. . . "Scope note:\nThis property associates an instance of F22 Self-Contained Expression with an instance of F2 Expression that was included in it and that is a realisation of an independent work. The incorporated expression may be self-contained or fragmentary.\n\nThis property makes it possible to recognise the autonomous status of the incorporated expression, which was created in a distinct context, and can be incorporated in many distinct self-contained expressions, and to highlight the difference between structural and accidental whole-part relationships between conceptual entities.\n\nIt accounts for many cultural facts that are quite frequent and significant: the inclusion of a poem in an anthology, the re-use of an operatic aria in a new opera, the use of a reproduction of a painting for a book cover or a CD booklet, the integration of textual quotations, the presence of lyrics in a song that sets those lyrics to music, the presence of the text of a play in a movie based on that play, etc.\n\nExamples:\nThe text of the present version of the FRBROO definition (F22) R14 incorporates The beginning of the Scope Note for E4 Period in the CIDOC CRM definition, version 4.4 (F23)\n\nThe text of the anthology entitled \u2018American Women Poets of the Nineteenth Century: An Anthology\u2019, edited by Cheryl Walker and published by Rutgers University Press in July 1992 (F22) R14 incorporates The text of the poem entitled \u2018Acquainted with Grief\u2019 and authored by Helen Hunt Jackson\n\nThe sonic content of the CD entitled \u2018Great moments of Lucia Popp\u2019 issued by EMI Music International in 1996 and identified by UPC/EAN \u20180724356577022\u2019 (F24) R14 incorporates The recorded performance of Mozart\u2019s aria entitled \u2018Der H\u00F6lle Rache\u2019 (also known as \u2018The Queen of the Night\u2019s Aria\u2019) by Lucia Popp accompanied by the Philharmonia orchestra conducted by Otto Klemperer in London, Kingsway Hall, between March 24, 1964 and April 10, 1964 (F26)\n\nThe set of instructions for the production of \u2018King Lear\u2019, directed by Sergei Radlov in Moscow in 1935 (F25) R14 incorporates The Yiddish text of \u2018King Lear\u2019 as translated by Shmuel Galkin (F22)\n\nThe set of instructions for the production of \u2018King Lear\u2019, directed by Sergei Radlov in Moscow in 1935 (F25) R14 incorporates the musical content of the score of the incidental music composed by Lev Pulver (F22)\n\nThe set of instructions for the production of \u2018King Lear\u2019, directed by Sergei Radlov in Moscow in 1935 (F25) R14 incorporates The visual items (E36) shown in Alexander Tyschler\u2019s scene settings and the models built by him for these settings (F22 and E36)\n\nThe set of instructions for the production of the ballet \u2018Rite of spring\u2019, as choreographed by Pina Bausch in Wuppertal in 1975 (F25) R14 incorporates the musical score of Igor Stravinsky\u2019s musical work \u2018Rite of spring\u2019 (F22)\n\t\t"@en . "incorporates"@en . . .