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MUSICAL COMPOSITIONS
A DECIMAL-SYMBOL SYSTEM
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Libraries
http://www.archive.org/details/classificationofOOdick
(Classification
A
of Musical
(Compositions
DECIMAL-SYMBOL SYSTEM
VASSAR COLLEGE
POUGHKEEPSIE
IQ
S 8
NEW YORK
IUN 1
1939
eusux
college
vam.
in
an edition of two-hundred
copies, of
Slumber
which
this
is
-J-.V f.
.
goon
D 3vGr
AC%NOWLEDQMENTS
d_ The music
as a check-list
d_ The system
has
^L Valuable advice and criticism have been received from colleagues at Vassar
Fanny Borden, librarian and from Miss Natalie Mestechin,
help,
and
to
my
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.
.....
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.
to classification)
TABLE
CHARACTER
I.e.
16
dec.
17
PAGE
Classification
i.
Class Synopsis
MISCELLANEOUS
Several
or
Special Classes
18
INSTRUMENTAL
1
Keyboard
....
solo
String
Wind
Plectral
solo
Chamber
ensemble (groupings of
solo
solo
and Various
Other
68
4]
19
20
classes 2, 3,
58
19
Orchestral ensemble
solo-orchestral ensemble (concerti)
20
20
21
21
CONTENTS
5
TABLE
VOCAL
7
Voice
78
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 )
(2)
Arranged, entire
(3)
Qualification
-dec.
-I.e.
30
F
Fa
......
.....
.....
....
....
......
....
.....
......
(2)
Religion-church
(3)
Date
(4)
Occasion
Mark
(1)
(2)
Individual composers:
30
30
31
31
32
32
dec.
33
(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
a
T
33
A2, A3,
Aal &c
A4
33
33
35
I.e.
35
Complete
a5
35
Partial
a6
35
Separates
Title
Subtitle
Excerpt
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
combination reference
&c
omitted
(encircled numeral)
in
the
way
call
no.
and
understood
in
"
class synopsis
PAGE
29
33
17
mark
Fa
grouping
32
37
30
30
29
28
historical
location
nationality-language
31
occasion
32
[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
facilitated
in
any
case;
identification
in
employed
as are
is
amount
of
from
benefits
it.
These obviously
consist
in
scholar,
shelves)
organized
logically
to
and
of material
with
minimum
of
material
notation,
same materials.
the
In music, for
example, scores which are used chiefly for consultation
some
research.
On
classified
even though
according
may
this
require
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
In
(+)
in
characteristic
of
and accordingly
assembly
of
various
in
different needs.
addition
to
assuring
logical
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-
special
differentiations
These
embrace
music
all
tables,
of the
Many
archives.
contents of the
scope of which is sufficient to
and extension
of which they are
in
the
numerous
relations
any one
case, since
not
some of them
are mutually
adequate
in
widely varied
of
meaning
may
themselves,
mnemonic
associations.
for the
factors,
since
assist
when
subjected to
maintenance
in
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
Furthermore, the
sort.
used should be
Such
as
a
inherentlv sugges-
scheme will
determination
conflicting needs
ials
may
of
categories,
present themselves.
however,
What
mater-
at
the
to the require-
ments of expansion.
While the
the
The
In
But they
numerals tend
in the
force
To
exclusive.
(3)
ease be
In order to secure for the purpose the necessary transferability of factors, decimals are indispensable.
are
provision
call
sound categories,
full
In order to
ials
first
quality.
factors
The
and
categories
number should be
(2)
consists
relations
in
bodies
legitimately require
distributions
and precision
may
and
mixed
clarity
have
very
(5)
in
selection
classifier
is
[?]
INTRODUCTION
ments of the library
been made for
in
must be maintained
to
which
of
judgment
of
is
options
library,
though
classification
under the
after
the
may proceed
character
set-up
is
once
of
given
determined
the
As
flexibility
result
matter of
When
actual
fact,
greater convenience
less
of significance
is
it
When
The
services to be
and
on mnemonically vivid notation. Unless these peculiar
flexible control in the application of the categories,
inevitable, in cases
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
may
meaningful numbers.
in routine.
in the notation,
in
(7)
(6)
way
deemed
necessary in a given
The
many
it
is
doubtful
if
the intricacies of
theoretical
classification as possible.
and
as
practical values of
APPLICATION
I.
Call
1.
factors
Number
comprising the
The
call
number
(see
contents,
4-5;
pages
shown
is
number
in the
and index of
are
(see
The
point
is
classification for
also
number
maximum
of
of the differentiations of
*^fj
The
all
given composition
is
its
com-
classi-
may
expansion, covering
which
following-
is
it
an example of
a fully
expanded
call no.:
p5 12 13
iZi
call no.
),
may
be considered
is
unnecessary.
3-integer system.
call
contents, pages
Numerals
ii.
11-16).
panions,
(see
consist of
letters.
of the call
and distinction
fication, extension,
3.
cited.
The
tables
CONVENTIONS
1.
I.
call
The
distinction
between 2- and 3-
mark
The
according to comb.
method of assembling
factors to
(T);
form
it
is
for
i%2
a call no.:
B39
so(4) J
P 21
INTERPRETATION
LCD
tables:
line
p 5
i:
Sg F CD
21 3
= 11
Location:
parts;
&2
tables:
line
B39
2:
Distinction:
line
so(4) J
tables:
LINE 4:
p21
ex.
All decimal
Fonn,
arr.
str.
jrom kbd.,
pf.
solo
Title
Mark,
Location (resumed):
7
[MUSIC:, voice
78
or
78.9
instead of
M789
from
789
Mark,
ed. by
Jansen
solo,
folk,
789
to distinguish
trio;
tables:
3
Extension: Grouping,
primitive
[MUSIC], voice
primitive
[9]
in.
5.
%-6
CONVENTIONS
10
The
following
is
and symbolical
letters,
with reference
to the tables
associated:
SYMBOL OR
LETTER
SEE
MEANING
PAGE
TABLE
Accompaniment
"wj
29
-I.e.
dec.
Grouping (duo,
-I.e.
trio, etc.)
29
29
29
30
Fa
30
Form:
Arranged, entire
=0
w^
&4
Insertion:
[
Decimal
n, r
Nondecimal
d,
31
32
Excerpt:
Textual
-\
Scene of
act
"Number" from
act or part
35
Key
(bU)
IV.
Precedefice
Arrange by corresponding
(2)
Subarrange corresponding
factors
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
-(1)
-*(1)
COMBINATIONS
7-i3
The
Assumptions
v.
principle in force
is
Form.
7.
composition
assumed to stand in
is
its
form
assumption
meaning
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
CASE
1.
ing to
Classification of the
its
CASE
2.
ing to
signify
ik$
arrangement accord-
show
"arranged from."
"&<5
Accommodation
I.
consequence of the
flexibility
which decimal
14-1,6),
The
pre-
whether by original
The
application
number depends
tion in use.
duce
of
the
tables
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
of the
call
number
Italic
In combinations
, , A,
and
B,
by placing them
as
the
first
lines
and
factors in separate
lines.
The
of a given combination
as
to exploit
possible,
as.
man v
factors
detailed classification
factors belong.
usages see
numeral, but
"tV-/
its
same
chosen
by combinations of the
The
position
factors
tables
13.
are
in
In labeling,
Combinations of the
(see
call
offer the
without
tables
shown
the
also
composition.
by
in
preferences:
for the
for
number
called
entirely
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
to
of
according
in different combinations.
principle
unexpressed,
to Various
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-
for
11. As
8. Version.
The symbol
may
be substituted
for
to
accommodate
COMBINATIONS
12
of the factors
needed
shown
in
at
and unexpressed
for
The meanings
which they
the sake of com-
11.
14.
Combination
Consult the
and
list
Formulae
libraries:
i^y i%8
(T)
emphasis:
and curtail-
require no expressed
(see omission
ment, 9-10).
exclusive.
Interpretations enclosed in
number
number, since
call
14-15
division,
Class,
form;
actual
subdivision,
extensive partition
before
composer.
if
desired.
FORMULA
INTERPRETATION
EXAMPLES
CDSavgtFa
113
L69
T E
=6
Kbd.,
from
arr.
i^8y\
i%6
1222
2-5
Kbd.,
duo, 2 perf.
[1
inst.jj
arr.
from chamb.,
71205- -h: = 01
P41
Pergolese
etc.,
ace.
chamb.,
tes.
high;
arr., ace.
St8
Strauss
emphasis:
"feio
i%i 2 5
occ'l,
patriotic,
ace
arr.,
ace only,
i%i25
&127
Combination
quin.
826906-m2 = 01
15.
str.
Mozart
k S
&9
M87
orch., cfullj
Liszt
libraries:
m'/x
(2)
Class, division,
orig. form,
advantage.
FORMULA
EXAMPLES
CDSaFa
Bvg
61
El
INTERPRETATION
Orch., full; arr. for kbd., [pf. solo:
L69
P
52=12-2
Chamb.,
MS 7-5
Mozart, quin.
k S
7105=01
P41
Pergolese
R-h
&5
ex.
11
= 61
= 11
str.;
Orfeo, Ricordi
ed., tes.
a S
[Orig. form]:
&6
full
orch., full;
[actual form]:
[1
inst.3
^5
"feio
^125
high
StS-m2
[Orig. form]:
duo, 2 perf.
8206=01
uactual form,:
61
^5 ^9
Liszt
EX.
arr.,
11
= 61
[Actual form::
[orig.
61
= 11
form:
[Actual form::
[orig.
form:
[pf.
solo:
"^125 "$$127
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
52
Chamb.,
M87-5
k=12-2
emphasis:
"^5
by Klauser
">Vp
Mozart, quin.
(Eine) kleine Nachtmusik;
71
Voice
P4105
o=01 R-h
Orfeo;
perf., [1
insto, ed.
by Singer
82
solo, sec.
St806-m2
a=01
Austria;
i?*o
-M-5
Combination
soloj, ed.
[-pf.
str.
arr.,
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
by Klauser
i?5
Chamb., Mozart
22-5
Str.,
k=12-2
quin.
suites etc.,
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;
(T).
This
(J)
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
B
CDSavg
TFa Et
In
^125
combination:
BT E
>$"//
high
Et
tes.
"^8 In comb.
Ricordi ed.,
Choral, Strauss
StS
CD
etc.,
str.
quin.
(2)
the
may,
if
preferred,
be
divided
^13
In
this
comb.,
tables
DS
supplemented
by
class 0.
tables
avg
H
;16.
COMBINATIONS
General or small
Combination
libraries:
(3)
emphasis:
16
Table
may
be omitted.
FORMULA
=6
CDvgFa
11
ST
L69p
Combination
emphasis:
fci4
INTERPRETATION
EXAMPLES
from
Kbd.,
pf.
Liszt,
solo;
arr.
orch., [full:
12-2=5
Kbd.,
M87fc
71=01
P41o
Pergolese, Orfeo
duo, 2 perf.
pf. ens.,
arr.,
insto; arr.
[1
ace. only,
82-m=01
StSa
Strauss, Austria
for kbd.,
Table
Class, composer.
INTERPRETATION
Orch.
BT
L69p P
Liszt,
5-5
Chamb., quin.
MS7k
Voice solo
Pergolese, Orfeo
Choral
St8a
Strauss, Austria
D, which
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
solo
and
7.02
&c
solo
Violin solo
8
solo
8.2
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
Voice
7.S
Wind
solo
String (bowed)
4.1
^127
VOCAL
solo ensemble
Pianoforte solo
3.1
i^i2S
Orchestral ensemble
Pianoforte ensemble
2.1
1^/25
P41o
1.5
soloj
-feio
i^i4
EXAMPLES
1.02
cpf.
-j^-<5
(5)
CDg
from chamb.
FORMULA
By
"jJV<5
9
9.8
liturgic
Dramatic ensemble
incidental music
OPTIONS
'IJ-21
OPTIONS
3.
minute
Combination
1.
15
classification
and
The
7.
exact
of
and adhered
tested, recorded,
An
18.
given
library, or the
ferent parts
should be selected,
to consistently.
is
found
which
possesses
classified
may
also
some "parts":
the scores
according to combination
contraction of
may
be
according to combination
be classified
is
(T),
or
table
fication,
com-
in the case of a
cases S9,
value,
list
^164). Subdivisions by
(see
some
v,
5 nevertheless forms
valuable
check-
t,
by
sion
tables F,
in
may
be
r,
d, o
i%i5
it.
Distinction by table
larized by
11.
Contraction
it is
the
number
These
distinction, or
may sometimes
it
discriminating
less
distinctions
be omitted.
afford
slight
simplification.
partition desired.
An
68). Subarrangement by
itself
only,
CD
may
CD
may often
or may be
20.
The
should
be
*p$i5 ex.
in
any
may
it
case
and adhered
to
be eliminated
in.
recorded,
also
to
tested,
consistently.
duplicate
The
Form
by original
as a
21.
title
produces extremely
and adhered
52
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).
throughout the
Index
letters
are
main
tables
CD
placed
may
various
after
items in
be further partitioned.
according
to
combination
(J),
other combinations.
C. The
tables
for
classes
11,
71,
ations of the entire system, and are set up with a moderate degree of expansion to serve
as
is
indicated by
if
method
are
shown most
and
(2),
as sufficiently
the
cfc,
called for
Examples of
call
fully in connection
The examples
synthesis,
of
difference
is
not
are
illustrated.
For
further
notation;
C!,
Consult the
list
1.
LOCATION
*,
L
M
Music
litera-
special libraries
iti8
Juvenile
i^jp
Parts
iXi-j
Department or other
from music
(as distinguished
ture)
(of
etc.)
t'o
"h"21
flC
I.e.,
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
class
solo-chamber ensemble
58
Other
classes
2,
solo ensei7ible
1V25
"&2J
Dramatic ensemble
.roio
3,
L1TURGIC
88
String (bowed)
and
solo
78
ensemble
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
&/p
Prefix.
^"20 Parts
(1)
marked
are
according-
the location
to
91
Dram., opera
R14
Rameau
desired:
is
many
to
be preferred,
especially
ex.
Parts, chamb.,
&'c
if
p8
str.
quar.
Beethoven
(18/1)
p21
52
Chamb.,
B39^t
Beethoven, quar.
(18/1)
Op.
may
be
vocal,
cho.
Parts, chamb.,
str.
quar.
Beethoven
Op. 18, no.
p212
vln.,
p22
via.
P 23
vc.
Parts
Parts,
2nd
str.
18, no.
distinguished
p52-4
B39
(18/1)
iVjp)-
p21
ex.
p524B39
(see also
Castor et Pollux
used.
Parts
ex.
as a final distinction
from
CD
one
another by affixing
the
to p as a final distinction, or to
^22
^25
classes
of
types.
greater
CLASSIFICATION
i8
ii.
TABLE
CD
TABLE
MISCELLANEOUS
CD
SEVERAL
SPECIAL
or
INSTRUMENTAL
KEYBOARD
CLASSES
Col.,
not differenti-
arr.
00
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.
compsrs
A4<5
Thematic
compsrs
compsrs
Ma
First editions
i%i53
compsrs
Col., sev.
Indiv'l
CD
i^8g
h\a
a
11
Monuments
^33
[misc.]
tOrigo
051
Col., sev.
CD
05
"w"2^
Composer known
04 n
sev.
differentiated
Form
CD
CD
not
Species
Manuscripts
01
^146,
arr.
Pianoforte solo
II
and
and
ensemble
and
(orig.
solo
by
Species
sonatas
i^88
etc.
Form
Partial col., sev. classes, (one
06
compsr)
067
Works
[Orig.]
111
&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.]
08
&c
"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
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
i<39
ms. no.
ex.
0189
Aa
Anon.
(xv6)
lit.,
monodic
settings
libr.
^26
^28
E.g.,
in class 02.
^40
it 41
^38
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
(bowed)
string
"^4S
^40 &41
-Trumpet, Cornet
381 SaFa
Tuba
SaFa
i^2g
and
^146,
sev.
Violin
22 SaFa
^146^
sev.
SaFa
WIND solo
i%44
i%43
arr.
INSTRUMENTAL
^37
51
21
(bowed)
solo
TABLE
CD
INSTRUMENTAL
19
E.g., Bach,
57
table
technics.
Saxophones
4 SaFa
^31
Cf.
class
83
tonic
sol-fa.
^Vj2
E.g., Schering,
Class 11
i^33
a model schedule}
is
and
SF
Bagpipes
aFa
Other wind
e.g.,
classes by table
it
389
^47
Whistling music
but in general
82.
-^6 ^7.
(7), and
advantageous,
SF
not desirable to
is
split rela-
39
HaFa
&40 &41
Obsolete wind
^36
gS
In classes 12 and 5
possible
it
is
if
desired.
to
subdivide by tables
^42
as
harmonium,
work
for either of
two instruments,
named.
duos in
than
class 5.
e.g.,
The
*z43
ace.
is
assumed
^38
For
56 occasional.
Janko
pf.}
mechanical
pf.,
mechanical
org.,
etc.;
celesta, etc.
^40
"&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
arr.
for or from,
mechanical vln.,
etc.
i%4$
E.g.,
^46
etc.
CLASSIFICATION
20
TABLE
TABLE
TABLE
CD
rABLE
INSTRUMENTAL
CD
41
421 SF
solo
and
^146,
arr.
not differentiated
sev.
Banjo
425 SF
Ukulele
431 SF
512 SgF
Zither
Autoharp
442 SF
Other
45
Percussion
Keyboard with
plectral
SgF
Keyboard with
string
SgF
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
S^F
Plectral
S^F
5 5
SgF
56
Chamber
Special
orchestra
~>?35
"fa
combinations
terminate
47
(see class
57 SgF
with keyboard
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
52 SgF
^48
plectral
Keyboard with
SgF
Mandolin-harp
441 SF
1^52
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)
-&50
^40
i^4i
ik$i
59
#F
^5/
box, etc.
"w^o
solo.
etc.
harmonica,
etc.
"it
40
^41
distinguish
E.g., glass
Obsolete combinations
them.
21
i%58
orch.,
CD
INSTRUMENTAL
on
Original version:
Score
ex.
(concerti)
681
B39
Beethoven
(37)
Op. 37
[pf.]
Parts
51
not differentiated
arr.
sev.
and
as
issue of parts)
^146,
681
ex.
B39
(37)
SF
61
Full
pi
62 SF
String
63 SF
Band
64 F
Plectral
"M35
681
ex.
B39
i%35
(37)
pl
Orchestral parts
65
Small or reduced
it$6
681
ex.
B39
66
(37)
*57
F
67
P 2I
Special combinations
"&5<?
Arranged
"En
Parts, vln.
versions:
partition"
Solo-Orchestral
68
Orchestral
ensemble
(concerti)
CD F
68
Solo concerti
ex.
Double,
B39
Beethoven
(37)
Op. 37
[pf.],
|
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
i^^o ik^i
ex.
pf.
(2nd piano)
681=01
B39
(37)
pll
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
concerti,
B39
Beethoven
(37)
Op. 37
kbd.,
|
cpf.3,
arr.,
entire,
"w*54 Distinguish
^55
is
E.g.,
from
"allerlei
class 65.
Instrumenten."
*&6o
ex.
6821
*f%6i
ex.
6852
Ensemble
concerti, double
i^62
ex.
6893
Ensemble
concerti,
concerti
grossi,
concer-
tante parts
^63
"i^'57
Identical
with
orig.,
sign
the
call
CLASSIFICATION
22
710
CD
Ace.
Tes.
VOCAL
misc.
[misc.]
Form
[Orig.]
710=0
Ace. only
&c
VOICE solo
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
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.]
Ma
&cbyB
717-h
by Fa
by Fa
high
Species
compsrs
71-h
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
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
orch., [full]
Form
SECULAR
Voice solo
Ace. only
Tes.
SatFa
^124
Arr. for
7106
71
[misc.]
7104=01
misc.
Form
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
sacr.,
'$65 Class 71
a
is
model schedule;
i^66
ex.
71421
= 01
Voice
solo,
11
and 82.
with
obbl.
vln.,
arr.,
ace.
73
Voice
unison,
solo,
SECULAR
i%43 i%6y
or
(ace.
farts,
23
or
78
SACRED
or
uriacc.)
Voice or instrumental
unison, or
solo,
i68
Special types
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
Other
By war ixyi
By occasion
By
Other
SACRED
iryo
title
Wordless songs
General, by
or
ik6g
Patriotic
SECULAR
col.)
if68
Vaudeville
739
mixed
789
locality
i?68
Primitive music
itj2
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
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
may
be se-
).
i%73 Assumed
~&74 Extension by
{$69 Consult the
in
i^J2 Unless
table
Fa
signifies
ace.
sive subarrangements.
^70 Where
ireferred to compsr.
Meistersinger,
etc.,
melodies.
CLASSIFICATION
24
TABLE
TABLE
CD
&c
82-1
by
Grouping
VOCAL
[Origo
Ace. only
men's
Grouping
82-m
misc.
i*i26
by Fa
by g
cfc
^124
Arr. for
82-1=0
&c
Q
O
unison
Form
Voices
[misc.]
Form
Col.,
misc.,
sacr.,
arr.
divisions,
sev.
sec.
[Orig.]
and
^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
compsr)
Choral works
II
1
Species
Ace.
by v
misc.
[mixed]
[misc.]
r pf.
Grouping
^79
[Origo
i^8o
*fe8g
-&4.1
820=0
soIot
Ace. only
&c
rmixedi
Grouping
8200
[misc.]
Voices
A3fl
Col., sev.
compsrs
i^i53
ci
Indiv'l compsrs
82=0
8200=
Ace. only
Indiv'l compsrs
by
Entire
[misc.]
[Origo
8200-m=
Indiv'l compsrs
Entire
compsrs
Col., sev.
by
i534
[misc.]
Form
^34
A4<f?
&c
men's
Grouping
Fa
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
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
i^~7
Classes 81,
&7#
-H-79
The
Entire
ace.
is
assumed
&34
[misc.]
by v
to
be
orch.
unless
otherwise
desig-
to
serve as
Ace.
TABLE
orch., [full]
[mixed]
Grouping-
Voices
CD
[misc.]
Form
TABLE
VOCAL
[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
misc.
[mixed]
Gro
ng rm
and
arr.
i^S8
occasional
i<77
Voices
u pi
sc
Form
91 SaFa
Operas
92 aFa
[Orig-.]
^124
Arr. for
826
0=0
only
Ace.
&c
&c
by S
^126
misc.
93
i?88
Special types
931
SECULAR
SACRED
or
Tonic
83
By
84
^84
by Fa
'
sol-fa editions
poet
Other
SACRED
liturgic
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
and
(orig.
arr.
not differ-
compsrs
entiated,
sev.
compsr)
&77
or
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,
99 HaFa
tings)
Monodic
89 rSFa
settings
ballet to
1600
i%40
i<73
^74 ^83
-
-&8i
^82
I.e.,
classes
not acted.
hymns
office
books containing
as dramatic,
CLASSIFICATION
26
Subdivision
en.
(1)
SPECIES
i^z
Tto<s
"&<?(?
All divisions
ik8g i^QO
Misc.
1, 2, 3, 4, 5, 6:
Sonatas
Duos,
51-56
trios, etc.
61-62, 65
Symphonies, symphoniettas
Suites, partitas
51-56; 61-62, 65
Divertimenti, serenades
61-63, 65
Overtures
Variations
tasias, etc.),
51-56; 61-62, 65
11, 15;
6 o
Occasional
63
Technics (studies)
Left-hand pieces
11
All divisions
lVp2
All divisions
Simplified editions
Historical
Selected divisions
"m"95
^S8
ik8o i^go
Misc.
Songs, ballads
71; 75
71; 75
71-72; 75-76
acted)
i%94
71-72; 75-76
Cycles
CD
With obbligato
Recitations with
6 o
Occasional
Technics (studies)
("melodrama"
Historical
71-72; 75-76
71
All divisions
ikg2
Selected divisions
"M95
and
71; 75
ace.
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.
when
is
by actual
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.
ex.
111=6
to
it.
ex.
divisions
"&J.J.
sonatas
n\,
fi.,
all.
fugues
S which are
and group
subdivisions under the
producing
too
belonging
to
minute
the
classification,
rejected
itself.
11
Kbd.,
111
Kbd.,
pf.
117
Kbd.,
solo, sonatas
separate subdiv.)
SUBDIVISION
27
ik88
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
81
81; 85
Historical
Selected divisions
9 //
81; 85
recitation
iko8
81; 85
CLASS-DIVISIONS 82
Misc.
-s8g
AND 86-
Hgo
All divisions
82
Anthems, motets,
(with non-
86
86
Cycles
82; 86
82
With
6 o
etc.
liturgic texts)
With excerpt
2 rn
*lg6
non-liturgic texts)
82; 86
recitation
82; 86
"tVoo
7
8
Historical
All divisions
l!Vp2
Selected divisions
CLASS-DIVISION 88
Misc.
i<8g -fcgo
Masses
(complete)
CLASS-DIVISION 89
services
offices
Burial,
morning
and
Missals,
(Requiem,
(complete)
Book of
services
Common
Prayer
communion
Graduals,
(complete),
services
services
i%8g
iigo
(complete,
services
morning
ser-
vices
Special
offices
and
services
(Requiem,
Handbooks, manuals
Breviaries, Antiphonaries,
Other choral
(complete)
Psal-
Directories
>rpo For
species
not
selected
for
individual
designation,
for
"^Vp/
is
by or:g. form.
in
class
91,
when
classification
CLASSIFICATION
28
AH
itSg ikgo
Misc.
1
i^S8
divisions
Operas, operettas
91
With puppets
2
3
With spoken
91
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
"jUfp2
medium
is
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)
class 66.
solo, transc.
liturgic
texts,
see
classes
85
52,
and 88.
Wagner-Liszt album,
ed.
by Scharfenberg
^ ioo
class 98.
~fep4
from
Cath., rLato,
solo, transc.
Twenty piano
used
one
ex.
118
When
is
86 52.
i^joi Choose between specific historical emphasis and the gengroup secured by class 99 alone.
acted.
eral
ex.
862[R6]
one
Choral,
Cath.,
is
as
independent composi-
designated.
sacr., cho.,
[Lat.i
excerpt
lit.
texts,
Roman
"i^i02 Subarrangement
by
tables
is
and
Dg may
be
desired.
ex.
7105
not
710524
ace.
chamb.
str.
quar.
ignored
MEDIUM
EXTENSION
3.
Mediturn
1.
(1)
ACCOMPANIMENT
ft 102
00
Dg
01
Keyboard
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
unexpressed in
classes
assumed
orch.
9;
Misc.
-1
mean
to
ft
no
Unison
Duo, double, 2-voice
2
-3
5,
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
"$105
(plec.
etc.
12,
2 perf. (4 hands), 2
ft 106
Plectral,
Classes
ftno
Misc.
-2
to
ftioo
17:
71-72,
29
Trio, triple,
ft 113
-voice
sV
Nonette
full
ft 11 4
ftioy
(2)
VOICES
(4)
Appropriate
to Class 8:
Mixed
voices (assumed
Men's
voices
ft 108
tens
and unexpressed)
High
acc.'s
voice
Intermediate voice
girl's)
Low
ftio$ For
ft 116
Misc.
Women's voices
Young voices (boy's,
-y
TESSITURA
ftioy
EX.
81
voice
Choral,
sec,
choral
works,
[ace
orch.,
full;
8800
Choral,
lit.,
not
S1061
ex.
89
Choral,
lit.,
monodic
EX.
7106
not
8900
not
71061
fti04 ex.
ft 105 ex.
71
not
71011
ex.
8101
Choral,
r.pf.
not
sec,
choral
solo]
81011
table
race,
S9
settings, runacc.]
works,
ace.
kbd.,
Voice
solo, sec,
ace
orch., [full]
82m4
not
82m
ftiog ex.
122b
Kbd.,
pf.
ens., duo,
perf., 2
inst.
EXTENSION
3o
Form
ii.
Ra
ORIGINAL
(1)
ARRANGED
(3)
ment only
ARRANGED
(2)
fenS feng
feiry
tire
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
Dg
--6
desig-
Choral
mean
mean
full
fei2j
Voice
Chamber
desig-
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
*>l
fei20
Misc.
accompani-
for,
~fei2y
Dramatic
full
"mi 2 7
fel2$
--7
Dg
Voice
:8
Dog
Choral
-.9
Dramatic
~fei2j
fei2-j
"fei2j
i^iiS In Comb.
(2),
in
order
fen 1
524
B39
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
Sch7
Schubert
tes.
B39
sy(5)=2
split
repeated.
arr. for
full, arr.
perf., cl
inst.]
inst.
Voice solo,
Sch7
Schubert
e-h
(Der) Erl-Konig,
Orch.,
full,
arr.
for kbd.,
pf.
^?n8.
ens.
Beethoven
= 12
Sympli. no.
5,
Orch.,
full,
arr.
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
11=21
Kbd.,
pf.
11=5
Kbd.,
Kbd.,
is
desired.
so as to
from
or
Dg may
ex.
high
arr.'s
sec.
tes.
side by
high
(Dei) Erl-K6nig
71
B39
sy(5)=2b
^120
EX.
feii6 For
of arr.
be
full,
Beethoven,
= 12
61
EX.
title,
ex.
61
may
arr.
class 5.
feii4 Place
Orch.,
of
be
fens
Orch.,
call no.
Beethoven,
= 12
B39 = 2b
groupings, a
according
= 12
ex.
61
feu? Wherever
of
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,
In
arr.
Kbd.,
for pf.
of ace.
arr.'s
and
commonly
are
solo,
said
is
always
of ace.
Dg may
choral,
to
solo,
arr.
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
arr.'s
Episcopal
for
arr.
1,
5,
6,
is
desired.
71=:05
Voice solo,
arr.,
not
71=0524
Voice solo,
arr.,
For
suggested
arr.'s of ace.
in
this
to
tables.
for
kbd.,
arr.,
cpf.
solo]
table,
only.
only,
ace.
solo]
Dram., operas,
arr.,
designate
in
],
nationality
str.
quar.
operas,
arr.,
chamb.
^128
Dram.,
cpf-
91
subarrangement by
ex.
= 01
for.
classes
91
from
where required
such
or
as
those
language,
Or
if
EXTENSION
32
d
(
(3)
Century
DATE
(4)
OCCASION
Seasonal (non-liturgic)
New
Lent,
Palm Sunday,
04[A9]
^131
78 [E6]
but
Language
Harvest, Thanksgiving
Other
r
Liturgic
it 140
9 n
Patriotic
if 141
ex.
05171
Sch7
Schubert
|
[Works
may
ex.
be useful in 7,
862[R6E6]
8,
especially
sacr.,
Roman
ex.
Eng.
Dram., opera
H88
Humperdinck
Hansel und Gretel,
or
excerpt
cho.,
Cath.,
91
h B[E6]
85-86
737,
52,
9.
Choral,
tr.
lit.
See
texts,
^Y<?6
for
classes
771,
772,
773,
775
85-86 52,
87[L9]
Choral,
sacr., cong-'l
song, Lutheran
ex.
0189
Aa
Anon.
(xv)
15th cent.
lit.,
monodic
settings
to table S6.
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.
am Spinnrade
85-86;
08.
solo, [songs]
1814,
if 136 Apply
ifi3$ For
tr.
i$i33 Especially
oft
Gretchen
classes
to
Easter, Ascension
(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.
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
"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
it is
ex.
Chamb.,
The
*teJ43
13
sev. divisions
col., misc.,
mark
col.
is
A2
(containing
81-82), 85
i%i5i
ex.
and
mixed,
sacr.,
7,
and
sacr.,
^145
mixed,
ex.
8,
combining
for
sec.
^152
Kbd.,
M363
Martini
so
Choral,
Aul7
Aubry
Cents motets du
sev. divisions
col., misc.,
form
col.,
cembalo
il
i^i53
xiii
and
mixed
sec.
sacr.,
works are
first
applicable
is
subclasses
(containing
Forty-three great
(class 85)
and single
cho.'s
choruses by great
composers
ed. by
Ross
and
Col. of orig.
arr.
(arr. for)
located by orig.
and
Col. of orig.
basic classification
is
(arr. for)
(see assumptions,
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
fication is by orig.
il
Col., cho.'s
basic classification
tion of ace.
^146
A2 R73
A2
81
sec.
classes 81
i.e.
to create
8,
15),
71
classes
i.e.
and
and
13
Choral, sacr.
85
col. classes.
^144
A2
classes
classes
classes
medium
first
15
A3 E2
Col., orig.
(The) organ
ex.
from)
(see
and
the
assump-
when
applicable
is
(arr.
ace.
arr.
is
always
The
ques-
arr. for.
in church
i^ J 54 EX
ex.
Chamb.,
M87
Mozart
col., misc.,
groupings
ent
sev. divisions
chamb. music,
of
differ-
(i.e.
arr.
for
basic
by actual form
is
if
Kbd.,
aL
Album
solo
pf.
11
A4 OeS
pf.
solo)
i% 1 47
works are
first
(arr.
is
excluded
from)
when
(see
the
assump-
ex.
85=01
A4
Choral,
to arr.
71
Voice solo,
A4 F49
Col., ed.
71
Voice solo,
choral works,
for
Oratorio choruses
sacr.,
85
= 01
Choral,
A42
sacr.,
choral works,
Oratorio
for
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.
following the
ex.
sec.
col.
= 01
= 91
Kbd.,
pf.
solo, arr.
Col., Ulrich
Ouverturen-Album
mark.
^158
Dram., opera,
11
A4 UlI
A4 K87
Col.,
Krehbiel
Indicate anon,
individual
first
known
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
Partial
Major
(Ab)
(Bb)
COMPOSERS
a6
itz74 iti7S
(AW
INDIVIDUAL
a5
Key
or (d)
ikisg iti6o
(2)
Mark
Title
ii.
35
Minor
(ab)
keys
(10
tinctions:
Title
I.e.
(a)
I.e.
Subtitle
"$159
or
Excerpt
(a)
isz^cj
izz 77
5^270
(
or
or (b)
or
(c)
$160 ex.
if
Number
necessary, initials, in
11
Kbd.,
pf. solo
A4 P28
Col.,
ed.
aL
Alte Meister
or
(Ab)
172
and
(l.e.)
Key
(c)
Movement
(iii)
it 180
Aal
I.e.
aa
Title
(1/D
Op., no.
by Pauer
Aal
aa(l)
no.
Title,
>.
identification, will
it 17 5 it 17 9
it 17 s
Aal
aa(Ab)
Title, key,
supplementing
major
Aal
aa(ab)
fol-
Title, key,
minor
Aal
Aal
Compsr
a5
Col.,
ct
Aal(l)
Compsr, no.
Aal(Ab)
Compsr, key
supplanting
title
_,
Col., part'l.
it '62
Aal
aa
(1/D
compl
Aal
a6
Title
it 17 8
(of a series, as
symph.)
^159
(of a series,
symph.)
Number
(b)
number
it 17 z
or
title:
&176
itz68
itz6p
/I.e.
Distinctions sufflanting
(ii)
EX.
11
Kbd.,
C4S
Chopin
a5
Col., compl.
pf.
solo
(all hi
pf.
works)
title
as
DISTINCTION
36
i^i6$ Differentiate between
under
and
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
initial.
not
Col.,
part'l, [Fantasiestiicke;]
ex.
^164 To
is
etude
so
sonata
fa
fantasy
su
suite
addition to the
fugue
sy
invention
va
variation
ov
overture
vo
vorspiel
pr
prelude
ex.
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
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
Orch.,
(24)
Op. 24
B39(5)
611
not
M52
Mendelssohn
sys
Symph., Scotch
characteristic identification
61
Orch., full
is
Beethoven
sy(5)
Symph., no.
ex.
524
Chamb.,
quar.
(X)
D35(gt|)
524
Chamb.,
D35
^(gn)
Debussy
not
secured.
i^i77 In
B45
Berlioz
Harold en
syh
str.
quar.
str.
Quar-y S min.
in
symph.
full,
B39
Orch., full
more
same
(110)
subtitle if a
in the
so
title
Orch., full
of
soloj
ed.
Strauss
The
ace.
r.pf.
2nd
61
61
arr.,
St8
identification
not
Sonata, d min.,
ex.
unnecessary. Use a
ex.
vln.,
of this
C45
Affix
continuo,
affix
Senaille
sec.
ex.
not
solo,
Str.
Se5
fication.
ex.
ace.
by Moffat
Kbd.,
i^i6y Retain
vln.,
11
by Moffat
i^iJS To
sec.
solo,
order to
title initial,
ex.
all
in
Str.
so(d^)
beginning with
mark
Senaille
Place
pf. solo
Beethoven
so(d^2)
^166
~fci73)-
Sonata, no. 31
21019
ex.
(see
B39
orm
call no.,
so(31)
Se5
not
851
solo
pf.
B39
initial.
Affix numerals in
i^ J 73
&c
Kbd.,
symphony
fu
ex.
in
title
ex.
in
titles
rondo
ro
et
But such
Wagner
m/vo(3)
species titles:
line.
canon
ca
Dram., operas
i^ ! 7 2 Place numerals
in
(see
91
W12
is
on
preferred to
title as a distinc-
(see
i$ij6).
EDITION MARK
in.
(1)
to the
i^ijg In
mark in (
i^i8o
to the
I.e.
Numeral reference
the no. in
mark may
it
Roman numeral
within their
=62
ex.
61
G87
Grieg
p(i)
Peer Gynt
in
ex.
Orch.,
full,
for orch.,
arr.
suite,
1st
str.
= 15
ex.
61
M52
Orch.,
full,
sy(3iv)
Mendelssohn
Symph. no. 3,
ex.
15=524-
Kbd.,
D35(gtlii)
Debussy,
org-.,
g-
letter
work
the
latter
may
org.
solo
11
Kbd.,
B39
Beethoven
so
Kbd.,
pf.
pf.
solo
libr.]
solo
B39
Beethoven
so2
ex.
str.
quar.
order of accession.
The
of a
edition
last
mov't
from chamb.,
min. 2nd mov't
arr.
be used to
4-th
pf.
Beethoven
mov't
The
Kbd.,
*feij6).
).
B39
ex.
lisher
be
^182 ^183
quired by a library.
"f^iy6).
EDITION NUMBER
dec.
so
Affix a
iZiSi
(2)
"&182
Mark
Edition
EDITOR
Letter reference
caf.
37
Kbd.,
pf.
Beethoven
so(2)
Sonata, no. 2
i%i82
^183
Indicate
editor, with
ex.
solo
B39
later
numerals added
Kbd.,
H39
Henselt
mark.
editions
M3
Si
pf.
of
the
solo
oiseau j'etais,
Mason,
his
3rd ed.
ML111.D38C5
Sherman
n. y.
DATE DUE
GAYLORO
PRINTED INU.S
A.