Classification of Musical Composion.

CLASSIFICATION of
MUSICAL COMPOSITIONS
A DECIMAL-SYMBOL SYSTEM
GEORGE SHERMAN DICKINSON
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(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
ÂBBREVIATIONS
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
"jî
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
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
iî2
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:
"iîo 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,
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
iî2S
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
iî4
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.
iîy
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
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,
sev.
Violin
22 SaFa
*35 *37 *4* *43
^146^
sev.
SaFa
WIND solo
i%44
i%43
arr.
INSTRUMENTAL
^37
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
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
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,
"wô
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
51
not differentiated
arr.
sev.
and
Piano part only (issued separately or
as
one item of the
issue of parts)
^146,
681
ex.
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^ô ikî
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.]
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

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
misc.
Form
not differentiated, sev.
arr.
by Fa
lute
Tes.
61
^124
Arr. for
&c
compsrs
&c
by S
by
-&88
high
Form
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
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.
[Orig.]
and
mixed W76, (orig. and

"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
A3fl
Col., sev.
compsrs
iî53
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
[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
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
"iî02 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-
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
fel2$
--7
Dg
Voice
:8
Dog
Choral
-.9
Dramatic
feuo For groupings not
~fei2j
fei2-j
"fei2j
selected for individual designation.
iîiS 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
iî2i 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
iî2y 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.,
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]
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.
iî2g 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-
"Aiô,
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
iî53
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
iî6i 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
iî6$ 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.
iîji
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.
"iîOg
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.
iî77 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.,
iî6y Retain
vln.,
distinguish other works of the
key by the same composer,

ex.
11
by Moffat
iîJS 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
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
iîCS). 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
iîjg In
mark in (
iî8o
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,
iî8i 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.
"fîy6).
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.

Classification of Musical Composion.

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CLASSIFICATION of

GEORGE SHERMAN DICKINSON

Digitized by the Internet Archive

2011 with funding from

Boston Library Consortium

GEORGE SHERMAN DICKINSON

PUBLISHED WITH THE ASSISTANCE OF A GRANT

FROM THE LUCY MAYNARD SALMON FUND FOR RESEARCH

This book has been issued

COPYRIGHT 1938 by GEORGE SHERMAN DICKINSON

section of the Library of Congress system of classification has

been very useful

of the Institut international de Bibliografhie (Brussels)

of the items to be covered.

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

College: from Miss

music librarian. Grateful acknowledgment

wife for proofreading.

ABliKZVlAl IUNS, SIGNS, TABLE INDEX

Location (segregation complementary

and solo ensemble

4 also these with class 1

folk and patriotic

Original (assumed and unexpressed)

Arranged, accompaniment only

Book Mark ("book number")

Collections (class, subclass, division or subdivision)

Collections (class, subclass, division or subdivision)

(with or without instruments)

Collections (one composer)

Act or part, scene or number

form: arranged, entire

(followed by identifying no.)

continue in the same

the call no. required

See also symbols, (5)

Cutter or Cutter-Sanborn Alphabetical-order Tables

form: arranged, accompaniment only

notation lacking and no factor

theoretical assignment of materials to

and a corresponding physical assemblage of

by definitive shelving marks.

achieved in far more flexible, extensive, and ideal ways

by cataloging, which must be carried out

and shelving can be

secured more simply and compactly by pure location

in various foreign libraries.

proper, therefore, in view of the great

expert labor entailed in classification, to expect some

general in the facility afforded to the browser, student,

and reference librarian for ready

given fields; and especially

equally logical but different

by the scholar or student should be

the contrary, works used mainly 'for

performance should be accessible in groups determined

of consultation of the catalog directly

between various categories

access to the materials so

must be made for

items in the Library of Congress

except a few categories essential to special

are set forth in part II of the

present system, the