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Chapiter 0

0.6.6, Section 2 : Recording Attributes of Work and Expression

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For a musical work with a title that is not distinctive, always record the applicable elements as additions to the authorized access point. When recording elements to differentiate the authorized access point of a work from the authorized access point of another work, person, family, or corporate body, always add one or more differentiating elements to the access point. Use judgment in deciding whether to also record these elements as separate elements and whether to record additional identifying elements (those not needed for differentiation) as separate elements.

Last update: 2024-04-24

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Chapter 6

6.2.2.5, Exception

For the Classical and Byzantine Greek works listed in the Exception, choose a well-established title in French as the preferred title.

Last update: 2023-11-24

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6.2.2.7, Alternative

Apply the alternative for anonymous works created before 1501 and written neither in Greek nor in the Latin alphabet. Choose as the preferred title an established title in French if there is one.

Last update: 2022-09-15

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6.14.2.5.1, Omissions

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For pre-twentieth century works, normally consider phrases such as "a due," "a cinque" to be statements of medium of performance and omit them when recording the preferred title according to this instruction.

Last update: 2024-04-24

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6.14.2.5.2, Preferred Title Consisting Solely of the Name of One Type of Composition

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Do not consider such titles as "Double concerto," "Tripelkonzert", etc. to be names of types of compositions.

When a composer uses a word which is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition.

Example :

100 1# $a Poulenc, Francis, $d 1899-1963. $t Aubade

Title : Aubade: concerto chorégraphique pour piano et 18 instruments.

A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title.

Example :

100 1# $a Nielsen, Carl, $d 1865-1931. $t Humoreske-bagateller

Last update: 2024-04-24

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6.14.2.5.2.1, Choice of language

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Record the accepted form of name in French if the name has an French cognate form or if the same name is used in French.

Melody/Melodies

When the French word "Mélodie" or "Mélodies," or their cognates in another language, is the title of a work that is not for solo voice and keyboard stringed instrument, consider it the name of a type of composition. Use the French form as the preferred title and add the medium of performance according to RDA 6.28.1.9.

Last update: 2024-04-24

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6.14.2.5.2.1, Alternative

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Do not apply the alternative.

Last update: 2024-04-24

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6.14.2.5.2.2, Singular or Plural Form

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One Work of One Type

When cataloging the first occurrence of a work of a particular type of composition by a composer, choose the preferred title as follows:

1. If the composer is deceased, consult reference sources to ascertain whether the composer wrote more than one work of that type, and use the singular or plural form as the preferred title according to the information found.
2. If the composer is living, choose the singular form of the type of composition as the preferred title unless the work being cataloged bears a serial number (including 1); in that case use the plural form on the assumption that the composer has written or intends to write more works of that type.

When cataloging the second occurrence of a work of a particular type by a composer, if the singular form has been used in the authorized access point for the first work of that type, revise the preferred title to the plural.

Remember that medium of performance is a separate element from the preferred title. If the composer wrote one piano sonata and one violin sonata, he or she wrote two sonatas, and therefore the plural form for the type of composition must be used as the preferred title.

Liturgical Words or Phrases

When the preferred title is a Latin liturgical word or phrase, record it in the singular if the word or phrase has no plural form (e.g., "Gloria," "Magnificat," "Requiem," "Salve Regina," "Te Deum"). Use the plural form (e.g., "Introïts") when appropriate. Generally, do not add the medium of performance in the authorized access point.

Tempo Markings with Modifying Words

When the preferred title is a tempo marking with a modifying word or words (e.g., "Andante sostenuto," "Allegro con brio," "Moderato ma non tanto"), record it in the singular.

Last update: 2024-04-24

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6.14.2.5.2.2, Alternative

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Do not apply the alternative.

Last update: 2024-04-24

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6.14.2.7.1.3, Part Identified Both by a Number and by a Title or Other Verbal Designation, Alternative

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Do not apply the alternative.

Last update: 2024-04-24

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6.14.2.7.2, Two or More Parts, Alternative

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If two or more parts of a work constitute the only content of the manifestation being described, record the conventional collective title Extraits as the preferred title for the parts. If one or more parts is especially important, also record the part title(s) as analytical authorized access points.

If two or more parts of a work are part of a compilation of works or parts of works, and that analytical authorized access points are established, record the conventional collective title Extraits as the preferred title for the parts, or record the part title(s) of one or more parts.

Last update: 2024-04-24

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6.14.2.8.3, Complete Works of a Single Type of Composition for One Specific Medium or Various Media

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Use terms from the RVMGF (RVM’s Genre/Forme thesaurus) when possible. When recording the preferred title, omit any parenthetical qualifier from RVMGF.

Example :

RVMGF term

Tangos (Musique)

Conventional collective title

Tangos

Last update: 2024-04-24

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6.15.1.3, Recording Medium of Performance

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Use terms from the RVMMEM (Répertoire de vedettes-matière, Moyens d’exécution en musique) when possible. Exception: use "orchestre à cordes" for an orchestra consisting primarily of string instruments and no wind instruments (even when it may include continuo, keyboard instruments, plucked instruments, or percussion). Use "orchestre" for an orchestra that has both string and wind instruments.

For instructions on using RVMMEM terms in authorized access points, see Policy Statement for 6.28.1.9.1.

Last update: 2024-04-24

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6.15.1.5, Optional Omission

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Do not omit doubling instruments and voices.

Last update: 2024-04-24

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6.15.1.6.1, Optional Omission

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Do not omit the number of parts or performers for an instrument or voice, even if there is only one for that instrument or voice.

Last update: 2024-04-24

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6.15.1.6.3, Optional Omission

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Do not omit the number of ensembles for a type of ensemble, even if there is only one ensemble of that type.

Last update: 2024-04-24

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6.16.1.3.1, Serial Number

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Record a serial number even if works with the same title do not have the same medium of performance, if such works are consecutively numbered in music reference sources.

When recording a serial number that is accompanied in the source by a term such as "numéro," "livre," "collection," etc., apply the following:

1. If the term is the French word "numéro" or its abbreviation, or an equivalent word or abbreviation in another language, precede the number in the preferred title by the French abbreviation "no".
2. If the term is a non-French term not meaning "numéro" and the preferred title is in French because of the application of 6.14.2.5.1, substitute the French equivalent of the term, using an French abbreviation as instructed in appendix B (B.5.4).
3. In all other cases give the term as it appears in the source using its abbreviated form as found in appendix B (B.5.4). If the term is not found in appendix B, give the term as it appears in the source

If no term appears with the number, give the number as a cardinal number and precede it by the French abbreviation "no".

Use Arabic numerals.

Last update: 2024-04-24

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6.16.1.3.3, Thematic Index Number

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For thematic index abbreviations, consult the bibliography of Thematic Indexes Used in the Library of Congress/NACO Authority File available online at: https://cmc.wp.musiclibraryassoc.org/thematic-indexes-used-in-library-of-congress-naco-authority-files/.

Last update: 2024-04-24

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6.17.1.3, Recording Key

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Follow the same criteria for recording the mode (“major” or “minor”) as for recording the pitch center, that is, if pitch center is given or apparent, but mode is not, record only the pitch center. Follow the RDA examples, and record the words “dièse” and “bémol” rather than the symbols ♯ and ♭ .

Last update: 2024-04-24

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6.18.1.4, Arrangements, Transcriptions, Etc.

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Revisions by the Original Composer

If a composer revises a work, retaining the original title and opus number, and the revision is one of a different instrumentation within the same broad medium (e.g., orchestre, ensemble instrumental, harmonie), do not consider the revision to be an arrangement. Use the same authorized access point for the original and the revision.

Example :

100 1# $a Stravinsky, Igor, $d 1882-1971.

240 10 $a Petruška

245 10 $a Petrushka : $b complete original 1911 version ...

100 1# $a Stravinsky, Igor, $d 1882-1971.

240 10 $a Petruška

245 10 $a Petrouchka : $b burleske in four scenes (revised 1947 version) ...

Alternative Instruments

Do not consider as arrangements the following uses of alternative instruments:​

1. A work composed before 1800 for a baroque, renaissance, or other early instrument (viole de gambe, flûte à bec, etc.), or for voice, in a resource that is edited for or performed on a modern instrument or by an alternative voice, provided the key is unchanged and the notation has not been significantly changed.
2. A work for a melody instrument which is edited for or performed on an alternative instrument specified by the composer in first or early editions.

Example :

Bibliographic record

100 1# $a Brahms, Johannes, $d 1833-1897.​

240 10 $a Sonates, $m clarinette, piano, $n op. 120​

245 10 $a Sonatas opus 120, for viola and piano ...​

500 ## $a À l'origine pour clarinette ou alto et piano.​​

650 #6 $a Sonates (Alto et piano) $v Partitions et parties.​

Authority record

100 1# $a Brahms, Johannes, $d 1833-1897. $t Sonates, $m clarinette, piano, $n op. 120​

382 0# $a clarinette $n 1 $p alto $n 1 $a piano $n 1 $s 2 $2 rvmmem​

400 1# $a Brahms, Johannes, $d 1833-1897. $t Sonates, $m alto, piano, $n op. 120

Song Transpositions

For a resource containing one or more songs transposed to accommodate a voice range different from the original, do not consider the transposition to be an arrangement.

Example :

100 1# $a Schubert, Franz, $d 1797-1828.

240 10 $a Lieder

245 10 $a Lieder, Gesang und Klavier / $c Franz Schubert.

250 ## $a Neue Ausg. / $b herausgegeben von Dietrich Fischer-Dieskau ; musikwissenschaftliche Revision von Elmar Budde, tiefe Stimme.

Originally for high voice

Last update: 2024-04-24

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6.27.1.9, Additions to access points representing works

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Librettos

If a libretto for a dramatic musical work is written by the composer and is manifested separately as a literary work, distinguish the literary work from the musical work with "(Livret)" (see Policy Statement for 6.28.1.2).

Example :

100 1# $a Wagner, Richard, $d 1813-1883. $t Meistersinger von Nürnberg (Livret)

Last update: 2024-04-24

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6.28.1, General Guidelines on Constructing Authorized Access Points Representing Musical Works

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Additions to Authorized Access Points

Do not make an addition to the authorized access point when one or more instrumental parts for a work or a compilation of works by one composer are published separately. Use the same authorized access point that would be used for a score or a complete set of parts.

Example :

100 10 $a Bach, Johann Sebastian, $d 1685-1750.

240 10 $a Wer mich liebet, der wird mein Wort halten, $n BWV 74

245 10 $a Kantate Nr. 74 : $b Wer mich liebet, der wird mein Wort halten : BWV 74 / $c Joh. Seb. Bach ; Continuo-Aussetzung von Ulrich Haverkampf.

250 ## $a Orgel.

264 #1 $a Wiesbaden : $b Breitkopf & Härtel, $c [1982]

300 ## $a 1 partie (32 pages) ...

100 1# $a Bach, Johann Sebastian, $d 1685-1750.

240 10 $a Musique vocale. $k Extraits

245 14 $a The flute solos from the Bach cantatas, passions, and oratorios ...

« Extraits » refers to the fact that the flute solos in the resource are not from all of Bach’s vocal music works; nor are they the entire flute part from each of the works included.

100 1# $a Strauss, Richard, $d 1864-1949.

240 10 $a Musique pour orchestre. $k Extraits

245 10 $a Orchesterstudien aus Richard Strauss' symphonischen Werken : $b für Flöte ...

« Extraits » refers to the fact that the flute selections in the resource are not from all of Strauss’ orchestral music; nor are they the entire flute part from each of the works included.

Melody/Melodies

When the French word "Mélodie" or "Mélodies" is the title of a work for solo voice and keyboard stringed instrument, consider the medium of performance to be implied by the French title (see RDA 6.28.1.9) and do not add medium of performance in the authorized access point.

When the French word "Mélodie" or "Mélodies" is the title of a work for solo voice with accompaniment other than a keyboard stringed instrument alone or without accompaniment, apply RDA 6.28.1.9 and add the medium of performance of the accompaniment, or "sans accompagnement," in the authorized access point.

When the French word "Mélodie" ou "Mélodies", or their cognates in another language, is the title of a work that is not for solo voice and keyboard stringed instrument, consider it the name of a type of composition. Use the French form as the preferred title and add the medium of performance according to RDA 6.28.1.9.

Liturgical Words or Phrases

When the preferred title is a Latin liturgical word or phrase (e.g., "Gloria," "Magnificat," "Requiem," "Salve Regina," "Te Deum"), record it in the singular when the word or phrase is invariable. Use the plural form "Introïts," when appropriate. Generally, do not add the medium of performance in the authorized access point.

Last update: 2024-04-24

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6.28.1.2, Musical Works With Lyrics, Libretto, Text, etc.

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If a composer also created the libretto for a dramatic musical work and the libretto is manifested separately as a literary work, distinguish the literary work from the musical work with (Livret), but do not make an addition to the access point for the musical work (see Policy Statement 6.27.1.9).

Example :

100 1# $a Wagner, Richard, $d 1813-1883. $t Meistersinger von Nürnberg

100 1# $a Wagner, Richard, $d 1813-1883. $t Meistersinger von Nürnberg (Livret)

Last update: 2024-04-24

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6.28.1.9, Additional Elements in Authorized Access Points Representing Musical Works

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General

Use cataloger's judgment in choosing the most appropriate element or elements listed in 6.28.1.9 to include in the authorized access point for a musical work unless other instructions in this Policy Statement apply.

Preferred Title Consists Solely of the Name of a Type, or of Two or More Types, of Composition

To maintain file integrity, add these elements in the authorized access point in this order, as applicable:

1. medium of performance (voir 6.28.1.9.1)
2. numeric designation of musical work (voir 6.16)
3. key (voir 6.17).

When adding several numeric designations, add them in the following order:

1. serial number
2. opus number
3. number within the opus, if there is one.

Do not add a serial number or an opus number if a thematic catalogue number is added.

Examples :

100 1# $a Brahms, Johannes, $d 1833-1897. $t Concertos, $m violon, orchestre, $n op. 77, $r ré majeur

100 1# $a Schumann, Clara, $d 1819-1896. $t Scherzos, $m piano, $n no 1, op. 10, $r ré mineur

100 1# $a Beethoven, Ludwig van, $d 1770-1827. $t Sonates, $m piano, $n no 14, op. 27, no 2, $r do dièse mineur

100 1# $a Schubert, Franz, $d 1797-1828. $t Trios, $m piano, violon, violoncelle, $n D. 929, $r mi bémol majeur

Le numéro d'ordre (no 2) et le numéro d'opus (op. 100) ne sont pas enregistrés car le numéro de catalogue thématique est enregistré

100 1# $a Eckhardt-Gramatté, S. C. $q (Sophie-Carmen), $d 1899-1974. $t Symphonies, $n E. 104, $r do

Le numéro d'ordre (no 1) n'est pas enregistré car le numéro de catalogue thématique est enregistré; la distribution d'exécution n'est pas enregistrée car elle est implicite dans le titre

Add other elements to the authorized access point if it needs to be differentiated from another authorized access point (see 6.27.1.9).

Serial Number

Record a serial number in an authorized access point if works with the same title and the same medium of performance are consecutively numbered in music reference sources. Record serial number if works with the same title for different media are consecutively numbered in music reference sources if the medium of performance is omitted from the authorized access point per 6.28.1.9.1 exception a) ii).

See additional guidance on recording serial numbers in the Policy Statement for 6.16.1.3.1.

Librettos and Dramatic Musical Works

See Policy Statement 6.28.1.2 for distinguishing access points representing librettos and dramatic musical works written by the same person.

Last update: 2024-04-24

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6.28.1.9.1, Medium of performance

General

Use RVMMEM terms in the authorized access point, adjusting the form to plural if needed according to 6.28.1.9.1 Exception d). Record terms in this order:

a) voices
b) keyboard instrument if there is more than one non-keyboard instrument
c) the other instruments in score order
d) continuo.

For a work for solo instrument or instruments and accompanying ensemble or ensembles, add the terms for the solo instrument or instruments followed by the term for the accompanying ensemble or ensembles.

Example :

100 1# $a Baker, David, $d 1931-2016. $t Sonates, $m violon, ensemble à cordes frottées

For solo violin and string quartet

New Authority Records

Same Preferred Title and Unknown Medium of Performance
If there are two or more works by the same composer with the same preferred title and the medium of performance is unknown but the number of parts is known, record the number of parts following the term interprètes in the authorized access point.

Works for Keyboard Instruments
If a composer wrote more than one work of a particular type of composition that is for or includes various keyboard stringed instruments, use the one that predominates in the works of that type when adding the medium of performance. If no predominant instrument is apparent, use the term instrument à clavier.

Example :

100 1# $a Bach, Carl Phillipp Emanuel, $d 1714-1788. $t Sonates, $m instrument à clavier, $n H. 53, $r ré mineur

382 0# $a clavecin $n 1 $s 1 $2 rvmmem

For all works with preferred title "Sonates" written for a keyboard instrument, the term "instrument à clavier" is recorded in the authorized access point because no specific type of keyboard instrument is predominant

Existing Authority Records
A medium of performance term used in the 1XX field in an existing authority record may differ from the RVMMEM term for that voice or instrument. Do not modify the existing medium of performance term in an AACR2 or RDA authorized access point to match the RVMMEM term, unless that term is "continuo" or the authorized access point needs to be modified for some other reason.

Last update: 2024-04-24

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6.28.1.9.1, Alternative

Do not apply the 2nd sentence of Exception d). Always supply the number of parts if more than one for a particular instrument or voice, even if the number of parts is implicit in the preferred title. Apply all other exceptions in 6.28.1.9.1.

Last update: 2021-11-19

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6.28.3, Authorized Access Point Representing an Expression of Musical Work

[NEW]

In order to maintain current file integrity, when constructing an authorized access point for an expression of a musical work, if more than one characteristic of an an expression listed below is to be recorded, use the following priority order, omitting the ones that are not applicable:

1. Arrangements, transcriptions, etc. (use the term arrangé)
2. Esquisses [Sketches]
3. Partition de chant [Vocal score]
4. Partitions de chant [Vocal scores]
5. Partition de chœur [Chorus score]
6. Partitions de chœur [Chorus scores]
7. Traductions [Translations].

Example :

100 1# $a Strauss, Richard, $d 1864-1959.

240 10 $a Lieder, $n op. 10. $p Allerseelen; $o arrangé. $l Anglais

245 10 $a All souls' day = $b Allerseelen : four-part song for mixed voices : op. 10, no. 8 / $c Richard Strauss ; arranged by George Shackely ; original German text by Hermann von Gilm ; English text by George Shackley.

100 1# $a Kodály, Zoltán, $d 1882-1967.

240 10 $a Háry János. $s Partition de chant. $l Anglais

245 10 $a Háry János : $b Hungarian folk opera / $c Zoltán Kodály ; Hungarian libretto by Béla Paulini and Zsolt Harsányi ; English version by Olga Latham and Tony Butterfield.

100 1# $a Moore, Douglas, $d 1893-1969.

240 10 $a Œuvre. $k Extraits (Esquisses)

Last update: 2024-04-24

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6.28.4, Variant Access Point Representing a Musical Work or Expression

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Misattributed Musical Works and Expressions

For a misattributed musical work, or expression of a work, provide additional access points as may be appropriate to identify the work.

Last update: 2024-04-24

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6.29.1.29, Date of Promulgation of a Law, Etc.

When establishing a new authorized access point for a law, etc., and there is an existing access point with the same or similar title without a date of promulgation, add the dates of promulgation to both the new and existing access points. If the date of promulgation of the existing undated access point is unknown and cannot be readily ascertained, or if there is evidence that the existing undated access point has been used for laws promulgated on different dates, add the date of promulgation only to the law, etc. being established.

Examples :

110 1# $a France. $t Code de procédure civile (1806)

110 1# $a France. $t Code de procédure civile (1975)

The first access point was originally established without a date

110 1# $a Pérou. $t Código procesal penal (1991)

110 1# $a Pérou. $t Código procesal penal (2004)

The first access point was originally established without a date

but

110 1# $a États-Unis. $t Civil Rights Act of 1964

110 1# $a États-Unis. $t Civil Rights Act of 1991

The dates of promulgation are not added, as they are already in the preferred titles of the laws

Optionally, add the date of promulgation to a new authorized access point, even if there is no need to distinguish between access points.

Example :

110 1# $a $a Ghana. $t Criminal Procedure Code (1997)

Last Update: 2023-11-24

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Chapter 9

9.2.2.5.3, Names Found in a Non-preferred Script

For the instructions related to RDA 9.2.2.5.3, the language preferred for reference sources is French; the preferred script is the Latin script.

Authorized access points should be in the Latin script. Follow the romanization tables approved by PFAN.

Non-Latin forms may be recorded as variant access points (MARC field 4XX) for these languages/scripts: Perso-Arabic script (e.g., Arabic, Persian, Pushto, Urdu); Hebrew, Yiddish; Chinese, Japanese, Korean; Cyrillic-based scripts; and Greek.

Applicability

Persons who bear names derived from a non-Latin script but who write in a Latin script language should not be treated under this instruction. The decision that the person is writing in a Latin script language is based on the first item cataloged, i.e., the fact that the text of this item was originally written in a Latin script language. If it becomes evident later that most of the person's works were written in a non-Latin script, apply the provisions of this policy statement.

Last Update: 2022-04-19

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9.2.2.5.3, Alternative

All Other Languages Written in Non-Latin Scripts: Apply the alternative when the first element of the preferred name begins with either a given name or a surname. If a person is likely to appear in general English-language reference sources, search the Encyclopédie Larousse, the Petit Robert and the Encyclopædia Universalis in this order of priority. If the name is found in all three sources in a single form, use that form. If the form varies in these three sources, use the form found in the Encyclopédie Larousse. If the name is not found in all three of these sources, use the systematically romanized form of the name.

If the name is found in the Encyclopédie Larousse, use the name found there, if the encyclopedia only presents one form of name, or use the first form given, if two forms of name are given in the same article. If the Encyclopédie Larousse offers different forms found in different articles, prefer a form from the general encyclopedia to one from a specialized work. If the name is not found in the Encyclopédie Larousse, search the Petit Robert, and if the name appears, use the form found there. If the name is not found there, search the Encyclopædia Universalis and use the form found there. (Catalogers are encouraged to consult all three sources regardless of the search results to identify variants that may be cross-referenced). If the name is not found in any of these sources, use the systematically romanized form of the name (i.e., a romanized form from a romanization table approved by PFAN).

Exception: For famous persons entered under given name but not found in all three of the general French-language encyclopedias because of specialized fame, consult major specialized encyclopedias (e.g., Le nouveau Théo de Michel Dubost et Stanislas Lalanne, le Dictionnaire de l'Antiquité de Jean Leclant to determine if there is a well-established French-language form of the name. ("Found in" the reference source means that there is an article under the person's name.)

For persons who are not included in the three French general encyclopedia named above because their fame is too recent (for instance new authors, dancers, or people recently becoming famous as cultural or political figures), follow this order of preference:

1. If the name is found in a romanized source in a free, well-known and easy to consult online source, use this form, especially if a person who writes (or about whom others write) chiefly in another script provides a romanized form in such a source (e.g., Facebook, Linkedin) or, failing such a source, a general source (e.g., Wikipédia).
2. Consult major newspapers such as Le monde or La presse in order to determine if there already exists a well-established French form of the name.
3. Otherwise, use a systematically romanized form of the name.

Hebrew Alphabet: Follow this order of preference in choosing the heading for persons with names in the Hebrew alphabet:

1. If the name is found prominently in a romanized form in the resource being cataloged in a language using the Hebrew alphabet, use this form.
2. If the name is found as the heading for an article about the person in Dictionnaire encyclopédique du judaïsme , use this form.
3. If the name is found in a romanized form in a widely-known and easily-consulted free online source, use this form, especially where a person who writes or is written about primarily in the Hebrew script provides a preferred romanized form of the name in that source (e.g., Facebook, Linkedin) or, failing such a source, a general source (e.g., Wikipédia).
4. Otherwise, use the systematically romanized form of the name.
5. However,

1. If the authorized access point for an author who writes in a language using the Hebrew alphabet reflects the systematically romanized form and a subsequently-received resource containing the name in a Hebrew-alphabet language shows a non-systematically romanized name (i.e., a “found romanization”), generally do not change the authorized access point. This means that only in exceptional cases will systematically romanized names be candidates for change.
2. If the authorized access point for an author who writes in a language using the Hebrew alphabet reflects a non-systematically romanized form and a subsequently received resource containing the name in a Hebrew-alphabet language shows a different non-systematically romanized form (i.e., a different “found romanization”), do not change the authorized access point until the different form clearly predominates.

Last Update: 2024-03-26    Adapted from RDA LC-PCC PS

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9.3.4.3, Recording Period of Activity of Person

When recording the period of activity, use “activité” not "époque", "actif" or "active". The term "activité" should appear before the first period of activity date (e.g., "activité 12e siècle"), unless another term such as "jin shi" is used.

Last Update: 2023-05-16

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Chapiter 11

11.2, Name of Corporate Body

When the name of an individual performer appears in conjunction with the name of a performing group, unless there is other evidence generally do not consider the person's name to be part of the name of the group.

Examples

source

J.D. Crowe and the New South

authorized access point

110 2# $a New South (Groupe musical)

source

Artie Shaw and his orchestra

No name because body is unnamed

Last Update: 2023-11-24

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11.2.2.12, Names Found in a Non-preferred Script

Record a transliterated form of the corporate name in authorized access points where applicable, following the romanization tables approved by PFAN. Non-Latin forms that appear on the source may be recorded as variant access points in authority records (MARC field 4XX )for the following languages and scripts: Perso-Arabic script (e.g. Arabic, Persian, Pashto, Urdu); Hebrew, Yiddish; Chinese, Japanese, Korean; Cyrillic-based scripts; and Greek.

Last Update: 2023-11-24

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11.2.2.12, Alternative

Do not apply the alternative.

Last Update: 2023-11-24

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Chapter 16

16.2.2.2, Sources of Information

For names in Canada, base the form found in Canadian Geographical Names Database (CGNDB) from Natural Resources Canada
For names in Québec, base the form found in the following sources (in this order of preference):

1. Répertoire des municipalités
2. Banque de noms de lieux du Québec
3. other reference sources
4. the catalogued manifestation.

For names other than municipalities in Quebec, base the form found in the Banque de noms de lieux du Québec
For counties in the United States, use the form found in the French version of Wikipedia.
For the following countries, base the form found in the sources listed below (in the order of preference indicated) if French sources are consulted in vain or are not available and English sources must be consulted:

Country	Sources
Australia	1. VIAF 2. Geoscience Australia Place Name Search
United States	1. LC/NAF 2. Geographic Names Information System (GNIS)
Great Britain	1. LC/NAF 2. The Ordnance Survey gazetteer of Great Britain ou GEOnet Names Server (GNS)
New Zealand	1. LC/NAF 2. New Zealand Gazetteer of Place Names

Last Update: 2023-07-19

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Chapter 32

32.1, Related Corporate Body

Core element for PFAN

Related corporate body is a core element for PFAN for sequential relationships with immediately preceding and immediately succeeding corporate bodies (except conferences).

These instructions also apply to places established in the Canadiana authority file.

Last Update: 2023-05-02

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32.1.1.3, Recording Relationship to Related Corporate Body

[NEW]

Earlier Names Not Likely to be Needed as Relationships

In some circumstances, research will indicate that the corporate body being established had earlier names that are not likely ever to be needed as access points in bibliographic records. If a decision is made not to create separate authority records for these earlier names, record them in the source citation along with an indication that separate records were not needed, such as "[aucune publication dans la base de données de [library symbol]]"» or "[aucun point d’accès trouvé dans OCLC]."

Example :

110 2# $a Télésystème (Firme)

670 ## $a Site Web de Telesystem, consulté le 29 novembre 2023 : $b Accueil; À propos; Histoire (Télésystème; Serelco [aucune publication dans la base de données de BAnQ] devient en 1978 Télésystème) page Contact (Télésystème; situé à Montréal, Québec)

Last Update: 2024-05-15

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