This study investigates to which degree international developments in cataloguing have influenced Swedish cataloguing rules (KRS). The results show that KRS has been influenced by international developments in cataloguing to varying degrees. The study also shows that KRS has been influenced by Anglo-American cataloguing rules, previous editions of Swedish cataloguing rules and by the work undertaken by the International Federation of Library Associations and Institutions. / Uppsatsnivå: D

The aim of this thesis is to describe and compare the cataloguing rules for sound recordings: the rules used by a specialised archive and common libraries respectively. We will put the rules in relation to purposes (the objectives of a bibliographic system) and principles (directives that guide the construction of a bibliographic language). The first question to be answered is in which way the set of rules used by a specialised archive differ from the one used by common libraries. The second question examines if and how the differences can be derived from purposes and principles. The sets of rules studied are KRS (chapter 6) and the Swedish version of the IASA Cataloguing Rules (1999), worked out by the National Archive of Sound and Moving Images (SLBA). The rules are compared, and the differences described and discussed in relation to the purposes and principles in Elaine Svenonius’ The Intellectual foundation of Information Organization (2000). The study shows that the rules answer to the principles and purposes, but indicates some differences. The SLBA version answers better to the principle of user convenience and the subprinciple of common usage: the user is in focus in decisions regarding new descriptions. KRS (chapter 6) answers better to the principle of representation and the subprinciple of accuracy: the description should be exact. The SLBA catalogue could be described as a “full-featured bibliographic system”; it addresses the user’s needs and helps to spread knowledge in the science community. / Uppsatsnivå: D

Literature and music as an expression of art have some parts in common, others can quite differ. Both are using a language, and both can exist in written representations. You can find such written or printed items in library catalogues. The aim of this two years master's thesis is to examine how cataloguing of printed fiction-literature and printed music looks like, what differences you can find in cataloguing of printed literature and printed music. This study is based on a comparative methodology and two different theories are used. The first describes the common tasks for library catalogues as they are known traditionally and recently (as FRBR-conceptual model), the other is a comparison of the two art-species literature (fiction) and music. This paper's first part is a comparison of how printed literature and printed music are catalogued in the Swedish national catalogue LIBRIS. This comparison first looked at the Swedish cataloguing rules in KRS (Katalogiseringsregler för svenska bibliotek) and exemplified with a selection of the printed fictional works of one author and the printed music of one composer for comparison. In a second step the FRBR-conceptual model was examined for differences in the basic requirements for national bibliographic records either for printed fiction-literature or for printed music, and how much of these basic requirements are represented in the data of the LIBRIS-catalogue. For both parts it was possible to show, that the differences in cataloguing of printed literature and printed music exist, but only on a more or less detailed level. The tasks for a catalogue are for both literature and music the same: to find a work, to show what a library has and to assist in the choice of a work. But the bibliographic data for printed music materials are much more detailed than those for printed fiction-literature because of differences in the nature of literature and music. I think an implementation of the FRBR conceptual model would improve the information-possibilities of library catalogues. Mostly the fifth FRBR-task to relate would give more valuable information to a catalogue, especially for literary (fiction) and musical products that usually exist in many different expressions.

The new cataloging code Resource Description and Access (RDA) provides a system of instructions for recording relationships between related resources by means of a controlled vocabulary of relationship designators. The purpose of this two years master’s thesis in Archive, Library and Museum studies is to examine the construction of this system, as well as its theoretical foundation. One theoretical point of departure is the necessity of operational definitions for consistent identification of bibliographic relationships. Another such point of departure is that the theoretical model on which RDA is based (the FRBR model) is not a complete description of the biblio­graphic universe, but merely a limited representation of a set of assumptions about that universe. The thesis first examines Barbara B. Tillett's and Richard P. Smiraglia's theories and taxonomies of bibliographic relationships. The analysis shows that, in spite of their claims to provide a theoretical basis for consistent treatment of bibliographic relationships, neither Tillett nor Smiraglia offers operationally applicable definitions. The thesis then turns to RDA in order to examine the instructions and the list of relationship designators. After an introductory survey of RDA chapters 24 to 28, the possibility to record relationship designators at different entity levels is discussed. Remarkably, RDA neither provides instructions for how to choose between the entity levels, nor does it point out what this choice signifies. Finally, a selection of relationship designators representing content relationships is examined. The selected designators are analysed and compared to corresponding categories in literary theorist Gérard Genette's attempt to classify intertextual relationships. The analysis shows that though some of the selected designators are satisfactorily operationalized, most are not.