RDA, MARC, Compilations and
You
CASEY A. MULLIN
STANFORD UNIVERSITY
MUSIC OCLC USERS GROUP
ANNUAL MEETING
TUESDAY, 26 FEBRUARY 2013
SAN JOSE, CA
Introduction
2
 Scope
 Disclaimer
 “YMMV”
Mullin, "RDA, MARC, Compilations and You"
What is a compilation?
3
 Surprise! It’s not defined in the RDA Glossary
 Library of Congress’ pithy definition
 Mullin’s (attempt at an) operational definition
 Two or more works or expressions manifested together in a single
resource (regardless of mode of issuance)
 Is it a “work” in its own right?
Mullin, "RDA, MARC, Compilations and You"
What is a compilation?
4
 What does this mean in a MARC bibliographic
record?
 By default, use 245 0x, unless conditions exist
permitting use of 1xx
 In AACR2, it seemed to be the inverse
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
5
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
6
Obvious: works by multiple creators (6.27.1.4)
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
7
Obvious: works by multiple creators (6.27.1.4)
 Collective title proper
 Can serve double-duty as the preferred title of the aggregate
“work”
 LC-PCC PS 6.27.1.9: break conflict if needed (use 130)
130 0_ Opera overtures (2013)
130 0_ Opera overtures (2013 : London, England)
130 0_ Opera overtures (2013 : Philharmonia Orchestra (London, England))
 What about “performer main entry”?
 Does not exist as such in RDA! See 6.28.1.5.1 and/or 19.2.1.1.1
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
8
Obvious: works by multiple creators (6.27.1.4)
 No collective title proper
 Still a compilation!
 Do not “enter under” first work
 Alternative: devise a title if not identifying all works in the
compilation (LC-PCC PS: “generally” do not apply)
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
9
Also obvious: works by a single composer
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
10
Also obvious: works by a single composer
 Complete
 Conventional collective title required (6.14.2.8.1-6.14.2.8.5)
240 10 Works
240 10 Piano music
240 10 Symphonies
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
11
Also obvious: works by a single composer
 Incomplete
 Identify all works in the compilation (6.2.2.10; 6.14.2.8.6)
 Alternative: use a conventional collective title instead or in
addition (LC-PCC PS: apply)
240 10 Works. $k Selections
240 10 Piano music. $k Selections
240 10 Symphonies. $k Selections
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
12
Fuzzy: resources with secondary content
Examples:
 Audio disc with program notes in a booklet
 Score with a preface
 Videorecording with “bonus features”
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
13
Fuzzy: resources with secondary content
 Should be cataloged as a compilation?
 Yes, if “secondary content” is treated as a work in its own right
 RDA Terminology not very helpful
 “Secondary content” – not defined
 Supplementary content (7.16) – scope too restrictive?
 “Accompanying material” – also not defined, but used in the
context of describing carriers and as a source of information
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
14
Fuzzy: resources with secondary content
How to treat such content?
 Accompanying work/expression relationship designators: J.2.5,
J.3.5

Implies subordination (analogous to 7.16)
 Descriptive work/expression relationship designators: J.2.3, J.3.3
 Better, but suitable for identifying works/expressions contained in the
resource?
 Unclear if 1xx/24x for the “main” work would be appropriate in this case
 “Contains (work/expression)” access point
 Treat like an ordinary compilation (245 0x)
 Pretend content doesn’t exist for the purposes of assigning access
points

Is this cheating? Perhaps
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
15
Even fuzzier: one work, multiple expressions
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
16
Even fuzzier: one work, multiple expressions
 Multiple language expressions
 Multiple editorial versions
 Facsimile reproduction and modern edition
 Original clefs and modern clefs
 Recording with and without solo part
Mullin, "RDA, MARC, Compilations and You"
Types of compilations
17
Even fuzzier: one work, multiple expressions
How to assign access points?
 If not differentiating at the expression level, give 1xx/24x
for the work
 If giving an access point for each expression (6.28.3.6;
26.1), give in 7xx.
700 12 $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Zauberflöte. $s Vocal score. $l German
700 12 $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Zauberflöte. $s Vocal score. $l English
 LC’s training materials also have 1xx for first-named
creator in this case
 Is this cheating? Probably. At the very least it is
redundant
Mullin, "RDA, MARC, Compilations and You"
Rule of thumb
18
Think you have a compilation? Use 245 0x, unless
conditions exist permitting the use of 1xx
Mullin, "RDA, MARC, Compilations and You"
Thank you!
19
QUESTIONS/COMMENTS:
CMULLIN@STANFORD.EDU
Mullin, "RDA, MARC, Compilations and You"