University of Pittsburgh

Reference Corpus
Part I
LIS 2405 Cataloging and Classification
Summer Session 2014
Min Wang
Instructor Ashleigh Faith, CRM, MLIS
Contact: anp114@pitt.edu
724-681-9036

Table of Contents
Chapter 1 Crosswalks and Mappings. 1
MARC AACR2 Mapping1
FRBR Framework.. 5
MARC Bibliographic to RDA Mapping 9
RDA Tips10
MARC to Dublin Core Crosswalk. 15
Metadata Crosswalk20
Anatomy of a Scope Note.. 32
Chapter 2 Course Resources.. 33
2 Discussion Transcripts 33
Week 3 Discussion Transcripts.. 33
Week 9 Discussion Transcripts.. 63
3 Self-Assessment.. 103
Week 2 Self-Assessment103
Week 3 Self-Assessment108
Week 5 Self Assessment. 112
Resource Weekly Matrix115
Any Additional Materials124
Books..124
Resources from Catalogers Desktop or RDA Toolkit.. 125
Reference Websites 137
Chapter 3 Assignments142
Final Interview Assignment142
Reflection on the Interview 142

Interview Questions and Transcript145

Sample of Job Posting 152
Final Bibliographic Assignment.157
Min_Wang_MARC21_Record (1.1). 157
Min_Wang_Converted RDA Record (1.2).158
Min_Wang_LCSH/DDC_Classification_and_Authority (1.3).......159
Min_Wang_DCMI_Creation_OR_an_Uncommon_Standard_Creation: (1.4). .178
Final Classification Assignment.184
Term lists created for the four items.. 184
List added to the vocabulary (with citations). 190
Chapter 4 Reflection Statement..191
Reflection Statement.. 191
Five Things I Better Understood from This Class..191
Five Areas of Emphasis Going Forward 194
Reflection on the Course 196
References.. 198
Supplementary Bibliography. 202

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Chapter 1 Crosswalks and

Mappings
MARC AACR2 Mapping

MARC21 record standard is an appropriate use for library staff create, maintain, and search for
bibliographical records.
It took me five days to complete this Bibliography MARC 21 Record Creation Assignment. It
was very frustrating, exciting, and satisfying experience.
First step was a theoretical preparation in which I read all materials and instructions, Ms. Faith
provided to us in week 2 and part of the week 3.I also used the OCLC Support & Training
[http://www.oclc.org/bibformats/en.html] website for additional information needed to help me
understand my task for this assignment. In addition, I used the OCLC Connexion, cataloging,
for cataloging examples such as searching keywords, biography Jobs Steve, looking at some
MARC records for monographs for general ideas. For instance, the Fixed-Field Elements and
006 [http://www.oclc.org/bibformats/en/fixedfield.html] was instrumental to learn the rules
about how to assign the coded field. Using the guidelines and provided example Job Steve
biography, I was able to determine the appropriate codes for the MARC record creation
assignment About you. For example:

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For Srce code, I chose code d because except for those at authorized national bibliographic
agencies, enter c when creating records as part of those programs. In all other cases OCLC users
enter d (Srce: Cataloging Source). I noticed Field 040 has a logical relationship to the fixedfield element Srce. If you are transcribing LC cataloging copy, you must manually enter DLC
in field 040 subfield $a (Srce: Cataloging Source) If you are inputting original cataloging on a
workform or new record, enter blank, c, or d in Srce. The system supplies your OCLC symbol in
field 040 subfield $a (040 Cataloging Source (NR)), such as $a CUG $b $c CUG.
In the practical process, I had questions and frustration throughout the whole practical process. I
have failed five times before eventually taking screenshots images of my creations of the Bib
MARC21. The sessions expired as I attempted to find proper sources for the
fields/indicators/subfields as the OCLC Connexion timeout. After I exchanged several emails
with Ms. Faith, she resolved some of my questions. I ultimately created a draft MARC records
first, then transcribed to the OCLC Connexion.
Throughout this process, knowing I could use copied samples or ask experience catalogers by
posting questions on AUTOCAT, I was determined to learn and do original cataloging on my
own, and used my frustration and questions as learning opportunities to find solutions to this
assignment. I utilized the OCLC Support and Training website as a tool for self-training. From
this exercise, Ive learned: to locate a better matching record quickly, I will look at whether the
ELvl code is blank or i or l (all for full level records); to assign a subject, I will look at
whether LitF code is 0 (for nonfiction) or 1 (for fiction) or f (novel), whether Biog code is blank
(for no biography) indicating that other codes are biography. From this experience, I learned how
to assign some indicators like the indicator 1 to 1 for tracing index in these fields 245, 246, and
490 etc. The indicator 2 for filling in these fields: 830, 240, 245, and 440 etc... I summarized
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the following undefined indicator fields: 000, 008, 001, 003, 010, 020, 040, 042, 250, 260, 300,
336, 337, 338, 347, 352, 500, and 546 etc It was a very satisfying experience, learning how to
create an original MARC21 record myself. I believe this class will provide me an understanding
necessary to become a cataloger who can do both original and copy cataloging.

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FRBR Framework

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MARC Bibliographic to RDA Mapping

MARC 21 Format for Bibliographic Data Mapped to RDA Elements

The table below maps MARC 21 bibliographic elements to the corresponding RDA elements.
With the exception of the Leader, control fields (00X) and control subfields ($0-$8), all MARC
21 fields and subfields are included. Those elements that have no equivalent or are beyond the
scope of RDA are indicated as N/A (not applicable).
While there are many instances where there is a one-to-one correspondence between MARC 21
and RDA, there are cases where the level of granularity in the MARC 21 element set and RDA
element set differs. Where a single MARC 21 element is equivalent to more than one RDA
element, all applicable RDA elements are provided.

Date: 11/12/2013
Document: http://access.rdatoolkit.org/jscmap2.html

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RDA Tips

Symmetry is key. If a relationship is created check the connections at least 2 deep. This
means that if you have an author relationship, check it and all the relationships connected
to the author. Think of it somewhat as a web. Symmetry is when the hierarchical
relationships make sense and are recorded. The check process will also help grow the
relationships of a collection. We cant use it on our records in this class but this is a very
important part of RDA in the field. Here is an example check process:

A helpful way to remember the difference between FRBR elements:

Works, expressions, manifestations, and items are entities that have attributes and relationships
with other entities, including other works, expressions, and manifestations.
"Work" and "expression" deal with intellectual "Manifestation" and "item" deal with physical
or artistic activity and content

characteristics

A work is realized by by an expression, which in a manifestation, which is exemplified by an

is embodied
Work:

item.
an abstract idea or distinct intellectual creation that is created by a person or
corporate body
"A work is defined as a 'distinct intellectual or artistic creation,' is an abstract
entity in that there is no single physically or linguistically fixed object
representing that work. Rather, a work is the artistic and intellectual
commonality of one or more resources as they are multiplied through
translation, abridgment, revision, or any other process which does not

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substantially alter core content."

Attributes of a work: title, date, identifier (if it has one), intended audience,
form of work, medium of performance, numeric designation, key, etc.
Author or composer is not an attribute for work or expression, because such
information is treated in FRBR as a relationship between the work or
expression and a person or corporate body.
Copies of Great Expectations by Charles Dickens, apart from all ways of
expressing them, are works.
When do you have the same work and when do you have a different work?
Same work: processes applied to a Different work: processes applied to a
resource result in another resource resource resulting in a resource realizing a
realizing the same work are:

different work are:

translations, abridgements

change of genre, satires

revisions, new edition,

annotated editions, adaptations (i.e.,

illustrated editions
reprints, exact reproductions,
facsimiles

for children, to different literary

form, to different medium)
reviews, evaluations, criticism, and
dramatizations

Expression:

the fulfillment or realization of that idea through words, sound, image, etc. that
is realized by a person or corporate body
"An expression is an intellectually/artistically concrete entity, being the
realization of a work in fixed alpha-numeric, musical, choreographic,
cartographic, etc., notation. ... An expression has no physical characteristics: in
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the case of textual expressions, for example, the expression encompasses the
words, sentences, and paragraphs of the creation, but not its font and font size
and hence the number of pages it constitutes when in a particular physical
format."
Attributes of an expression: title, form, date, language, type of score (musical
notation), medium of performance (musical notation or recorded sound),
identifier (if it has one), etc.
Expressions may be related by being realizations of the same work. As the
notation used to fix an expression is one of its major attributes, different
expressions of the same work can be created by fixing it in different forms. For
example:
Work: Great Expectations by Charles Dickens (the idea/intellectual property
of Charles Dickens)
Expression 1: original manuscript
Expression 2: All revisions made in the third addition written of the
manuscript of Great Expectations by Charles Dickens
Applied to ALL manifestations and items, translations, revisions,
arrangements, and performances of a work are considered expressions of that
work.
When do you have the same expression and when do you have a different
expression?
Same expression:
same intellectual content =

Different expression:
any change in intellectual content =

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same expression
reprint editions, simultaneous

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new expression
revised, second, etc., editions

publications
Manifestation: the physical embodiment (i.e., publication) of an expression of a work that is
produced by a person or corporate body
a publication of an expression is called a manifestation
Attributes of a manifestation: title, statement of responsibility, edition, imprint
(place, publisher, date), form/extent and dimensions of carrier, terms of
availability, mode of access, identifier (if it has one), etc.
Only when a manuscript is reproduced is there a manifestation
Work: Idea of Great Expectations by Charles Dickens
Expression: First manuscript of Great Expectations by Charles Dickens
Manifestation: All copies of Great Expectations by Charles Dickens
When do you have the same manifestation and when do you have a new
manifestation?
Same manifestation: changes to an New manifestation: Changes to the
item that occur after production

physical specifications resulting in new

and release does not constitute a

manifestations include:

new manifestation
formatting changes (e.g., typeface,
font size, or page layout)
physical carrier changes, (e.g.

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impression onto a CD rather than a vinyl

record)
Item:

The actual copy of the manifestation that expression takes that is owned by a
person or corporate body
It is the only absolutely concrete entity in the FRBR model
An item can consist of several distinct physical objects, such as a box set of
journals, or two separately bound volumes with no common sleeve/box that
were issued and sold together. Both are considered to be one item.
Each individual copy of Great Expectations by Charles Dickens is an item.
Attributes of an item: provenance, location, condition, access restrictions,
identifier (if it has one), etc.

Originally created by Mickey Koth Yale University Music Library, 2014. Annotated by Ashleigh Faith, 2014.

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MARC to Dublin Core Crosswalk

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Metadata Crosswalk

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Anatomy of a Scope Note

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