1. Damian Iseminger New England Conservatory Constructing Access Points for Works and Expressions

2. Access Points for Works  Can represent:  A single work  Part or parts of a work  A compilation of works

3. Access Points for Works  General instruction The authorized access point for the person, family, or corporate body responsible for the work The preferred title for the work  Specific instructions  RDA 6.27.1-6.27.2 (except for musical works, legal works, religious works, and official communications)  RDA 6.28.1-6.28.2 (musical works)  Format  RDA Appendix E

4. No “rule of three”  Works with shared responsibility  Unless the work is considered a compilation, all collaborations will have an authorized access point consisting of: The authorized access point for the person, etc. indicated as being primarily responsible for the content OR the person, etc. first-named in the resource The preferred title of the work  Use of “Selections”  May be used when a compilation consists of two or more works

5. Person, Family, or Corporate Body Responsible for the Work Access Points for Musical Works

6. Categories of Works  Musical works with lyrics, librettos, text etc. (6.28.1.2)  Pasticcios, ballad operas, etc. (6.28.1.3)  Works composed for choreographic movement (6.28.1.4)  Adaptations of musical works (6.28.1.5)  Operas and other dramatic works with new text and title (6.28.1.6)  Cadenzas (6.28.1.7)  Music and incidental music for dramatic works, etc. (6.28.1.8)  Other types (6.27.1)

7. Similarities Between RDA and AACR2  6.28.1.2 (Words)  6.28.1.3 (Pasticcio)  6.28.1.4 (Ballets)  6.28.1.5 (Adaptations)  6.28.1.7 (Cadenzas)  6.28.1.8 (Incidental)  21.19A  21.19B  21.20  21.18C  21.28 RDAAACR2 ≈ = Roughly ≈ ≈

8. Changes in RDA from AACR2  New categories in Adaptations (6.28.1.5)  c) Harmony or musical style of the original work has been changed  d) Performances of musical works involving substantial creative responsibility for adaptation, improvisation, etc. on the part of the performer  Apply these conservatively and with caution!  Librettos (6.27.1)  Author of the libretto used in the name portion of the authorized access point  No alternative present, as in AACR2

9. Individual Work Preferred Titles Access Points for Musical Works

10. Introduction  Instructions located in RDA 6.14  General rules for capitalization, form of numbers, diacritics, initial articles, spacing of initials and acronyms and abbreviations in preferred titles located at 6.2.1  Capitalization instructions allow for the recording of unusual capitalization six bucks for anabelle's firetruck  Initial articles Default position: record initial articles Alternative: omit initial articles, unless the title is to be accessed under that article Die Meistersinger von Nürnberg BUT Los Angeles Street concerto

11. Introduction  Punctuation reflects the usage of the source of the preferred title  On resource: Requiem in/for C Preferred title: Requiem in/for C  On resource: Sunny side [of my soul] up YES: Sunny side [of my soul] up NO: Sunny side (of my soul) up  On resource: What is it? …what is it not? YES: What is it? …what is it not? NO: What is it? --what is it not?

12. Choosing the Preferred Title  Sources of information (6.14.2.2)  After 1500: Resources embodying the work or reference sources  Before 1501: Modern reference sources, or, failing that, use in this order: modern editions, early editions, ms. copies  Choosing (6.14.2.3)  Composer’s original title in the language in which it was presented  Exceptions for Better known title in the same language Long titles Numbered sequence (the Eroica exception)

13. Recording the Preferred Title  Manipulation (6.14.2.4)  Remove A statement of medium of performance Consider a due, a cinque or equivalent phrases in pre-twentieth century works to be a statement of medium Key Serial, opus, and thematic index numbers Numbers (unless an integral part of the title) Date of composition Adjectives and epitaphs not part of the original work title Consider the word concertant or its equivalent in pre-twentieth works to be an adjective, etc. if paired with a word denoting the number of instruments or voices, e.g. Duo concertant, Quartetto concertant  Sonata no. 3 for cello and piano in A major, op. 69

14. Recording the Preferred Title  Transformation (6.14.2.5)  For preferred titles consisting solely of the name of one type of composition  Record “in a language preferred by the agency creating the data” and in the plural, unless the composer wrote only one work of that type No longer using “cognates” as in AACR2 Record the accepted form of name in English (LC-PCC PS 6.14.2.5) Konzert = Concertos Lieder = Songs Gesänge = Songs Morceaux = Pieces Stücke = Pieces

15. Recording the Preferred Title  Best Practices recommendations  If a composition has a preferred title of a type, but the work is not of that type, do not consider it a type of composition. La valse : poème chorégraphique pour orchestre / Maurice Ravel Preferred title: Valse NOT Waltzes  Do not consider titles such as “Double concerto” or “Tripelkonzert” to be types of composition  Compound titles consisting entirely of types should be treated as distinctive titles Humoreske-bagateller Consists of two types, but in this case “Humoreske” is modifying “bagateller,” so treat as a distinctive title

16. Recording the Preferred Title  No RDA instruction for “Trio sonatas”  May be used as a type title, but only if resources embodying the work or reference sources use the term or its equivalent in other languages Triosonate, D-Dur, für zwei Violinen und Basso continuo (1701) = Trio sonatas BUT Sonate, F-Dur, für Flöte, Violin, und Basso continuo (1705) = Sonatas

17. Complete and Incomplete Compilations Access Points for Musical Works

18. Complete Compilation Types  Complete Works (6.14.2.8.2)  Record Works  Complete Works of Various Types for One Broad Medium (6.14.2.8.3)  Chamber music  Choral music  Instrumental music  Keyboard music  Vocal music

19. Complete Compilation Types  Complete Works of Various Types for One Specific Medium (6.14.2.8.4)  Piano music  Violin music  String quartet music  Complete Works of One Type for One Specific Medium or Various Media (6.14.2.8.5)  Sonatas  Songs  Symphonies

20. Incomplete Compilations (6.14.2.8.6)  Main instruction  Each work in an incomplete compilation should be identified separately  Alternative  Append Selections to one of the conventional collective titles formed according to 6.14.2.8.2--6.14.2.8.5  Individual works may also be recorded in addition to the collective preferred title  Best Practices recommends following the Alternative and if useful for identification and access, to record the individual works as well

21. Incomplete Compilations (6.14.2.8.6)  Changes from AACR2  Consecutively numbered works may no longer be identified using inclusive numbering Identify separately, or Use Selections appended to a collective preferred title, or Use both methods Example First, Second, and Third symphonies / Ludwig van Beethoven Record Symphonies. Selections NOT Symphonies, no. 1-3  Use of Selections Can never be used alone as a preferred title Use Works. Selections For two or more works

22. Additions to Musical Work Authorized Access Points

23. Categories of Additions  6.28.1.9  Preferred title consists solely of a type or types of composition  6.28.1.10  Preferred title is distinctive, but the authorized access is the same or similar to another  6.28.1.11  The preferred title is collective and represents works of one specific type

24. Types of Composition (6.28.1.9)  Add to the authorized access point  Medium of performance  Numeric designation  Key

25. Exception to 6.28.1.9  Medium of performance omitted if  The medium is implied by the preferred title  The preferred title is for a set where the medium is changeable from part to part within the set or is part of a series of works with the same title but different media  The composer made no designation of medium  The medium cannot be stated succinctly

26. Medium of Performance Additions to Musical Work Authorized Access Points

27. Major Differences from AACR2  No rule of three  Medium statement may be as long as it needs to be  Instruction for Groups of Instruments eliminated  Cello used instead of violoncello (LC/PCC)  More detailed instructions for indeterminate medium  Fewer abbreviated terms  Unaccompanied instead of unacc.  Accompanied instead of acc.

28. General Instructions  Order of elements (6.15.1.3)  Voices  Keyboard instrument if there is more than one non-keyboard instrument  Other instruments in “score order”  Continuo  The number of multiple parts for a single instrument/voice is added, unless implied  Trio for 2 violins and cello  Medium statement: violins, cello  Continuo used for parts variously named as basso continuo, thorough bass, continuo, or figured bass

29. Score order

30. Instrumental Music for One Performer to a Part (6.15.1.4)  All instruments are recorded  Specified instruments (6.15.1.6)  Indeterminate instruments (6.15.1.13)  Exceptions  Use percussion for multiple percussion instruments if not specified by the composer in the title  Use continuo in lieu of recording each continuo instrument  Consult 6.15.1.7 for individual instruments acting as an accompanying ensemble  Consult 6.15.1.5 for standard combinations of instruments

31. Recording Instruments (6.15.1.6)  Instrument names  cello instead of violoncello  English horn instead of cor anglais  contrabassoon instead of double bassoon  timpani instead of kettle drums  Keyboard instruments  Follow the LC-PCC PS and use an appropriate term  Omit designations of key and range  flute NOT alto flute  clarinet NOT clarinet in A  Omit alternative instruments from statement  Medium for violin (or flute) and cello violin, cello NOT violin or flute, cello

32. Indeterminate Medium (6.15.1.13)  One Family of Instruments, Collective Term, Etc.  Plucked instrument  Bass instrument  Range or Type of Instrument  Low instrument  Male voice  Some Instruments, Etc. Unspecified  Use unspecified instrument in combination with specific medium terms Priority order

33. Indeterminate Medium (6.15.1.13)  Number of Parts or Voices  Use voices followed by the number in curved brackets  Only record if the medium cannot be ascertained and the composer wrote other works which use the same preferred title  Medium Unspecified  Record unspecified  Will not be used in authorized access points because of 6.28.1.9 exception

34. Standard Combinations (6.15.1.5) The entire medium statement, with the exception of accompanied soloists, must consist of a standard combination in order to use this instruction Standard CombinationInstrumentationTerm Recorded string trioviolin, viola, violoncellostrings string quartet2 violins, viola, violoncellostrings woodwind quartetflute, oboe, clarinet, bassoonwoodwinds wind quintetflute, oboe, clarinet, horn, bassoon winds piano triopiano, violin, violoncellopiano, strings piano quartetpiano, violin, viola, violoncellopiano, strings piano quintetpiano, 2 violins, viola, violoncello piano, strings

35. Accompanying Ensembles with One Player to a Part (6.15.1.7)  Record a term for the appropriate instrument or family of instruments, followed by the word ensemble  string ensemble  guitar ensemble  Record instrumental ensemble when a more specific term is not available

36. Large Ensembles (6.15.1.8) and Soloists with Ensembles (6.15.1.9)  To name large ensembles, only use  orchestra  string orchestra  band  Soloists with Ensembles  Soloists Record each solo instrument (6.15.1.6 and 6.15.1.13) Unless a standard combination (6.15.1.5)  Ensemble Record the ensemble One player to a part (6.15.1.7) Large ensemble (6.15.1.8)

37. Accompaniment for Songs, Lieder, Etc. (6.15.1.12)  Preferred title implies a work for voice and keyboard stringed instrument alone  But work for voice and another instrument(s) or ensemble, or for solo voice  Record the accompanying instruments followed by accompaniment or if for solo voice use unaccompanied  Song for voice and violin  Medium: violin accompaniment  Song for voice and 2 violins, viola, and cello  Medium: string quartet accompaniment  Song for solo voice  Medium: unaccompanied

38. Creating Medium Statements for Authorized Access Points Group Exercises

39. ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER 1. The preferred title is Trios. The medium of performance is for clarinet (or violin), violoncello, and piano. piano, clarinet, cello 2. The preferred title for your work is Songs. The medium of performance is for soprano and orchestra. orchestra accompaniment 3. The preferred title is Rondos. The medium of performance is for glass harmonica, 2 violins, viola, violoncello, and double bass. glass harmonica, violins (2), viola, cello, double bass

40. ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER 4. The preferred title is Quintets. The medium of performance is for flute, clarinet, oboe, horn, and bassoon. winds 5. The preferred title is Songs. The medium of performance is for high voice, 2 violins, viola, and violoncello string quartet accompaniment 6. The preferred title is Rondo. The medium of performance is for a melody instrument and accordion. melody instrument, accordion

41. ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER 7. The preferred title for your work is Octet. The medium of performance is for flute, clarinet in B-flat (doubling on clarinet in A), 2 bassoons, trumpet in C, trumpet in A, tenor trombone and bass trombone. flute, clarinet, bassoons, trumpets, trombones 8. The preferred title is Variations. The medium of performance is violin, viola, violoncello, and piano. piano quartet

42. ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER 9. The preferred title is Trio sonatas. The medium of performance is for two violins, with a thorough bass consisting of organ, viola da gamba, and theorbo. violins, continuo 10. The preferred title is Overtures. The medium of performance is a large ensemble called wind orchestra. band 11. The preferred title is Sonatas. The medium of performance is for violin, piano, percussion, and contrabass. piano, violin, percussion, double bass

43. ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER 12. The preferred title is Suites. The medium of performance is for 6 violoncellos, contrabass, timpani, and piano. piano, cellos (6), double bass, timpani 13. The preferred title is Concertos. The soloist is a violin, accompanied by a string quartet. violin, string ensemble

44. ASSUME THAT THE ORDER OF INSTRUMENTS IN THE QUESTION IS SCORE ORDER 14. The preferred title for your work is Concertos. The soloists are a violin, violoncello, piano and the accompanying ensemble is orchestra. piano trio, orchestra 15. The preferred title for your work is Mass. The medium of performance is for soloists (SATB), chorus (SATB), and orchestra. No medium of performance statement is constructed

45. Numeric Designations, Key, and Other Additions Additions to Musical Work Authorized Access Points

46. Numeric Designation of a Musical Work (6.16)  Change from AACR2  Inclusive numbering may be recorded for aggregate works identified by consecutive numbering in reference sources or thematic indexes  no. 1-6, op. 18 Inclusive numbering for the first six string quartets by Beethoven, identified as an aggregate work in reference sources

47. Numeric Designation of a Musical Work (6.16)  Serial Numbers (6.16.1.3.1)  For works of the same type and medium which are consecutively numbered in reference sources  Numeric designations Use no. to precede the numeral if the work designation in English is “number” or its equivalent in another language, or no designation is present If the preferred title will be in English, but the designation is NOT “number” or its equivalent, use the designation in its English form, abbreviating or not abbreviating it according to the source In all other cases use the designation as it appears in the source  Ordinal numbers Use the English form (1 st, 2 nd, 3rd, etc.) for English titles Use 1., 2., 3., etc. for non-English titles  Choose one form of numbering if the form of numbering changes within a source used to determining the numbering

48. Numeric Designation of a Musical Work (6.16)  Opus Numbers (6.16.1.3.2)  Abbreviate opus to op.  Follow the opus number with the number within the opus  Add the publisher in curved brackets after the opus number if the numbering for a composer is confusing or misleading  Thematic Index Number (6.16.1.3.3)  Use in-lieu of the serial and opus number in an authorized access point for selected composers  Thematic Indexes Used in the LC/NACO Authority File Thematic Indexes Used in the LC/NACO Authority File

49. Key (6.17)  May be recorded for any work if  It is commonly identified in reference sources  It appears in the title proper of the first manifestation of the work  It is apparent from the resource described  Use the sharp and flat symbols and English terms for the mode

50. Other Additions (6.28.1.9.1)  Add one of the following in curved brackets if medium, numeric designation, and key cannot adequately differentiate the authorized access point from another  Year of composition  Year of original publication  Other identifying element Priority order

51. Distinctive Titles and Compilation Titles Additions to Musical Work Authorized Access Points

52. Access Points with Distinctive Titles That Are The Same or Similar (6.28.1.10)  Add either  A medium of performance statement OR  A distinguishing characteristic of the work  If needed, add one or more of the following  Numeric designation  Key  Year of composition  Year of first publication  Other identifying element

53. Compilations of the Same Type for the Same Medium (6.28.1.11)  Add the medium of performance for the compilation  For incomplete compilations, insert the medium statement between the preferred title and Selections  Initial access point for compilation: Beethoven, Ludwig van, 1770-1827. Sonatas. Selections With addition of medium of performance Beethoven, Ludwig van, 1770-1827. Sonatas, piano. Selections

54. Part or Parts of Musical Works Access Points for Musical Works

55. Single Parts (6.28.2.2)  Combine the authorized access point for the whole work with the preferred title for the part  Consult 6.14.2.7.1 for how to construct the preferred title for a single part  Generally the same as in AACR2 25.32A1

56. Multiple Parts (6.28.2.3)  Main instruction  Provide a authorized access point for each part  Consecutively numbered parts may not be identified using inclusive numbering  Alternative  Append Selections to the authorized access point for the whole work  May also supply authorized access points for each part in addition to using a Selections authorized access point  Best Practices recommends only following the Alternative when it is not feasible to create separate access points for each part

57. Suites (6.14.2.7.2, 6.28.2.3)  If a composer assembles a group of excerpts from the same work and calls the grouping “suite,” use suite as the preferred title for the parts  For the authorized access point, append suite to the authorized access point for the entire work  Appalachian spring suite / by Aaron Copland Copland, Aaron, 1900-1990. Appalachian spring. Suite

58. Unnumbered Parts Designated by the Same General Term (6.28.2.4)  If parts share the same part title within a work, add as many of the following in order to uniquely identify the part  Medium of performance  Numeric designation  Key  Date of composition  Date of first publication  Other identifying elements  If the above additions cannot be added, determine the number of the part within the set and add in curved brackets

59. Workflow: Individual Works and Compilations  Start with 6.28.1  Determine if the work falls into one of the categories in 6.28.1.2- 6.28.1.8  If not, consult 6.27  Construct the preferred title  Individual titles use 6.14.2.1-6.14.2.6  Compilation titles use 6.14.2.8.1-6.14.2.8.6  Combine the authorized access point for the person, etc. responsible for the work with the preferred title  Consult 6.28.1.9-6.28.1.11 for any additions  Use 6.28.1.9 for preferred titles which are a type of composition  Use 6.28.1.10 for authorized access points with distinctive preferred titles that are the same or similar to other access points  Use 6.28.1.11 for an authorized access point that has a collective preferred title

60. Workflow: Parts of Musical Works  Start at 6.28.2  But if no authorized access point exists for the larger work, begin at 6.28.1  Single part  Consult 6.28.2.2  Use 6.14.2.7.1 to determine the preferred title for the part  Multiple parts  To use Selections to represent 2 or more parts, consult the alternative at 6.28.2.3  Otherwise, consult 6.28.2.2 for how to form authorized access points for each part  Append the term Suite to the authorized access point for the larger work, if such a designation was used by the composer for a group of extracts from a larger work.  Consult 6.28.2.4 to determine if any additions need to be made to the authorized access point for the part

61. Creating Work Authorized Access Points Group Exercises

62. Provide an individual work access point: Falstaff (1893) commedia lirica in tre atti di Arrigo Boito musica di Giuseppe Verdi Creator access points: Boito, Arrigo, 1842-1918 Verdi, Giuseppe, 1813-1901 Verdi, Giuseppe, 1813-1901. Falstaff

63. Provide an individual work access point: Sonate für Pianoforte und Violoncell von L. van Beethoven op. 69 Further information: in reference sources, this has a serial number associated with it of no. 3. The key is in A major. Creator access point: Beethoven, Ludwig van, 1770-1827 Beethoven, Ludwig van, 1770-1827. Sonatas, cello, piano, no. 3, op. 69, A major.

64. Provide an individual work access point: Work identified in the Schmieder thematic catalog as: 533. Präludium und Fuge E-moll Orgel Creator access point: Bach, Johann Sebastian, 1685-1750. Bach, Johann Sebastian, 1685-1750. Präludium und Fuge, organ, BWV 533, E minor

65. Provide a compilation access point: Sonatas for cello and piano Brahms Further information: no. 1 is in E minor and is op. 38; no. 2 is in F major and is op. 99. Creator access point: Brahms, Johannes, 1833-1897. Current way: Brahms, Johannes, 1833-1897. Sonatas, cello, piano, no. 1-2 Future way: Brahms, Johannes, 1833-1897. Sonatas, cello, piano.

66. Provide an individual work access point: J.S. Bach: Gelobet seist du, Jesu Christ, BWV 722 Further information: The work is a chorale prelude for organ. There are cantatas and other chorale preludes with this same title. Creator access point: Bach, Johann Sebastian, 1685-1750. Bach, Johann Sebastian, 1685-1750. Gelobet seist du, Jesu Christ (Chorale prelude), BWV 722.

67. Provide an individual work access point: Rapsodie sur un the ̀ me de Paganini op. 43 pour piano et orchestra S. Rachmaninoff Further information: the piece is a set of variations based on Paganini’s op. 1 Caprice, no. 24 for violin. Possible creators: Rachmaninoff, Sergei, 1873-1943 Paganini, Nicolò, 1782-1840 Rachmaninoff, Sergei, 1873-1943. Rapsodie sur un the ̀ me de Paganini

68. Provide a compilation access point: MOZART Greatest Hits Further information: contains the overture to the Marriage of Figaro, the serenade Eine kleine Nachtmusik, the Jupiter symphony, and an aria from Don Giovanni Creator access point: Mozart, Wolfgang Amadeus, 1756-1791. Mozart, Wolfgang Amadeus, 1756-1791. Works. Selections

69. Provide an individual work access point: Sonata in mi minore per violoncello e basso continuo, no. 5 Antonio Vivaldi a cura di Gian Francesco Malipiero Further information: research reveals that this is also number 40 in Peter Ryom’s thematic index. Creator access point: Vivaldi, Antonio, 1678-1741 Vivaldi, Antonio, 1678-1741. Sonatas, cello, continuo, RV 40, E minor

70. Provide a work access point: MOTETS A UNE, DEUX, ET TROIS VOIX AVEC SYMPHONIE, ET SANS SYMPHONIE Compose par Mr* Campra Cinquiéme livre Further information: Campra wrote 4 earlier sets of motets, with designations similar to this one (livre with an ordinal number) Creator access point: Campra, André, 1660-1744 Campra, André, 1660-1744. Motets, 5th book

71. Provide a work access point: Douze Pièces pour Orgue par Eugène Gigout Copyright 1913 Further information: Gigout had 6 pièces pour orgue published in 1881 and 10 pièces pour orgue published in 1890 Creator access point: Gigout, Eugène, 1844-1925 Gigout, Eugène, 1844-1925. Pieces, organ (1913)

72. Access Points for Musical Expressions

73. Musical Expression Access Points (6.28.3)  Authorized access point for the work is combined with attributes that identify the expression  Create Expression Access Points to represent classes of expressions, not a unique expression  6.28.3.1 LC-PCC PS Do not further differentiate a musical expression access point from another musical expression access point of the same type Identifying attributes of a musical expression may be recorded as separate data elements within a resource description in order to uniquely identify a expression  6.27.3 LC-PCC PS The only musical expression access points to create are for the classes in 6.28.3

74. Musical Expression Access Points in Practice  Create Expression Access Points for the following  Arrangements (6.28.3.2)  Added Accompaniments (6.28.3.3)  Sketches (6.28.3.4)  Vocal and chorus scores (6.28.3.5)  Translations (6.28.3.6)  Record additions in the following order  Sketches  Arrangements  Vocal and chorus scores  Language terms  What about Selections? Wagner, Richard, 1813-1833. Lohengrin. Selections. Vocal score. English NOT Wagner, Richard, 1813-1833. Lohengrin. Vocal score. English. Selections

75. Arrangements (6.28.3.2)  Defined as  When the medium of performance is rewritten for another  When the work is in a simplified version  No LC-PCC PS exists for this like the extensive LCRI for AACR2 25.35C  Popular music  Only arranged if instrumental work re-written for vocals or vice versa  Use the designation arranged

76. Added Accompaniments (6.28.3.3)  Authorized access point for the work is used with no alterations  LC-PCC PS details how subject access should be provided for works with added accompaniments

77. Sketches (6.28.3.4)  Same instruction as AACR2 25.35B  Add Sketches in curved brackets to the authorized access point for the work

78. Vocal and Chorus Scores (6.28.3.5)  Same instruction as AACR2 25.35D  Use the Glossary definitions  Vocal score: A score showing all vocal parts, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted.  Chorus score: A score of a work for solo voices and chorus showing only the parts for chorus, at least in those portions of the work in which the chorus sings, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted.  Use the appropriate term in the singular for an individual work, in the plural for a compilation of works

79. Translations (6.28.3.6)  Only one language per access point  May not use Polyglot  RDA instructs that if a resource contains multiple language expressions of the same work, to create separate expression access points for each language expression  But this approach has significant problems, due to the fact that the original language of expression is implied in the authorized access point for the work

80. Example of Problem (6.28.3.6) Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro [implied language: Italian] Expression Access Points for a score of Figaro in Italian and English: Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. Italian Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. English But the bibliographic file looks like: Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. English Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. Italian

81. LC-PCC PS for 6.28.3.6  Only add the language to a work authorized access point when the language is different from the original language expression of the work  In MARC, provide access in the following manner 100 1# $a Mozart, Wolfgang Amadeus, $d 1756-1791, $e composer. 245 13 $a Le nozze di Figaro = $b The marriage of Figaro / $c Mozart ; translated by John Doe … 700 12 $i Contains (work): $a Mozart, Wolfgang Amadeus, $d 1756- 1791. $t Nozze di Figaro. 700 12 $i Contains (expression): $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Nozze di Figaro. $l English.

82. Creating Expression Access Points Group Exercises

83. 1. A recording by Leopold Stokowski and the Philadelphia Orchestra of J.S. Bach’s famous Toccata and Fugue in D minor. Work access point: Bach, Johann Sebastian, 1685-1750. Toccatas, organ, BWV 565, D minor Bach, Johann Sebastian, 1685-1750. Toccatas, organ, BWV 565, D minor; arranged 2. A recording by the Turtle String Quartet of John Coltrane’s A Love Supreme. Work access point: Coltrane, John, 1926-1967. Love supreme Coltrane, John, 1926-1967. Love supreme

84. 3. A score for clarinet quartet of the Lennon-McCartney song When I’m Sixty-Four Work access point: Lennon, John, 1940-1980. When I'm sixty- four Lennon, John, 1940-1980. When I'm sixty-four; arranged

85. 4. A Schirmer vocal score of Wagner’s Lohengrin in German with English and French translations. Work access point: Wagner, Richard, 1813-1833. Lohengrin Wagner, Richard, 1813-1833. Lohengrin. Vocal score [German] Wagner, Richard, 1813-1833. Lohengrin. Vocal score. English Wagner, Richard, 1813-1833. Lohengrin. Vocal score. French A recording in English of excerpts from Strauss’ Die Fledermaus. Work access point: Strauss, Johann, 1825-1899. Fledermaus. Selections Strauss, Johann, 1825-1899. Fledermaus. Selections. English