1.A.1. Punctuation
Developed from ISBD (NBM) Area 1, Punctuation pattern Precede the title of a supplement or section by a full stop, space (. ).
Enclose the general material designation in square brackets ([]).
Precede each parallel title by a space, equals sign, space ( = ).
Precede each unit of other title information by a space, colon, space ( : ).
Precede the first statement of responsibility by a space, slash, space ( / ).
Precede each subsequent statement of responsibility by a space, semicolon, space( ; ).
For the punctuation of this area for items without a collective title, see 1G.
1.A.2. Sources of information
Expanded from AACR2 1.0A1, 1.0A2, 1.1A2
See also: 1.B.1.6, 1.B.7.1, 1.B.7.10 Take information recorded in this area from:
If the information is taken from a secondary source, cite the source in a note, if appropriate (see 7.B.3).
Based on FIAF 0.3.8, 0.4Enclose information in square brackets only when it is not available from any of the above sources of information, and where it is supplied by the archive or cataloguing agency on the basis that the information:
is known, or
is at least probable, and/or
in the case of title information, has been devised in the absence of a title in the sources of information, and/or constructed from available or known information.
Where this information is uncertain give a question mark after it.
1.A.3. Order of information
From AACR2 1.1A2
Give the data elements in the order prescribed in the following rules, even if this means transposing data. However, transcribe the data as found if case endings are affected, if the grammatical construction of the data would be disturbed, or if one element is inseparably linked to another.
AACR2 Glossary Title proper is the chief name of an item , including any alternative title but excluding parallel titles and other title information.
1.B.1. General rule
1.B.1.1. Transcription
AACR2 1.1B1
Extracted from AACR2 1.1B7 Transcribe the title proper exactly as to wording, order, and spelling, but not necessarily as to punctuation and capitalisation. Give accentuation and other diacritical marks that are present in the source of information. Urban hymns
Around the world in a day
Fourth symphony
Friede auf Erden, op. 13
Politisches Abendstudio
Tendens
The ghosts of Versailles
Highlights from Rigoletto
All my hummingbirds have alibis
Communism and the Cold War
Stockholm multimedia sightseeing
Maritime communications
When no title at all can be found, supply or devise a title and enclose it in square brackets (see 1.B.7).
1.B.1.2. Title proper for musical performances
Adapted from AACR2 5.1B1 If a musical performance lacks a unique title, and the title merely consists of the name(s) of one or more type(s) of composition, or one or more type(s) of composition and one or more of the following: medium of performance
key
date of composition
number
treat type of composition, medium of performance, etc., as the title proper (see also 1.B.7.10). Rhapsody
Songs & folk music
Violin-Sonaten
Symphony no. 3, A major, op. 18
Scherzo for two pianos, four hands If, however, a musical performance has a unique title and the sources of information also give medium of performance, key, date of composition, and/or number, give the unique title as title proper and treat the following elements as other title information (see 1.E). Die Meistersinger von Nürnberg
Sinfonia mazedonia
Little suite
Georgia moon 1.B.1.3. Alternative Title
AACR2 Glossary
Developed from AACR2 1.1B1
See also: 1.C.2. An alternative title is the second part of a title proper that consists of two parts, each of which is a title. Either the parts are joined by the word or (or its equivalent in another language and/or script), or the alternative title is written within parentheses. Precede and follow the word or by a comma. Keep the parentheses. Capitalise the first word of the alternative title. Hallberg's surprise, or, Not even the old masters can feel safe
Dog days (City morgue blues)
Die Streichholzschachtel, oder, Ursprünge philosophischen Denkens
Ludwig, ou, Le crépuscule des dieuxDo not confuse alternative titles within parentheses with extended title information given in brackets, as is often the case with popular music. Give, however, the additional information in the parentheses Come back (before you leave)
(Do you get) Excited?
1.B.1.4. Punctuation marks
AACR2 1.1B1 If the title proper as given in the source of information includes the punctuation marks ... or [ ], replace them by - and ( ), respectively.Cha cha cha-
(Source of information reads: Cha cha cha...)
-for your exquisite delight
(Source of information reads: ...for your exquisite delight) < 1.B.1.5. Symbols that cannot be reproduced
Based on AACR2 1.1B1 If the title proper as given in the source of information includes symbols that cannot be reproduced by the facilities available, replace them with a cataloguer's description in square brackets. Make an explanatory note if necessary.En [pizza] i Jordbro
(Source of information shows a picture of a pizza) 1.B.1.6. Title proper from a secondary source
Based on AACR2 1.1B1If the title proper is taken from a secondary source of information, give the source of the title in a note, if appropriate (see 1.A.2 and 7.B.3). 1.B.2. Title proper including a statement of responsibility
AACR2 1.1B2
See also: 1.F.3, 1.F.13If the title proper includes a statement of responsibility or the name of a publisher, distributor, etc., and the statement or name is an integral part of the title proper (i.e. connected by a case ending or other grammatical construction), transcribe it as part of the title proper.Lucia Negro plays Robert Schumann
Best of John Lee Hooker & Canned Heat
Solyom spelar Mozart
Thank you ABBA
Prince live!
Heifetz in performance
Stéphane Grappelli en concert à San Francisco1.B.3. Title proper consisting solely of a name
AACR2 1.1B3If the title proper consists solely of the name of a person or body responsible for the item , transcribe such a name as the title proper.The Rolling Stones
Wolfgang Amadeus Mozart
Paul Hindemith
Gainsbourg 1.B.4. Abridging a long title proper
AACR2 1.1B4
See also: 1.E.3 Abridge a long title proper only if this can be done without loss of essential information. Never omit any of the first five words of the title proper (excluding the alternative title(. Indicate omissions by the mark of omission ( ...).Le fer et la hache pygmée ...
(Source of information reads: Le fer et la hache pygmée et le petit villageois)
Singende Muse an der Pleisse ...
(Source of information reads: Singende Muse an der Pleisse in 2
mahl 50 Oden, deren neuesten und besten musicalischen Stücke,
mit denen dazugehörigen Melodien) Optionally, transcribe the remainder of the title in a note (see 7.B.6).1.B.5. Title proper with special design
AACR2 1.1B5 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 without the use of square brackets. African Art = Art Africain
(Source of information reads: African Art Africain) 1.B.6. Title proper including separate letters or initials
Expanded from AACR2 1.1B6 If a title proper includes separate letters or initials without full stops between them, transcribe such letters without spaces between them. GANIL
If such letters or initials have full stops between them, transcribe them with full stops and omit any internal spaces. L.S.O.
A poem by T.S. Eliot
E.T. If the sources of information of the item are inconsistent, which is often the case with audiovisual recordings, choose either full stops or not, but be consistent.
1.B.7. Supplied titles
Developed from AACR2 4.1B2
Expanded from NFSA MAVIS Data Entry Guidelines (various sections)
Developed from FIAF 1.1.2.2.5, 1.5.2.6
See also: 1.B.1.1
1.B.7.1. General rule Where the title cannot be established from any source of information according to 1.A.2, it is necessary to supply one.
Where a title is supplied on the basis that it is known, or has been positively or probably identified, enclose the title in square brackets, and include a note explaining the source of information (see 7.B.3). Where the information is uncertain give a question mark after it.
[String quartet, no. 12] / Shostakovich
Note: Title identified from audition and reading of score
If no title can be found in any source, and it is not possible to positively or probably establish the title, it is necessary to devise a title. Where a title must be devised by the cataloguer there are two types of titles to consider:
Enclose all devised titles in square brackets.
Note that for some classes of material, it may be appropriate for an archive or cataloguing agency to always supply a devised uniform, standardised or conventional title (see 1.B.7.1.2). 1.B.7.1.1. Devised descriptive titlesDevised descriptive titles should describe the recording as succinctly as possible and may include the topic, place, person and date as appropriate. Enclose the devised title in square brackets: [Bid for the 2004 Athens Olympics]
[Malta's Prime Minister, Mr Mintoff, talks on the renewal of British bases on the island, 1972-03-27]
[President Nixon's visit to China, 1972-02-18--1972-02-28]
[Mémoire orale sur le mont Lozère] 1.B.7.1.2. Uniform, standardised or conventional form titles
See also: 1.B.7.1 Uniform, standardised or conventional form titles are constructed and supplied according to the requirements of the content. These may be applied when a large amount of similar material is being catalogued, or if the archive or cataloguing agency is also specifically designed to support a particular area of study or interest (such as a scientific, ethnographic or traditional materials archive). Enclose the whole title in square brackets. Following are suggestions for developing uniform, standardised or conventional form titles for different categories of material.
The categories of material following are broadcast news, advertisements, field recordings (oral histories, other interviews, recordings with traditional or ethnographic content, wildlife and bio-acoustic recordings), sound effects and mood music, musical works, musical/theatrical improvisations, edited recordings, excerpts, and incomplete recordings. 1.B.7.2. Broadcast news
See also: 06_02 Construct the title with television or radio station call sign, or station name if better known, followed by the term news, and date. Time of broadcast or bulletin name may be added where appropriate. Enclose the whole title in square brackets (see also 1.B.10). [2XX news. 1984-02-04]
[Imparja news. 1992-10-12]
[TCN 9 news. 1993-07-30. Daybreak]
[BBC news. 1972-06-30. 18:00] 1.B.7.3. Advertisements or commercials, elections and other political campaign advertisements, community service announcements, promos and station idsConstruct the title with the term Advertisement followed by product / service / campaign / organisation name, slogan and/or jingle and/or id number and/or advertisement description. Enclose the whole title in square brackets. [Advertisement. Coca cola : family size : things go better with Coke]
[Advertisement. Coca-cola : float with Coke]
(Descriptive text to identify different advertisements)
[Advertisement. Liberal Party of Australia NSW Division, election campaign : 1978 : NSW Referral Centre : action, not words, think Liberal]
[Advertisement. Liberal Party of Australia NSW Division, election campaign : 1978 : team : less talk, more action, vote Liberal]
(Election campaign advertisements)
[Advertisements. Aspro : 25 sec. commercials. Tks NA102/01-09]
[Advertisements. Aspro : 25 sec. commercials. Tks R6297/01-09]
(Identification numbers used to break conflicts in these collective titles)
[Advertisement. 5DN : 1974 station profile]
[Advertisement. 5DN : 1981 breakfast profile]
(Radio station advertisements)
[Advertisement. Road Safety Council : drinking and driving]
[Advertisement. Road Safety Council : holiday driving]
[Advertisement. Road Safety Council : seat belts]
(Community service announcements) Alternatively, for instance if the archive's or cataloguing agency's catalogue has means to retrieve all advertisements other than alphabetically by title (such as through a subject heading or other classification system), and there is no preference to commence the title with the form, place the term advertisement at the end of the title. [Coca-cola : family size : things go better with Coke : advertisement]
1.B.7.4. Field recordings, etc. Field recordings are normally the by-product of research by a collector who travels into the field for the purpose of documenting some aspect of life in that location. The focus of the research may be on the life and culture of a group of persons, or fauna in a particular region. The result of such a field trip will be a collection of recordings with accompanying written documentation. In addition, film may be shot, videos recorded and still pictures taken. For guidance on cataloguing material at the collection level, refer to the ISAD(G) : General International Standard Archival Description, Bureau of Canadian Archivists. Rules for Archival Description, or Hensen, Steven L. Archives, Personal Papers and Manuscripts : A Cataloging Manual for Archival Repositories, Historical Societies and Manuscript Libraries.
Recordings with the type of content indicated above may not necessarily be field recordings, for instance, an oral history recorded in a studio, recordings of wildlife in captivity, or a recording of traditional or ethnographic music made during a public performance by artists on tour. The following rules 1.B.7.5-1.B.7.8 provide guidance for devising suitable titles for these types of recordings. 1.B.7.5. Oral histories
Oral histories are in-depth interviews focusing on a person's life or career, or on an organisation's history or activities or part thereof. Construct the title with the term Oral history, the name of the interviewee(s) and the date of interview. Enclose the whole title in square brackets.
[Oral history. Interview with Leon Becker, 1990-08-14]
Alternatively, where the focus may be on the name or title of a project for which the interview was conducted, construct the title with the term Oral history, name or title of the project, and name of the interviewee and the date of interview. Enclose the whole title in square brackets. [Oral history. Memories of the British in India. Interview with Lady Squire, 1971-06-21]
If more than one oral history or interview has been recorded by the same person, it may be appropriate to include additional information such as the name of the interviewer to help readily identify the different oral histories or interviews.
Optionally, if the archive or cataloguing agency also places significance on the persons conducting the interviews, it may be appropriate to always include their name as a statement of responsibility. [Oral history. Interview with Leon Becker, 1990-08-14 / Graham Shirley, interviewer] Alternatively, should the archive or cataloguing agency have a method of retrieving all of its oral history recordings other than through the first words in the title (e.g. through a subject heading or some other classification system) then the term oral history could be relocated in the title, so allowing the inverted name of the interviewee as the filing point. [Becker, Leon : interviewed 1990-08-14 : oral history]
[Becker, Leon : interviewed by Graham Shirley, 1994-08-14 : oral history]
[Becker, Leon : interviewed by Phil Haldeman, 1994-01-20 : oral history]
Alternatively, where an archive deals with a variety of interviews, terms such as reminiscence or conversation may be used instead of oral history. 1.B.7.6. Other interviews including vox pops (vox populi) and promotional interviewsInterviews may also be conducted on any topic and may be in-depth, or brief. Vox pops are generally very short and are conducted by the broadcast media to record and use public opinion on a current topic in a broadcast. Promotional interviews are often broadcast to promote the work of a visiting or local celebrity, artist, or producer releasing a new recording, new film, appearing in or launching a new production, or competing in a forthcoming sporting event, etc. Commence a supplied title with the form, follow with the topic and date and name of the interviewer (and interviewee, if considered important). Enclose the whole title in square brackets. [Interview. Peter Burgis and James McCarthy] [sound recording] : [Australian musical composition between ca. 1920 and ca. 1950 / Verity James, interviewer, 1987-02-06]
[Vox pop. Frankfurt an der Oder floods, 1997 : eyewitness account of unidentified woman]
Alternatively, commence the title with the key topic and relocate the term designating the form within the title.
[Australian musical composition between ca. 1920 and ca. 1950] [sound recording] : [interview with Peter Burgis and James McCarthy / Verity James, interviewer]
[Frankfurt an der Oder floods, 1997 : eyewitness account of unidentified woman : vox pop] 1.B.7.7. Recordings of traditional societies and ethnic groupsConstruct the title with [Traditions. Locality. Name of the traditional society or ethnic group. Identification of the work]. [Traditions. Oceania. Solomon Islands. Malaita. `Are, `are. `Au tahana panpipe ensemble]
[Traditions. Oceania. Solomon Islands. Guadalcanal. Kongga. Hau kesa panpipe ensemble]
[Traditions. Australia. Northern Territory. Yuendumu. Walbiri language group. Rain dreaming ceremony = Ngapa]
Alternatively, where an archive or cataloguing agency deals only with ethnographic or traditional materials, or where this information is documented via a subject heading or other means of classification, it may not be necessary to commence the title with the term Traditions.
[Oceania. Solomon Islands. Malaita. `Au tahana panpipe ensemble] Optionally, where details such as place of recording and of the traditional society or ethnic group are presented elsewhere in the catalogue record (e.g. as subject headings, in specifically designated fields and/or through analytic or multilevel description) these details may also be omitted from the title for the recorded item. First level:
[Recordings of the Solomon Islands]
Second level:
[Recordings of Malaita]
Third level:
Segment 1[`Au tahana panpipe ensemble]
Segment 2[Wooden drums ensemble]
(Example of skeletal multilevel catalogue record) 1.B.7.8. Wildlife and bio-acoustic recordings Construct the title using all or some of the following: [Class. Family. Sub-Family. Tribe. Genus. Species = translation if required] [Insecta. Tettigoniidae. Conocephalinae. Copiphorini. Pseudorhynchus. mimeticus]
(Taxonomic name for a species of grasshopper)
[Aves. Elanus scriptus = Letter-winged kite]
Alternatively, give the translation only as the title, or additionally as a title added entry, if this is most useful for the clients of the archive or cataloguing agency and only a small number of such recordings are held in the collection.
Optional addition. Additional information elements which may be handled through notes or by the use of specified fields are place of recording (which may include locality; latitude and longitude; local and regional place name; grid applied by the archive or cataloguing agency) date of recording; name of recordist; sex of the recorded individuals; whether they are children, adolescents, adults; time of day; temperature; existence of other factors (e.g. wind, other environmental / ambient sounds); and for individuals recorded after capture, the date and place of capture of the individuals and subsequent preservation method of the individuals, if applicable, e.g. pinned, stuffed, alcohol (see 7.B.11 and 7.B.24). 1.B.7.9. Sound effects and mood musicSound effects and mood music are mostly used as production aids for radio, television and cinema. Construct the title with an appropriate term followed by a description of the effect or mood evoked and conclude with the real title of the original work if applicable. Enclose the whole title in square brackets. [Sound effect. Aeroplane. Jet take off]
[Sound effect. Fight. Two punches followed by heavy fall]
[Sound effect. Fight. Blow to head]
Note: Effect made by stick hitting cabbage head
[Sound effect. Car. Motor revs, tyres screech on acceleration]
[Mood music. Nuptial : Wedding march] / Mendelssohn ; arr. Wilson Additional descriptive information and access points may also be included as appropriate to assist in selecting a particular recording for use from many others with similar type of effect or mood. 1.B.7.10. Musical works
See also: 1.B.1.2 Where a title must be devised for a classical musical work and the work is identified, give all of the elements as prescribed for uniform titles in established codes, such as the Anglo-American Cataloguing Rules. - 2nd ed, Rules 25.25-25.35. Enclose such devised titles in square brackets. Note that a uniform title provides the means for bringing together all catalogue entries for a work when various manifestations (e.g. editions, translations) of it have appeared under various titles. A uniform title also provides identification for a work when the title, by which it is known, differs from the title proper of the item being catalogued. The need to use uniform titles varies from one catalogue to another and varies within one catalogue. [Trios, piano, strings, no. 2, op. 66, C minor]
[Le Nozze di Figaro. Voi che sapete. French] Alternatively, always give title proper information for classical music in square brackets and according to the appropriate uniform title structure applied by the archive or cataloguing agency.
For all other positively identified non-classical musical works requiring a supplied title (except recordings of traditional societies or ethnic groups described at 1.B.7.7, mood music described at 1.B.7.9 and improvised music described at 1.B.7.11), give the title of the smallest part of the whole work. and enclose it in square brackets. As appropriate, indicate the source of information in a note (see 1.A.2 and 7.B.3).
[Georgia on my mind]
[Singin' in the rain]
[You'll never walk alone]
not [Carousel. You'll never walk alone]
When it is not possible to identify the work, devise a descriptive title including indication of style or genre, and media (instruments and/or voices). [Classical style piano item in a major key]
[Lieder style song performed in German by baritone with piano accompaniment]
[Jazz item performed by piano, bass and drums]
[Jazz item (bebop) sung by soprano with electric piano accompaniment]
[Spanish guitar item]
1.B.7.11. Improvised music and stage performances If the item consists of a sequence of recorded improvisations under a given collective title, transcribe the title and supply a suitable descriptive phrase as other title information, in square brackets. Ra : [duo improvisations] / by Evan Parker and Paul Lytton
Note: Recorded at Moers Festival June 1976
The same rule will apply to items from unpublished collections. John Stevens tapes. Spontaneous Music Ensemble with Evan Parker live in Highgate : [improvised music]
If the recorded improvisation has no title, supply one in square brackets, and include a suitable descriptive phrase as other title information, in the same set of square brackets. [Improvised music : duo improvisation] / by Marilyn Crispell and Eddie Prevost
Alternatively, construct the title commencing with the phrase Improvised music. [Improvised music. Ra] / by Evan Parker and John Lytton
1.B.7.12. Edited recordings Where a recording has undergone significant editing of content (e.g. aural enhancement, such as equalisation or filtering or digital restoration; and/or where new content is added, such as a new mix with voiceover or new mix with synthesizer added) treat as a separate recording. The golden years in digital stereo : the blues, 1923-1933 / Robert Parker [recording engineer]
Melting pot : reggae dub mix ; Melting pot : club mix
When Johnny comes marching home : [digitally enhanced]
1.B.7.13. Excerpts In the case of excerpts copied from original recordings and prepared for commercial release or broadcast, a separate catalogue record is required. Use a suitable term or phrase to indicate that the excerpt is different in content from the original. As appropriate, this may be made in the title and may be either transcribed from the source of information or supplied. Give any further explanation in a note. Wonnga dance songs. Selected items
[Insecta. Tettigoniidae. Conocephalinae. Copiphorini. Pseudorhynchus. Mimeticus. 3 second excerpt]
Note: Edited using Soundedit Pro.
[Insecta. Tettigoniidae. Conocephalinae. Copiphorini. Pseudorhynchus. Mimeticus. 5 second excerpt]
Note: Edited using Soundedit Pro. Stock shot libraries maintained by broadcasters also contain short or long excerpts of original recordings for ready reference to use in news broadcasts, documentaries and other programmes. These may be of any content, on any topic, by any speaker, performer or subject, and may include broadcast news or on-location reports, speeches or actuality.
Where stock shot material is an excerpt, include indication of this in the title. [Gemini 10 astronauts John Young and Michael Collins most complicated flight yet : Tuesday, 1966-07-19 : excerpt]
1.B.7.14. Incomplete recordings
Where an original recording is incomplete, create a new catalogue record for it and indicate its incompleteness. Friday on my mind : [incomplete : first 40 seconds only] / the Easybeats
Note: Tape runs out before end of song.
After sundown : [fragment] 1.B.8. Titles in two or more languages or scripts
AACR2 1.1B8If the source of information bears titles in two or more languages or scripts, transcribe as the title proper the one in the language or script of the main written, spoken or sung content of the item. If this criterion is not applicable, choose the title proper by reference to the order of titles on, or the layout of, the source of information. Record the other titles as parallel titles (see 1.D.). Pongo och de 101 dalmatinerna [videorecording]
(The original title is One hundred and one Dalmatians, but since the film is dubbed into Swedish, the Swedish title is chosen as title proper)
1.B.9. Titles with supplementary, section, part or numeric information
See also: 1.C.2.
1.B.9.1. Titles with supplementary or section information
AACR2 1.1B9 If the title proper for an item that is supplementary to, or a section of, another item appears in two or more parts not grammatically linked, record the title of the main work first, followed by the title(s) of the supplementary item(s) or sections in order of their dependence. Precede the number or part information with a full stop and a space.
Faust. Part one
The German pre-classics. Series A, Georg Philipp Telemann
Dr. Paul. Episodes 1-2
1.B.9.2. Titles with numeric information that is intrinsic to the title Do not confuse numeric information which is intrinsic to the title of the work with part or supplementary information. For instance, a sequel which is a work in its own right, or a unique work written in a standard form, has numeric information which is intrinsic to the title. In such cases, give the numeric information as a part of the title proper.
Absolute music 14
Symphony no. 5
Concerto for piano and orchestra no. 2 in F minor, op. 21
Rocky IV
Under siege II
1.B.9.3. Titles consisting of a section, supplement, part, episode, etc., alone
Developed from NFSA MAVIS Data Entry Guidelines. Series and Serials (9/95) The title proper can consist of the title of a section, supplement, part, episode, etc., alone under some circumstances. For instance when commercial sound recordings are released as part of a series by the record company, but are marketed as separate items, or where a series of individual parts are self contained (i.e. when there is neither continuity in the story line nor in the cast of characters, and the parts are not intended to be viewed or auditioned consecutively).
Where such an item is part of a series, the series and volume or episode number (if applicable) may be recorded in Area 6 rather than as part of the title proper. Art music from the Far East
Series: (Musical sources)
(Commercially issued sound recording)
L'outil et le geste
Series: (Inventaire des campagnes ; 4)
(Episode from a documentary series where the episodes have individual titles, are self contained, and do not have continuing characters or story line)
Craig and Steve
Series: (Why can't they be like we were)
(An educational film from a series designed to encourage classroom discussion about different aspects of adolescent life. Each film deals with a separate topic and is able to be used in isolation) 1.B.9.3.1. Broadcast series
Developed and adapted from FIAF 1.1.2.2, 1.1.2.2.1
Developed and adapted from NFSA MAVIS Data Entry Guidelines. Series and Serials (9/95)
See also: 6.0.2 Generally the primary access point for episodes of broadcast series includes both the series title and the episode number and/or date of initial broadcast. In most cases individual parts or episodes may be almost meaningless without the title of the series or serial to which they belong. Give the title of the series followed by a full stop, space and the episode number or date of broadcast and/or episode title. If an episode title is given in addition to the episode number or date of broadcast, give it last and precede it with a space, colon, space. Dancing in the street. Episode 3
Series: (Dancing in the street ; episode 3)
Skippy. Episode 5 : Mayday
Series: (Skippy ; episode 5)
Bonanza. A fence around the waterhole
Series: (Bonanza)
Beaumanoir. Épisode 26 : Règlement de comptes
Series: (Beaumanoir ; épisode 26)
Matin Bonheur. 1992-10-12 : [Benjamin Asger]
Series: (Matin Bonheur ; 1992-10-12) (Broadcast magazine episode entirely on the topic of Benjamin Asger)
Alternatively, for instance in a catalogue where all episodes may be retrieved in the required order via the series title as an authority record (together with any numbering in the series statement), give the episode title only as the title proper, and give the series and episode number or broadcast date in Area 6 only. Mayday
Series: (Skippy ; episode 5)
A fence around the waterhole
Series: (Bonanza)
Règlement de comptes
Series: (Beaumanoir ; episode 26)
[Benjamin Asger]
Series: (Matin Bonheur ; 1992-10-12) An episode title is not necessary, however, for news and current affairs broadcasts which feature several stories, nor for quiz shows or variety programmes. BBC News. 1997-01-02. 18.00
Series: (BBC News ; 1997-01-02)
(News broadcast. The time of broadcast may be added as more specific identification)
Tournez manège. 1992-02-16
Series: (Tournez manège ; 1992-02-16)
(Daily game broadcast programme)
Sale of the century. 1997-07-15
Series: (Sale of the century ; 1997-07-15)
(Daily quiz broadcast programme)
In Melbourne tonight. 1997-09-01
Series: (In Melbourne tonight ; 1997-09-01)
(Variety broadcast programme) A broadcast series may sometimes be a series within a series, i.e. a subseries (see 6.H), or a series broadcast within a particular timeslot or season (see 1.B.9.3.2).
For the title proper of an episode of a subseries, give the subseries as a part of the main series. Also give the series and subseries information according to 6.G and 6.H.1. The air adventures of Biggles. Episodes 821-822. Desert broom. Episodes 38-39
Area 6: (The air adventures of Biggles ; episodes 821-822. Desert broom ; episodes 38-39)
(Radio transcription disc with two consecutive episodes of a subseries within a series)
Alternatively, give the subseries information only as the title proper, with the main series and subseries given according to 6.G and 6.H.1.
Desert broom. Episodes 38-39
Area 6: (The air adventures of Biggles ; episodes 821-822. Desert broom ; episodes 38-39)
1.B.9.3.2. Timeslot or season A timeslot or season is a regular programme time spot which may be used to broadcast material related by theme. Do not treat programmes broadcast in timeslots or seasons as subseries. Instead give the series title and, optionally, date and/or episode title as the title proper and give the title of the timeslot or season as a separate series, or, alternatively, in a note, if deemed significant. Meet the musician. 1989-07-22 : Kate Scott
Series: (Meet the musician ; 1989-07-22)
Series: (Canberra folk ; 1989-07-22)
(Programme broadcast in the Canberra folk timeslot)
The Sunday play. Love at a loss
Series: (The Sunday play ; 1995-05-21)
Series: (Fairest isle)
(Programme broadcast as part of the Fairest isle season)
Composer of the week. Lennox and Michael Berkeley
Series: (Composer of the week ; 1995-06-26)
Note: Broadcast as part of the Fairest Isle season Alternatively, give the episode title only as the title proper. Kate Scott
Series: (Meet the musician ; 1987-07-22)
Series: (Canberra folk ; 1987-07-22)
1.B.9.3.3. Broadcasters' production numbers
Adapted from FIAF 1.1.2.2.1
Do not confuse production numbers used by broadcasters to identify productions with episode numbers. Give production numbers for broadcast episodes of series and serials in Area 8. 1.B.10. Items with a collective title
Expanded from AACR2 1.1B10 If the source of information bears both a collective title and the titles of the individual works, give the collective title as the title proper and give the titles of the individual works in a contents note (see 7.B.25), or, alternatively, in separate analytic records linked to the host item with the collective title, or as a multilevel record (see Chapter 9). Lundell live
Note: Contents: Östra Svealand -- Herrarna -- Oh la la (jag vill ha dej) -- 67 -- Öppna landskap -- Maria kom tillbaka
The great piano concertos
Note: Contents: Concerto for piano and orchestra in A minor, op. 54 / Robert Schumann -- Concerto for piano and orchestra in A minor, op.16 / Edvard Grieg -- Concerto for piano and orchestra no. 5 in E flat major, op.73 / Ludwig van Beethoven -- Concerto for piano and orchestra no. 1 in B flat major, op. 23 / Peter I. Tchaikovsky -- Concerto for piano and orchestra no. 2 in C minor, op. 18 / Serge Rachmaninoff -- Concerto for piano and orchestra no. 1 in E flat major / Franz Liszt -- Concerto for piano and orchestra no. 21 in C major, K467 / Wolfgang Amadeus Mozart -- Concerto for piano and orchestra no. 2 in A major / Franz Liszt -- Concerto for piano and orchestra no. 2 in F minor, op. 21 / Frederic Chopin -- Concerto for piano and orchestra in G major / Maurice Ravel
El baúl de los cuentos
(Kit containing 8 printed volumes, 1 CD-ROM and 2 videocassettes)
In cases where a broadcast episode contains different stories, as with news and current affairs programmes, the titles of each story may be included in a contents note or handled as analytics, or as a multilevel record (see Chapter 9). 60 minutes. 1985-06-16
Series: (60 minutes ; 1985-06-16)
Note: Contents: Water babies -- Taken for a ride -- Day of the Jacko (Example with contents note)
For items without a collective title, see 1.G. 1.B.11. Simultaneous broadcast material
See also: see 7.B.12 Catalogue separately radio and television materials which have been simultaneously broadcast. Include a note in each catalogue record to show their relationship (see 7.B.12). Note that in these cases even though the performed realisation is the same, the technical production aspects of television and radio have different requirements, and also result in different manifestations. Don Juan / Christoph Willibald Gluck ; libretto Rainieri de Calzabigi ; producer Jan Sederholm. - Stockholm : Sveriges radio P2, 1987-01-02 (21:50-22:55)
Note: Simultaneous broadcast with Sveriges television TV1
Don Juan / Christoph Willibald Gluck ; libretto Rainieri de Calzabigi ; TV director Jan Sederholm ; choreography Regina Beck-Friis ; design and costume David Walker ; dramaturgist Margaretha Söderling. - Stockholm : Sveriges television TV1, 1987-01-02 (21.50-22.55)
Note: Simultaneous broadcast with Sveriges radio P2
ISBD (NBM) 0.2 General material designation is a term indicating broadly, the class of material to which an item belongs.
1.C.1.
Extracted and adapted from AACR2 1.1C1
See also: 5.B.1.2, 5.F.4 If general material designations are to be used, use terms from the list given below. As appropriate, apply these terms in the language and/or script of the archive or cataloguing agency.
sound recording
motion picture
videorecording
electronic resource
kit
text
visual projection
1.C.2.
Adapted from AACR2 1.1C2If an item consists of material falling within one category in the list, give the appropriate designation immediately following the title proper (or the last part of the title proper, see 1.B.9).
Skolvan [sound recording]
In the case of an item having no collective title, give the appropriate designation immediately following the first title (inclusive of part titles (see 1.B.9) and alternative titles (see 1.B.1.3), but exclusive of parallel titles (see 1.E) and other title information (see 1.D).
The art of the fugue, BWV1080 (Contrapunctus 1-9) [sound recording] = Die Kunst der Fuge = L'art de la fugue / Johann Sebastian Bach. Suites for harpsichord = Cembalo = Clavecin / Georg Friedrich Händel
1.C.3.
ISBD (NBM) 1.2.3When the item comprises a primary component with a subsidiary component(s) not of the same general material category (e.g. a sound disc accompanied by a leaflet) the general material designation refers only to the primary component.
Tradition chantée de Bretagne [sound recording] : les sources du Barzaz Breiz aujourd'hui
(1 Compact disc+ 1 book)
Piparsod un village indien [videorecording]
(1 videocassette + 1 book)
1.C.4.
Based on AACR2 1.1C4
See also: 5.F.4 If an item contains parts belonging to materials falling into two or more categories and if none of these is the predominant constituent of the item , give kit .
Stora popboxen [kit ]
(1 book + 2 CDs + 1 videocassette)
1.C.5.
Based on AACR2 1.10C1
See also: 5.F.4 When an item having no collective title proper comprises two interdependent components belonging to distinct material categories, the appropriate general material designation is given after each title
Life in the time of Charles Dickens [visual projection] / editor, Albert Ammerman. The time, the life, the works of Charles Dickens, and excerpts from Dickens on America [sound recording] / read by Ian Brett and Peter Howell
Optionally, make separate descriptions for each component, and link them with notes.
Il re Teodoro in Venezia [sound recording] / Giovanni Paisiello. - Roma : Discoteca di Stato, p 1994 : Istituto di Ricerca per il Teatro Musicale, c 1994. - 2 sound discs (CDs)
Note: Recording of the 1962 performance directed by Renato Fasano and broadcast by Radiotelevisione italiana, Tonino
Note: Also available with monograph of text and musicological comments: Il re teodoro in Venezia di Giovanni Paisiello. - 1 vol. - IRTEM, 1994
Area 8: Discoteca di Stato/Istituto Ricerca Teatro Musicale: IRTEM 993/1-2
Il re Teodoro Venezia di Giovanni Paisiello [text]. - Roma : Istituto di Ricerca per il Teatro Musicale, 1994. - 178 p
Note: Contains papers on and an analysis of the opera by Francesco Degrada, Carlo Marinelli and Paola Bernardi, the libretto, and a facsimile of the original libretto by Giovanni Battista Casti
Note: Also available with a sound recording of the 1962 performance of this work directed by Renato Fasano and broadcast by Radiotelevisione italiana, Tonino. - 1994. - 2 sound discs (CDs). - Discoteca di Stato/Istituto Ricerca Teatro Musicale: IRTEM 993/1-2
(Second note in each example shows the relationship between these two publications when packaged together)
Developed from ISBD (NBM) 0.2A parallel title is the title proper in dialect, another language and/or script; or a title in dialect, another language and/or script presented as an equivalent of the title proper; or the title proper repeated with other title information in dialect, another language and/or script.
1.D.1.
Based on AACR2 1.1D1Transcribe parallel titles in the order indicated by their sequence on, or by the layout of, the source of information.
Birds awakening in Normandy [sound recording] = Le réveil des oiseaux en Normandie
Kanu kalon-Breizh [sound recording] = [Chants profonds de Bretagne] (Compilation of recordings, sung in Breton. Text of the songs in Breton and French on the sleeve.)
1.D.2.
Adapted from AACR2 1.1D3Transcribe an original title in a language different from that of the title proper appearing prominently in the source of information as a parallel title .
Pongo och de 101 dalmatinerna [videorecording] = One hundred and one Dalmatians
(American film dubbed into Swedish. The original title appears on the title frames.)
If such an original title does not appear prominently in the source of information, give the original title in a note (see 7.B.5)
The road warrior [motion picture]
Note: Originally released in Australia under the title Mad Max 2
Varied from AACR2If the title proper is repeated with other title information (see 1.E) in another language and/or script, transcribe the repeated title proper as a parallel title .
Locked up [videorecording] : a mother's rage = Locked up : en desperat kamp för livet
1.D.3.
Based on AACR2 1.1D4Give parallel titles appearing in a secondary source of information in a note (see 7.B.5).
Trommelrhythmen der Malinke [sound recording]
Note: Parallel title: Rythmes de tambour des Malinke
Saa møj' en sørreli' Wies
Note: Parallel title: En meget sørgelig vise
Based on ISBD (NBM) 0.2 Other title information is defined as a word or phrase appearing in conjunction with, and subordinate to, the title proper, parallel title , or other titles and which qualifies, explains, or completes the title to which it applies or which is indicative of the character, contents, etc., of the item .
1.E.1. Based on AACR2 1.1E1
Transcribe all other title information according to the instructions in 1.B. Precede other title information by a space, colon, space.
Movin' up [sound recording] : UK remixes
Magic guitar [sound recording] : 16 guitar hits
Music for dreams [sound recording] : a different ambient compilation
1.E.2. AACR2 1.1E2
Transcribe other title information in the order indicated by the sequence on, or the layout of, the source of information.
Army of Lovers [videorecording] : videovaganza 1990-1993 : the Ride the bullet story
(A pop video collection where Army of Lovers perform Ride the bullet and other songs)
1.E.3. Lengthy other title information
AACR2 1.1E3 If the other title information is lengthy, either give it in a note (see 7.B.5) or abridge it (see 1.B.4). Abridge other title information only if this can be done without loss of essential information. Never omit any of the first five words of the other title information. Indicate omissions by the mark of omission ( .).
See also: 1.F.13 If the other title information includes a statement of responsibility or the name of a publisher, distributor etc., and the statement or name is an integral part of the other title information, transcribe it as such.
Texas girl & pretty boy [sound recording] : Mathilde Santing sings Randy Newman
1.E.5. Developed from AACR2 1.1E5
Transcribe other title information following the whole or part of the title proper or the parallel title to which it pertains.
Pan in "A" minor [videorecording] : steelbands of Trinidad's Island
Pacific Heights [videorecording] = Pacific Heights : den objudne gästen
(Other title information in Swedish only)
Pierronet foltralet [sound recording] : tale = Petit Pierre le nigaud : conte
If there are no parallel title s and if other title information appears in more than one language or script, give the other title information that is in the language or script of the title proper. If this criterion does not apply, give the other title information that appears first. Optionally, give the other title information in other languages. Precede each parallel statement by an equals sign.
Variations on a Czech love song [sound recording] : for piano solo and woodwind choir = pour piano soliste et ensemble de bois
1.E.6. AACR2 1.1E6
If the title proper needs explanation, supply a brief addition as other title information, in the language of the title proper.
H.C. Andersen [sound recording] : [selections]
Based on AACR2 Glossary
See also: 9.1.A.7.1 A statement of responsibility is a statement relating to persons responsible for the intellectual or artistic content of the item, to corporate bodies from which the content emanates, or to persons or corporate bodies responsible for the performance of the item .
Based on FIAF 1.6.1, para 2 Because responsibility for AV materials is most often complex and highly diverse, archives - particularly those with special interests - should determine the types of functions they wish to include in this area, and also if they want to present the functions in a given order.
1.F.1. Transcription
Based on AACR2 1.1F1 Transcribe statements of responsibility appearing in the source of information in the form in which they appear there. If a statement of responsibility is supplied by the cataloguer, enclose it in square brackets (see 1.F.2).
1.F.1.1. Sound recordings
Developed from AACR2 6.1F1 Transcribe statements of responsibility relating to those persons or bodies credited with a major role in creating the intellectual content of the sound recording (e.g. as writers of spoken words, composers of performed music, collectors of field material, producers having artistic and/or intellectual responsibility). If the participation of the persons or bodies named in a statement found in the source of information goes beyond that of performance, execution, or interpretation of a work (as is commonly the case with popular music, jazz, traditional music, etc.), give such a statement as a statement of responsibility. If, however, the participation is confined to performance, execution, or interpretation (as is commonly the case with classical music, readings of literary works, etc.), give the statement as a note (see 7.B.7).
Tabula rasa [sound recording] / Arvo Pärt
Burglar [sound recording] / Freddie King
Birds awakening in Normandy [sound recording] = Le réveil des oiseaux en Normandie / collected by Jean-Luc Hérelle
Freja! [sound recording] / Isa Edholm, producer ; Karin Svennem, editor
(Radio broadcast)
The search for meaning [sound recording] / Carolyn Jones, presenter
(Radio broadcast)
1.F.1.2. Motion pictures and videorecordings
Based on FIAF 1.6, 1.6.1 The following is presented as a brief guide for those occasions when a moving image format contains intellectual content which could also be represented in a sound recording - in particular a performance of music, or similar type of performing art. It is recommended that The FIAF Cataloguing Rules be consulted for more detailed guidance when cataloguing moving image materials.
Transcribe statements of responsibility relating to those persons credited with participation in the original production of a moving image who are considered to be of major importance, and who have some degree of overall responsibility for the work. Examples of important functions that indicate some degree of overall responsibility for the work include but are not limited to: director, producer, screenwriter, cinematographer, and animator. For basic guidance on transcribing the names of corporate bodies, including informally constituted groups such as collectives and communes credited with participation in the production or distribution of a moving image, see 3.B.2.3.
The Commitments [videorecording] / directed by Alan Parker
Everyone says I love you [motion picture] / written and directed by Woody Allen
Let's dance! [motion picture] / written, directed & produced by Paul-Anders Simma
1.F.1.2.1.
Developed from AACR2 6.1F1 For musical performances on film or video where the participation of the persons, groups, etc., named in a statement found in the source of information, goes beyond that of performance, execution, or interpretation of a work (as is commonly the case with popular music, jazz, traditional music, etc.), give the performer first in the statement of responsibility, before the director, etc.
Look sharp [videorecording] / Roxette ; directed by Doug Freel
Sexual revolution [videorecording] / Army of Lovers ; directed by Fredrik Boklund ; produced by Martin Persson
Elvis [videorecording] : the lost performances / Elvis Presley ; produced by Patrick Michael Murphy
1.F.1.2.2.
Developed from AACR2 6.1F1 For musical performances on film or video where the participation of the persons, groups, etc., named in a statement found in the source of information, is confined to performance, execution, or interpretation (as is commonly the case with classical music, readings of literary works, etc.), give the composer/author first in the statement of responsibility, followed by the producer, director, etc.
The four seasons [videorecording] = Die vier Jahreszeiten = De fyra årstiderna / music by Antonio Vivaldi ; produced by Henry Fueter ; directed by Niklaus Gessner
1.F.1.2.3.
Developed from AACR2 6.1F1 For opera, theatre, ballet and dance performances on film or video, give in the statement of responsibility also the names of the designers and the choreographers.
Aida [motion picture] / music Giuseppe Verdi ; original libretto Antonio Ghislanzoni ; produced by Staffan Rydén ; directed by ClAES Fellbom ; revised text and screenplay ClAES Fellbom ; costume designer Inger Pehrsson ; art director Lotta Melanton ; choreography Ann-Charlotte Lindström
(Filmed version of Verdi's Aida, shot in Lanzarote, Spain)
The ghosts of Versailles [videorecording] / music John Corigliano ; libretto William F. Hoffman ; production Colin Graham ; technical director Joseph Clark ; general director Joseph Volpe ; artistic director James Levine ; video director Brian Large ; audio producer Jay David Saks ; set and costume design John Conklin ; choreographer Debra Brown
(Stage performance from the Metropolitan Opera)
Highlights from Rigoletto [videorecording] : opera in three acts / by Francesco Maria Piave after Victor Hugo ; music by Giuseppe Verdi ; staged and directed by Jean-Pierre Ponnelle
(Stage performance from Staatsoper, Vienna)
1.F.1.3. Electronic resources
Based on Guidelines for Interactive Multimedia, H.I Transcribe statements of responsibility relating to those persons or bodies responsible for the entire content of an electronic resource (e.g. interactive multimedia developers, composers, authors, designers, performers, or others similarly named as having principal or equally shared responsibility for the creation of the whole electronic resource). If the statements of responsibility are lengthy, give them in a note.
All my hummingbirds have alibis [electronic resource] / composer, project director Morton Sobotnick
Elithockey 96 [elektronisk resurs] / idé, manus och projektledning Bright Ebenezer
Optionally, if considered important for a particular catalogue or cataloguing agency, give all other statements of responsibility, including those confined to the creation of specific parts of the electronic resource in a note. These include: musical or visual performers, ensembles, video graphic designers, guidebook editors, applications programmers, choreographers, narrators, script writers, costumers, set designers and sponsors for a specific part of a work.
1.F.1.4. KitsTranscribe statements of responsibility relating to those persons or bodies responsible for the entire content of the kit.
The fabulous phonograph of Thomas Rome [kit] / Performing Arts Museum
Golden days of radio [kit] / Australia Post
For kits, where the different components have individual statements of responsibility, transcribe the statements of responsibility in an order corresponding to each of the components.
Fábulas Océano [kit] / ilustraciones María Pascual ; textos Víctor M. Armenteros, Jaime Rovira ; producción y dirección [de las cassettes] Gerardo Domal, Francioli Vázquez ; efectos de audio Sergio Bayard
1.F.2.
Based on FIAF 1.6.1
See also 1.F.1 If no statement of responsibility appears in the sources of information and is identified, supply one, and enclose it in square brackets. Give the source of information in a note, as appropriate.
The Jinns : concerto for piano with orchestra / [Cesar Franck]
Note: Composer confirmed from published score and audition of recording.
Based on and adapted from FIAF 1.6.4 Optionally, if the statement of responsibility appearing in the sources of information only gives surname, or surname and initials for a person, and the missing information is identified, supply the part of the name that is missing, and enclose it in square brackets.
Title / [William] Bell
Title / G[raham] Type 1.F.3.
AACR2 1.1F3 If a statement of responsibility precedes the title proper in the source of information, transpose it to its required position unless it is an integral part of the title proper (see 1.B.2).
Getting ready- [sound recording] / Freddie King
(Source of information gives the statement of responsibility before the title)
1.F.4.
AACR2 1.1F4
Transcribe a single statement of responsibility as such whether two or more persons or corporate bodies named in it perform the same function or different functions.
Tillsammans [sound recording] / texter av Tove Jansson och musik av Erna Tauro
1.F.5.
Based on AACR2 1.1F5 If a single statement of responsibility names more than three persons or corporate bodies performing the same function, omit all but the first of each group of such persons or bodies. Indicate the omission by the mark of omission ( ...) and add et al. (or its equivalent in another language and/or script) in square brackets. Alternatively, the cataloguing agency or archive should decide on the number of names to be transcribed.
Bert - den siste oskulden [motion picture] / regi Tomas Alfredson ; manus Michael Hjort ... [et al.] ; producent Johan Mardell
(Source of information gives four screenwriters)
1.F.6.
Based on AACR2 1.1F6 If there is more than one statement of responsibility, transcribe them in the order indicated by their sequence on, or the layout of, the source of information. If the sequence and layout are ambiguous or insufficient to determine the order, transcribe the statements in the order that makes the most sense. 1.F.7.
Developed from AACR2 1.1F7 Include titles and abbreviations of title, nobility address, etc., if such data are considered to be necessary.
The Scarlet Pimpernel / by Baroness Orczy
Do not confuse title, nobility address, etc., with similar titular phrases which form parts of names, which are common in popular music. Titular phrases which are parts of names should always be given.
Born in Africa / Dr. Alban
not
Born in Africa / Alban
1.F.8.
AACR2 1.1F8 Add a word or short phrase to the statement of responsibility if the relationship between the title of the item and the person(s) or body(ies) named in the statement is not clear.
Baijun ballads [sound recording] / [collected by] Chet Williams
1.F.9.
AACR2 1.1F9 Replace symbols or other matter that cannot be reproduced by the facilities available with the cataloguer's description in square brackets. Make an explanatory note if necessary.
Chaos and disorder / [the Sign]
(The artist formerly known as Prince uses a sign as his name)
1.F.10.
AACR2 1.1F10 If an item has parallel titles but a statement of responsibility in only one language or script, transcribe the statement of responsibility after all the parallel titles or other title information.
Un divan à New York [motion picture] = A couch in New York = Det bor en fransk kvinna i min lägenhet / un film de Chantal Akerman
If an item has parallel titles and a statement of responsibility in more than one language or script, transcribe each statement after the title proper, parallel title , or other title information to which it relates.
Svärmor på vift, eller, Förbjudna vägar [film ] : lustspel i två akter / författad och iscensatt av Georg af Klercker = Mother-in-law on the loose, or, Forbidden ways : comedy in two acts / written and directed by Georg af Klercker = Belle-mère fait la noce, ou, Chemins interdits : comédie en deux actes / conçue et mise en scène par Georg af Klercker
If it is not practicable to give the statements of responsibility after the titles to which they relate, transcribe the statement of responsibility in the language or script of the title proper and omit the others.
1.F.11.
AACR2 1.1F11 If there are no parallel titles and a statement of responsibility appears in more than one language or script, transcribe the statement in the language or script of the title proper. If this criterion does not apply, transcribe the statement that appears first.
Madame Bovary [videorecording] / réalisateur Jean Marais
Optionally, transcribe the parallel statements, each preceded by an equals sign.
Madame Bovary [videorecording] / réalisateur Jean Marais = director Jean Marais
Underground [motion picture] / režija Emir Kusturica = r?lis?par Emir Kusturica = directed by Emir Kusturica
1.F.12.
AACR2 1.1F12 Treat a noun phrase occuring in conjunction with a statement of responsibility as other title information if it is indicative of the nature of the work.
Vi behöver varann : en jubileumsfilm / av Sven Stolpe
Characters from Dickens : dramatised adaptations / by Barry Campbell
If the noun or noun phrase is indicative of the role of the person(s) or body (bodies) named in the statements of responsibility rather than of the nature of the work, treat it as part of the statement of responsibility.
Capoeira, Samba, Candomble [sound recording] / recordings and commentary by Tiago de Oliveira Pintora
Simple men [motion picture] = Begär, besvär och enkla män / a film by Hal Hartley
1.F.13.
AACR2 1.1F13 When a name associated with responsibility for the item is transcribed as part of the title proper (see 1.B.2) or other title information (see 1.E.4), do not make any further statement relating to that name unless such a statement is required for clarity, or unless a separate statement of responsibility including or consisting of that name appears in the source of information.
Celidibache conducts Bruckner
but
Erasure ABBA : ABBA-esque / Erasure ; executive producer Verity White
(Name of performer has to be given again to make the statement of responsibility clear)
1.F.14.
Developed from AACR2 1.1F14 Where possible, give a statement of responsibility even if no person or body is named in that statement.
Tibetan monastery of Gyütö / Buddhist monks' voices
Samba rhythm / played on two berimbaus
Samba-de-roda / performed by an ensemble of drums, tambourins, agogô and berimbau
A statement of responsibility may include words or phrases that are neither names nor linking words.
Head, fingers & heart / performed by Arne Domnérus
Campanula patula : blomma av Dalarna : en jubileumsproduktion 1951-1991, 40 år / Gagnef musikskola, solister, körer och orkestrar framför musik från Gagnef
AACR2 Glossary
A collective title is a title proper that is an inclusive title for an item containing several works.
1.G.1.
AACR2 1.1G2, 6.1G1
See also: 5.B.4.3 If an audiovisual item contains more than one work and lacks a collective title, either describe the item as a unit or make a description for each separate work.
1.G.2.
Based on AACR2 1.1G3 If describing an audiovisual item without a collective title as a unit, transcribe the titles of the works in the order in which they appear in the sources of information. Separate the titles of the works by semicolons when they are all by the same person(s) or emanate from the same body(ies), even if the titles are linked by a connecting word or phrase.
Cadillac ; On the count 2 3 / Broder Daniel
Clock symphony, no. 101 ; Surprise symphony, no. 94 / Haydn
Fantasy for solo violin ; Piece for oboe and piano / Robin Bradley
Colgate Palmolive cavalcade. Episode 135 ; Protex programme. Episode 338
(Radio transcription disc with episodes from different series )
[Viva Berkenshaw ; Works of Liszt ; The virtuoso / performed by the Malvern Municipal Band]
1.G.3.
When the same information is repeated (e.g. the title or statement of responsibility appears on all labels of a multipart work) do not repeat this information in the transcription. Stevie to the rescue / Jill Mellion
or
Stevie to the rescue. Parts 1-8 / Jill Mellion
(Commercial release on 4 discs available in a special decorative album)
not
Stevie to the rescue. Part 1 ; Stevie to the rescue. Part 2 ; Stevie to the rescue. Part 3 ; Stevie to the rescue. Part 4 ; Stevie to the rescue. Part 5 ; Stevie to the rescue. Part 6 ; Stevie to the rescue. Part 7 ; Stevie to the rescue. Part 8 / Jill Mellion
but
Stevie to the rescue. Parts 1-2, 7-8 / Jill Mellion
(Two discs missing, and only two discs are being catalogued)
Life with Dexter. Episodes 001-002
not
Life with Dexter. Episode 001 ; Life with Dexter. Episode 002
(Radio transcription disc containing 2 consecutive episodes of a serial )
Beau ideal. Episodes 1, 3
not
Beau ideal. Episode 1 ; Beau ideal. Episode 3
(Radio transcription disc with non-consecutive episodes) 1.G.4.
AACR2 1.1G3, 6.1G2
If the individual works are by different persons or emanate from different bodies, or in case of doubt, follow the title of each work by its parallel title (s) and other title information, and statement(s) of responsibility. Separate the groups of data with a full stop followed by two spaces. Prelude, the afternoon of a faun / Claude Debussy. Peer Gynt (Suite) no. 1-2 / Edvard Grieg. Till Eulenspiegels lustige Streiche / Richard Strauss
Dreamboat / Linzer ; [performed by] Limmie & Family Cookin'. Made in heaven / Levine, Russell Brown ; [performed by] Limmie & Family Cookin'
| Label side A: | Dreamboat (Linzer) Limmie & Family Cookin' |
| Label side B: | Made in heaven (Levine-Russell Brown) Limmie & Family Cookin' |
1.G.5.
Developed from ISBD (NBM) 1.1.2.9 When the number of individual works is very large, the first three titles may be given followed by the mark of omission
( .). The complete list of titles may be given in a contents note (see 7.B.25) or separately described (see Chapter 9).
Dixit Dominus, RV 594 ; Stabat mater, RV 261 ; Gloria in D major, RV 588 ...
Based on NFSA MAVIS data Entry Guidelines. Title Entry (3/97) Alternatively, for compilations of unpublished and broadcast items without a common theme, give the first title or the title of the predominant work followed by a suitable term to indicate that other works are in the compilation. The complete list of titles may be given in a contents note (see 7.B.25) or separately described (see Chapter 9).
There's only one of you ; [Other songs] / Jimmy Henney Combo
Note: Contents: There's only one of you -- Don't go home -- Sugar moon -- Padre
So happy today / Willa Hokin, soprano. [Other recordings]
Note: Except for Willa Hokin, all performers and presenters heard on this programme are unidentified.
Note: Contents: So happy today -- End of unidentified skit -- "It's all yours" radio programme theme song -- Spoken credits for "It's all yours"
(Incomplete details of a broadcast, where only one disc is held and remaining discs are missing. The title of the first song is given as title proper. All contents of the disc are given in the contents note.)
1.G.6.
Developed from FIAF 1.5.1.2 When a compilation of unpublished or broadcast works lacks a collective title and it is possible to supply a suitable collective title, do so. Enclose the title in square brackets. This may be based on a common subject or may be a fonds or collection name. Where a production or other control number would assist in differentiating between other similar compilations, for instance in stock shot libraries, include this information.
[Works by Fritz Hart]
(Compilation of works composed by Fritz Hart)
[Hawaiian Islands]
(A compilation of 26 films)
[Hutchinson, John. Bird calls collection]
(Preservation tapes of bird call recordings collected by John Hutchinson)
[Fonds Geneviève Massignon. French songs from Acadie. Canada. (1964-1972)]
[4BH historic events compilation. Tape S59]
Similarly, in the event that the archive or cataloguing agency may create compilation tapes from various original recordings, e.g. as ready reference material for audition by clients, include a suitable term to indicate this.
[The French Revolution : excerpts]
[French singers from 1958 to 1976 : edited broadcast excerpts]
[The Gulf War : edited broadcast excerpts]
[Best conceived radio commercials of 1959-1960 : in-house compilation]
Developed from FIAF 1.5.2.4.1
In the case of a collection of unedited material which does not relate to a specific theme, construct a form title commencing with the term Unedited.
[Unedited. MacMillan Collection. Assorted scenes]
[Unedited. Kleine collection footage]
Alternatively, if a more specific entry is required in the title, move the term Unedited to another more suitable position.
[MacMillan Collection. Assorted scenes. Unedited]
[Kleine Collection. Unedited footage]