This webinar discussed managing works metadata. It featured three speakers: Kristin Antelman from NC State University, Magda El-Sherbini from Ohio State University, and Godfrey Rust from Ontologyx. The webinar covered the use and designation of works in GOKb, RDA's impact on technical and public library services, and works, identifiers and rights.

1. http://www.niso.org/news/events/2014/webinars/managing_metadata/
NISO Webinar: We Know it When We See It:
Managing "Works" Metadata
February 12, 2014
Speakers:
Kristin Antelman, Associate Director for the Digital Library,
North Carolina State University
Magda El-Sherbini, MLS, Associate professor and Head,
Collection Description and Access Department,
Ohio State University Libraries
Godfrey Rust, Principal Data Architect for Ontologyx, Rightscom

2. THE USE AND
DESIGNATION OF
“WORKS” IN GOKB
Kristin Antelman
February 12, 2014

3. WHAT IS GOKB (GLOBAL OPEN
KNOWLEDGEBASE)?
GOKb is a freely available communitymanaged data repository that will contain key
publication information about electronic
resources as it is represented within the
supply chain from content publishers to
suppliers to libraries.

4. GOKB PARTNERS

5. GOKB TIMELINE
GOKb Phase I:
Proof of Concept
Release
GOKb and KB+
collaborate on data
model
2011
2012
Funded by Mellon
Foundation & Kuali
OLE Partnership
2013
GOKb
Public
Release
2014
GOKb Phase II:
Partner Release
2015
2016
Community development
New partners
Enhanced functionaity

6. GOKB IN THE LIFECYCLE OF LICENSED
AND ELECTRONIC CONTENT
Select
•Package
•Trial
Assess
License
•Measures of Value
•Use
•Costs
•Activate
•Buy
Manage
GOKb supports, at each
stage, management of
e-resources
•Troubleshoot
•Manage Changes

7. GOKB
Global (GOKb)
Local
7

8. VALUE IN “FIT FOR PURPOSE”
METADATA
High cost of repurposing metadata developed
for another purpose or generic purpose
 Incompleteness
 Lack of match points
 Inconsistent granularity
 Implicit semantics
Fragility of serial work boundaries
 Cataloging practice vs. business decisions

9. CHANGES TRACKED IN GOKB
Title changes
 ISSN change as principal indicator
 Earlier Related Title and Later Related Title
Titles within a package on a platform (TIPPs)
Organization role changes, especially
Publisher transfers

10. PRECISION WHERE USEFUL FOR
ERM
Organizational relationships to resources
 Publisher
 Licensor
 Content Provider
 Broker
 Platform Provider
 Issuing Body
 Vendor
 Imprint

11. SERIAL TITLE CHANGE
MANAGEMENT
MARC
MARC display
text
Continued by
Continued in part by
Superseded by
Superseded in part by
Absorbed by
Absorbed in part by
Split into ... and ...
Merged with ... to form
...
Changed back to
Absorbed
In Series
Merged
Renamed
Split
Supplement
Translated
Transferred
Unknown
PRESSoo
Continuation
Replacement
Split
Merger
Separation
Temporary substitution

12. SERIAL TITLE CHANGE IN GOKB
Earlier related title
Later related title

13. “FIT FOR PURPOSE” METADATA IN
GOKB
“Title Instance”
Poultry Science
[publisher relationships]
[current publisher] [from date to date] Oxford University Press
[previous publisher] [from date to date]
Federation of Anima
Science Societies
[title relationships]
[variant title]
Poult. sci.
[earlier related title] [from date to date]
Journal of the American
Association of Instructors and
Investigators in Poultry
Husbandry

14. UTILITY OF “ASSOCIATED WITH”
Earlier, related and variant titles are
“associated with” relationships
 Don’t know if it’s
continued, superseded, absorbed, split, merged, etc
.
 Don’t have to know full title history
 Variants might be
abbreviations, translations, “known as,”
misspellings, etc.

15. UTILITY OF “ASSOCIATED WITH”
Identifier co-referencing service

16. GOKB.ORG
Kristin Antelman:
kristin_antelman@ncsu.edu

17. RDA’s Impact on Library Technical and
Public Services
NISO Webinar: We Know It When We See It: Managing
"Works" Metadata
February 12, 2014
1:00 p.m. - 2:30 p.m. (Eastern Time)
http://www.niso.org/news/events/2014/webinars/managing_metadata/
Magda El-Sherbini

18. Outline
• RDA’s impact on Technical Services
• RDA’s impact on Public Services

19. RDA’s Impact on Technical Services
–Cataloger training
–Decision making
–Integrating RDA records with legacy records
–Exporting RDA records from OCLC into your
OPAC
–OPAC displays
–New MARC21 fields to accommodate RDA
elements
–Authority processing - vendor services

20. 1. Cataloger training
• Functional Requirements for Bibliographic Records
(FRBR) and Functional Requirements for Authority
Data (FRAD)
• RDA terms
• Similarities/differences between RDA and AACR2
• Structure of RDA

21. 1. Cataloger training — Con’t
• RDA Online Toolkit
• In-house training
• Changing catalogers’ habits
• Continuing education
• Budgeting

22. 2. Decision making
• Selecting the type of RDA description
• Transcribing data elements from the source
• Choices in RDA

27. 3. Integrating RDA records with legacy records
• RDA was designed to be compatible with
internationally established principles, models
and metadata standards and to be compatible
with legacy records with little or no
retrospective conversion.

28. 4. Exporting RDA based records from OCLC into your
OPAC
OCLC RDA Policy Statement http://oclc.org/rda/newpolicy.en.html

29. 5. OPAC display
• Display problems in the OPAC
• Adjusting the online system to accommodate
the new MARC21 fields
– Vendor’s plans for RDA implementation
– Decisions about display and indexing of new fields
in your local system
– Librarians/ catalogers/ ILS vendors partnerships

30. 6. New MARC21 fields to accommodate RDA
elements
• A summary of all the changes made to MARC 21 to
accommodate RDA instructions can be found at the
LC MARC 21 Standards website under “RDA in MARC:
January 2011”.
http://www.loc.gov/marc/RDAinMARC29.html
This document should be consulted to
become familiar with the MARC 21 changes.

31. 7. Authority processing - vendor services
• Backstage Library Works
http://www.bslw.com/faq/rda/
• Library Technology, Inc. (LTI),
http://www.authoritycontrol.com/acrdalti

32. II. RDA’s Impact on Public Services
• How to identify RDA Records

33. Fewer abbreviations

34. Transcribe what you see, including typos in title
Monograph
245 00 Teusday’s tasks
246 3 $i Corrected title: $a Tuesday’s tasks
500 Title should read: Tuesday’s tasks.
Serial
245 00 Zoology studies
246 1 $i Misspelled title on number 1: Zooology studies
245 00 Housing starts
246 1 $i Sources of information on v.1, no. 1 reads: $a Housing
sarts

35. Transcribe what you see, including typos in title

36. Statement of responsibility

37. Statement of responsibility - naming more than three
OR:

38. Statement of responsibility - naming more than three

39. Edition Statement
AACR2
RDA
250 $a 2nd ed.
Source of information reads:
Second edition
250 $a Second edition.
Source of information reads:
Second edition
250 $a Nouv. éd.
Source of information reads:
Nouvelle édition
250 $a Nouvelle édition.
Source of information reads:
Nouvelle édition
250 $a Version 4.
Source of information reads:
Version IV
250 $a Version IV.
Source of information reads:
Version IV
250 $a 6. Aufl.
Source of information reads: 6.
Aufl.
250 $a 6. Aufl.
Source of information reads: 6.
Aufl.

40. Edition—Recorded as it appears on the title page

41. Publication Statement and MARC 21 tag 264

42. Publication place, publisher’s name and date changes
No “[S.l.]”, “[s.n.]”

43. Approximate Date of Publication, Distribution, Etc.
AACR2
[1971 or 1972]
[1969?]
[between 1906 and 1912]
[ca. 1960]
[197-]
[197-?]
[18--]
[18--?]
[not after Aug. 21, 1492]
RDA
[1971 or 1972]
[1969?]
[between 1906 and 1912]
[1960?]
[between 1970 and 1979]
[between 1970 and 1979?]
[between 1800 and 1899]
[between 1800 and 1899?]
[not after August 21, 1492]
[not before April 22, 2010]

44. General Material Designation Replaced by MARC 21
fields: 336, 337, and 338
AACR2
245 00 $a The sweet hereafter
$h [videorecording] / $c
Alliance Communications
presents an Ego Film Arts
production ; a film by Atom
Egoyan ; screenplay by
Atom Egoyan ; produced by
Camelia Frieberg and Atom
Egoyan ; directed by Atom
Egoyan.
RDA
245 00 $a The sweet hereafter /
$c Alliance Communications
presents an Ego Film Arts
production ; a film by Atom
Egoyan ; screenplay by Atom
Egoyan ; produced by Camelia
Frieberg and Atom Egoyan ;
directed by Atom Egoyan.
336 two-dimensional moving
image $2 rdacontent
337 video $2 rdamedia
338 videodisc $2 rdacarrier

45. New content, media, carrier fields

46. Access Points
AACR2
245 00 Managing bird damage to
fruit and other
horticultural crops/ $c
John Tracey … *et al.+.
700 1 Tracey, John Paul.
RDA
100 1 Tracey, John Paul, $e author.
245 10 245 00 Managing bird
damage to fruit and other
horticultural crops/ $c John
Tracey, Mary Bomford,
Quentin Hart, Glen
Sunders, Ron Sinclair.
700 1
700 1
700 1
700 1
Bomford, Mary, $e author.
Hart, Quentin, $e author.
Sanuders, Glen,$e author.
Sinclair, Ron, $e author.

47. Example record:

48. Uniform title--> Preferred title

49. Personal Name Headings
AACR2
Smith, John, 1924Smith, John, 1900 Jan. 10Smith, John, 1836 or 7-1896
Smith, John, ca. 1837-1896
Smith, John, 1837-ca. 1896
Smith, John, ca. 1837-ca. 1896
Smith, John, b. 1825
Smith, John, d. 1859
RDA
Smith, John, 1924Smith, John, 1900 January 10Smith, John, 1836 or 1837-1896
Smith, John, approximately 1837-1896
Smith, John, 1837- approximately 1896
Smith, John, approximately 1837approximately 1896
Smith, John, born 1825
LC Practice: Smith, John, 1825Smith, John, died 1859
LC practice: Smith, John, 1859

50. Parts of the Bible
AACR2
Bible. $p O.T.
Bible. $p N.T.
Bible. $p O.T. $p Ezra
Bible. $p N.T. $p Revelation
Bible. $p O.T. $p Genesis
XI, 26-XX, 18
RDA
Bible. $p Old Testament
Bible. $p New Testament
Bible. $p Ezra
Bible. $p Revelation
Bible. $p Genesis XI, 26XX, 18

51. Relationship designators

52. Multiple expressions in the same manifestation
No Polyglot
AACR2
130 0# Bible. $p O.T. $l Polyglot.
$f 2003.
245 10 Antigo Testamento
Poliglota : $b Hebraico,
Grego, Português,
Inglês.
546 ## Text in Greek, Hebrew,
Portuguese, and English in
columns on facing pages.
245 10
546 ##
730 02
730 02
730 02
730 02
RDA
Antigo Testamento
Poliglota : $b Hebraico,
Grego, Português, Inglês.
Text in Greek, Hebrew,
Portuguese, and English in
columns on facing pages.
Bible. $p Old Testament. $l
Hebrew. $f 2003.
Bible. $p Old Testament. $l
Greek. $f 2003.
Bible. $p Old Testament. $l
Portuguese. $f 2003.
Bible. $p Old Testament. $l
English. $f 2003.

53. Example:

54. How to identify an RDA record
• MARC coding changes for RDA bibliographic records
• Desc: value “i” (ISBD) if using ISBD punctuation
• 040 $a ____ $c ____ $e rda
• Other more obvious clues in public displays:
– New fields: Content type 336 ; Media type 337;
Carrier type 338
– Spelled out descriptions (e.g.
volumes, pages, illustrations…)

55. How to identify RDA records: fixed field and 040

56. More hints for identifying RDA records
– Copyright symbol © and phonogram symbol  for dates
– Search for RDA records in OCLC Connexion: e.g., dx:rda and
mt:bks and yr:2014 and kw:ohio

57. Sample RDA records in the OSU catalog
Typical book: http://library.ohio-state.edu/record=b6916140
Book with author affiliations and degrees: http://library.ohio-state.edu/record=b6927488
Book with multiple editors: http://library.ohio-state.edu/record=b6962108
DVD: http://library.ohio-state.edu/record=b7085946
Online resource: http://library.ohio-state.edu/record=b6964754
Sound recording: http://library.ohio-state.edu/record=b7109787
Music score: http://library.ohio-state.edu/record=b6976733

58. Conclusion
• Don’t hesitate to ask questions that were asked many times before.
• Follow discussion lists and blogs for discussions and updates.
• Submit comments to the Joint Steering Committee. They are
welcoming comments and suggestions.
• Keep in mind that most AACR2 rules are not changing. This will
make the training easy.
• Keep an open mind and do not panic. Remember you are not alone.

59. THANK YOU!
Comments or Questions
Magda El-Sherbini
el-sherbini.1@osu.edu

60. Works, identifiers and rights
Godfrey Rust Rightscom
NISO Webinar, February 12 2014
godfrey.rust@rightscom.com

61. To put it in context…
Twenty years ago the number of works being created by the
publication of manifestations directly on the internet was
negligible.

62. To put it in context…
Twenty years ago the number of works being created by the
publication of manifestations directly on the internet was
negligible.
Today, the number of new and adapted works created every day
on the internet is greater than the number of works created in the
entire analogue published output of civilisation.

63. To put it in context…
Twenty years ago the number of works being created by the
publication of manifestations directly on the internet was
negligible.
Today, the number of new and adapted works created every day
on the internet is greater than the number of works created in the
entire analogue published output of civilisation.
Digital publishing is making more or less every internet user a
creator, publisher, consumer, re-user, adaptor and cataloguer of
content.

64. To put it in context…
Twenty years ago the number of works being created by the
publication of manifestations directly on the internet was
negligible.
Today, the number of new and adapted works created every day
on the internet is greater than the number of works created in the
entire analogue published output of civilisation.
Digital publishing is making more or less every internet user a
creator, publisher, consumer, re-user, adaptor and cataloguer of
content.
Some of our supporting systems and standards require more than
a few tweaks to cope with this.

65. Three new initiatives…

66. The “LCC”: background
www.linkedcontentcoalition.org
Came from a project (2012): how to make licensing on the web
more efficient? Support from all sectors and some tech companies.
Groundwork: the LCC Framework, April 2013, including LCC data
model (“Rights Reference Model” - RRM). This showed that all types
of rights data, however complex, from all sectors can be expressed
in a single, extensible format.
Interoperability is a political and commercial problem, not a
technical one.

67. The “LCC”: members
www.linkedcontentcoalition.org
2014: a permanent consortium of data standards bodies
Founders
DOI Foundation (journals etc)
EDItEUR (publishing, ONIX etc)
IPTC (news)
MovieLabs (EIDR) (AV works)
NISO (bibliographic etc)
PLUS Coalition (images)
Also joining
CISAC (ISWC) (musical works)
IFPI (ISRC) (sound recordings)
ISAN (AV works)
ISMN (musical notation)
ISNI (party names)
ISTC (textual works)
and the LCC Forum for organizations supporting LCC goals who are
not standards bodies.

68. The “LCC”: scope
www.linkedcontentcoalition.org
Aim: To facilitate and expand the legitimate use of content in the
digital network through the effective use of interoperable
identifiers and metadata.
For different sectors to work together on areas of common
interest across media types and sectors.
To be a point of contact for other bodies wanting to engage with
content identifiers and metadata as a whole.
Open to all (non-standards bodies can join LCC Forum). Supports
any legal commercial or “free-use” models.

69. rdi
Rights Data Integration project
First LCC implementation. EC part-funded, started October 2013. A
prototype multi-media rights data “hub”.
Show how any rights of any complexity for any content can be
communicated, aggregated and traded using a data hub (based on LCC
model) through different user-facing rights exchanges.
Establishes some tools for interoperability between schemas/sectors for use
in the data network.
RDI includes a workstream to establish a global ID and registry standard for
still images.

70. rdi participants
“Sources”
Supply data
Publishing
Still images
Music
AV
Pearson Ediser
CEPIC Getty Album
FremantleMedia
Axel Springer
age fotostock/THP
Consolidated
Independent
IFRRO/IPTC member(s)
ARROW
PLUS
Capture/
British Library
Hub and mapping
mEDRA
CISAC member(s)
Kobalt Music
Danish AV
Producers
MovieLabs
PPL
CINECA
Rightscom
CEPIC/PLUS
Rights
Direct
“Exchanges”
Offer licences
and rights info
to users
Users
Other sources and exchanges
may participate

71. www.copyrighthub.co.uk
Launched July 2013, following the Hooper “Copyright Works” report in the
UK. All major content sectors represented.
User-focussed: to make it easy for people to discover rights data of any
kind, to enable licensing where appropriate.
Initial phase only information and linking (35 sites at present).
CEO and Board appointed in December 2013.
Technical development funded by UK Government through CDEC (Connected
Digital Economy Catapult). Operations funded by industry.
UK based, but rights and repertoire international.

72. www.copyrighthub.co.uk
Stage 2 in 2014 will introduce “federated search” to enable queries to be
sent to multiple databases and results aggregated for users.
Stage 3 in 2015 will provide links for people to register content and rights.
Copyright Hub will not be a registry or licensor itself, but enable others.
Focus is UK users, but covers international rights.
(US and other territories considering something similar).

73. The problem…
LCC, RDI and the Hub all want to help solve a “simple” problem:

74. The problem…
LCC, RDI and the Hub all want to help solve a “simple” problem:
“A person (or a computer) should be able to find – with a single
click or a single query – where they can get permission to use an
item of content in the ways that they want, with an automated
response from the rightsholder (or their representative) that says
“Yes”, “No” or “Yes, if the following conditions are met”. (from the
draft manifesto of the Copyright Hub).

75. The problem…
LCC, RDI and the Hub all want to help solve a “simple” problem:
“A person (or a computer) should be able to find – with a single
click or a single query – where they can get permission to use an
item of content in the ways that they want, with an automated
response from the rightsholder (or their representative) that says
“Yes”, “No” or “Yes, if the following conditions are met”. (from the
draft manifesto of the Copyright Hub).
In most cases, this requires identifying and acquiring rights to the
underlying work(s) as well as, or instead of, the manifestation.

76. The problem…
LCC, RDI and the Hub all want to help solve a “simple” problem:
“A person (or a computer) should be able to find – with a single
click or a single query – where they can get permission to use an
item of content in the ways that they want, with an automated
response from the rightsholder (or their representative) that says
“Yes”, “No” or “Yes, if the following conditions are met”. (from the
draft manifesto of the Copyright Hub).
In most cases, this requires identifying and acquiring rights to the
underlying work(s) as well as, or instead of, the manifestation.
So, among other things, Works need to be identified with “shared”
identifiers.

77. “Shared” identifiers
There are two ways in which identifiers can be effectively shared
in the network:

78. “Shared” identifiers
There are two ways in which identifiers can be effectively shared
in the network:
A standard ID – like ISBN or DOI – which everyone can use or
recognised directly, or…

79. “Shared” identifiers
There are two ways in which identifiers can be effectively shared
in the network:
A standard ID – like ISBN or DOI – which everyone can use or
recognised directly, or…
a mapping between two or more identifiers, so that one ID can be
automatically “translated” into another – the ISNI is being built on
this principle.

80. “Shared” identifiers
There are two ways in which identifiers can be effectively shared
in the network:
A standard ID – like ISBN or DOI – which everyone can use or
recognised directly, or…
a mapping between two or more identifiers, so that one ID can be
automatically “translated” into another – the ISNI is being built on
this principle.
(In fact, standard IDs are usually “mapped” to a system’s internal
IDs, so the approaches are similar, but often a “one-to-many hub”
service is needed, like the ISNI database.).

81. Work IDs
The Nielsen ISTC agency identifies these main uses of the ISTC
(International Standard Text Code): discoverability, rights
compliance, collocation and sales/loan analysis. This is a
reasonable basic list for any Work ID.

82. Work IDs
The Nielsen ISTC agency identifies these main uses of the ISTC
(International Standard Text Code): discoverability, rights
compliance, collocation and sales/loan analysis. This is a
reasonable basic list for any Work ID.
The Manifestation/Work split applies to every type of content in
every sector – but because each has different characteristics, the
recognition of Works as distinct entities has developed at different
speeds.

83. Work IDs
The Nielsen ISTC agency identifies these main uses of the ISTC
(International Standard Text Code): discoverability, rights
compliance, collocation and sales/loan analysis. This is a
reasonable basic list for any Work ID.
The Manifestation/Work split applies to every type of content in
every sector – but because each has different characteristics, the
recognition of Works as distinct entities has developed at different
speeds.
Digital and the internet changes the game: Work IDs are needed
for everything, in broadly similar ways.

85. Manifestation > Work
When does a new manifestation require the identification of a
new Work? No definitive rules: an art, not a science.

86. Manifestation > Work
When does a new manifestation require the identification of a
new Work? No definitive rules: an art, not a science.
Three elements of change: adaptation, aggregation,
fragmentation which may prompt identification of a new Work.

87. Manifestation > Work
When does a new manifestation require the identification of a
new Work? No definitive rules: an art, not a science.
Three elements of change: adaptation, aggregation,
fragmentation which may prompt identification of a new Work.
Cultural/academic domains use different criteria for identifying
works from commercial domains.

88. Manifestation > Work
When does a new manifestation require the identification of a
new Work? No definitive rules: an art, not a science.
Three elements of change:
adaptation, aggregation, fragmentation which may prompt
identification of a new Work.
Cultural/academic domains use different criteria for identifying
works from commercial domains.
Three sectors in which Work IDs are widely implemented: journal
articles (Crossref DOI), musical works (ISWC) and serial
publications (ISSN).

89. Manifestation > Work
When does a new manifestation require the identification of a
new Work? No definitive rules: an art, not a science.
Three elements of change: adaptation, aggregation,
fragmentation which may prompt identification of a new Work.
Cultural/academic domains use different criteria for identifying
works from commercial domains.
Three sectors in which Work IDs are widely implemented: journal
articles (Crossref DOI), musical works (ISWC) and serial
publications (ISSN).
Let’s look briefly at the first two as use cases to see what we learn
in general for what needs to happen.

90. Use case 1: journal articles
Crossref has issued more than 65 million DOIs to journal articles
(and related content like book chapters) since 2000: its main
function is linking to citations.

91. Use case 1: journal articles
Crossref has issued more than 65 million DOIs to journal articles
(and related content like book chapters) since 2000: its main
function is linking to citations.
This has both cultural/academic and commercial value, and in this
use case the criteria for identifying the work for both purposes is
effectively the same.

92. Use case 1: journal articles
Crossref has issued more than 65 million DOIs to journal articles
(and related content like book chapters) since 2000: its main
function is linking to citations.
This has both cultural/academic and commercial value, and in this
use case the criteria for identifying the work for both purposes is
effectively the same.
What Crossref shows is that “Digital Object Identifiers” are in fact
used to identify Works, not digital manifestations or items. It is a
“digital identifier”, but the thing it identifies is an abstract Work.

93. Use case 1: journal articles
Crossref has issued more than 65 million DOIs to journal articles
(and related content like book chapters) since 2000: its main
function is linking to citations.
This has both cultural/academic and commercial value, and in this
use case the criteria for identifying the work for both purposes is
effectively the same.
What Crossref shows is that “Digital Object Identifiers” are in fact
used to identify Works, not digital manifestations or items. It is a
“digital identifier”, but the thing it identifies is an abstract Work.
All DOIs so far (in other sectors as well) identify Works, not
manifestations, so Work identification is critical in the digital
network.

94. Use case 2: musical works
Widespread global identification of musical works since the mid
20th century, because it is essential for rights administration
(CISAC/BIEM music copyright societies).

95. Use case 2: musical works
Widespread global identification of musical works since the mid
20th century, because it is essential for rights administration
(CISAC/BIEM music copyright societies).
Rights in the main manifestation (sound recording) and the work
(composition) are typically owned by different parties – so
separate IDs are essential. This split not so common or obvious
with other content types – until things went digital.

96. Use case 2: musical works
Widespread global identification of musical works since the mid
20th century, because it is essential for rights administration
(CISAC/BIEM music copyright societies).
Rights in the main manifestation (sound recording) and the work
(composition) are typically owned by different parties – so
separate IDs are essential. This split not so common or obvious
with other content types – until things went digital.
Musical Work identification with mapped IDs until ISWC
introduced as a standard (2001).

97. Use case 2: musical works
Widespread global identification of musical works since the mid
20th century, because it is essential for rights administration
(CISAC/BIEM music copyright societies).
Rights in the main manifestation (sound recording) and the work
(composition) are typically owned by different parties – so
separate IDs are essential. This split not so common or obvious
with other content types – until things went digital.
Musical Work identification with mapped IDs until ISWC
introduced as a standard (2001).
Criteria for identification is commercial (rights-based), not cultural
(“musicological”)

98. Use case 2: musical works
(Two examples from 1990s in UK)

99. Use case 2: musical works
(Two examples from 1990s in UK)
“Silent Night”/”Stille Nacht” (Mohr/Gruber): over 300 different
works in MCPS database, because anyone making a recording can
claim “an arrangement”. “Yesterday” (Lennon/McCartney): one
work, no arrangements because copyright owners won’t recognise
them.

100. Use case 2: musical works
(Two examples from 1990s in UK)
“Silent Night”/”Stille Nacht” (Mohr/Gruber): over 300 different
works in MCPS database, because anyone making a recording can
claim “an arrangement”. “Yesterday” (Lennon/McCartney): one
work, no arrangements because copyright owners won’t recognise
them.
Musicological definition would be completely different – possibly
more genuine arrangements of “Yesterday” than “Silent Night”.

101. Use case 2: musical works
(Two examples from 1990s in UK)
“Silent Night”/”Stille Nacht” (Mohr/Gruber): over 300 different
works in MCPS database, because anyone making a recording can
claim “an arrangement”. “Yesterday” (Lennon/McCartney): one
work, no arrangements because copyright owners won’t recognise
them.
Musicological definition would be completely different – possibly
more genuine arrangements of “Yesterday” than “Silent Night”.
Music for television: because royalty payments were based on
number of different works used, not on duration,
composers/publishers identified every fragment as a new work
(“Man opens door”, “Man closes door” etc).

102. Requirements for Work IDs
This clash of commercial vs academic/cultural exists, more or less,
in every sector – and different criteria within both types will apply
according to rules or conventions in different places, but…

103. Requirements for Work IDs
This clash of commercial vs academic/cultural exists, more or less,
in every sector – and different criteria within both types will apply
according to rules or conventions in different places, but…
…if exclusive rights holders can be different for the same place and
time, those works must have distinct IDs, and…

104. Requirements for Work IDs
This clash of commercial vs academic/cultural exists, more or
less, in every sector – and different criteria within both types will
apply according to rules or conventions in different places, but…
…if exclusive rights holders can be different for the same place and
time, those works must have distinct IDs, and…
…if works are recognised as fundamentally distinct for
academic/bibliographic reasons within institutions managing
them, they must have distinct IDs.

105. Requirements for Work IDs
This clash of commercial vs academic/cultural exists, more or less,
in every sector – and different criteria within both types will apply
according to rules or conventions in different places, but…
…if exclusive rights holders can be different for the same place and
time, those works must have distinct IDs, and…
…if works are recognised as fundamentally distinct for
academic/bibliographic reasons within institutions managing
them, they must have distinct IDs.
It is futile for either domain to attempt to enforce it’s own
definitions of granularity onto the other, so…

106. Requirements for Work IDs
This clash of commercial vs academic/cultural exists, more or
less, in every sector – and different criteria within both types will
apply according to rules or conventions in different places, but…
…if exclusive rights holders can be different for the same place and
time, those works must have distinct IDs, and…
…if works are recognised as fundamentally distinct for
academic/bibliographic reasons within institutions managing
them, they must have distinct IDs.
It is futile for either domain to attempt to enforce it’s own
definitions of granularity onto the other, so…
…Work ID systems must accommodate both in parallel.

107. (The sting in the tail for libraries?)
Commercial parties generally have no need in recognising an
academic/bibliographic identification because it is further down
the supply chain, but the same will not always be true for cultural
and educational institutions who will be required at times to
recognise “commercial” IDs. This is not yet a major issue, but it is
likely to become one.

108. (The sting in the tail for libraries?)
Commercial parties generally have no need in recognising an
academic/bibliographic identification because it is further down
the supply chain, but the same will not always be true for cultural
and educational institutions who will be required at times to
recognise “commercial” IDs. This is not yet a major issue, but it is
likely to become one.
So, how exactly does all this fit together?...

109. Four things that need IDs
Party

110. Four things that need IDs
Party
Party identification is critical to rights management – and work
identification (“which John Smith”?)
The ISNI (International Standard Name Identifier) is becoming
established as a global Party “linking ID”. Linking everyone up via
ISNI is the top priority for building the rights data network
infrastructure. Every party in the network need unique
identification.

111. Four things that need IDs
Party
makes
uses
Creation
The gaps in Creation IDs – especially Work IDs – need to be filled.
Textual works and images are the main weaknesses. “Direct-toWeb” published content is a huge and growing gap.

112. Four things that need IDs
Party
makes
Rights
Assignment
makes
uses
Creation

113. Four things that need IDs
Party
makes
Rights
Assignment
makes
uses
Creation
Rights Assignments
(Licenses, policies and laws) need
identification within systems, but
not necessarily “public” shared
IDs. What matters is to identify…

114. Four things that need IDs
Party
makes
uses
Creation
makes
Rights
Assignment
creates
Right

115. Four things that need IDs
Party
makes
uses
makes
Rights
Assignment
Creation
applies to
creates
Right

116. Four things that need IDs
Party
makes
Rights
Assignment
makes
uses
Creation
held by
applies to
creates
Right

117. Four things that need IDs
ID
ID
ID
ID
ID
ID
ID
ID
ID
ID
When these things, and the links that connect them, are identified
with shared IDs, we will have an effective rights data network .

118. Rights and Rights IDs
The lack of an ID for a Right (or a model for a Rights as a distinct
data entity) is the biggest gap in the network.

119. Rights and Rights IDs
The lack of an ID for a Right (or a model for a Rights as a distinct
data entity) is the biggest gap in the network.
Rights data in general at present is stored and managed in
proprietary ways, heavily free text-based, with inadequate
common vocabularies. It is labour intensive to work with and
poorly integrated with other business functions.

120. Rights and Rights IDs
The lack of an ID for a Right (or a model for a Rights as a distinct
data entity) is the biggest gap in the network.
Rights data in general at present is stored and managed in
proprietary ways, heavily free text-based, with inadequate
common vocabularies. It is labour intensive to work with and
poorly integrated with other business functions.
The most common way of publicly declaring rightsholdings (if it is
done at all) is through free text © notices, and the most common
way of declaring licensing terms is an unreadable legal T&C
document.

121. Rights and Rights IDs
The lack of an ID for a Right (or a model for a Rights as a distinct
data entity) is the biggest gap in the network.
Rights data in general at present is stored and managed in
proprietary ways, heavily free text-based, with inadequate
common vocabularies. It is labour intensive to work with and
poorly integrated with other business functions.
The most common way of publicly declaring rightsholdings (if it is
done at all) is through free text © notices, and the most common
way of declaring licensing terms is an unreadable legal T&C
document.
Creative Commons has done an excellent job to introduce
digital, computer-readable standard licenses - for “free use”.

122. Rights and Rights IDs
There are some rights expression languages, but these are mainly
used for expressing usage rights granted for specific digital objects
on a individual basis.

123. Rights and Rights IDs
There are some rights expression languages, but these are mainly
used for expressing usage rights granted for specific digital objects
on a individual basis.
What LCC has done is to define a Right as a distinct data entity not just a set of attributes attached to a creation or a license.

124. Rights and Rights IDs
There are some rights expression languages, but these are mainly
used for expressing usage rights granted for specific digital objects
on a individual basis.
What LCC has done is to define a Right as a distinct data entity not just a set of attributes attached to a creation or a license.
If Rights are given IDs, they can then be linked to Creation IDs and
Party IDs like any other kind of linked data, and in principle
rightsholding data can be made available to anyone.

125. Rights and Rights IDs
There are some rights expression languages, but these are mainly
used for expressing usage rights granted for specific digital objects
on a individual basis.
What LCC has done is to define a Right as a distinct data entity not just a set of attributes attached to a creation or a license.
If Rights are given IDs, they can then be linked to Creation IDs and
Party IDs like any other kind of linked data, and in principle
rightsholding data can be made available to anyone.
Identifying Rights with distinct IDs is a new idea, but it seems that
it will have to happen sooner or later, because…

126. 4 reasons why this is unavoidable…
Rights data needs to exist independently, not embedded as
metadata in digital content – (1) it can change over time, and (2)
several different parties may assert rights in the same content.

127. 4 reasons why this is unavoidable…
Rights data needs to exist independently, not embedded as
metadata in digital content – (1) it can change over time, and (2)
several different parties may assert rights in the same content.
Rights often apply to multiple creations, and to sets of creations
that change regularly.

128. 4 reasons why this is unavoidable…
Rights data needs to exist independently, not embedded as
metadata in digital content – (1) it can change over time, and (2)
several different parties may assert rights in the same content.
Rights often apply to multiple creations, and to sets of creations
that change regularly.
It is essential to know “who sez” that a rights claim is true if a
system is going to trust it – and these assertions have to be
associated with an individual Right claim, not just with a Creation.

129. 4 reasons why this is unavoidable…
Rights data needs to exist independently, not embedded as
metadata in digital content – (1) it can change over time, and (2)
several different parties may assert rights in the same content.
Rights often apply to multiple creations, and to sets of creations
that change regularly.
It is essential to know “who sez” that a rights claim is true if a
system is going to trust it – and these assertions have to be
associated with an individual Right claim, not just with a Creation.
Finally, when conficts occur in rights data – as they are now doing
commonly with YouTube and similar content providers – a way is
need to automatically identify them so they can be resolved.

130. In summary…
Work IDs are becoming essential for all content types at any level
of granularity.
They may be validly defined according to both commercial and
cultural criteria.
Every party participating in the network will need to be linked to
an ISNI.
Rights need to be distinctly identified with a Right ID, and defined
using mapped common vocabularies.

131. Works, identifiers and rights
Godfrey Rust Rightscom
NISO Webinar, February 12 2014
godfrey.rust@rightscom.com

132. NISO Webinar:
We Know it When We See It: Managing "Works"
Metadata
Questions?
All questions will be posted with presenter answers on
the NISO website following the webinar:
http://www.niso.org/news/events/2014/webinars/managing_metadata/
NISO Webinar • February 12, 2014

133. THANK YOU
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