1.B. Title proper

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:

• devised descriptive titles for recordings which have no given titles
• uniform, standardised or conventional form titles for specific categories of recordings

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