By the end of the Sound Recordings Cataloging Workshop, the participant will be able to:
- Explain the difference between Record Types "i” and "j” and be able to list at least three kinds of ambiguous sound recordings that should be categorized as Type "i”.
- Explain the proper Type and Bibliographic Level coding for a sound recording that also happens to be a continuing resource.
- List the chief sources of information for sound recording discs and the prescribed sources of information for the major descriptive areas of a bibliographic record.
- Explain at least three major bibliographic differences that justify the creation of a new record for sound recordings.
- Explain the choice of entry for sound recordings that contain one work, two or more works by the same person or body, and works by different persons or bodies with a collective title.
- Explain the choice of entry for sound recordings that contain works by different persons or bodies without a collective title both in the "popular” and the "serious” idiom.
- Explain at least three instances where the use of field 006 may be appropriate.
- List at least two of the "bibliographic events” whose dates may be known in the cataloging of a sound recording and explain how to determine the most important dates.
- Explain when a sound recording duration belongs in field 300 and, when it does not, what are the options for listing durations.
- Explain how to use field 028 for multiple publisher numbers that are non-consecutive.
- List at least two of the types of standard numbers that should be coded in field 024.
- Explain at least three correct uses of field 246 and how its use is distinguished from that of field 740.
- Explain where the General Material Designation (GMD) should be placed.
- List the two 5XX fields in the record where performers might be included.
- Explain the difference between a standard contents note and an enhanced contents note.