.), pf, A, op. 70; orig. title: Romanze und Allegro) 670 ## Pazdi rek $b (Adagio und Allegro; for horn (violoncello, violin, viola) and piano)
Local Library Authority File Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Romanze und Allegro, horn, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio and allegro, horn, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio und Allegro, violin, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio und Allegro, viola, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio und Allegro, violoncello, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio and Allegro, horn, piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio & Allegro, horn, piano, op. 70, Aa major X Schumann, Robert Alexander, 1810-1856. Adagio und Allegro, horn & piano, op. 70, Aa major X Schumann, Robert, 1810-1856. Adagio et allegro, horn, piano, op. 70, Aa major Public Access Catalog (OPAC Display) Schumann, Robert, 1810-1856. Romanze und Allegro, horn, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert, 1810-1856. Adagio and allegro, horn, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert, 1810-1856. Adagio und Allegro, violin, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert, 1810-1856. Adagio und Allegro, viola, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major
Schumann, Robert, 1810-1856. Adagio und Allegro, violoncello, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert, 1810-1856. Adagio and Allegro, horn, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert, 1810-1856. Adagio & Allegro, horn, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert Alexander, 1810-1856. Adagio und Allegro, horn & piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major Schumann, Robert, 1810-1856. Adagio et allegro, horn, piano, op. 70, Aa major See Schumann, Robert, 1810-1856. Adagio und Allegro, horn, piano, op. 70, Aa major F. King, Terry OCLC ARN: 03239946 LC ARN: 92021628 Local Authority Record 010 ## no 92021628040 ## InU-Mu $c InU-Mu $d PPi-MA 100 1# King, Terry 670 ## Still, W.G. Ennanga [SR] 1972: $b labels (Terry King, violoncello) 670 ## Ww in Amer. mus., classical, 2nd ed. $b (King, Terry Bower; b. Aug. 20, 1947, Santa Monica, Calif.; cello, conductor)
Local Library Authority File King, Terry Public Access Catalog (OPAC Display) King, Terry G. Leviev, Milcho OCLC ARN: 01092111 LC ARN: 82234926 Local Authority Record 010 ## n 82234926 040 ## DLC $c DLC $d PPi-MA 100 1# Leviev, Milcho 670 ## Pepper, A. My Laurie [SR] p1983: $b container (Milcho Leviev, piano) 670 ## New Grove dict. of jazz $b (Leviev, Milcho; b. Dec. 19, 1937, Plovdiv, Bulgaria; keyboard player) Local Library Authority File Leviev, Milcho Public Access Catalog (OPAC Display) Leviev, Milcho
1. 6.1G2. In describing as a unit a sound recording lacking a collective title, transcribe the titles of the individual works as instructed in 1.1G3.
2. 1.1G2. If, an item lacking a collective title, no one work predominates, either describe the item as a unit… 3. 1.1G3. If describing the item as a unit, transcribe the titles of the individually titled works in which they appear in the
chief source of information…If the individual works are by different persons…follow the title of each work by…other title information, and statement of responsibility. Separate the groups of data will a full stop followed by 2 spaces.
4. $a, $b, and $c are non-repeatable. 5. 6.0B1. Chief source of information for disc is disc and label; container is secondary source. Thus, titles of works given
are from label affixed to record, not record jacket. 6. 1.1B2. If the title proper includes a statement of responsibility…and the statement or name is an integral part of the title
proper…transcribe it as part of the title proper. (In this case, names of composers are not integral parts of title proper, thus are separated from the title proper and named in the statement of responsibility.)
300 field: 1. 6.5B1. Record the number of physical units of a sound recording by giving the number of parts in arabic numerals and
one of the following terms as appropriate: sound disc. 2. 6.5B2. Give the playing time of a sound recording as instructed in 1.5B4. 3. 1.5B4 c). If the playing time is neither stated on the item, nor readily ascertainable, give an approximate time.
(Complete playing time not indicated on item. Complete playing time is not necessarily exactly the sum of separate title playing times. If had item in hand, and it was important to my library, could time playing time myself.)
4. 6.5C2. Type of recording. Give…the type of recording. 5. 6.5C3. Give the playing speed of an analog disc in revolutions per minute. 6. 6.5C7. Number the sound channels…using one…of the following terms…stereo. 6. 6.5D2. Give the diameter of a disc in inches. Looks like an album—12”.
260 field: 1. 1.4C6. If no place or probable place can be given, give s.l. (sine loco)… 2. 1.4F7. If no date of publication…appears on an item, supply an approximate date of publication. (Closest I can get
700/100 fields: 1. 21.7C1. If a work falling into one of the categories given in 21.7A1 lacks a collective title, enter it under the heading
appropriate to the first work named in the chief source of information of the item being catalogued. (Thus, main entry should be under Dvorak.
2. 21.23D1. b) If the works on the recording are of a type in which the participation of the performer(s) does not go beyond that of performance, execution, and interpretation…enter under the heading appropriate for the first work and make added entries for the other works as appropriate…Make added entries under the headings for the principal performers of each work… (Thus, added entries for other composers/works should be name-title added entries. Added entries for performers should be name entries. According to an article in the Cataloging Service Bulletin, no. 99, Winter 2003, independent titles should also be given in 740 field.)
3. 22.1D1. Accents, etc. Include accents and other diacritical marks appearing in a name… 2. 22.1D2. Hyphens. Retain hyphens between given names if they are used by the bearer of the name… 740 field: 1. Provides access points for additional titles. 2. No authority control. 3. See #2 in 700/100 fields above. Analysis #4:
Retrieval Issues: Title main entry. “Here” portion of title may be difficult to remember for users. Need 246 for second portion of title. “50” is a number, thus also must spell out Fifty in another 246. It appears that the Poetry and Rare Books Collection is substantial, important. I thought many academic users might be familiar with this collection.
OCLC Bibliographic Record: 8259912
Analysis: Dr. K—I spent hours & hours on this one, and am pretty proud of the work I did (though not perfect). I missed the 011 field. I couldn’t figure out where to put those numbers! No GMD in OCLC record. Missed [i.e., 131c] in Dvorak recording—should have gotten this because I noticed this distinction in the authority record. I probably should have made a durations note. 700s—Bruch and Shumann—OCLC chose arr. authority records. I did not. The biggest difference between my record and the OCLC record is that the OCLC record contains a uniform title. I considered many uniform titles, including Polonaises, but didn’t choose to include this uniform title in the end because the item 1) contains works of more than one individual (even though Dvorak is main entry) and 2) contains works of more than one form. Also, the OCLC record does not provide additional 740 access points for individual titles.
260 field: 1. 1.4F8. Serials… If the first published issue, iteration, or part is available, give the beginning date followed by a hyphen.
If the resource has ceased…give the ending date, preceded by a hyphen. If the first and last published is sues…are available, give the beginning and ending dates, separated by a hyphen.
300 field: 1. 12.5B1. For a resource that is still in progress, give the relevant specific material designation… For printed resources
use the specific material designation v. 2. 12.5B2. For a ceased or completed resource, precede the appropriate specific material designation by the number of
parts in arabic numerals. 3. 12.5C1. Give the other physical details appropriate to the item… 4. 12.5D1. Give the dimensions of the resource as instructed in…2.5D. 5. 1.5A2. Take information for this area from any source. Take explicitly or implicitly stated information from the item
itself. (As no height dimension was given for Popular Culture, I pretended I measured item to be 36 cm.) 310 field: 1. 12.7B1. Make notes on the frequency of the serial… 321 field:
1. I don’t think I should make a former frequency note with the frequency of Big Cats in Exotic Cats because Exotic Cats is a new title.
362 field: 1. 12.3F1. Ceased Serials. In describing a serial that has ceased publication, give the designation of the first issue or part
followed by the designation of the last issue or part.
Reference Tools Used in Cataloging Along with AACR2R*:
[email protected]. It was through messages on this list that I learned about the article/section on items without collective titles in the most recent Cataloging Service Bulletin and about the Indiana School of Music, Cook Music Library Web site listed below.
Fenske, David E. (1998). Making the Most of the Music Library: Using Uniform Titles. Retrieved March 8 from the Indiana School of Music, Cook Music Library Web site at http://www.music.indiana.edu/collections/uniform/uniform.html.
Hiatt, Robert (Ed.). (2003). Cataloging Service Bulletin, 99. Library of Congress, Network Development and MARC Standards Office. (2002). MARC 21 Concise Format for Bibliographic Data:
2002 Concise Edition. Accessed electronically at http://www.loc.gov/marc/bibliographic/ecbdhome.html. OCLC Online Computer Library Center. (2003). Bibliographic Formats and Standards. Accessed electronically at http://www.oclc.org/bibformats/. Rounder.com. Accessed at http://www.rounder.com/. Taylor, Arlene G. (2000). Wynar’s Introduction to Cataloguing and Classification. Englewood, Colo: Libraries Unlimited. *OCLC and Library of Congress Authority files accessed for authority work.
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