Vous êtes sur la page 1sur 44

CLASSIFICATION of

MUSICAL COMPOSITIONS
A DECIMAL-SYMBOL SYSTEM

GEORGE SHERMAN DICKINSON

Digitized by the Internet Archive


in

2011 with funding from

Boston Library Consortium

Member

Libraries

http://www.archive.org/details/classificationofOOdick

(Classification
A

of Musical

(Compositions

DECIMAL-SYMBOL SYSTEM

GEORGE SHERMAN DICKINSON

VASSAR COLLEGE

POUGHKEEPSIE
IQ

S 8

NEW YORK

IUN 1

1939

eusux

college

vam.

PUBLISHED WITH THE ASSISTANCE OF A GRANT

FROM THE LUCY MAYNARD SALMON FUND FOR RESEARCH


OF VASSAR COLLEGE

This book has been issued

in

an edition of two-hundred
copies, of

Slumber

which

this

is

-J-.V f.
.

goon

D 3vGr

COPYRIGHT 1938 by GEORGE SHERMAN DICKINSON

AC%NOWLEDQMENTS
d_ The music

section of the Library of Congress system of classification has

been very useful

as a check-list

d_ The system

of the Institut international de Bibliografhie (Brussels)

of the items to be covered.

has

been of assistance in showing the resources and method of operation of symbols.

^L Valuable advice and criticism have been received from colleagues at Vassar
Fanny Borden, librarian and from Miss Natalie Mestechin,

College: from Miss


assistant

help,

music librarian. Grateful acknowledgment

and

to

my

wife for proofreading.

is

made

to these sources of

CONTENTS
C

It

is

view of

intended that the contents shall serve as a conspectus of the system, and, in
its synthetic character, take the place of an index to a considerable extent.

.....

ABliKZVlAl IUNS, SIGNS, TABLE INDEX

INTRODUCTION
I.

APPLICATION
1.

Conventions
I.

ii.

ni.
iv.

v.

Call

Number

Precedence

10

Assumptions

Omission
Curtailment

Options
I.
Combination
in.

II.

....
....
....
....
....
....
....
....
....
....
....

Combinations
i.
Accommodation
ii.
Formulae

ii.

9
9
10

Version

3.

..........
....
....

Numerals
Symbols and Letters

Form

2.

Contraction

Form

to Various

Types

11
11

11
11
11

11

of Library

11

12
15
15

15
15

TABLES
d. The tables are designated by mnemonic index letters: these letters are for convenience of reference only and do not appear in the call number itself. They are printed
throughout the system in Italic^ shown in the contents in a separate column, and summarized in the table index, (page 6). ft refers to the Cutter or Cutter-Sanborn Alphabetical-order Tables.

CL The characters which enter into the notation of the system are shown in the contents
in a separate column (see abbreviations, page 6).

1.

2.

Location (segregation complementary

to classification)

TABLE

CHARACTER

I.e.

16

dec.

17

PAGE

Classification
i.

Class Synopsis

MISCELLANEOUS
Several

or

Special Classes

18

INSTRUMENTAL
1

Keyboard

and solo ensemble


(bowed)

....

solo

String

Wind

Plectral

solo

Chamber

ensemble (groupings of

solo

solo

and Various

Other

68

4]

19

20

classes 2, 3,

4 also these with class 1


solo-chamber ensemble (concern)
;

58

19

Orchestral ensemble
solo-orchestral ensemble (concerti)

20
20
21

21

CONTENTS

5
TABLE

VOCAL
7

Voice

78

folk and patriotic


Choral and Solo-Choral ensemble

98

Subdivision
Species

(2)

Historical Categories

Medium

ii.

in.

4.

25

(to

25
25

dramas)

25

CD

dec.

,18

dec.

26
26

dec.

28

29

(2)

Voices

Grouping

(4)

Tessitura

Form
( 1 )

Original (assumed and unexpressed)

(2)

Arranged, entire

(3)

Arranged, accompaniment only

Qualification

-dec.

-I.e.

30

F
Fa

......
.....
.....
....
....
......
....
.....
......

(2)

Religion-church

(3)

Date

(4)

Occasion

Book Mark ("book number")


Individual composers

Mark

(1)

Collections (class, subclass, division or subdivision)

(2)

Individual composers:

30

30

31

31

32
32

dec.

33

Collections (class, subclass, division or subdivision)

(2)

30

31

Nationality-language

Title

29
29
29
29
29

-I.e.

( 1 )

(1)

ii.

24

Distinction
i.

22

Accompaniment

(3)

PAGE

23

....
.....
......
.....
....
......
......
....
.....
.....
.....
.......
....
......
....
....

(1)

ensemble

and Division

Class

Extension
I.

solo

BALLETS
incidental music

95

3.

and

Dramatic ensemble

ill.

solo

LITURGIC

88

II.

CHARACTER

(with or without instruments)

a
T

33

A2, A3,
Aal &c

A4

33
33
35

I.e.

35

Complete

a5

35

Partial

a6

35

Collections (one composer)

Separates

Title

Subtitle

Excerpt

Act or part, scene or number


Opus and number
.

Number
Key
Movement
in.

Edition

Mark

(of a series)

......
......

(1)

Editor

(2)

Edition number

35
35

/I.e.

35

(/)
(/)

35

35

)"

{Roman

35

(by)

I.e.
I.e.

35
I.e.]

35

cap.

37
37

dec.

37

^ABBREVIATIONS
ABBR.

MEANING

ABBR.

MEANING

acc.

accompanied, accompaniment

fl.

flute

anon.

anonymous

arr.

arranged, arrangement

cap.

i.e.

that

indiv'l

individual

capital letter

inst.

instrument

inst'l

instrumental

Cath.

Catholic

cent.

century-

cf.

chamb.

compare
chamber

cho.

chorus

col.

collection

comb.

combination

compl.

complete
compiler

is

kbd.

keyboard

Lai.

Latin

I.e.

lower case

libr.

library

lit.

liturgic

composer

cong'l

congregational

misc.

miscellaneous

Cutter or Cutter-Sanborn

mov't

movement

ms.

manuscript

no.

number

dec.

decimal

dram.

dramatic

ed.

edited, edition

e.g.

for

Eng-.

English

ens.
etc.

ex.

example

obbl.

obbligato

occ'l

occasional

performer

P f.

pianoforte

plec.

plectral

quar.

quartet

quin.

quintet

sacr.

sacred

seas'l

seasonal

sec.

secular

sev.

several

str.

string

subdiv.

subdivision

symph.

symphony

tech.'s

technics

tes.

tessitura

tr.

translated, translation

transc.

transcribed, transcription

unacc.

unaccompanied

viola

opus
orchestra

ensemble

org.

organ

va.

and so forth
example

orig.

original

VC.

violoncello

over.

overture

vln.

violin

TABLE INDEX
INDEX
LETTER

MEANING

B
C

TABLE

......
......
.......
......
.....
.......
.......
.......
.....
.......
......
.......
......
.......

accompaniment
book mark

{L

introductory note

section reference

"j^i

footnote reference

date

edition

form: arranged, entire

(followed by identifying no.)


(T)

combination reference

&c

continue in the same

omitted

(encircled numeral)

in

the

way

call

no.

and

understood

in

the call no. required

See also symbols, (5)

"

class synopsis

PAGE
29
33
17

Cutter or Cutter-Sanborn Alphabetical-order Tables

mark

Fa

form: arranged, accompaniment only

grouping

32
37

30
30

29
28

historical

location

nationality-language

31

occasion

32

notation lacking and no factor

[6]

partial

orch.

part'l

perf.

op.

sigNS
SIGN

MEANING

letter

complr
compsr

Alphabetical-order Tables

ABBR.

16

religion-church

31

species

26

title

voices

mark

35

29

INT^DUCTION
Classification, in library parlance, implies both the

homogeneous

theoretical assignment of materials to

and a corresponding physical assemblage of


the volumes containing these materials, the two processes
categories,

facilitated

by definitive shelving marks.

achieved in far more flexible, extensive, and ideal ways

by cataloging, which must be carried out

in

any

case;

and shelving can be

identification

in

secured more simply and compactly by pure location


marks, such
It

employed

as are

in various foreign libraries.

proper, therefore, in view of the great

is

amount

of

expert labor entailed in classification, to expect some


peculiar

from

benefits

it.

These obviously

consist

in

general in the facility afforded to the browser, student,

and reference librarian for ready

scholar,

shelves)

organized

logically

to

given fields; and especially

and

of material

with

minimum

of

material

notation,

equally logical but different

same materials.

the

In music, for
example, scores which are used chiefly for consultation

by the scholar or student should be

some

research.

On

classified

even though

according

may

this

require

the contrary, works used mainly 'for

performance should be accessible in groups determined


primarily by the instruments or voices which perform
them, regardless of whether they are in their original

form or

not.

Certainly no one rigid schedule can serve these conflicting purposes. The present system has recourse, therefore, to the device of synthesis,

of

capable

factors

demanded by

which

leads

of consultation of the catalog directly

In

(+)

in

between various categories

characteristic

of

and accordingly

assembly

of

various

in

different needs.

addition

to

assuring

logical

access to the materials so


acteristic of

such

easily

The most

grouped.

notation

mnemonic

is

salient char-

of

tion

with

classification

as

materials

is

scientifically

allowance

as

humanly possible.
accommodate the

is

which music

offers,

covering

categories

all

elaborate

of

the

body of mater-

must be made for

special

differentiations

These
embrace
music

all

tables,

of the

items in the Library of Congress

except a few categories essential to special

Many

archives.

contents of the
scope of which is sufficient to

are set forth in part II of the

present system, the

additional differentiations are also avail-

and extension
of which they are

able through full use of the subdivision


tables,

in

the

numerous

relations

susceptible. Actually not all of these characteristics can


arise in

any one

case, since

not

some of them

are mutually

adequate

in

to lose part of their

widely varied
of

meaning

may

characteristic of musical compositions.

themselves,

mnemonic

associations.

for the

factors,

since

assist

when

subjected to

maintenance

whatever context they

in

be found, symbols are valuable. But too great a


confusing and requires

is

duty of mnemonic suggestion may well be shared, therefore, between symbols and letters, which are in effect

merely symbols of
symbols and

letters

different

tive in themselves as possible.

Furthermore, the

sort.

used should be

Such

as
a

inherentlv sugges-

scheme will

same time show marked responsiveness

determination

conflicting needs
ials

may

of

categories,

present themselves.

however,

What

mater-

should be classified together, and in what order the

groups formed should be arranged, depends in

at

the

to the require-

ments of expansion.

While the
the

The

elaborate shelving rules for security in precedence.

purist will object on principle to

notation, the advantages of versatility

In

But they

numerals tend

in the

force

To

variety of arbitrary characters

exclusive.

(3)

ease be

In order to secure for the purpose the necessary transferability of factors, decimals are indispensable.

are

provision

call

"read" by interpretation of the

which comprise it. It should with equal


"composed" from the same factors.

sound categories,

for future evolution of the

full

In order to
ials

practical as well as theoretical assump-

first

quality.

factors

The

and

categories

arrangements of them, the practical classification


system must also provide a notation which gives fluent
flexible

number should be

to the materials themselves.

(2)

consists

relations

access (at the

the psychological advan-

in

tage of spontaneous association

bodies

legitimately require

distributions

to their original form,

But bibliographical distribution in the abstract can be

and precision

may

and

mixed

clarity

have

weighed against theoretical considerations in this system,


and mnemonically related factors consisting of decimals,
symbols, and letters, have been adopted.

very

considerable degree not on any single, absolute, logical

(5)

In applying a synthetic scheme, the

order of arrangement, but rather on the type of library

in

and on the kind of

selection

client to be served. Different libraries

practice offered various options,

must be made according

classifier

is

from which prior

to the special require-

[?]

INTRODUCTION
ments of the library
been made for

hand. Once such selection has

in

given situation, the system congeals for

that particular library into a specific schedule,

must be maintained

to

which

avoid confusion. Rejected basic

options are permanently eliminated, though the possibilities

decimal and symbol expansion

of

remain open indefinitely. Expert

actual options chosen

judgment
of

is

options

library,

therefore required in the original selection

consonant with the

though

classification

under the

after

the

may proceed

character

set-up

is

once

of

given

determined

tion of any sort of symbol, nevertheless pay their

the

As

flexibility

result

matter of

When

actual

fact,

than with shorter but

greater convenience

less

of significance

is

characteristic of this system,

be employed with varying degrees of fullness.

it

When

numbers prevail (see e.g., combinations


and contraction, 19-20).

The

tion rest thus

rendered by music classificaon categories of musicological integrity, on

services to be

and
on mnemonically vivid notation. Unless these peculiar
flexible control in the application of the categories,

scientific classification fully justify themselves.

inevitable, in cases

long only in proportion to the extent of the information

instance to

embody

it

in

is

it is

@ and , 16;

where full characterization is desirable, that the call numbers will tend
to be long; but it must be emphasized that they will be
about a work which

may

applied in curtailed form, simple and compact call

the precise classification of music are adequately reflected


it is

may

meaningful numbers.

in routine.

the complex differentiations involved in

in the notation,

in

Since capacity for expansion or contraction without


loss

(7)
(6)

way

and mnemonic suggestiveness achieved.

deemed

necessary in a given

the call number. Considerable

length, and the irregularities involved in the introduc-

benefits are secured,

The
many

it

is

doubtful

if

the intricacies of

present system attempts to achieve for music


of both the

theoretical

classification as possible.

and

as

practical values of

APPLICATION

I.

C. For additional examples of

Call

1.

factors

Number

comprising the

numerals, symbols, and


2.

The

call

number

(see

contents,

4-5;

pages

shown

is

number

in the

and index of

shown under combinations

are

4. Numerals, except those in

(see

The

point

is

classification for
also

number

maximum

of

of the differentiations of

*^fj

The

all

given composition

with precision among

is

its

com-

contain factors representing location,

classi-

capable and placing

may

expansion, covering

which

following-

is

it

an example of

a fully

expanded

factors comprising- a call no., and, in reverse, the

call no.:

p5 12 13

iZi

call no.

),

may

entirely decimal; hence the decimal point

be considered
is

unnecessary.

preferable, however, to secure 2-integer

musical compositions, in libraries which

contain music literature classified according to a

3-integer system.
call

contents, pages

Numerals

ii.

11-16).

panions,

(see

consist of

letters.

significance of these factors

of the call

and distinction

fication, extension,

tables, page 6), and their various practicable optional


orders of arrangement and distribution among the lines

3.

cited.

4-5; and combinations, 11-16).

The

tables

numbers, refer to the tables

CONVENTIONS

1.

I.

call

The

distinction

between 2- and 3-

integer classification makes a special location

mark

musical compositions unnecessary (see table L).

The

use of the point

according to comb.

method of assembling

factors to

(T);

form

it

is

for

i%2

not objectionable in any case.

demonstrates both an analysis of the

a call no.:

B39
so(4) J
P 21

INTERPRETATION

LCD

tables:

line

p 5

i:

Sg F CD
21 3

= 11

Location:

parts;

Classification: Class, chamb., Division, kbd. with

Species, sonatas etc.;

&2

tables:

line

B39

2:

Distinction:

line

so(4) J

tables:

LINE 4:

p21

ex.

All decimal

Fonn,

arr.

str.

jrom kbd.,

pf.

solo

Book Mark, Beethoven

Title

Mark,

Location (resumed):
7

[MUSIC:, voice

78
or

78.9

instead of

M789

from

789

sonata, no. 4; Edition

Mark,

ed. by

Jansen

parts, inst'l, vln.

solo,
folk,

789

to distinguish

trio;

tables:
3

Extension: Grouping,

primitive

[MUSIC], voice

solo, folk, primitive

MUSIC, voice solo, folk,


[MUSIC LITERATURE]

primitive

[9]

Symbols and Letters

in.
5.

%-6

CONVENTIONS

10

The

following

the scheme of symbols

is

and symbolical

letters,

with reference

to the tables

with which they are

associated:

SYMBOL OR
LETTER

SEE

MEANING

PAGE

TABLE

Accompaniment

"wj

29

-I.e.

Voices (men's, women's, etc.)

dec.

Grouping (duo,

-I.e.

Tessitura (high, intermediate, etc. )

trio, etc.)

29

29

29

30

Fa

30

Form:

Arranged, entire

=0

Arranged, accompaniment only

w^

&4

Insertion:
[

Decimal

n, r

Nondecimal

d,

31

32

Excerpt:

Textual

-\

"Part" or "number" of opus


35

Scene of

act

"Number" from

act or part

35

Key

(bU)

IV.

Precedefice

6. Call numbers arrange according to the following rules of precedence:


(1)

Arrange by corresponding

(2)

Subarrange corresponding
factors

within the line in

the following order:

lines of the call

number
examples

82

82-m

sy

82=

82-m=

sy=

82-m4

sy(l)

Symbol

a)

I
82I

b)

Numeral

c)

Letter-

820

82-

A4

a6

aa(l)

ed

aa(Ab)

I
I.e.

(3)

No

Any

82-m

Aa

aa(afc>)

line precedes an

entire

corresponding

line in

questions of precedence involving other characters arise. See classes 11, 71, 82, and

the rules of precedence.

-(1)

-*(1)

i$i6i, for applications of

COMBINATIONS

7-i3

The

Assumptions

v.

principle in force

is

determined by the combina-

tion chosen for a given library, with a corresponding

Form.

7.

composition

assumed to stand in

is

its

form (unarranged), unless an arranged form is


specifically designated, or unless, as in combination (4),
original

form

assumption

meaning

"arrangement" and the

of

combinations, 11-16).

(see

Arrangement

ignored.

is

to the

as

symbol ==

accompaniment

of

only

always

is

"arranged for."

The

of a composition

classification

arranged

an

in

form follows one of two principles:

CASE

1.

ing to

Classification of the
its

what medium it has been arranged;


case "arrangement" and the symbol

CASE

2.

ing to

signify

ik$

arrangement accord-

show

actual form, with extention to

from what medium it has been arranged; in this


case "arrangement" and the symbol
signify

"arranged from."

"&<5

Accommodation

I.

consequence of the

flexibility

which decimal

through the use of the factors

with indications of the emphases thus secured.


classification,
is

14-1,6),

The

pre-

whether by original

shown with each combination,

according to the character of the library concerned.

The

application

number depends
tion in use.

duce

of

the

tables

the fuller statement, according to conventions stated in

tion

wherever

n,

d, o).

r,

in

forming

conflict.

The combination

The
lines

call

shown

index

jfjrj

in the formulae

character
is

is

both

forming the

call

which these

symbol and

determined numerically.

The

notes.

among the
number depends on the following

principle of distribution of the factors

of the

call

number
Italic

averagely short lines have an advan-

In combinations

, , A,

and

B,

advantage of signalizing tables

by placing them

as

the

first

lines

and

factors in separate

lines.

The

examples are chosen

of a given combination

as

to exploit

possible,

as.

man v

factors

even though such

might be uncommon. For restricted


contraction, (19-20). In any case, not ail

detailed classification

factors belong.

usages see

numeral, but

"tV-/

its

relatively thin volumes.

same

chosen

by combinations of the

letters of the tables to

The

position

factors

tables

tage over 2 longer lines, since music exists in

13.
are

in

In labeling,

given library must be adhered to consistently.

Combinations of the

(see

call

offer the

without

tables

number. Alternative distributions are


distribution chosen by a given
library must be adhered to consistently.

shown

Various other combinations, though not any other,

the

shows the distribution of factors among

also

the lines of the

composition.

by

in

preferences:

for the

for

12. In addition to indicating the nature of the com-

upon the particular combinaAnother combination would obviously pro-

number

called

binations themselves, the location of the factors in the

entirely

differently arranged call

are possible

conventions stated in

10. Curtailment. Extension according to accompaniment and form is in certain circumstances curtailed,
and the curtailed representation is assumed to stand for

combination

types of library are given in the formulae (

form or actual form,

to

Extensions according to qualification are not included

combinations approximately suitable for different

of

according

in the combinations, but they are susceptible of applica-

in different combinations.

principle

unexpressed,

to Various

numerals, symbols, and letters offer, various orders of


classification are afforded

under certain circumstances assumed and

is

COMBINATIONS

Types of Library
a

according to accompaniment

9. Omission. Extension

and voices

in

ik 5

tables a, F, Fa.

2.

ferred

assumed to stand

is

tables a, v.

Classification of the
its

show

in this

"arranged for."

The

composition

arrangement accord-

original form, with extension to

for

11. As

8. Version.

"score," unless "parts" are specifically designated,

The symbol

may

be substituted

for

to

accommodate

the notation to typewriters which lack the latter character.

COMBINATIONS

12

of the factors

needed

shown

in

given combination will be

the same time in a single

at

some of them are mutually

and unexpressed

for

The meanings
which they
the sake of com-

11.

Loan and performance

14.

Combination

of the factors used in the examples are

Consult the

and

of abbreviations, (page 6).

list

Formulae

libraries:

i^y i%8

(T)

emphasis:

and curtail-

shown in the tables (see contents, pages 4-5


index of tables, page 6).

require no expressed

factor in the notation; the differentiations to

refer are assumed

(see omission

ment, 9-10).

exclusive.

Interpretations enclosed in

number

pactness of the call

number, since

call

14-15

division,

Class,

form;

actual

subdivision,

extensive partition

before

composer.

Table S may be omitted

if

desired.

FORMULA

INTERPRETATION

EXAMPLES

CDSavgtFa

113

L69

T E

=6

Kbd.,

pf. solo, over. etc.

from

arr.

i^8y\

i%6

1222

2-5

Kbd.,

duo, 2 perf.

pf. ens., suites etc.,

[1

inst.jj

arr.

from chamb.,

(Eine) kleine Nachtmusik, ed. by Singer

71205- -h: = 01

Voice solo, sec, anas

P41

Pergolese

etc.,

ace.

chamb.,

tes.

high;

arr., ace.

Choral, sec, cho.,

St8

Strauss

emphasis:

"feio

only, for kbd., cpf. solo:

i%i 2 5

occ'l,

patriotic,

ace

orch., [full:, voices men's, 2-voicej

arr.,

for kbd., [pf. solo:

ace only,

i%i25

&127

Austria, ed. by Singer

Reference and musicological

Combination

quin.

Orfeo, Ricordi ed.

826906-m2 = 01

15.

str.

Mozart

k S

&9

(Les) Preludes, ed. by Klauser

M87

orch., cfullj

Liszt

libraries:

m'/x

(2)

Class, division,

orig. form,

composer; moderate partition before composer.

Table 5 may usually be omitted

advantage.

FORMULA

EXAMPLES

CDSaFa
Bvg

61

El

INTERPRETATION
Orch., full; arr. for kbd., [pf. solo:

L69
P

(Les) Preludes, ed. by Klauser

52=12-2

Chamb.,

MS 7-5

Mozart, quin.

k S

(Eine) kleine Nachtmusik, ed. by Singer

7105=01

Voice solo, sec, ace chamb.;

P41

Pergolese

R-h

&5

ex.

11

= 61

= 11

str.;

arr. for kbd., pf. ens.,

Orfeo, Ricordi

ed., tes.

Choral, sec, cho., ace. orch., [full:;


Strauss, voices men's, 2-voice

a S

Austria, ed. by Singer

[Orig. form]:

&6

kbd., pf. solo;


arr. for orch.,

full

orch., full;

[actual form]:

arr. for kbd., pf. solo

[1

inst.3

^5

"feio

^125

for kbd., [pf. solo:

high

StS-m2

[Orig. form]:

duo, 2 perf.

arr., "ace. only,

8206=01

uactual form,:

61

^5 ^9

Liszt

EX.

arr.,

11

ace only, for kbd.,

= 61

[Actual form::
[orig.

61

= 11

form:

[Actual form::
[orig.

form:

[pf.

solo:

"^125 "$$127

kbd., pf. solo;


arr.

from

orch.,

full

orch., full;
arr.

from kbd.,

pf.

solo

to

COMBINATIONS

15

@A

Combination
emphasis:

13

division,

Class,

composer,

form;

orig.

chief

partition

after

Table S

composer.

may

usually

omitted

be

to

advantage.

EXAMPLE

FORMULA

INTERPRETATION

CDS

61

Orch., full

Bavg

L69

Liszt

TFa Et

p=l K

(Les) Preludes; arr. for kbd.,

52

Chamb.,

M87-5
k=12-2

emphasis:

"^5

by Klauser

">Vp

Mozart, quin.
(Eine) kleine Nachtmusik;

71

Voice

P4105

Pergolese, ace. chamb.

o=01 R-h

Orfeo;

perf., [1

insto, ed.

by Singer

82

Choral, sec, cho.

solo, sec.

for kbd., [pf. solo:, Ricordi ed.,

arr., ace. only,

St806-m2

Strauss, ace. orch., [full:, voices men's, 2-voice

a=01

Austria;

arr. for kbd., pf. ens., duo,

i?*o

-M-5

Combination

soloj, ed.

[-pf.

str.

arr.,

ace. only, for kbd., [pf. solo:, ed.

tes.

high

^125

^125 ^127

by Singer

@B

Class, composer,

FORMULA

EXAMPLES

C B
DSavg
TFa Et

division,

chief partition

composer.

after

Table

5,

at

least

in

part,

is

of value.

INTERPRETATION

L69

Orch., Liszt
Full corcho, over. etc.

13

p=l
5

form;

orig.

(Les) Preludes;

K.

M87

arr. for kbd., rpf. solo:, ed.

by Klauser

i?5

Chamb., Mozart

22-5

Str.,

k=12-2

quin.

suites etc.,

(Eine) kleine Nachtmusik; arr. for kbd.,

pf. ens., duo,

perf., [1 insto, ed.

by Singer

*5 it
Voice solo, Pergolese

7 P41

.1205

Sec, arias

o=01 R-h
8

^7

The main

tables

Orfeo;

ace chamb.
for kbd.,

[pf. solo:,

26906-m2

Sec, cho.,

a=01

Austria;

occ'l, patriotic, ace. orch., [full], voices

arr., ace. only,

are set up according to comb.

(T).

This

in no wise prevents the selection of factors from these tables for

(J)

the factors may,

if

preferred, be divided

among

CDSaFa
BvgT Et

i^i2

It

poser's
classes,

CDSavgtFa

among

comb.

men's, 2-voice

^12$ ^127

CDSaFa
BvgT

probably not advantageous to

place all of a comworks together without preclassification into the basic


though this could be accomplished by the following
is

B
CDSavg
TFa Et

i^g Orig. for full orch.

In

^125

combination:

BT E

>$"//

high

Et

the lines of the call no. as follows:

"i^io Orig. for

tes.

for kbd., [pf. solo:, ed. by Singer

association according to other comb.'s.

"^8 In comb.

Ricordi ed.,

Choral, Strauss

StS

CD

etc.,

arr., ace. only,

str.

quin.

(2)

the

This treatment would involve certain adaptations of


factors

may,

if

preferred,

the lines of the call no. as follows:

be

divided

^13

In

this

comb.,

tables

become an "author scheme."

DS

supplemented

by

class 0.

tables

avg

H
;16.

COMBINATIONS
General or small

Combination

libraries:

(3)

Class, division, actual form;

emphasis:

16

Table

chief partition before composer.

should sometimes be added; table v

may

be omitted.

FORMULA

=6

CDvgFa

11

ST

L69p

Combination
emphasis:

fci4

INTERPRETATION

EXAMPLES

from

Kbd.,

pf.

Liszt,

(Les) Preludes, ed. by Klauser

solo;

arr.

orch., [full:

12-2=5

Kbd.,

M87fc

Mozart, (Eine) kleine Nachtmusilc

71=01

Voice solo, sec;

P41o

Pergolese, Orfeo

duo, 2 perf.

pf. ens.,

arr.,

insto; arr.

[1

ace. only,

82-m=01

Choral, sec, cho., voices men's;

StSa

Strauss, Austria

for kbd.,

Table

Class, composer.

should sometimes be added.

INTERPRETATION

Orch.

BT

L69p P

Liszt,

5-5

Chamb., quin.

MS7k

Mozart, (Eine) kleine Nachtmusik

Voice solo
Pergolese, Orfeo

Choral

St8a

Strauss, Austria

D, which

restriction of division by table

1,

5,

is

not essential in

7 only,

and may be

classes,

all

affixed after

MISCELLANEOUS

INSTRUMENTAL

6.8

Keyboard

for kbd.,

cpf. solo]

solo

and

Duos

Organ

instead of after the symbol

solo

and

7.02

Voice solo ensemble


Duos

&c
solo

Violin solo
8

solo

8.2

folk and PATRIOTIC

Choral and Solo-Choral ensemble


Choral Works
Choruses

Flute solo
8.8

&c
Plectral solo and Various Other
Harp solo

&c
Chamber

&c

ensemble

Duos

in order to produce

solo ensemble

Voice solo

fife

5.02

solo-orchestral ensemble (concerti)

Voice

7.S

Wind

the following simplified schedule can be secured;

solo

String (bowed)

4.1

^127

VOCAL

solo ensemble

Pianoforte solo

3.1

i^i2S

Orchestral ensemble

Pianoforte ensemble

2.1

1^/25

(Les) Preludes, Philharmonia ed.

P41o

extension by table g is needed in classes


a completely numerical system:

1.5

soloj

-feio

i^i4

EXAMPLES

1.02

cpf.

-j^-<5

(5)

CDg

from chamb.

arr., ace. only,

FORMULA

By

"jJV<5

9
9.8

liturgic

Dramatic ensemble
incidental music

OPTIONS

'IJ-21

OPTIONS

3.

minute

Combination

1.

15

classification

and

tables S7, S8,

The

7.

combination appropriate for

exact

the same library,

of

and adhered

tested, recorded,

An

18.

given

combinations to be used in specific dif-

library, or the

ferent parts

should be selected,

to consistently.

is

found

library consisting largely of "scores" used for reference,

which

possesses

classified

may

also

some "parts":

the scores

according to combination

contraction of

may

be

while the parts

according to combination

be classified

is

(T),

or

table

fication,

com-

in the case of a

cases S9,

value,

list

instance of the effectiveness of different

binations in the same library

^164). Subdivisions by

(see

some

however, have wider


and may be retained while the remainder of table
rejected. But even if not used for purposes of classiin

v,

5 nevertheless forms

valuable

check-

of species proper to a given division.

Extension according to medium, especially bv tables


may sometimes be disregarded as not useful. Exten-

t,

by

sion

tables F,

Fa should be dispensed with only

in

may

be

the loosest usage. Extension by tables n,

r,

d, o

confined to cases where these designations are indispensable.

i%i5

it.

T may be condensed and regucombining complete and partial collections,

Distinction by table
larized by
11.

Contraction

19. In addition to the accommodation offered by


given combination,

it is

and by choosing the opus distinction wherever possible.


Distinction by table E may be standardized by use of
a

possible to reject systemmatically

the

number

These

distinction, or

may sometimes

it

discriminating

less

distinctions

be omitted.

afford

various factors of the tables, according to the degree of

slight

simplification.

partition desired.

An

indicated subarrangement by table

advantageously be reduced to table


dispensed with entirely (see table

68). Subarrangement by

itself

only,

CD

may

CD

may often
or may be

20.

The

should

be

exact factors to be employed in contractions


selected,

Subdivision by table S should be used sparingly,

some extent, and

*p$i5 ex.

in

any

may

it

case

and adhered

to

be eliminated

in.

matter of fact often omitted, since

recorded,

01, 02, 03, 05,

also

(see tables a, F, Fa).

to

tested,

consistently.

duplicate

The

Form

alternative of basic classification

by original

as a

21.

title

or by actual form should be selected, tested, recorded,

produces extremely

and adhered

52

zScorei, chamb., str.

ex.

B39-4

Beethoven, quar.

to consistently, (see

p524
B39

Parts, chamb.,

Beethoven

str.,

assumptions, 7).

quar.

TABLES

II.
C, The

mnemonic index letters: these letters are for convenand do not appear in the call number itself; they are printed
system in Italic (see table index, page 6).

tables are designated by

ience of reference only

throughout the

Index

letters

are

main

tables

CD

placed

may

tables a given item

various

after

the tables to show by what other


While such partition is represented in the
the same factors may be used analogously in

items in

be further partitioned.

according

to

combination

(J),

other combinations.

C. The

tables

for

classes

11,

71,

and 82 have been taken

as characteristic of the oper-

ations of the entire system, and are set up with a moderate degree of expansion to serve
as

models. Fuller expansion

is

indicated by

but should be applied only

if

method

are

shown most

and

(2),

as sufficiently

marked accordingly wherever

the

cfc,

called for

in the interest of the individual case.

Examples of

call

fully in connection

The examples

numbers, representing the

synthesis,

are assorted to demonstrate only combinations (\)

representative of the procedure, and are


significant.

of

with the tables of extension and distinction.

The examples do not

difference

is

necessarily exploit the entire resources of the combina-

tion represented; extensions according to qualification

not

are

illustrated.

For

further

examples, see combinations, (11-16).

In the examples, interpretations enclosed in [ ] require no expressed factor


the
the differentiations to which they refer are assumed and unexpressed for the
sake of compactness of the call number (see omission and curtailment, 9-10).

notation;

C!,

Consult the

list

of abbreviations, (page 6).

1.

LOCATION

*,

L
M

Music

litera-

special libraries

iti8

Juvenile

i^jp

Parts

chamber, orchestral, choral mu:ic,

iXi-j

Department or other

from music

(as distinguished

ture)

(of
etc.)

t'o

Sheet music (not parts)

"h"21

Treasure room or locked cases

flC

I.e.,

segregation complementary to classification.

i^iy

Prefix,

(but see

[l6]

except

in

numerals, t).

the case

"^Trp

of independent music

libraries

CLASS SYNOPSIS

17

CLASSIFICATION

2.

Class Synopsis

1.

c
VOCAL

MISCELLANEOUS
Several

or

Voice

Special Classes

INSTRUMENTAL fe 2
Keyboard

solo

and

jo/o

Wind

Plectral

solo

Chamber

ensemble (groupings of

joio

and Various

4; also these with

class

solo-chamber ensemble

58

Other
classes

2,

solo ensei7ible

1V25

"&2J

Dramatic ensemble

.roio

3,

L1TURGIC

88

String (bowed)

and

Choral and Solo- Choral ensemble

solo

folk and patriotic

78

ensemble

(with or without instruments)

95

BALLETS

98

incidental music

i^23
(to

dramas)

1V23

1)

(concerti)

"m"2J

Orchestral ensemble

ensemble

solo-orchestral

68

(concerti)

i*23

an additional p

*fci8 Prefix the appropriate letter.

&/p

Prefix.

^"20 Parts
(1)

marked

are

according-

the location

to

no. This treatment

the library possesses

91

Dram., opera

R14

Rameau

desired:

is

many

to

be preferred,

especially

ex.

Parts, chamb.,

&'c

if

p8

parts or if they are frequently

str.

quar.

Beethoven

(18/1)

p21

(2) If in a pocket in their score, or following their score,


or, in the absence of the score, in its place, affix p

indented as a final distinction.


ex.

52

Chamb.,

B39^t

Beethoven, quar.

(18/1)

Op.

may

be

vocal,

cho.

Parts, chamb.,

str.

quar.

Beethoven
Op. 18, no.

Parts, vln., [1st]

p212

vln.,

p22

via.

P 23

vc.

"^21 Apply according

Parts

proper numerals from table

Parts,

2nd

str.

18, no.

distinguished

p52-4
B39
(18/1)

Op. 18, no.

iVjp)-

Parts, inst'l, vln.

p21

ex.

p524B39

(see also

Castor et Pollux

used.

Parts

ex.

If in a separate part-section of the library, prefix p to the


call

as a final distinction

from

CD

one

another by affixing

the

to p as a final distinction, or to

to the location desired.

^22

Mechanical instruments are located with their own

^25

These 2-digit divisions are secondary

independence than other divisions of table C.

classes

of

types.

greater

CLASSIFICATION

i8

Class a?td Division

ii.

TABLE

CD

TABLE

MISCELLANEOUS

CD

SEVERAL

SPECIAL

or

INSTRUMENTAL
KEYBOARD

CLASSES
Col.,

not differenti-

arr.

00

Instrumental and vocal, mixed

001

Instrumental

SF

11

Vocal

B d

Anon.

Met

02
03

CD

Facsimiles

"w"25

Col., sev.

Indiv'l

11=6

it 26

&c

111

^2 8

by I

*$C34

orch. [full]

i%34

compsrs

Indiv'l compsrs

&c

'w'27

catalogs

[misc.]

compsrs

Col., sev.

Collected works, (one compsr)

compsrs

Arr. for or from

A4<5

Thematic

compsrs
compsrs

Arr. for or from

Ma

First editions

i%i53

compsrs

Col., sev.

Indiv'l

CD

i^8g

Orig. and arr. from, mixed

h\a
a
11

Monuments

^33

[misc.]

tOrigo

Incunabula, rare editions

051

Col., sev.

CD

05

compsrs or one compsr)

"w"2^

Composer known

04 n

sev.

differentiated

Form

CD
CD

not

Species

Manuscripts

01

^146,

arr.

Pianoforte solo

II

and

Col., misc., sev. divisions, (orig.

ated, sev. compsrs)

and

ensemble

and

(orig.

solo

by

Species

sonatas

i^88

etc.

Form
Partial col., sev. classes, (one

06

compsr)

Notebooks and studies (music)

067

Works

[Orig.]

111

Arr. for or from

&c

for abstract

medium

tutors, etc.,

(with text)

i^2g
117

07

CD

Methods,

Species

[misc.]

i%34

^87

by

technics

*fe88

Form

i^s

[Orig.]

Other misc. (unidentifiable works and

08

&c

those impossible to classify else-

"w^r

Special notations

09

Historical

the

(compiled

col.

history

phase of

of

it)

to

illustrate

-&88

12

SgF

Pianoforte ensemble

13

SF

Harmonium

14

gF

Harmonium ensemble

15

SF

Organ

16

gF

Organ ensemble

17

gF

Mixed keyboard ensemble

18

Other keyboard

19

HF

Obsolete keyboard

where)

089

by S

music or some

solo

solo

1^55 HZ36

1V35 "wJ7

"^37 "^38

'M'52

^24

Apply the anon, mark (see ~fci58), and add in ( ) on a


separate line the probable century (see table d), with an assigned

i<39

ms. no.
ex.

0189

Misc., mss., choral,

Aa

Anon.

(xv6)

15th cent., no. 6 of the anon. mss. of this

lit.,

monodic

settings

libr.

TJV25 Except editions preferred in class 051.

i%27 Unless preferred

^26

^28

E.g.,

Denkmaler deutscher Tonkunst.

in class 02.

Unless prefe rred in music literature.

^40

it 41

^38

CLASS AND DIVISION


TABLE

TABLE

TABLE

CD
2

STRING
^^2

not differentiated

and

SaFa

Flute

32 SaFa

Oboe

33 SaFa

Clarinet

34 SaFa

Bassoon

31

Viola

23 SaFa

Violoncello

24 SaFa

Double

"&J5
i^35

&35

bass

not differentiated

arr.

Horn

25

3 5

SaFa

26

36

SaFa

27

37 SaFa

Trombone

38

Other wind

28

flFd

Other

29

Z/aFtf

Obsolete string (bowed)

(bowed)

string

"^4S

^40 &41

-Trumpet, Cornet

Saxhorns (except Tuba)

381 SaFa

Tuba

SaFa

i^2g

and

^146,

compsrs or one compsr)

sev.

Violin

22 SaFa

*35 *37 *4* *43

Col., misc., sev. divisions, (orig.

^146^

compsrs or one compsr)

sev.

SaFa

WIND solo

i%44

i%43

arr.

INSTRUMENTAL

^37

Col., misc., sev. divisions, (orig.

51

21

(bowed)

solo

TABLE

CD

INSTRUMENTAL

19

Die Kunst der Fuge.

E.g., Bach,

"^30 Distinguish from

57

table

technics.

Saxophones

4 SaFa

^31

Cf.

class

83

tonic

sol-fa.

Obsolete notations are usually

preferred in classes 01, 02, 03.

^Vj2

E.g., Schering,

Class 11

i^33
a model schedule}
is

Geschichte der Musik in Beispielen.

and

see also classes 71

SF

Bagpipes

aFa

Other wind

e.g.,

classes by table

it

5 may in some cases be

389

^47

Whistling music

sake of table 57 technics,

especially for the

but in general

82.

-^6 ^7.

(7), and

i^35 Subdivision of small


or S9 historical;

Accordeon, concertina, Bandonion

presented with moderate expansion to serve as

"t%34 See assumptions,

advantageous,

SF

not desirable to

is

split rela-

39

HaFa

&40 &41

Obsolete wind

tively small groups of material.

^36
gS

In classes 12 and 5

possible

it

is

if

desired.

instead of by tables Sg,

to

subdivide by tables

^42
as

"m\37 In the case of a


org. or

harmonium,

work

for either of

two instruments,
named.

Place solos having kbd. or plec. solo

duos in

ace. here, rather

than

class 5.

e.g.,

classify according to the first

The

*z43

ace.

is

assumed

to be pf. solo unless otherwise desig-

nated (see table a).

^38

For

liturgic subdivision, see table

56 occasional.

i^44 For subdivision by


*$$39 E.g.,

Janko

pf.}

mechanical

pf.,

mechanical

org.,

etc.;

celesta, etc.

^40

Unless ignored, or preferred in table 59.

"&4I "Obsolete"

is

used arbitrarily to

combinations of instruments
ceased.

for

refer

to

instruments or

secured

jor} ace.

only,

entire }

secured by

is

is

tables

by

SaFa,

=0

cf. class

etc.,

while

71; -note that


arr.

arr.

for or from,

mechanical vln.,

etc.

i%4$

E.g.,

^46

Each division includes the entire family of the type named.

which composing has largely


~$47 E.g., mechanical trumpet,

etc.

CLASSIFICATION

20
TABLE

TABLE

TABLE

CD

rABLE

INSTRUMENTAL

CD

PLECTRAL solo and VARIOUS OTHER *35

41
421 SF

Col., misc., sev. divisions, (orig.

solo

and

^146,

arr.

not differentiated

sev.

compsrs or one compsr)

Banjo

425 SF

Ukulele

431 SF

512 SgF

Zither

Autoharp

442 SF

Other

45

Percussion

Keyboard with

plectral

SgF

Keyboard with

string

SgF

Keyboard with other


String (bowed)

54

542 SgF
Carillons (great bells)

Glockenspiel (small

4 SgF

Xylophone

bells)

6
7

Other percussion

Plectral with

Electric

48

Other types

49 //F

Obsolete plectral

514)

(bowed)

wind

with string (bowed) -wind

S^F

Plectral

S^F

Plectral with other (except kbd.)

5 5

SgF

String (bowed) -wind

56

Chamber
Special

orchestra

~>?35

"fa

combinations

terminate

47

(see class

Plectral with plectral

57 SgF

with keyboard

Plectral with string

SgF

i^53

"m"55

i?2

Plectral

Plectral

(bowed) -wind

^ 35 * 5i

Wind

SgF

Drums

461

(bowed)

string

4 SgF

5 3

(see class

Keyboard with wind

52 SgF

^48

plectral

Keyboard with

SgF

Mandolin-harp

441 SF

1^52

Keyboard with keyboard

Mandolin

432 SF

Keyboard

51

Guitar

422 SF

46

*i<5

*5 2

Harp

SF

41

INSTRUMENTAL
CHAMBER ensemble

Plectral

&53

54

(including

inde-

^53

^55)

"&-/P

58

sf

Solo-Chamber ensemble
(concerti)

"fc^ E -8"-> music

-&50

^40

i^4i

ik$i

59

#F

^5/

box, etc.

"W"40 E.g., Theremin,

"w^o

solo.

etc.

harmonica,

etc.

"it

40

^41

Class 49 without subdivision is assumed to refer to Jute


Other obso ete plectral instruments require subdivision to

distinguish
E.g., glass

Obsolete combinations

them.

CLASS AND DIVISION

21

Church orch., theater orch., jazz orch., vaudeville


Kinder-symphony orch.; fife and drum and special military music; distinguish from class 65.
E.g.,

i%58

orch.,

CD

INSTRUMENTAL

1^59 The location of

the materials of pf. concerti depends

on

the versions in which they are issued.

Original version:

ORCHESTRAL ensemble and


SOLO-ORCHESTRAL
ensemble

Score
ex.

(concerti)

681

Solo concerti, kbd.,

B39

Beethoven

(37)

Op. 37

[pf.]

Parts

Col., misc., sev. divisions, (orig.

51

not differentiated

arr.

sev.

and

Piano part only (issued separately or

as

one item of the

issue of parts)

^146,

681

ex.

compsrs or one compsr)

B39
(37)

SF

61

Full

pi

Parts, kbd., cpf.]

Cadenza (by another composer)

62 SF

String

63 SF

Band

64 F

Plectral

"M35

681

ex.

B39

i%35

(37)
pl

Parts, kbd., [pf.], rcadenza by: Reinecke

Orchestral parts

65

Small or reduced

it$6

681

ex.

B39

66

Combinations with incid

(37)

*57
F

67

P 2I

Special combinations

"&5<?

Arranged
"En

Parts, vln.

versions:

partition"

Piano part (1st piano) with

Solo-Orchestral

68

Orchestral

ensemble

(concerti)

CD F

68

Solo concerti

ex.

Double,

(2nd piano), together on

Solo concerti, kbd.,

B39

Beethoven

(37)

Op. 37

[pf.],
|

Piano part (1st piano)

ik6i

triple, etc.

Concerti grossi

pf.

arr., ace.

for kbd.,

[pf.

only,
soloj

Separate

ex.

gF

for

arr.

68101

i%59 ik6o

Ensemble concerti

685 gF

parts,

same page

the

m^J

681=01

i?62

B39
(37)
Parts, kbd., cpfo

pl

69

HF

Obsolete combinations

Orchestral parts, arr. for

i^^o ik^i

ex.

pf.

(2nd piano)

681=01
B39
(37)
pll

Parts, kbd., pf., rarro

Piano solo
Piano part and orchestral
~it5 2

Place

duos,

ace, in classes 2,
*fe53
a

of which

one instrument

kbd.

ex.

or plec.

3.

6S1

Solo

parts, arr. entire for pf. solo

concerti,

B39

Beethoven

(37)

Op. 37

kbd.,
|

cpf.3,

arr.,

entire,

for kbd., [pf. solo]

Subdivide by table 59 historical, to show the inclusion of

continuo in the grouping.

"w*54 Distinguish

^55

is

E.g.,

from

"allerlei

class 65.

Instrumenten."

*&6o

ex.

6821

Solo concerti, vln.

*f%6i

ex.

6852

Ensemble

concerti, double

i^62

ex.

6893

Ensemble

concerti,

concerti

grossi,

concer-

tante parts

"$$56 Distinguish from class 56.

^63
"i^'57

Distinguish from classes 81 53, 85 53.

Identical

with

orig.,

"piano part only."

no. according to the location desired.

sign

the

call

CLASSIFICATION

22

710

CD

Ace.

Tes.

VOCAL

misc.

[misc.]

Form
[Orig.]

(with or without instruments)

710=0

Ace. only

&c

VOICE solo

and solo ensemble

7104

Ace.

Col.,

misc.,

mixed

sacr.,

sec.

and

(orig.

and

divisions,

sev.

^64,

tOrigo

Ace.

III
II

Ace.

[misc.]

Ace. only

'feSg

SSc by

&c by
&c by a

Orig. and arr. from, mixed


sev.

compsrs

A4fl

Col., sev.

compsrs

ft

Indiv'l compsrs

&153

Ace. only

A4#
a

Ace.

Ace. only

&c

orch., [full]

717

Ace.

Entire

Indiv'l compsrs

&c
Tes.

by

solo]

i%43

Tes.

Form

^34

Col., sev.

^88

technics

[pf.

[Orig.]

kbd., [pf. solo]

Ma
&cbyB

717-h

by Fa

by Fa

high

Species

compsrs

Arr. for or from


1

71-h

Arr. for &124


Ace. only
misc.

CD =0

7140

Indiv'l compsrs
(S'c

[Orig.]

compsrs

Col., sev.

71

[misc.]

Form

Indiv'l compsrs

71=06

i^66 i^88

misc.

misc.

Col., sev.

obbligato

Species

-^124

Arr. for

kbd., [pf. solo]

with

Tes.

CD

7140

[Orig.]

71=0

Fa

"$43

Form
Col.

^124

Arr. for

[misc.]

A3c1

[misc.]

7106=01

solo]

:pf.

Tes.

[Origo

M'65

Species

kbd., [pf. solo]

orch., [full]

Form

SECULAR
Voice solo

Ace. only

Tes.

SatFa

^124

Arr. for

7106

71

[misc.]

7104=01

compsrs or one compsr)

misc.

Form

not differentiated, sev.

arr.

by Fa

lute

Tes.
61

^124

Arr. for

&c

compsrs

&c

by S

by

-&88

high

Form
Orig. and arr. from, mixed

i^'53

[Orig.]

Arr. for

71-h=0
71-h=06

&c

and

Ace. only

&c

-{64 This

^124

Ace. only

-digit

class

col.

by

is

misc.
orch., [full]

by Fa

devoted primarily to combining

mixed, regardless of orig. or arr; also occasionally


78 with 71 and 7=,.
sec.

sacr.,

'$65 Class 71
a

presented with moderate expansion to serv^ as

is

model schedule;

i^66

ex.

71421

see also classes

= 01

Voice

solo,

11

and 82.

with

obbl.

vln.,

only, for kbd., [pf. solo]

arr.,

ace.

CLASS AND DIVISION


72 SagtFa

Voice solo ensemble

73

Voice

unison,

solo,

SECULAR

i%43 i%6y
or

(ace.

farts,

23

or

78

SACRED

or

Folk and Patriotic

uriacc.)

Voice or instrumental

unison, or

solo,

i68

Special types

farts, (ace. or unacc.)

Societies, general

731

78 n

Folk

....

songs

and

dances

folklike songs,

in

if

Occupational

Athletic and

4
5

(including

Societies, fraternal

Young

game
78 n

dent songs

General, by compsr
Societies

7 n

Special col.'s by language

Other

Political (parties, etc.)

By war ixyi
By occasion

By

Other

SACRED

iryo

title

Wordless songs

General, by

or

ik6g

Patriotic

people's organizations; stu-

SECULAR

col.)

if68

Vaudeville

739

mixed

789

locality

i?68

Primitive music

itj2

Voice solo or ensemble

74

By poet

*F<7

i%43

SECULAR
79

HIa

^40

Monodic Song

i%73

i^74 i%75

SACRED
&43

75 Satfa

Voice solo

76 Sa^Fa

Voice solo ensemble

77

Voice

solo,

unison,

"^43 i%6j
or

farts,

(ace.

or

unacc.)
Special types

Sabbath school

771 r
2

Gospel, revival,

Missions

Temperance

4
5

etc.

Young

people's organizations

army

Salvation

Chautauqua
Other

"k6"7 I n classes 72 and 76 it is possible to subdivide by tables


by tables Sag, if desired.
gSa instead
f?68 Subarrar gement by locality (state, city, etc.)
cured through any suitable geographical tables.

may

be se-

i%7i Subarrange by adding date

Library of Congress system for more exten-

).

p referred in class 78.

i%73 Assumed

to be unacc. unless otherwise designated.

~&74 Extension by
{$69 Consult the

in

i^J2 Unless

table

Fa

signifies

here the supplying of an

ace.

sive subarrangements.

"M75 Ancient Greek fragments,

^70 Where

ireferred to compsr.

Meistersinger,

etc.,

melodies.

secular plain chant, Troubadour,

CLASSIFICATION

24
TABLE

TABLE

CD

&c

82-1

by

Grouping

VOCAL

[Origo

(with or without instruments)

Ace. only

men's
Grouping

82-m

misc.

i*i26

by Fa

by g

cfc

CHORAL and SOLOCHORAL ensemble

^124

Arr. for

82-1=0

&c

Q
O

unison

Form

Voices

[misc.]

Form

Col.,

misc.,
sacr.,
arr.

divisions,

sev.

sec.

compsrs or one compsr)

[Orig.]

and

mixed W76, (orig. and


not differentiated, sev.
"w77

^124

Arr. for

82-m=0

Ace. only

&c
S2-m4

&126

misc.

by Fa

Grouping

4-voice

"^ 108

Form
[Origo

SECULAR
kia

81

82-m4=0
group of divisions

Col., special

Ace. only

ikj8,

dsf c

sec, (orig. and arr. not differen-

compsr)

Choral works

II
1

Species

Ace.

by v

misc.

[mixed]

(more than one no. or

[misc.]

r pf.

Grouping

^79

[Origo

i^8o

*fe8g
-&4.1

820=0

soIot

Ace. only

&c

rmixedi
Grouping

8200

[misc.]

Voices

Orig. and arr. from, mixed

A3fl

Col., sev.

compsrs

i^i53

ci

Indiv'l compsrs

82=0

8200=

Ace. only

Indiv'l compsrs

by

Entire

[misc.]

[Origo

Arr. for or from

kbd., [pf. solo]

8200-m=

Indiv'l compsrs

Entire

compsrs

Col., sev.

by

i534

[misc.]

Form

^34

A4<f?

&c

men's

Grouping

Fa

Arr. for or from

82=1

Voices

compsrs

Col., sev.

Entire

8200-m

^126

misc.

A4fl

&c

[Origo
Arr. for or from

-&IZ4

Arr. for

[misc.]

Form

compsrs

Col., sev.

&126

misc.

[mixed]

Grouping

[Origo

A4fl

by Fa

Unacc.

Form

^124

Arr. for

Voices

[misc.]

Form

^43

Choruses (single)

Mill

Ace.

&126

misc.

Voices

mov't)

82 SavgFc

820

"&77

by Fa

by g

c=fc

&c

tiated, sev. compsrs or one

81 SavFa

&124

Arr. for

Grouping

8200-m4

&34

[misc.]

4-voice

"^f

108

Form

[Origo
Arr. for or from

8200-m4=

&c

"&7<5 This
sacr.,

mixec

1-digit
,

class

col.

is

devoted to combining

regardless of orig. or
55, 9

sec.

and

am

are represented in col.'s by excerpts only.

i^~7

Classes 81,

&7#

Col.'s of classes 81-82.

-H-79

The

Entire

ace.

is

assumed

&34

[misc.]

by v

to

be

orch.

unless

otherwise

desig-

nated (see table a).

i8o Class 82 is presented with moderate expansion


a model sc ledulej see also classes 1 1 and 71.

to

serve as

CLASS AND DIVISION


8206

Ace.

TABLE

orch., [full]

[mixed]
Grouping-

Voices

CD

[misc.]

Form

TABLE

VOCAL

(with or without instruments)

[Orig-.]

&124

Arr. for

8206=01

&c

r.pf.

solo]

i%i26

Ace.

DRAMATIC ensemble

by v

by a

Species

kbd.,

by Fa

by g

Csfc

Csfc

826

only

Ace.

&c

Col., misc., sev. divisions, (orig.

misc.

[mixed]
Gro
ng rm

and

not differentiated, sev.

arr.

i^S8

occasional

compsrs or one compsr)

i<77

Voices

u pi

sc

Form

91 SaFa

Operas

92 aFa

Scenes, cantatas (for several solo voices,

[Orig-.]

^124

Arr. for

826

0=0

only

Ace.

&c

&c

by S

with or without cho., acted)

^126

misc.

93

i?88

Special types

931

Burlesque operas and scenes

Minstrel show music

SECULAR

SACRED

or

Tonic

83

By

84

^84

by Fa

'

sol-fa editions

poet

College and school operas and scenes

Children's operas and scenes

Other

SACRED
liturgic

(including excerpts from


texts

set

as

independent

94 SF

Moving

95 sf

Ballets

96 SF

Pantomimes

97 SaFa

Pageants

9 O SaFa

Incidental Music

picture music

compositions)

A2#

85

Col.

special
sacr.,

85 SavFa

group of divisions i<8i,

and

(orig.

arr.

not differ-

compsrs

entiated,

sev.

compsr)

&77

or

Choral works (more than one no. or


mov't)

i^79

'Mo'5

^43

86 SavgFa

Choruses (single)

87

Congregational song

its^

one

^82
(to

dramas)

itS$, masques

88

Liturgic

88 rSavgF a

Choral

settings,

(including concert set-

99 HaFa

Forerunners of opera and

tings)

Monodic

89 rSFa

settings

ballet to

1600

i%40
i<73

^74 ^83
-

-&8i

Col.'s of cl asses 85-8S.

^82

I.e.,

<&*? Plain chant


chants.

i^S4 Distinguish from

classes

71-72 52, 75-76 52, which are

not acted.

hymns

chorales, psalms, carols, etc.


,

including liturgies and

office

books containing

*&Ss Prefe red here

as dramatic,

even when purely instrumental.

CLASSIFICATION

26

Subdivision

en.

(1)

SPECIES

i^z

Tto<s

Appropriate to the following Divisions of Classes

"&<?(?

All divisions

ik8g i^QO

Misc.

1, 2, 3, 4, 5, 6:

11-12, 15; 21-23; 31-37

Sonatas

Duos,

51-56

trios, etc.

61-62, 65

Symphonies, symphoniettas

11-12, 15; 21-23; 31-37; 51-56; 61-63, 65

Suites, partitas

51-56; 61-62, 65

Divertimenti, serenades

61-63, 65

i^gi, symphonic poems

Overtures

Variations

Fugues (with or without preludes, fan-

11-12, 15; 21-23; 31-37; 51-56; 61-63, 65

tasias, etc.),

51-56; 61-62, 65

11, 15;

canons, inventions, etc.

6 o

Occasional

13, 15; 61,

63

Technics (studies)

11, 13, 15;

21-24; 31-38; 41-44

Left-hand pieces

11

All divisions

Transcriptions, paraphrases, adaptations,


potpourris

lVp2
All divisions

Simplified editions

Historical

Selected divisions

"m"95

^S8

Appropriate to the following Divisions of Class 7:


All divisions

ik8o i^go

Misc.

Songs, ballads

71; 75

Arias, ariettas, (not excerpts)

71; 75

71-72; 75-76

Scenes (not acted), cantatas (for one


solo voice or sev.,

acted)

without cho., not

i%94
71-72; 75-76

Cycles

CD

With obbligato
Recitations with

6 o

Occasional

Technics (studies)

("melodrama"

Historical

i^S6 For the


comb.

71-72; 75-76
71
All divisions

ikg2

Selected divisions

"M95

place of table S as part of an "author scheme,"

and

71; 75

ace.

for solo voice)

Transcriptions, adaptations, etc.

9 tf

see

71-72; 75-76
instrumental

^S8

Only those

S with

^87

The

species of table

Kbd.,

Ill

pf.

solo, sonatas

In the case of

form

(arr.

not of the
ex.

Kbd.,
arr.'s,

pf.

solo, sonatas, arr. for orch., [full]

when

the basic classification

is

by actual

from), the species remain those of the orig. medium,


arr.

111=6

medium.
Kbd.,

311

Wind,

but not

315

Wind,

reg-arded

solo,

symph.j

arr.

from

orch.,

[full]

as

compositions
division no.
ex.

pf.

which a given species is approany divisions not listed in table

given species are incompatible with

ex.

~t^Sg Reject any or

111=6

to

it.

are stated in terms of basic classi-

fication by orig. form.

ex.

divisions

priate are employed. Ordinarily

"&J.J.

sonatas

n\,
fi.,

all.

fugues

S which are
and group
subdivisions under the

of the subdivisions by table

producing

too

belonging

to

minute
the

classification,

rejected

itself.

11

Kbd.,

pf. solo, [misc.]

111

Kbd.,

pf.

117

Kbd.,

pf. solo, tech.'s

solo, sonatas

0-e., all species not accorded


|

separate subdiv.)

SUBDIVISION

27

ik88

Affrofriate to the following Divisions of Class 8:


CLASS-DIVISIONS 81

AND 85

ik8g i^go

Misc.

All divisions

81; 85

Oratorios, cantatas

2 rn

With excerpt

Choral symphonies

liturgic texts

85

ig6

iXgy

81;

85

4
5

With

6 o

Occasional (except liturgic)

Technics, choral exercises, (studies)

81

Assembled choral works ("pasticcios")

81; 85

Historical

Selected divisions

9 //

81; 85

recitation

iko8

81; 85

CLASS-DIVISIONS 82

Misc.

-s8g

AND 86-

Hgo

All divisions

82

Part-songs, madrigals, chansons, etc.

Anthems, motets,

(with non-

86

liturgic texts (motets, etc.)

86

Cycles

82; 86

Choral chants (with excerpt liturgic or

82

With

6 o

Occasional (except liturgic)

etc.

liturgic texts)

With excerpt

2 rn

*lg6

non-liturgic texts)

82; 86

recitation

82; 86

"tVoo

7
8

Transcriptions, adaptations, etc.

Historical

All divisions

l!Vp2

Selected divisions

CLASS-DIVISION 88

Misc.

i<8g -fcgo

Masses

(complete)

CLASS-DIVISION 89

Misc. (including compends, etc.)


;

services

with or without communion)


Masses (parts)
Special

offices

Burial,

morning

and

Missals,

(Requiem,

(complete)

Book of

services

Common

Prayer

Nuptial, Litanies, etc.);

communion

Graduals,

(complete),

services

services

i%8g

iigo

(complete,

Missals, Graduals, (parts)

services

morning

ser-

vices

Choral chant services

Special

offices

and

services

(Requiem,

Burial, Nuptial, Litanies, etc.)

Vespers; evening services

Handbooks, manuals

Breviaries, Antiphonaries,

for choirs, etc.

Other choral

(complete)

Breviaries, Antiphonaries, (parts)


ters,

Psal-

Yesperals; evening services

Directories

Other chants (misc. hymns, sequences,


tropes, etc.)

>rpo For

species

not

selected

for

individual

other species not provided for, or for mixtures.

designation,

for

"^Vp/
is

Opera overtures preferred

by or:g. form.

in

class

91,

when

classification

CLASSIFICATION

28

Appropriate to the following Divisions of Class 9:

AH

itSg ikgo

Misc.
1

i^S8

divisions

Operas, operettas

91

With puppets

91, 93, 95, 97, 98

2
3

With spoken

91

dialog (ballad operas, Sing-

spiele, farces, etc.)

ikioo

7
8

Assembled

dramatic

and

dance

works
All divisions

("pasticcios")

2)

Selected divisions

~iZioi

Historical

HISTORICAL CATEGORIES
For

classes

09, 19, 29, 39, 49, 59, 69, 79, 99, and table S9, according to schedules appropriate to

the requirements of the individual library.

"jUfp2

medium

Transcriptions are regarded as belonging to the

for which the transcription

is

made. Locate by transcriber, and

sublocate by composer.
ex.

Kbd.,

L69 A3

Liszt, col.

118

L69

pf.

].

together,

862[R6E6]

factors

Choral,

(transc. by Liszt

Kbd.,

pf.

Liszt,

Wagner

from

sev.

tables

sacr., cho.,

r,

excerpt

Eng.

are enclosed

lit.

texts,

in

Roman

tr.

compsrs)

transcriptions, ed. by Spanuth

i%97 Distinguish from

class 66.

TT98 For choral works with

solo, transc.

liturgic

texts,

see

classes

85

52,

and 88.

Wagner-Liszt album,

ed.

by Scharfenberg

i^99 For choruses with


"i%93 Choose between specific historical emphasis and the emphasis on obsolete instruments as such, secured by classes 19, 29,

^ ioo

39, 49, 59, 69.

class 98.

~fep4

from

Cath., rLato,

solo, transc.

Twenty piano

used

one

ex.

118

When

Distinguish from class 92, which

is

liturgic texts, see class

86 52.

Unless ignored or preferred in class 91; distinguish from

i^joi Choose between specific historical emphasis and the gengroup secured by class 99 alone.

acted.

eral

i^95 Choose between specific historical emphasis and the general


group secured by class 79 alone.
i^gC Excerpts from liturgic texts set
tions. Language is assumed to be the
liturgy, unless a different

ex.

862[R6]

one

Choral,
Cath.,

is

as

independent composi-

original language of the

designated.

sacr., cho.,

[Lat.i

excerpt

lit.

texts,

Roman

"i^i02 Subarrangement

by

unless minute classification

tables
is

and

Dg may

be

desired.

ex.

7105

Voice solo, sec,

not

710524

Voice solo, sec, ace chamb.,

ace.

chamb.
str.

quar.

ignored

MEDIUM

EXTENSION

3.

Mediturn

1.

(1)

ACCOMPANIMENT

ft 102

Assumed and unexpressed


Misc.
ftio^
Unaccompanied ft 104
(unacc. assumed and unexpressed

00

in classes 79, 89)

Dg

01

Keyboard

(pf. solo ace.

assumed and un-

expressed in classes 2,

3,

mean

pf.

designated)

019
04

Continuo

solo

(3)

unless otherwise

GROUPING
Appropriate

Duo, 2

-2b
-3

Trio,

lute

otherwise

3 perf. (.6

hands) , 2

inst.

hands) , 3

inst.

&c

Dg

Chamber

06

Orchestral (full orch. ace. assumed and

unexpressed in

classes

assumed

orch.

9;

Misc.

-1

81, 85, 88,

mean

to

ft

68, 72, 76,

no

Unison
Duo, double, 2-voice

2
-3

5,

ftioS ftui ftnz

82, 86:

desig-

05

inst.

3 perf. (,6

assumed to mean

nated)

16,

14,

tl inst.]

-3c

Appropriate to Classes

unless

solo

(6 hands),

3 perf.

-3b

"$105

(plec.

etc.

12,

perf. (4 hands), rl inst.]

2 perf. (4 hands), 2

ft 106

Plectral,

Classes

ftno

Misc.

-2

to

ftioo

17:

71-72,

74, 75-76, 82, 86; kbd. assumed


to

29

Trio, triple,

ft 113

-voice

sV

Nonette

full

ft 11 4

orch. unless otherwise designated)

ftioy

(2)

VOICES

(4)

Appropriate

to Class 8:

Mixed

voices (assumed

Men's

voices

ft 108

Appropriate to Classes 71-72, 75-76:

tens

and unexpressed)

High

acc.'s

voice

Intermediate voice

girl's)

Low

ftio$ For

ft 116

Misc.

Women's voices
Young voices (boy's,

-y

TESSITURA

not selected for individual designation.

ftioy

EX.

81

voice

Choral,

sec,

choral

works,

[ace

orch.,

full;

8800

Choral,

lit.,

choral settings, unacc.

not

S1061

ex.

89

Choral,

lit.,

monodic

EX.

7106

not

8900

not

71061

fti04 ex.

ft 105 ex.

71

not

71011

ex.

8101

Voice solo, sec,

Choral,
r.pf.

not

sec,

choral

solo]

81011

ftio6 Unless preferred under

table

race,

S9

settings, runacc.]

kbd., pf. solo]

works,

ace.

kbd.,

Voice

solo, sec,

ace

orch., [full]

Choral, sec, cho., voices men's


82m
ft 1 08
Omit the symbol - when the grouping no. immediately follows
a letter from table u, since this table already provides the symbol.
ex.

82m4

not

82m

ftiog ex.

122b

Choral, sec, cho., voices men's, 4-voice

Kbd.,

pf.

ens., duo,

perf., 2

inst.

EXTENSION

3o

Form

ii.

Ra

ORIGINAL

(1)

ARRANGED

(3)

ment only

Assumed and unexpressed

ARRANGED

(2)

fenS feng

feiry

tire

for or from, en-

iki2i
Keyboard (kbd. assumed

Misc.
01

Dg

solo

otherwise

unless

03

mean

pf.

04

designated)

D
D
D

D
D
D

-3

=4

Plectral,

assumed to mean

(plec.

solo

unless

otherwise

:05

Dg

Chamber

:06

Orchestral (orch. assumed to

Dg

--6

desig-

Choral

Orchestral (orch. assumed to

mean

mean

full

fei2j

Voice

Chamber

desig-

orch. unless otherwise designated)

nated)
= 5

mean

to

otherwise

unless

solo

nated)

Wind
lute

assumed

(plec.

etc.

lute

etc.

fj.

designated)

String (bowed)

String (bowed)

Plectral,

mean

to

otherwise

unless

Wind

>Vl22
=

-fei28

solo

02
to

fri2^ -fei2s fei26

Keyboard (kbd. assumed

*>l

fei20

Misc.

accompani-

for,

~fei2y

Dramatic

full

"mi 2 7

orch. unless otherwise designated)

fel2$
--7

Dg

Voice

:8

Dog

Choral

-.9

Dramatic

feuo For groupings not

~fei2j
fei2-j

"fei2j

selected for individual designation.

i^iiS In Comb.

(2),

in

order

together under composer,

fen 1

524
B39

Chamb., str. quar.


Beethoven

ex.

52

B39-4

Chamb., str.
Beethoven, quar.

ex.

it

to

I.e.

52-4b

ex.

is

61

(2)

B39=2

letter

may

Chamb.,

str.,

quar.,

under

side
vln.'s
a

kbd. or

3,

not in

71-h

Voice solo, sec,

Sch7

Schubert

tes.

B39
sy(5)=2

split

repeated.

arr. for

full, arr.

perf., cl

inst.]

for kbd., pf. ens.

arr. for 2 perf.,

inst.

Voice solo,

Sch7

Schubert

e-h

(Der) Erl-Konig,

Orch.,

full,

arr.

for kbd.,

pf.

^?n8.

ens.

Beethoven

= 12

Sympli. no.

5,

Orch.,

arr. for kbd., pf. ens.

full,

arr.

for 2 perf., [1 inst.]

Beethoven

Symph. no.

5,

arr. for

tables

C and D,
for

and

classes

show
1,

5,

2,

3,

the exact
6,

4,

perf.,

inst.

subarrange by both

medium

of the arr. In

subarrangement by tables

be ignored unless minute classification

11=21

Kbd.,

pf.

11=5

Kbd.,

pf. solo, arr.

Kbd.,

pf. solo, arr.

is

desired.

solo, arr. for vln.

tessituras not selected for individual designation.

feiij For choice between classification by orig. form


and actual form (arr. from), see assumptions, (7).

so as to

from

or

Dg may

ex.

high

In arr.'s for or from classes

arr.'s
sec.

tes.

side by

high

(Dei) Erl-K6nig

71

work may be placed

by applying the procedure described in

B39
sy(5)=2b

^120

EX.

feii6 For

of arr.
be

arr. for kbd., pf. ens.

full,

Beethoven,

= 12

61

larger solo groupings in class 56.

EX.

title,

ex.

61

may

arr.

and the symbol

irXiig Different arr.'s of the same

class 5.

feii4 Place

Orch.,

of

be

-fen 3 Regard instrumental duos, of which one inst. is


plec. ace, as solos with ace, and place in classes 2,

fens

Orch.,

call no.

Beethoven,

= 12
B39 = 2b

desired to indicate the exact constitution

added to the grouping no.,


any appropriate schedule of meanings.

groupings, a

according

= 12

ex.

61

feu? Wherever
of

between two parts of the

different kinds

place

to

designation

the

(arr. for)

ex.

for chamb.

not

11

= 52-4

for chamb.,

str.

quar.

QUALIFICATION

Qualification

in.

NATIONALITY-

(1)

LANGUAGE

r
^Z2 9

31

(2)

RELIGION-CHURCH ^ I29

i* I3

&I3I
-&I32

Misc.

i%i34

Misc.

[A9]

Austrian

[A6]

Anglican

[B4]

Belgian

[B2]

Baptist

[C9]

Czech

[Cl]

Calvinist

[C7]

Congregational

[D2]
[D9]

Danish

Dutch

[D9]

Dutch Reform

[E6]

English

Eastern orthodox

[F4]
[F8]

Finnish

[El]
[E7]

[G3]

German

[JS]

[H8]

Hungarian

[L9]

Lutheran

[17]

Irish
Italian

[J5]

Jewish

[M5]
[M7]
[M8]
[M9]

Methodist

[18]

[L3]

Latin

[P8]

Presbyterian

[N7]

Norwegian

[P9]

Puritan

[R9]

Russian

[R6]

Roman

[S3]

Scotch

[S9]

Swedish

[S7]

Spanish

[U6]

Unitarian

[H8]

French

[S9]

Swedish

[U6]

United

i^i2i For

61

*fci22 ex.

been

Orch.,

full,

arr. for kbd., cpf-

In

arr.

Kbd.,

for pf.

of ace.

arr.'s

and

commonly

are

solo,

said

is

always

of ace.

Dg may

choral,

have the form of

to

and dramatic works, of which both the

vocal and instrumental parts have been


pf.

solo,

arr.

for orch., [full]

for, entire, as distinguished

ex.

i^ I2 4 Arr.

Catholic

solo]

tables

Mozarabic

i^i2y Voice,

11=6

ex.

&125

Moravian

Mormon

''piano-vocal" scores.

^V/25

Huguenot
-Jewish

States

not selected for individual designation.

arr.'s

Episcopal

for

arr.

1,

5,

6,

is

desired.

71=:05

Voice solo,

arr.,

not

71=0524

Voice solo,

arr.,

ace. only, for


ace.

For

suggested

arr.'s of ace.

in

this

to

religion or church, applying

of which the ace. only has

tables.

for

kbd.,

arr.,

entire, for kbd.,

cpf.

solo]

not selected for individual designation.

table,

preferred, apply no.'s in

only.
only,

ace.

solo]

Dram., operas,

arr.,

designate

in

],

nationality

str.

quar.

i%i26 Choral and dramatic works,

operas,

are treated as arr.

arr.,

arr. for, ace.

i^i2g Employ alphabetical-order marks

chamb.

only, for chamb.,

^128

Dram.,
cpf-

91

subarrangement by

be ignored unless minute classification

ex.

= 01

for.

classes

91

from

where required

such
or

as

those

language,

in the call no.

Or

if

from any of the available numerical

EXTENSION

32

d
(

(3)

Century

DATE

(4)

OCCASION

Seasonal (non-liturgic)

New

Lent,

Palm Sunday,

Saints' Days, All Saints

Nationality applies especially to classes 04, 735, 78, o9.

04[A9]

^131

78 [E6]

but

Language

Harvest, Thanksgiving

Other
r

Liturgic

it 140

9 n

Patriotic

if 141

ex.

05171

Misc., col. works, one compsr, 1st ed., voice

Sch7

Schubert
|

[Works

may

ex.

Folk songs, English


applies

be useful in 7,

862[R6E6]

8,

especially

sacr.,

Roman
ex.

Eng.

Dram., opera

H88

Humperdinck
Hansel und Gretel,

"MJJ2 For nationality

or

excerpt

cho.,

Cath.,

91

h B[E6]

85-86

737,

52,

9.

Choral,

tr.

lit.

See

texts,

^Y<?6

by Eache, Eng. text

language not selected for individual

87, 88, 89*


ex.

for

classes

771,

772,

773,

775

85-86 52,

87[L9]

Choral,

sacr., cong-'l

song, Lutheran

*fei$4 For religion or church not selected for individual desig-

"j?i35 Especially for classes 01, 786, but useful elsewhere.

ex.

ifi37 Apply decimally

0189

Misc., mss., choral,

Aa

Anon.

(xv)

15th cent.

lit.,

monodic

settings

to table S6.

occasions not selected for individual designation, or

for other occasions not provided for, or for mixtures.

Ox 1 39 Especially
ex.

for

classes

13,

15;

71-72,

75-76;

81-82,

9.

1563

Kbd., org.,

occ'l,

seas'l,

Palm Sunday

etc.

ff 140 Especially for classes 13, 15; 75, 76, excerpts from lit.
texts set as independent compositions; classes 85-86 S2 make
special provision for excerpt liturgic texts in choral music.

ex.

nation, or for mixtures.

am Spinnrade

a I.e. Roman numeral for the probable century, or


an Arabic numeral for the year, in ( ) at the point in the call
no. which secures the desired location.

85-86;

08.

solo, [songs]

1814,

if 136 Apply

ifi3$ For
tr.

designation, or for mixtures.

i$i33 Especially

oft

Gretchen
classes

to

Easter, Ascension

Advent, Christmas, Epiphany

(1814)g
ex.

Good Friday

monuments, Austrian

Misc.,

Year

6
7

ex.

if 139

^130

if 137

iti38

Misc.

iki$6

^136

Year

4*35

568 [R6]

ifi4i For

all

Kbd.,

patriotic

org.

music,

solo,

occ'l,

except

lit.,

songs

Roman

Cath.

and choruses pre-

ferred in class 78.


ex.

6369 [U6]

Orch.

ens.,

States

band,

occ'l,

patriotic,

United

BOOK MARK

DISTINCTION

4.

Book

I.

33

Mark

("book number")

B
complr

or

COMPSR

MARK

(1)

COLLECTIONS
&143

"K77 iki42

CASE

1.

BY

CLASSIFICATION
Orig.

CASE

FORM

CLASSIFICATION

2.

by

actual

FORM

Ck

Misc.,

sev.

iti44,

divisions

(sev.

compsrs

or one compsr)

Orig.

and /or

iti 4 8 -&I49

&Z45

Arr. for

fiotd;ffer .

Orig. only

|
-frj^jentiated

"1^145

~^ T

47

COMPLR

COL.

MARK MARK
Subclass

A2

Special group of divi-

"Ai^o,

sions

compsrs

or

(sev.

one

compsr)
Orig.
aa!/or

^r 5 x

not differ _

Arr. for

^151

Orig. only

J entiated

&147

Division or Subdivision
Single division or sub-

division,

(sev.

compsrs)

A3

Orig. and

-M-/52

mixed

A4

A4

Orig.
or

COMPSR

MARK

(2)

INDIVIDUAL

COMPOSERS
a

See table

iXiS4

Arr. for

~&i5S

i%i55

^156

Orig.

arr.

from,

"Ki"53

ikiS4 ~&i55

Arr. from

^157

DISTINCTION

34
^142 The

mark

col.

is

omitted with the 1-digit class no., since

intrinsically a col. group.

it is

ex.

Chamb.,

The

*teJ43

13
sev. divisions

col., misc.,

mark

col.

04, 05, 06, 09;

is

also omitted with classes 00, 001, 007,

73, 77, 78;

i%i5o In connection with

A2

(containing
81-82), 85

i%i5i

ex.

and

In connection with class

mixed,

sacr.,

primarily for combining

7,

with 71 and 75. In connection with class

and

sacr.,

^145

mixed,

ex.

8,

combining

for

sec.

^152

Kbd.,

M363

Martini

so

Sonate per l'organo

Choral,

Aul7

Aubry

Cents motets du

sev. divisions

col., misc.,

form

col.,

cembalo

il

i^i53

misc., sev. divisions,


e

xiii

and
mixed

sec.

sacr.,

works are

first

applicable

is

subclasses

(containing

Forty-three great

from choral works

(class 85)

and single

cho.'s

choruses by great

(class 86), mixed,

composers

ed. by

Ross

and

Col. of orig.

arr.

(arr. for)

located by orig.

the basic classi-

and

Col. of orig.

basic classification

excluded when the

is

(arr. for)

(see assumptions,

mediums would have

tions, 7), since

is

arr.

from, mixed,

by actual form

is

works are

if

can be collected by

siecle

when

mixed,

for,

by orig. form

is

little practical

reason for existence.

Col. of arr.'s by class

fication is by orig.
il

Col., cho.'s

basic classification

tion of ace.

^146

A2 R73

7), since such a mixture of


ex.

A2

81

(containing classes 85-86).

sec.

with 85, 82 with 86.

classes 81

i.e.

to create

8,

15),

with 75, 72 with 76; also 78

71

classes

i.e.

and

and

13

Choral, sacr.

85

87, 89, since they are intrinsically

col. classes.

^144

A2

classes

classes

classes

medium

first

15

Kbd., org. solo

(see assumptions, 7), since

A3 E2

Col., orig.

form, they can be collected

(The) organ

ex.

from)

(see

and

the

assump-

located by actual form, they

regardless of orig. form.

not involved, since

when

applicable

is

(arr.

ace.

arr.

is

always

The

ques-

arr. for.

from, mixed, ed. by Eddy

in church

by class regardless of actual form.

i^ J 54 EX

ex.

Chamb.,

M87

Mozart

Satze aus Quartetten und Quintetten

col., misc.,

groupings

ent

sev. divisions

chamb. music,

of

differ-

(i.e.

arr.

for

basic

tions, 7), since

by actual form

is
if

Kbd.,

Col., ed. by Oesterle

aL

Album

solo

pf.

of Russian piano music

*fci55 Decimal subdivision of A4 makes possible the subgrouping


of col.'s according to their special character; particularly applic-

Col. of arr.'s by class or subclass


classification

11

A4 OeS
pf.

solo)

i% 1 47

works are

first

(arr.

is

excluded

from)

when

(see

the

assump-

able to col.'s of different types of excerpts in classes 81, 85, 91.

ex.

located by actual form, they

have already been distributed according

85=01
A4

Choral,

to arr.

71

Voice solo,

A4 F49

Col., ed.

Fifty master songs, tes. high

71

Voice solo,

choral works,

arr., ace. only,


[

for

kbd., [pf. soloj

Oratorio choruses

i% T 4$ The col. marks A2, A3, etc. (followed by the compiler's


ft) have the effect of placing all col.'s before the first individual
composer, since the first composer's 1 is Aal.
ex.

sacr.,

Col., ccho.'s only]

85

= 01

Choral,

A42

sacr.,

choral works,

Col., arias only

Oratorio

arr., ace. only,


|

for

kbd., tpf- soloj

songs

sec.

^156

by Finck

ex.

91

A4 UlI

Dram., operas,

arr.

for kbd.,

tpf.

solo]

Col., Ulrich

Ouverturen-Album
Abt

Ab91

a6

^149 The
91

"iti57 ex.

Col., part'I, Peters ed.

compiler (editor) mark for

following the
ex.

sec.

col.

= 01

= 91

Kbd.,

pf.

solo, arr.

from, dram., operas

Col., Ulrich

Ouverturen-Album

a col. consists in his ft,

mark.

^158

Dram., opera,

11

A4 UlI

arr., ace. only,

for kbd., tpf- solo]

A4 K87

Col.,

Voices from the golden age of bel canto

Krehbiel

Indicate anon,

individual

composers by the anon, mark

Aa, which will place them before the

first

known

namely Aal. Different title marks will distinguish


works from one another within their group.

composer's

ci s

different anon,

TITLE MARK

(1)

COLLECTIONS
subclass,

Class,

I.e.

or

division

subdivision

Complete

*'6z
(Cb)
(cto
(C#)

iti62

it 163

Separates
(i)

keys

(BW

Col. (one compsr)

Partial

Major

(Ab)

(Bb)

COMPOSERS
a6

itz74 iti7S

(AW

INDIVIDUAL

a5

Key

or (d)

ikisg iti6o

(2)

Mark

Title

ii.

35

Minor

(ab)

Title with sufflementing dis-

keys

(10

tinctions:

Title

I.e.

"KJ5P iti64 iti6$


itz66 iki67

(a)

I.e.

Subtitle

"$159

or

Excerpt

Opus and number

(a)

isz^cj

izz 77

5^270
(

or

or (b)

or

(c)

Title initial, or,

$160 ex.

if

Number

necessary, initials, in

11

Kbd.,

pf. solo

A4 P28

Col.,

ed.

aL

Alte Meister

or

(Ab)

172

and

(l.e.)

Key

(c)

Movement

(iii)

it 180

Aal

I.e.

aa

Title

(1/D

Op., no.

by Pauer

Aal
aa(l)

no.

Title,

>.

identification, will

it 17 5 it 17 9

it 17 s

i^i6i Preference in title marks is ordinarily for that which


most naturally and thoroughly identifies a work, with considerable attention to uniformity for works of a kind by the same
composer. Title marks, freely chosen with a view to the most
effective

arrange without conflict in the

Aal
aa(Ab)

Title, key,

supplementing

major

Aal
aa(ab)

fol-

Title, key,

minor

lowing order (see precedence, 6):

Aal

Aal

Compsr

a5

Col.,

ct

Op. and no.

Aal(l)

Compsr, no.

Aal(Ab)

Compsr, key

supplanting

title

_,

Col., part'l.

it '62
Aal
aa

(1/D

compl

Aal
a6

Title

it 17 8

(of a series, as

symph.)

^159

(of a series,

symph.)

Opus and number


"w

Number

(b)

number
it 17 z

or

Act or part, scene

title:

&176

itz68

itz6p
/I.e.

Distinctions sufflanting

(ii)

EX.

11

Kbd.,

C4S

Chopin

a5

Col., compl.

pf.

solo

(all hi

pf.

works)

title

as

DISTINCTION

36
i^i6$ Differentiate between

a partial col. of misc. content,

under

a set of pieces belonging together

and

*iXiJo Affix directly after the

single title given by

ex.

the composer.

ex.

1 1

Kbd.,

Sch8

Schumann

Fantasiestiicke

6olo

pf.

i^iji

title

85

Choral,

H19
m/h

Handel
(The) Messiah, He

Affix

numerals in

or subtitle initial.

choral works

sacr.,

directly

shall feed his flock

after the title or subtitle

initial.

not

Col.,

part'l, [Fantasiestiicke;]

ex.

^164 To

arrange compositions of the same species together (in


place of table 5 or in supplementation of it), employ a constant
species title for each species, regardless of language; an ac-

cessory title needed for identification


title

is

then treated as a sub-

etude

so

sonata

fa

fantasy

su

suite

addition to the

fugue

sy

invention

va

variation

ov

overture

vo

vorspiel

pr

prelude

ex.

should not be used so as to eliminate a distinc-

Beethoven

so

Sonata

(110)

Op. 110

Kbd.,

Choral,

H19

Handel
(The) Messiah

^165

Use 2

initials

in

titles

71

Voice solo,

F73

Foote

a6

Col., part'l

71

Voice solo,

F73

Foote

as

Ask me no more

= 01

a,

in

21019

= 01

i%i68
ex.

"i^iOg

Chopin
Nocturnes

title

under their

pf.

no.,

plant

solo

distinctive titles in preference to

same

ace.

libr.,

any other

not

identi-

title is implicit in

it

(see

is

Ill

Kbd.,

B39

Beethoven

continuo,

arr.,

ace.

solo, sonatas

pf.

(110)

rSonataa, op.

111

Kbd.,

B39

Beethoven

110

pf. solo,

sonatas

Sonata
Op. 110

Tod und Verklarung


611

Orch.,

(24)

Op. 24

B39(5)

Beethoven, [Symph.] no. 5

611

Orch., full, symph.

not

directly after the title initial.

M52

Mendelssohn

sys

Symph., Scotch

makes further distinction


subtitle when this is the most characteristic
work. But prefer title to species title and

use of a subtitle frequently

characteristic identification

61

Orch., full

is

Beethoven

sy(5)

Symph., no.

ex.

524

Chamb.,

quar.

(X)

D35(gt|)

Debussy, [quar.], g min.

524

Chamb.,

D35
^(gn)

Debussy

not

secured.

i^i77 In

B45

Berlioz

Harold en

syh

Symph., Harold en Italie

str.

quar.

str.

Quar-y S min.

case op. supplants or

tion, place the op. no. in


Italie

in

symph.

full,

B39
Orch., full

more

same

-&I77 i<i?S &J7p)-

(110)

subtitle if a

in the

the subdivision or extension

so

title

omitted and succeeding distinctions sup-

Orch., full

of

soloj

ed.

Strauss

The

ace.

r.pf.

2nd

61

61

arr.,

only, for kbd., npf. solo]

St8

identification

not

Sonata, d min.,

the title initial

ex.

unnecessary. Use a

ex.

vln.,

of this

or several works of the same

C45

Affix

continuo,

only, for kbd.,

numerals after the key mark.

affix

Senaille

sec.

ex.

not

solo,

Str.

Se5

fication.

ex.

ace.

by Moffat

Kbd.,

i^i6y Retain

vln.,

distinguish other works of the

key by the same composer,


ex.

11

directly after the title initial.

by Moffat

i^iJS To

sec.

solo,

Sonata, d min., ed.

order to

not under a6, part'l col.

title initial,

ex.

all

in

Str.

so(d^)

beginning with

mark

Senaille

*feiy6 In case the

Place

directly after the title initial.

pf. solo

Beethoven

so(d^2)

^166

~fci73)-

Sonata, no. 31

21019

ex.

secure sequence after a5 or a6.


ex.

(see

B39

*t$i74 Affix the key

Oratorio, (The) Messiah

orm

call no.,

Op. always occupies a separate

so(31)

Se5
not

on a separate line of the

choral works, oratorios

851

solo

pf.

B39

tive title or to cause overlapping identification.


sacr.,

initial.

Affix numerals in

i^ J 73

&c

Kbd.,

symphony

fu

ex.

in

title

Cf. distinction by no.

ex.

in

titles

(Die) Meistersinger, Vorspiel, act

rondo

ro

et

But such

Wagner

m/vo(3)

species titles:
line.

canon

ca

Dram., operas

i^ ! 7 2 Place numerals
in

i^iCS). The following are the chief

(see

91

W12

is

on

preferred to

title as a distinc-

a separate line of the call no.

place of the title initial. Op. always occupies a separate line

(see

i$ij6).

EDITION MARK

in.

(1)

~^Xiy8 In case no. supplants


(

book mark (see

to the

i^ijg In
mark in (

i^i8o

to the

I.e.

Numeral reference

title as a distinction, affix

the no. in

mark may

it

Roman numeral

within their

=62

ex.

61

G87

Grieg

p(i)

Peer Gynt

in

directly after the title

ex.

Orch.,

full,

for orch.,

arr.

suite,

1st

str.

= 15

ex.

61

M52

Orch.,

full,

arr. for kbd.,

sy(3iv)

Mendelssohn
Symph. no. 3,

ex.

15=524-

Kbd.,

D35(gtlii)

Debussy,

i^i8i Choose between

org-.,
g-

letter

former stands for the editor's

work

the

latter

may

org.

solo

Sonatas, ed. by Reinecke

11

Kbd.,

B39

Beethoven

so

Sonatas, [1st ed. of this

Kbd.,

pf.

pf.

solo

libr.]

solo

B39

Beethoven

so2

Sonatas, 2nd ed. of this Hbr.

ex.

str.

quar.

and a numeral reference: the


name, occasionally for the pubplace different editions

order of accession.

The

of a

edition

example above must not be confused with the following:

last

mov't

from chamb.,
min. 2nd mov't

arr.

be used to

in the arbitrary numerical

4-th

pf.

Beethoven

mov't

The

Kbd.,

*feij6).

).

omitted altogether from the primary edition ac-

B39

book mark (see

ex.

lisher

be

^182 ^183

quired by a library.

"f^iy6).

or subtitle initial, or after the op., no., or key distinction, including:

EDITION NUMBER

dec.

so

Affix a

iZiSi

(2)
"&182

case key supplants title as a distinction, affix the key


)

Mark

Edition

EDITOR
Letter reference

caf.

37

Kbd.,

pf.

Beethoven

so(2)

Sonata, no. 2

i%i82

Affix to the title

^183

Indicate

editor, with

ex.

solo

B39

later

numerals added

Kbd.,

H39

Henselt

mark.

editions

M3

Si

pf.

of

the

same work by the same

to the editor's initial.

solo

oiseau j'etais,

Mason,

his

3rd ed.

ML111.D38C5

3 5002 00132 8124


Dickinson, George

Sherman

Classification of musical compositions;

Printing House of Harmon, poughkeepsie,

n. y.

DATE DUE

GAYLORO

PRINTED INU.S

A.