A GUIDE 10 THE USE AND APPLICATION 
OF 
LIBRARY OF CONGRESS 
MUSIC SUBJECT HEADINGS 
By 
Mary Black· 
pe, Il m -e... (" 
~ Margaretl\soule 
Barbara Stephon 
c1991 

i 
TABLE OF CONTENTS 
	Table of Contents 	i 
	Acknowl edgements 	i v 
	I. 	INTRODUCTION 	1 
(Purpose -- General Principles) 
II. 	BROAD SUBJECT HEADING PRINCIPLES 	7 
A.	Music Headings 
B.	Recording Headings 
C.	Topical Headings 
D.	Hyphenation 
E.	Pattern Headings 
F.	Period Subdivisions 
G.	Geographic Subdivisions 
H.	Juvenile Works 
I.	Instrumental Settings 
	III. 	COMPLETE WORKS, MONUMENTS, ETC 	·····15 
	IV. 	MANUSCRIPTS AND FACSIMILES 	· .. ·······17 
	V.	INSTRUMENTAL MUSIC -- ORDER AND NAMING GUIDELINES 	18 
A.	Order for Naming Instruments 
B.	Plectral Instruments 
C.	Percussion Instruments 
D.	Electronic Instruments 
E.	Unspecified Instruments 
VI. 	INSTRUMENTAL MUSIC -- UNSPECIFIED FORMS 	28 
A.	Chamber Music 
1.	Single Instrument 
2.	Two Like Instruments 
3.	Two Unlike Instruments 
4.	Three to Nine Instruments 
5.	Three to Nine Instruments of the Same Type 
6.	Three to Nine Instruments of Different Types 
7.	Ten or More Players 
B.	Large Ensemble Music 
1.	Large Ensembles 
2.	Ensemble and Single Instrumental Soloist 
3.	Ensemble and Two or More Like Instrumental 
Soloists 
4.	Ensemble and Two Different Instrumental Soloists 
5.	Ensemble and Three or More Different Instrumental Soloists 
6.	Instrumental Choirs 

VII. 
VIII. 
IX. 
XI. 
. XII. 
XIII. 
INSTRUMENTAL MUSIC -- SPECIFIED FORMS 	· 	45 
A.	Forms With or Without Implied Medium 
B.	Sonatas 
C.	Concertos 
D.	Dance Forms 
E.	Trio Sonatas 
INSTRUMENTAL MUSIC -- SUBDIVISIONS AND QUALIFIERS 	52 
A.	Excerpts 
B.	Music Format Subdivisions for Instrumental Music 
C.	Instrumental Arrangements of Instrumental Works 
D.	,Instrumental Arrangements of Complex Vocal Works 
VOCAL MUSIC FOR COMPLEX PERFORMING ENSEMBLES 	62 
A.	Operas, Oratorios, Masses, Etc. 
B.	Cantatas 
C.	Subdivisions 
1.	Excerpts 
2.	Format Subdivisions 
X. 
VOCAL MUSIC FOR SOLO PERFORMER 	······70 
A.	Songs 
B.	Song Cycles 
C.	Solo Cantatas 
D.	Qualifiers 
1.	Voice Range 
2.	Accompaniment 
	VOCAL MUSIC FOR SOLO ENSEMBLES 	·······77 
A.	Solo Voices (Two to Nine Voices) 
B.	Solo Voices (Ten or More Voices) 
	VOCAL MUSIC FOR SOLO OR CHORAL ENSEMBLES 	81 
A.	Anthems, Madrigals, Motets 
B.	Part Songs -- Specified Forms 
C.	Part Songs -- Unspecified Forms 
VOCAL MUSIC FOR CHORAL ENSEMBLES ...•............ ········· 87 A~ General Guidelines 
B.	Medium of Performance Qualifiers 
1.	Voice Grouping 
2.	Number of Parts 
3.	Accompaniment 
C.	Special Rules for Collections 
XIV. VOCAL MUSIC -- ADDITIONAL FORMS AND HEADINGS 	94 
A.	Topical Headings 
B.	Personal Name Headings 
C.	Music of Ethnic and National Groups 
D.	Monologues With Music 
E.	Vocal Excerpts of Non-Vocal Forms 
F.	Songbooks 
G.	School Songbooks 
i i 

iii 
H.	Sacred Vocal Music 
1.	Seasonal, Occasional, or Liturgical Season 
2.	Carols 
3.	Psalms 
4.	Chants 
5.	Liturgical Texts 
6.	Hymns 
XV. POPULAR MUSIC 	- .. · 	124 
A.	Popular Instrumental Music 
B.	Popular Vocal Music 
C.	~eographic Subdivisions 
D.	Period Subdivisions 
E.	Specified Forms 
XVI. . JAZZ 	· . · · · · · 128 
A.	Individual Solo Instruments 
B.	Jazz Ensembles 
C.	Vocal Jazz 
D.	Geographic Subdivisions 
E.	Period Subdivisions 
	XVII. CHANCE OR ALEATORY MUSIC 	··········130 
XVIII. INSTRUCTIONAL MATERIALS 	············132 
A.	Instrumental 
B.	Vocal 
	APPENDIX -- MUSICAL EXAMPLES 	········136 
	BIBLIOGRAPHY 	· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 
	INDEX 	· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 

ACKNOWLEDGEMENTS 
Thanks are due to several people for their help in this project. 
Tim Robson, -in addition to creating the original instrumental draft, assisted the volunteers for the vocal chapters in getting started. He also gave permission for us to put his draft into a revised format. 
Harry Price and his colleagues were generous in commenting on the 
first draft, and have continued to' be helpful with.later questions. Nancy England must be thanked for her work in the first several months 
of the project. Marguerite Iskenderian wrote some helpful comments on 
the first draft, which influenced our organization of the text as well 
as some of the content. 
At Michigan State University, Vicki Walker performed 
outstandingly as our tireless "inputter" and also, in the process, 
brought up a number of points to be considered or fixed. Roseann Hammill, MSU Music Librarian, helped with suggestions and allowed 
Vicki to spend major amounts of time with the seemingly endless 
revisions. Laurel Jizba, Head, Original Cataloging, Michigan State 
University Libraries, was generous with her moral support and 
allowance of time away from other duties. Finally, Richard Smiraglia 
deserves a "thank you" for his patience as the deadline consistently disappeared into the murky past! It has taken many months longer than we anticipated to complete the work, but we hope that the extra time 
spent has produced a better and more usable product. 

iv 

Page - 1 
	~K--.lr-I 	--:lI~NHT-fIllR"=J.IODt:JCT I ON 
This Guide to the Use and Application of Library of Congress Music Subject Headings developed from a project of the Music Library Association Subject Committee. It has been encouraged and assisted throughout by the Library of Congress Music Division staff. Tim Robson first created the section on instrumental 
music and subsequently announced the need for someone to write 
the section on vocal music. Three respondents to Tim's request 
surfaced: Nancy England, University of Akron; Mary Black~, Michigan State University; and Margaret Soule, Kent State 
University. Later Nancy was replaced on the Committee by 
Barbara Stephon, Michigan State University. The three writers 
represent three points of view, which, it is hoped, have helped 
to balance the material and aim it toward its various users. 
Mary represents a musician who is also a music cataloger; 
Margaret represents a general cataloger without a music 
background faced with the need to catalog music; Barbara and Nancy represent musicians who must deal with the cataloging but 
do not do it themselves. Thus, each word and example has been 

seen from many angles before being allowed into the document. 
By the time the vocal guide was nearing completion, Tim 's~~~~tA/~· 
Robson ~a.d-e-hanged;,;sfposition and was no longer- involved wlth 
~ With his permission, the committee reviewed and slightly reformatted his section on instrumental music, retaining his 
original concepts as much as possible. 

I . 
The purposes of this Guide are several: 
1. To lead the cataloger without music background to the appropriate LC subject heading(s); 
2. To summarize major points for catalogers with-music background who need a quick reference or reminder ~e'?%# ~n the application of a known heading; 
3. To help public service staff provide better service by allowing them to follow and understand the process of assigning subject headings, giving them a handy source from which to 
suggest appropriate headings for patrons. 
The Guide is divided into two ~ parts~rumental 
	~' 	~ 	c~~ 
and vocal" Each..., ~eiilp-'ts ""tic ~ major subject heading 
51ft\\\U 
practice?and ~pu~ ~ headings together, so~ the correct 
heading can be readily ~nd applied. Elements appropriate only to instrumental or to vocal headings are discussed ~ )' 

eaes; the common elements and headings are treateq together·J~AA L ~ 
	Wi ttt ttu. -e)(l.e..pH~ of- Sech<5""Yl II:, A-) 'f{.t.. GuUk e~ ~ fkt mcaa. it4df' tLAd- ~ Mr. 	. 
Some general principles of the Guide itself are: tlJ~.tA~~. 
		1. To the extent possible, the LC M Schedule, as outlined 
\~ on p.vi;-x of Music and Books QD Music, third edition, Library of 
~ 	J Congress, 1978, was used to impose a structure on the headings. 
This allows the text to flow from single instrument to large 
ensembles in the instrumental section, and from large vocal forms 
toward smaller ones in the vocal portion. Exceptions are occasionally made, primarily that secular and sacred vocal music are treated together, rather than being structured separately as 
under M1497-1998 and M1999-2199. 
Page - 2 
~

I . 
2. The text is ~esigned to lead from ~simPlef ~ 
to ~ more comPle~to lead to qualifiers, subdivisions and_ .. ~. 
	/) 	~ ttL t'frtLA ~ ~ +-It- ~ ~ h-t ~,. 
other adaptations of the heading in a logical manner. A s~stem 
	. 	~~ ~/~~UA-J.- b5~~~ 

of Rom?,n numerals and letters, ratAe,..~n I'age nllmbers, has been.~ ~~ 
imposed to allow links betweeR Felevant sectiolts-.-This allows ~~. 
the heading and its subdivisions to be constructed .... :.~.rl .. ~'~ .. 
	. 	~+-~.fG. W.ut ~ .. 
systematically" a-.J.-. ~ P Uu tJu., ~ o:d:: fb~~;:l:"-'. 
3. The term "work" ; s gener; c and is used throughou.t the 
text to refer to the piece which is to be cataloged. 
4. The heading(s) are applied to both single works and 
collections, unless otherwise specified. Some exceptions do 
	occur and are clearly noted. 		~L.~lh:~ 
		M~	~~f 
5.. The information in the manl.4a~has been compiled{from ~ 

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of sources,. 
t 
library of Congress 
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Subject Headings (lCSH), 
I 
cat~ 1 ~1 i ~ig 
Manu\i1 A}n 
In addition, 
~; "Music ~.::::;..:...=.:... _;..:..........:::.:::~L.:...:~~~~:...·I.::~~c:.=t Cata 109 i ng 
- 	~ 	\	 /-~ 
Authority. Fi 1e (through oci.c i: 
direct correspondence with library of Congress Music 
Division staff members, especially Harry Price, has helped to 
clarify some fine points. 
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~age - 3 

I . 
This Guide does not attempt to be a comprehensive listing of 
all subject headings6 

b1e 
~ 
~Instead, the goal has been to choose situations and 
headings that are encountered frequently or that present particular difficulties. In most cases, the descriptive examples are fictitious (although most are plausible). The subject 
headings are all legitimate applications of the principles under 
discussion. A section of actual cataloging records is appended 
to provide concrete examples of various types of headings. Both 
types of examples, those in the text and those in the appendix, 
were felt to be of particular importance in the vocal section, 
where subject headings are much more complex and difficult to 
understand and use. 
6. This Guide is not meant to supplant any sources listed 
above. At the time the work was completed, all headings were 
those in current use. Changes, however, will occur. The user 
will need to refer to the most recent editions of the sources. 
Although many lists of related headings subdivisions are included from LCSH and the Cataloging Manual, there are a few instances 
~ when that was not practical. In such cases, reference is made to the relevant tool for a more complete list of headings. If no 
! 
reference is made to a specific list in LCSH or the Cataloging 
\ 	' 
~Manua1, the headings were used in their entirety in this 
document. 
Page - 4 
(

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I . 
7 • 
		~ ~" V')~ 		~ 
	l:fv'\ 'r (:\f\L 		1 	( 
		to,,- 	•. lQ..\<~~ 
where specified, (e.g. Popular or Ethnic Music) 
headings refer to "classical" music. 
8. Throughout the Guide, a number of terms are repeatedly used to designate specific parts of subject headings. Although the use of these will become clearer in context, JLbrief definition~and examp1~ of the most common ones ~ given below. 
Some of the terms can fulfill more than one function at a time; 
for example, a subdivision can also be a format subdivision. In 
the explanations below, each term highlights the function that is 
illustrated by a corresponding example. These are all used to 
qualify the main subject heading. In most cases, more than one 
type of subject heading designation may be used. 
	L4 	.r:': .,.- ,,_ .. _. '--- "- 
btJUJ.....,~ Qual ifier~ a word or phrase which modifies the 
~ :;~n subject heading to make it more speclflc. It is 
set off from the main heading by either a comma or 
parentheses. 
Concertos I( Tr~mpetJ ~o{J.. 
opera0~;~~~'cfj void. 
	\ 	I, 	. 
	v~· 	.. ""---'- . 	, ... -.,.- •. ----~', 
~'_S_t~:~~n~_~~mediui or, ~d~~I1l_~Ua!-ifier1 Used 
interchangeably to indicate the instrument(s) or 

voice(s) for which the work is written. These are set .{nw... ~~ ~ ~ A- ~ err (f'a..¥~ " 
off as any othe-rqua!i f~rwou 1 d beL 
------- - 
Concertos L(Tru~)1 0oC-I 
songs~~~-~o.iCe) w'ith pian~bold 
Page - 5 
l

I . 
A~ Subdivision: a word or phrase which modifies the main subject heading to make it more specific. It is 

set off from the main heading by a double dashlf'w;;.J. ~ sptLc-eS. ?0't.J<.. 
Concertos (Trumpet)~--:;Solo with piano 
Operas, Arranged -- Excerpts·~~ ~~ 
	v x.> 	~v ~-~I 
X~ Musical format, ~ musical format subdivision, or 
format subdivision: any eombinetien of these terms 
		.. 	' 	~ 
	... »-:": 	refers to a s~eeial t.)'~e of subdivision ~ 
~:~. 
	. 	tFdeSignhes the type -o'fScore the publlsher has 
used to pr int the 'music. A musical format 
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subdivision is set off from the main heading by a double dashtJ"~ II\A) ~. 
Concertos (Trumpet)v--vScores and parts 

Page - 6 

II. BROAD SUBJECT HEADING PRINCIPLES 

') curt' o.J W~ 
The Guide is intended to cover the headings used 
only for] not include those which apply to ~ 
II.A. 
the actual music, and does ~ 
books. Reade~ need to be 
~W\..." singular and plural ~. 
aware that most headings exist in -WW' ~tk~ ~ ~¥ singular term if ye~ are (~~~cJ--..) ~) 
cataloging (or seek~ a book about a musical form. ~~he 
	~~ 	~~S('1 ~i~~~~wvJL($~~, 
plural term for the a~ --(oven if)tou have only one 
item). Each type of heading ~l have tt:·C=;:·;~~{:I'".u.U·
\" 
subdivisions and Qualifier~. 
EXAMPLES: 
a book about opera: 
Opera 
(at=td Gubd; y ; s; OilS as 1 n LCSH, etc. r- 
a score or~recording of an opera: 
Operas 
(and subdivisions as ;iI LCSH, etc.) 
Occasionally a work is 8UG~ a mixture'of text and score that 
	~ 	4..- 
~~could be cataloged either as book or score. This is 
	A 	/t 
especially true if it falls in the MT classification. If the 
music exists only as isolated examples illustrating the text, ~~t.O~ 
~ataleg itasa Book. If the music is of prime importance, 
regardless of the amount of text, it is cataloged as a score. 
Use local precedent if necessary. 
Page - 7 

~ R/:PR:P I NI7S 
II.B. Headings which are applicable to scores are also applicable to ~ recordings. The only difference is that subdivisions for format (--Scores; --Vocal scores with piano; 
II.B. 
--Parts; etc.) cannot be applied to headings for ~ recordings. In addition, the headings for a recording should reflect, where applicable, the actual medium of performance, although the score of the same work might indicate optional or alternate instruments or voices. For example, the score of an early work for plectral instrument might indicate "for guitar or lute", and could be given a heading for each. If the music was played by lute on the recording, assign only the subject heading for lute and do not mention guitar. 
II.C. Instrumental or vocal works on specific topics may occasionally warrant a heading for the topic. (See X.A-B.) Since the primary use of topical headings is with vocal music, that unit has been placed in the section "Vocal Music -- Additional Forms And Headings." 
11.0. 	A form, 	instrument, 	or ensemble name which 	includes·2 	or 		
more words 	may 	reQuire 	a hyphen in some instances 	and not in 		~ 	
others, 	or 	may 	always, 	or may 	never, 	reQuire one. 	Observe 	~'{) 		
punctuat ton 	carefully in 	your 	heading sources. 	Few 	general 	rules 		
can be made to guide you in this. Some of the more common hyphenation patterns are given here as examples of headings to 
watch. 
Page - 8 

Some terms always use 
~ 

11.0. 
Some never use a hyphen: 
Folk music 
Orchestral music 
Some terms use a hyphen when an adjectival phrase is 
constructed from them, but do not use the hyphen in other circumstances. These are especially difficult to remember. 
A hyphen is used when the phrase modifies another word: 
Double-bass music 
Double-bass and guitar music 
Dance-orchestra music 
Salon-orchestra music 
String-orchestra music 
BUT a hyphen is not used when the phrase does not modify 
another word: 
Double bass with band 
Piano with string orchestra. 
Trumpet with dance orchestra 
II.E. Library of Congress has established a number of "pattern headings" for music and other subjects. These are discussed in detail in LCSH, 13th ed., pp.xiv-xvii. There are two types of 
~/ 
patterns applicable to music. The first are specific patterns of 
Page - 9 

II.E. 
Qualifiers and subdivisions for musical compositions. There are also general patterns of Qualifiers for instruments and for voices. These two types of patterns form the basis of instructions to be found throughout this Guide. 
Pattern headings are used to set forth principles for use of the main heading and its Qualifiers and/or subdivisions which can be applied to analogous situations. For patterns applicable to compositions and instruments, see the following headings. The corresponding numbers from the LC Subject Cataloging Manual are also supplied. 
Pattern for musical compositions: 
Operas 
SC~ 
Pattern for musical instruments: 
SCM H1161 ~ 
For compositions and instruments, the patterns are made up 
Piano 
primarily of subdivisions. Because the subdivisions can be applied to any similar main heading (unless in conflict), they are termed "free-floating" and are not repeated under main headings. The only exceptions would be when obvious conflicts occur. For example, not every musical format subdivision under "Operas" would be applicable to a symphony. These exceptions are explained in the Subject Cataloging Manual chapters cited above, and are also observed in the Guide by separating instrumental and vocal subdivisions where necessary. 
Page - 10 

II.E. 
Patterns.of Qualifiers for instruments and for voices follow 
the rules for order of naming instruments and voices (see LCSH ~ 
They are discussed in the Guide in Section V for 
xvi-xvii). 
~ 
instruments and in Section X for various vocal media. 
Headings which are constructed according to these principles are 
not listed in LCSH or on-line authorities unless a specific 
cross-reference or scope note is needed. 
II.F. Period subdivisions may be applied to any wes~ art 
music IF it is a collection of music by two or more composers 
which emphasizes a period by prominent mention of the period in the title. These subdivisions may be used for either 
instrumental or vocal music. 
Approved headings: 
To 500 
16th century 
19th century 
500-1400 
17th century 
20th century 
15th century 
18th century 
Period subdivisions should not be used if any of the following 
conditions apply: 
- Works are by a single composer 
- Work is a separate composition 
- The period of the collection is mentioned only in a series 
statement. 
- Work is folk or non-Western music 
Page - 11 

II.F. 
For dates applicable to popular music, see XI. 
If multiple headings are applicable to a collection, assign period subdivisions only to those headings which represent two or more composers. 
EXAMPLES: 
A collection of piano music whose title includes the words 
"by 18th century masters:" 
1. Piano music -- 18th century 
A song collection entitled "Songs for contralto from the 19th & 20th centuries" but includes only 1 post-1900 song: 
	1.	Songs (Low voice) with piano 	19th century 
2.	Songs (Low voice) with piano 
[Include a second heading for the form 
without the date] 
Place period subdivisions after any geographic subdivisions and before other free-floating subdivisions. 
II.G. Geographic subdivisions are used most freQuently with popular music headings; see XV.C. They may also be used when a collection emphasizes a particular region or country, and then usually only under a very broad heading such as "Music". This usage occurs most often with very large collections which aim to bring together a country's or region's music. Most western art music headings do not provide for geographic subdivision. 
Page - 12 

II.G. 
Refer to LCSH or on-line authorities to determine whether a geographic subdivision can be used for specific cases. 
II.H. Works for children can be indicated by adding the subdivision 
Juvenile 
to the main heading. If more than one subdivision is used, "Juvenile" should always be the last element. (This would not be done if a medium of performance statement indicated children's participation.) 
EXAMPLES: 
Sonatas (Piano) -- Juvenile. 
Operas -- Vocal scores with piano -- Juvenile. Choruses (Children's voices) with piano. Choruses (Changing voices) 
11.1. The subdivision 
--Instrumental settings 
can be used when any vocal work is arranged for instrument(s). The appropriate heading and any subdivisions for the vocal work are used first; --Instrumental settings is used as the last element of the heading. Examples of the subdivision are given in 
Page - 13 

~ 	various places in the text, but its use is not meant to be limited to those situations. The qualifier 
,Arranged 
is not used with headings which use --Instrumental settings. 
Page - 14 
I I . I . 

Page - 15 
III. COMPLETE WORKS, MONUMENTS, ETC. 
To catalog a composer's complete works, a collection of music of one country, a historical collection, or other types of works classified in M 2 or M 3, assign the narrowest term which best describes the broadest range of the works within the collection. These works usually cannot be conveniently described 
by establishing separate headings for each type of material. 
Some examples are given here for the broader types of headings, along with situations in which they might be used. Qualifiers and format subdivisions are generally not used. 
EXAMPLES: 
For a collection of works concentrating on the music of a particular country: 
Music -- [geographic subdivision] 
For a collection of one composer's works for numerous different media: 
Music 
For collections of primarily instrumental music: 
Instrumental music 
For collections of primarily solo secular music: 
Vocal music 

III. 
For collections of primarily solo sacred music: 
Sacred vocal music 
For collections of choral music: 
Choruses 
This heading can be Qualified by Sacred or Secular" as 
appropriate. See XIII. 
Page - 16 

Page - 17 
IV. MANUSCRIPTS AND FACSIMILES 
IV.A. The original manuscript of a work is assigned the appropriate subjectheading(s) as if it were printed music. In addition, add the heading 
Music -- Manuscripts 
A geographic subdivision may be added if appropriate. 
If the manuscript is that of a specific composer, assign an additional heading: 
[composer's name] -- Manuscripts 
IV.B. If the work is a facsimile of a manuscript, assign the appropriate subject heading(s) for the work itself. In addition, 
assign the heading: 
	Music -- Manuscripts 	Facsimiles 
If the facsimile is of a manuscript of a specific composer, assign additionally: 
[composer's name] -- Manuscripts -- Facsimiles 
I 	. 
IV.C. These subject headings are used as outlined above regardless of whether the item is a single work or a collectio~. 
IV.D. Note that facsimiles classify in ML96.4 or 96.5, depending on whether they are of single works or collections. 

Page - 18 
V. INSTRUMENTAL MUSIC ORDER AND NAMING GUIDELINES 
The instrumental section begins with a segment on the order of naming specific instruments and guidelines for instruments which reQuire special subject heading treatment. FreQuent referral is made to this list, rather than repeating instructions later in the manual. 
The instrumental headings which follow are divided into two major sections -- those in unspecified forms and those in specific forms. In Chapter VI, unspecified forms are treated, both for chamber music and for larger ensembles. Chamber music, for subject heading purposes, includes any music written for one player per part, regardless of the number of different individual parts. Music reQuiring more than one player per part is treated under the section on larger ensembles. Also treated there are headings for solo instruments with accompanying ensemble, regardless of the size and make-up of the ensemble. 
Chapter VII outlines subject headings for works in specific forms, for both chamber groups and ensembles. Most works in a specific form will incl~de the form name in the title or subtitle. /If in doubt, consult a referenceSou~.w-.-- 
The term "ensemble" is not used in subject headings when the instrumentation reQuires more than one player per part. Also, terms for various ensembles which are used by composers may not correspond with the subject heading terms which are available. 

v. 
An example of this is "Wind Symphony". To find a heading for such an ensemble, determine the instrumentation of the work and then consult LCSH to determine what heading may be closest to the piece in hand. The same heading may not be applicable to all pieces which are designated for "Wind Symphony". 
Page - 19 

V.A. ORDER FOR NAMING INSTRUMENTS IN HEADINGS FOR INSTRUMENTAL MUSIC 
In any heading which requires a statement of instrumental medium, list the instruments in the order of precedence below: 
1.	Keyboard instruments 
2.	Wind instruments 
(woodwind and brass instruments) 
3. Plectral instruments 
(stringed instruments that are played by plucking the strings, e.g., guitar, lute, harp, banjo, koto, etc.) 
4. Percussion and other instruments 
(including electric/electronic media) 
5.	Bowed stringed instruments 
6.	Unspecified instruments 
(choice of instrument(s) left to performer; 
see V.E.) 
7. Continuo. 
Determine the category to which instruments belong by referring to Class M, under M6-175.5, or to reference sources. 
Within each category, instruments are named in alphabetical order, except for bowed stringed instruments (no. 5 above), which are given in score order. Standard score order for bowed stringed instruments is violin, viola, violoncello, double bass. 
Page - 20 

V.A. 
"Percussion and other instruments", (no. 4 above), includes any specific instrument not covered by another category, such as musical saw, accordion, and various electric/electronic media. "Other" instruments are alphabetized with the percussion instruments. 
For specific rules for plectral, percussion, electronic, and unspecified instruments, see V.B.-V.E., respectively. 
The order of instruments in a duet may vary. See VI.A.2, VI.A.3. 
EXAMPLES: 
Octets (Piano, clarinet, flute, oboe, percussion, violin, viola, violoncello) 
Octets (Piano, clarinet, flute, guitar, mandolin, accordion, percussion, double bass) 
Quartets (Flute, oboe, violin, violoncello) 
Concertos (Flute, oboe, violin, violoncello) 
Flute, oboe, violin, violoncello with orchestra 
Page - 21 

Page - 22 
V.B. PLECTRAL INSTRUMENTS 
V.B.1. If the work is for one or two p1ectra1 instruments, assign the instrument name and number of instruments as outlined in V.A. and VI.A.1-2. 
V.B.2. If the work is for three or more solo guitars and/or harps, assign the heading in the following format: 
Trios [Quartets, etc.] ([instrument]s ([no.]» 
EXAMPLES: 
Trios (Guitars (3» 
Quartets (Guitars (2), Harps (2» Sextets (Harps (6» 
V.B.3. If the work is for 3 or more p1ectra1 instruments other than guitars or harps, assign the heading: 
P1ectral ensembles. 

Page - 23 
V.C. PERCUSSION 
V.C.1. If the work requires one player playing one percussion 
instrument, assign the heading in the form: 
[Instrument] music 
Tr~at any number of timpani as one instrument if played by 
one person. 
EXAMPLES: 
Timpani music 
Xylophone music 
Marimba music 
V.C.2. If the work requires one player, playing two or more 
percussion instruments, a~sign the heading Percussion music 
V.C.3. If the work reQuires two or more players, assign the heading 
Percussion ensembles 
The designation "percussion ensemble" may also stand for any 
number and combination of solo percussion instruments when used 
in conjunction with a specified solo instrument(s). 
EXAMPLE: 
A work for oboe, accompanied by timpani, marimba and gong: 
Oboe with percussion ensemble. 

V.D. ELECTRONIC MUSIC 

V.D.1. The heading "Electronic music" is used for works in which the sounds produced in performance were originally recorded on magnetic tape from electronic instruments or other sources. The 
tape mayor may not have been altered. It may be used with 
either vocal or instrumental music. 
The qualifier (Electronic music) may be used as a medium of 
performance after the names of specific forms: 
EXAMPLES: 
Suites (Electronic music) 
Sacred songs (Low voice) with electronic music 
The heading is used as a second heading when a tape recording is 
used with specifically named ~onventional instruments or voice. 
The tape recording is not mentioned in the first heading, and is 
not counted as part of an ensemble. 
EXAMPLES: 
A work for flute, clarinet, harp, viola, violoncello and 
tape: 
1. Quintets (Clarinet, flute, harp, viola, violoncello) 
2. Electronic music 
A collection of pieces for 4-part chorus, organ, and tape: 1. Choruses (Mixed voices, 4 parts) with organ 
2. Electronic music 
Page - 24 

V.D.2. 
V.D.2. If a work includes natural sounds recorded on magnetic tape that are subsequently rearranged or altered, use the heading: 
Musique concrete 
The heading may be used as a second heading when the tape is used with specifically-named medium of performance, or it may be added as a statement of medium with specific forms when used without other instruments. 
EXAMPLES: 
A work for string quartet and recorded bird calls: 
1.	String Quartets 
2.	Musique concrete 
A suite for recorded sounds not produced electronically: 
Suites (Musique concrete) 
Note: the difference between "Electronic music" as a heading and "Mus;que concrete" is the origin of the sounds. "Electronic music" is used for sounds originally generated electronically or from a variety of electronic and other sources. "Musique concrete" ;s used for recorded sounds of "natural origin", i.e., 
not generated electronically. 
Page - 25 

Electronic piano music On des Martenot music Synthesizer music Theremin music Trauton;um music 
V.D.3. 
V.D.3. For music using electric or electronic instruments other than tape, check LCSH and on-line authority files to see if the instrument has a specific heading of its own. A good source to determine usage of an individual instrument is the heading "Musical instruments, Electronic", which lists most of those which can be used separately. To the heading for any of these instruments, add the word "music" to create the subject heading for the music. 
Clavioline music 
Computer music 
Electric guitar music Electronic harpsichord music Electronic organ music 
The instrument name can be used as a statement of medium in conjunction with other instruments. When multiple specific instruments are named, the electronic instrument is placed alphabetically with "percussion and other instruments" as 
outlined in V.A. 
EXAMPLES: 
Songs (Low voice) with electronic piano Ondes Martenot and piano music 
Quartets (Flute, oboe, synthesizer, violin) Septets (Piano, guitar, clavioline, musical saw, 
percussion, vibraphone, xylophone) 
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p'age - 27 
V.E. UNSPECIFIED INSTRUMENTS 
V.E.1. In general, the phrase "unspecified instruments" is treated in the same manner as any instrument name. However, for works for two unspecified instruments, assign the heading 
Duets (Unspecified instruments) 
[unlike other headings for duets in 
which both instruments are named; see VI.A.3. for other duet headings] 
For 3 or more unspecified instruments, assign as appropriate: 
Trios [Quartets, etc.] (Unspecified instruments) 
V.E.2. If the work includes a combination of specified and unspecified instruments, use the order of precedence given in V.A. for listing the instruments. 
EXAMPLES: 
Quintets (Unspecified instruments) 
Trios (Unspecified instruments (2), continuo) 
Duets (Unspecified instrument and guitar) 
Quartets (Piano, flute, timpani, unspecified instrument) 
Quartets (Marimba, violin, double bass, unspecified instrument) 

Page - 28 
VI. INSTRUMENTAL MUSIC -- UNSPECIFIED FORMS 
VI.A. CHAMBER MUSIC 
The item is a work of chamber music, intended to be 
performed with one player per part. 
If the music is not in a specific form, see the following 
sections {VI.A.1-VI.A.7.} 
If the music is in a specific form, see section VII. 
VI.A.1. SINGLE INSTRUMENT 
The chamber work is for a single instrument. Assign the 
heading 
[Instrument] music 
EXAMPLES: 
Piano music 
Bassoon music 
Violoncello music Mandolin music' 
Xylophone music 
On des Martenot music 
No subdivision for musical format is used. 

Page - 29 
VI.A.2. TWO LIKE INSTRUMENTS 
The chamber work is for two like instruments. Assign'a heading in the following format, with an indication of the number of instruments 
[Instrument] music ([Instruments] [no.]) 
EXAMPLES: 
Violin music (Violins (2» Flute music (Flutes (2» 
Subdivisions for musical format may be added as outlined in VIII.B. 

Page - 30 
VI.A.3. TWO UNLIKE INSTRUMENTS 
VI.A.3.a. The chamber work is for two unlike instruments. 
If one of the instruments is chordal (e.g., piano, harp, organ, etc.) or serves an accompaniment function, assign a heading in the following format: 
[Instrument] and [chordal/accompanying instrument] music 
EXAMPLES: 
Violin and piano music 
Flute and harp music 
Piano and organ music 
Harp and piano music Double-bass and guitar music 
VI.A.3.b. If the instruments are treated as eQuals, use the principles for the order of instruments found in V.A. and assign 
a heading in this format: 
[Instrument] and [Instrument] music 
Either type of heading may be subdivided by musical format as outlined in VIII.B. 

VI.A.3. 
EXAMPLES: 
Oboe and viola music 
Violin and violoncello music Guitar and drum music 
Make a "See" reference for "the reverse order, for example, Viola and oboe music 
See 
Oboe and viola music 
Page - 31 

Page - 32 
VI.A.4. THREE TO NINE INSTRUMENTS 
The chamber work is for three to nine instruments. If the . work is for one of the following standard instrumental combinations, assign the appropriate heading: 
Violin, violoncello, and piano: 
Pi ano tri os . 
Violin, viola, violoncello, and piano: 
Piano quartets 
2 violins, viola, violoncello, and piano: 
Piano quintets 
Violin, viola, and violoncello: 
String trios 
2 violins, viola, and violoncello: 
String quartets 
	Subdivisions for musical 	format 	may be applied as 			
appropriate 	as outlined 	in VIII.B. 				
	If the 	work 	is not 	one of these 	standard combinations, 	but 		
is 	for the same type of 	instruments, 	see VI.A.S. 			
	If the work 	is 	not 	one of these 	standard combinations 	but 	is 	
for different types of instruments, see VI.A.6. 
For plectral, percussion, or unspecified instruments, see 
V.B., V.C., or V.E., respectively. 
If the work is a trio sonata, see VII.E. 

Page - 33 
VI.A.5. THREE TO NINE INSTRUMENTS OF THE SAME TYPE 
The instrumentation is for the same ~ of instrument, e.g. all brass instruments, all string instruments, etc. Count the number of players and assign an appropriate heading as follows: 
Brass trios [Quartets, Quintets, etc.] String trios [Quartets, Quintets, etc.] Wind trios [Quartets, Quintets, etc.] Woodwind trios [Quartets, Quintets, etc.] 
Use "brass" if all instruments are brass: use "woodwind" if all are woodwinds; use "wind" if both brass and woodwind instruments are used. 
To the assigned heading, add a statement of medium. 
Instruments are listed in alphabetical order with the exception of string instruments, which are listed in score order, following the principles in V.A. Subdivisions for musical format may be added, as outlined in VIII.B. 
EXAMPLES: 
'String trios (Violins (2), violoncello) 
String septets (Violins "(4), violoncellos (3» 
Wind Quintets (Bassoon, clarinet, flute, horn, oboe) Woodwind trios (Bassoon, flute, oboe) 
String Quintets (Violins (2), viola, violoncellos (2) Brass sextets (Horn, trombones (2), trumpets (3» Woodwind trios (Recorders (3» 
Quartets (Harps (4» [Note: see explanation in V.B.] 

Page - 34 
VI.A.6. THREE TO NINE INSTRUMENTS OF DIFFERENT TYPES 
The chamber work is for various types of instruments. 
Count the number of players in the work and assign a heading as follows: 
Trios 
[Quartets, Quintets, Sextets, Septets, Octets, Nonets] 
To the assigned heading, add a statement of medium, following the principles in V.A. Subdivisions for musical format may be added as outlined in VIII.B. 
EXAMPLES: 
Sextets (Piano, clarinet, flute, violin, viola, violoncello) Quintets (Flute, violins (2), viola, violoncello) 
Trios (Harpsichord, recorder, viola da gamba) 
Quintets (Percussion, viola) 
[Note: this work reQuires four percussionists and viola, thus eQualing 5 players] 

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VI.A.7. TEN OR MORE PLAYERS 
The chamber work requires ten or more players, with or 
without soloists. Any of the following headings may be subdivided by musical format as outlined in VIII.B. 
I\V~ 
	. ~ 	.x 
• yp i 
VI.A.7.a. If the instrumentation ;s for the same type of 
~ 
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instruments (brass, string, woodwind, etc.), assign the heading 
[Type of instrument] ensembles 
EXAMPLES: 
Brass ensembles 
Wind ensembles 
[for combinations of brass 
and woodwind instruments] 
Percussion ensembles 
String ensembles 
Woodwind ensembles 
~ 
~' 
VI.A.7.b. If the instrumentation is for 10 or more like 
instruments, assign the heading [Instrument] ensembles ~ 
EXAMPLES: 
Horn ensembles 
Tuba ensembles 
Page - 35 

VI.A.7. 
VI.A.7.c. If the instrumentation is for two or more types of 
instruments, assign the heading 
Instrumental ensembles 
After determining the type of ensemble heading, if the work 
also requires instrumental soloists, see VI.B.2-5. 
I 
I 
I· 
Page - 36 

Page - 37 
VI.B. LARGE ENSEMBLE MUSIC 
VI.B.1. LARGE ENSEMBLES 
A large ensemble is defined as any instrumental group having more than one player to a part. 
VI.B.1 If the work does not contain solo parts, assign the heading: 
[Large ensemble] music 
Any of these heading types may be subdivided by musical format, as outlined in VIII.B. 
EXAMPLES: 
Band music Chamber-orchestra music Dance-orchestra music Orchestral music Salon-orchestra music String-orchestra music 
[Note: Use if the ensemble consists only of stringed instruments.] 
See 11.0. for correct use of hyphens. 
If the work contains partes) for one or more instrumental soloists accompanied by the larger ensemble, and is not in a specific form, see VI.B.1.b. and VI.B.2-5. 
If the work includes soloist(s) and is in a specific form, 
see VII. 

VI.B.1. 
The term "ensemble" in sections VI.B.2-5 is used to indicate accompaniment by either a large ensemble of more than one player per part or by an ensemble of soloists. 
Page - 38 

Page - 39 
VI.B.2. ENSEMBLE AND SINGLE INSTRUMENTAL SOLOIST 
For a work for one soloist, assign the heading [solo instrument] with [ensemble] 
EXAMPLES: 
Guitar with percussion ensemble Piano with string orchestra Flute with instrumental ensemble Trumpet with dance orchestra Piano (1 hand) with orchestra Clarinet with bassoon ensemble 
Subdivisions for musical format may be added as outlined in VIII.B. 

Page - 40 
VI.B.3. ENSEMBLE AND TWO OR MORE LIKE INSTRUMENTAL SOLOISTS 
The work is for two or more soloists, playing like instruments, and ensemble. Assign the heading [instruments] ([no.]) with [ensemble] 
Subdivisions for musical format may be added as outlined in VIII.B. 
EXAMPLES: 
Violins (4) with string orchestra Trumpets (3) with brass ensemble Pianos (2) with orchestra Mandolins (3) with dance orchestra 

Page - 41 
VI.B.4. ENSEMBLE AND TWO DIFFERENT INSTRUMENTAL SOLOISTS 
The work is for two soloists, playing different instruments, and ensemble. 
If one of the soloists is a chordal instrument, assign the heading in this format, listing the non-chordal instrument first: 
[instrument] and [chordal instrument] with [ensemble] 
EXAMPLES: 
Violin and piano with chamber orchestra 
Oboe and harpsichord with string orchestra 
Percussion and celesta with percussion ensemble 
Otherwise, list the solo instruments according to the principles in V.A., using the format: 
[instrument 1] and [instrument 2] with [ensemble] 
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Either type of heading may be subdivided by musical format outlined in VIII.B. 
EXAMPLES: 
Trumpet and violin with wind ensemble 
Harp and viola with string orchestra 

Page - 42 
VI.B.5. ENSEMBLE AND THREE OR MORE DIFFERENT INSTRUMENTAL SOLOISTS 
The work is for three or more soloists, playing different instruments, and ensemble. 
VI.B.5.a. Determine first if the grouping of soloists comprises 
one of the foll~wing standard combinations: 
Piano trio - violin, violoncello, piano 
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Piano quartet - violin, viola, violoncello, piano 
Piano quintet - 2 violins, viola, violoncello, piano 
String trio - violin, viola, violoncello. 
String Quartet - 2 violins, viola, violoncello 
If it is a standard combination, assign the heading in the 
following form: 
[standard combination] with [ensemble] 
[Note that the standard combination is given 
in singular form] 
EXAMPLES: 
String Quartet with orchestra 
Piano trio with orchestra 

VI.B.5. 
VI.B.5.b. For other combinations, assign the heading in the following format, using the principles for listing instruments in V.A. 
[instrument 1], [instrument 2], [instrument 3], [etc.] with [ensemble] 
Any of these headings may. be subdivided by musical format as outlined in VIII.B. 
EXAMPLES: 
Trumpet, harp, chimes with string ensemble 
Violins (3), viola, violoncello with string orchestra 
Piano, saxophone, percussion, double bass with orchestra 
Page - 43 

Page - 44 
VI.B.6. INSTRUMENTAL CHOIRS 
For some instrumental ensembles of like instruments, a special type of heading has been set up to accommodate a "choir" of the instruments. These ensembles consist of all like instruments, 2 or more to a part. Headings can be used alone, or as Qualifiers with solo instruments or specific forms. Check LCSH and on-line for other headings and their. restrictions. 
EXAMPLES: 
Clarinet choir music Saxophone choir music Flute choir music 
Music for 10 flutes, 2 per part: 
Flute choir music 
Concerto for violin, accompanied by 12 clarinets, 3 per part: 
Concertos (Violin) with clarinet choir 
Subdivisions can be used as outlined in VIII.B. 

Chorale preludes Overtures Symphonic poems Symphonies 
implied medium: organ implied medium: orchestra implied medium: orchestra implied medium: orchestra 
VII. INSTRUMENTAL MUSIC -- SPECIFIED FORMS 
VII.A. FORMS WITH IMPLIED MEDIUM 
If the work is in one of the following forms, the musical medium ;s implied as follows: 
VII.A.1. If the work is for the implied medium, assign the heading from the left column above and stop. Do not assign a medium Qualifier. A subdivision for musical format may be used for all but Chorale preludes, as outlined in VIII.B. 
VII.A.2. If a work in one of these four forms is for a musical medium other than the one implied by the heading, assign the heading with a medium statement following the order of instrument principles in V.A.; subdivisions for musical format may be applied as outlined in VIII.B." 
EXAMPLES: 
Chorale preludes (Oboe and organ) Symphonies (String orchestra) Symphonic poems (Band) 
Overtures (Guitar) 
Page - 45 

VII.A.3. 
VII.A.3. If the work is in one of the following forms, assign the heading and a stat~ment of medium following the order of instrument principles in V.A. Subdivisions for musical format may be used as outlined in VIII.B. If a collection consists of works for a variety of ensembles, the medium of performance can be omitted if a subject heading for each is impractical. 
Canons, fugues, etc. 
[Note that "etc." is part of-the heading] 
Chaconnes 
Marches 
Passacaglias 
Potpourris 
Rondos 
Suites 
Trio sonatas (see also VII.E.) Variations 
EXAMPLES: 
Canons, fugues, etc. (Organ) Suites (Electronic music) 
Trio-sonatas (Flute, violin, continuo) Variations (Orchestra) 
Marches . ( Band) 
Page - 46 

Page - 47 
VII.B. SONATAS 
VII.B.1. 	If 	the work 	is a sonata 	for 	one or two solo 		
instruments, 	assign the heading 					
	Sonatas 	( [i nstrument] ) 		or 			
	Sonatas 	([instrument 1] 	and 	[instrument 	2] ) 	or 	
	Sonatas 	([instruments] 	( 2 ) ) 				
EXAMPLES: 
Sonatas (Piano) 
Sonatas (Violin and piano) 
[Note: Violin precedes piano because piano is chordal; see VI.A.3.a.] Sonatas (Gu i tars' (2» 
Follow the principles for order of instruments found in V.A~ or VI.A.3.a. 
For percussion instruments, see V.C. 
If the sonata is for only one instrument, do not subdivide by musical format. If it is for more than one instrument, 
a subdivision for musical format may be applied as outlined 
in VIII.B. 
VII.B.2. If the sonata is for three or more solo instruments, do not use the heading "Sonatas". Use the headings for chamber music, e.g,. Piano Quartets, Piano trios, Quartets, String Quartets, etc. 

Page - 48 
VII.C. CONCERTOS 
The work is a concerto. Assign the heading Concertos with a medium qualifier. If the accompaniment is for orchestra, no qualifier for accompaniment medium is used in the heading. If the accompaniment is for any other medium, it must be specified in the heading. Standard instrumental combinations may also be used. Subdivision for musical format may be applied as outlined in VIII.B. 
EXAMPLES: 
Concertos (Piano) 
Concertos (Piano with band) Concertos (Violins (2» 
Concertos (Viola and harpsichord with string orchestra) 
Concertos (String trio with string orchestra) Concertos (Piano trio) 
Concertos (Percussion with jazz ensemble) Concertos (Oboe with chamber orchestra) 
If the solo instrument or accompaniment is altered, see VIII.C. 

VII.D. DANCE FORMS 
VII.D.1. If the work is in one of the following four dance forms, assign the form heading with a medium Qualifier using the principles found in V.A. Subdivisions for musical format may be added as outlined in VIII.B. 
Minuets 
Polonaises 
Polkas 
Waltzes 
EXAMPLES: 
Minuets (Harpsichord) 
Polonaises (Orchestra) 
Waltzes (Piano) 
VII.D.2. If the work is in a dance form other than the four 
above, assign a heading for the specific dance form without a Qualifier. If the work is for a specific medium, assign a second heading for that medium. (A list of dance forms used as headings ~ can be found in LCSH in the "see also" references under the 
heading "Dance music.") Subdivisions for musical format may be 
applied as outlined in VIII.B. 
Page - 49 

VII.D. 
EXAMPLES: 				
1 • 	Mazurkas. 		
2. 	Piano music. 	
1 • 	Passepieds. 	
2. 	Guitar 	music. 	
1 • 	Pavans. 		
2. 	Orchestra 	music. 	
VII.D.3. If the work has no specific medium, such as a collection for various instruments, or is for unspecified instruments, do not assign the second heading. 
EXAMPLE: 
A collection of mazurkas with some pieces for piano, others 
for solo trombone, and others for saxophone and guitar: 
1. Mazurkas. 
Page - 50 

Page - 51 
VII.E. TRIO SONATAS 
A trio sonata is a work for 2 melody instruments and continuo. The term "trio sonat~" usually appears in the title, and most date from 1600-1800. The continuo instruments are not separately named in the subject heading, although they may be spelled out in 
the description or note. 
If the work is a collection for unspecified melody instruments and continuo, use the heading: 
Trio sonatas 
If the work (or collection of works) is for specified solo instruments and continuo, use the heading with a statement 
of medium. 
EXAMPLES: 
Trio sonatas (Violins (2), continuo) 
Trio sonatas (Recorder, viola da gamba, continuo) 

Symphonies -- Excerpts 

VIII. INSTRUMENTAL MUSIC -- SUBDIVISIONS AND QUALIFIERS VIII.A. EXCERPTS 
VIII.A.1. The work is an excerpt of an instrumental work. 
If the work is not in a specific form, use the subject heading for the medium as outlined previously and add the 
subdivision 
Excerpts 
A musical format subdivision may be added as outlined in VIII.B. 
EXAMPLES: 
String Quartets -- Excerpts 
Wind Quintets (Bassoon, clarinet, flute, horn, oboe) 
Excerpts 
VIII.A.2. If the work is in a specific form, use the subject heading for the form and add the subdivision 
-- Excerpts 
A musical format subdivision may be added as outlined in VIII.B. 
EXAMPLES: 
Overtures -- Excerpts 
For arrangements which are also excerpts, see VIII.C. 
For excerpts of vocal works, see VIII.D. 

Page - 52 

Page - 53 
VIII.B. MUSICAL FORMAT SUBDIVISIONS FOR INSTRUMENTAL MUSIC 
Format subdivisions may be used to indicate the way in which 
the music was published. All format subdivisions are free 
floaters (see II.E.). Usage may vary with local practice. The 
following format subdivisions are most frequently used with instrumental music. Do not use these for music for special 
seasons, occasions, styles, etc., where the medium is not 
directly stated or implied. Also do not use them for works 
normally published in only one format, such as compositions for one instrument. (See LC Subject Catalog Manual H1160 for~ complete list of format subdivisions) Use plural forms except 
when --Solo with [keyboard instrument] pattern is used. 
Parts 
Parts (Solo) 
[use when item contains solo partes) only but work is for solo instrument(s) and larger ensemble] 
Piano scores 
Piano scores (4 hands) 
[use for piano reductions of instrumental works such as symphonies or of vocal works arranged for 2 players on 
one piano] 
Scores 
Scores and parts 
Scores and parts (solo) 
[see note with --Parts (Solo)] 

VIII.B. 
Solo 	with 	harpsichord 						
Solo 	with 	harpsichord 	and 	piano 			
Solo 	with 	keyboard 	instrument 			
Solo 	with 	organ 							
Solo 	with 	piano 							
[Use 	in 	singular 	form 	when a work 	for one 	solo 	
instrument and larger ensemble is reduced for solo and keyboard] 
Solos with piano Solos with organ 
[use in plural form when a work for 2 or more solo instruments and larger ensemble is reduced fo~ solos and piano or organ] 
EXAMPLES: 
Parts for a string Quartet, without score: 
String Quartets -- Parts 
The solo trumpet part from a concerto for trumpet and string orchestra: 
Concertos (Trumpet with string orchestra) 
-- Parts (Solo) 
A piano reduction of a symphony: 
Symphonies -- Piano scores. 
Page - 54 

VIII.B. 
A four-hand piano reduction of an opera: 
Operas -- Piano scores (4 hands) 
The score of an overture for orchestra: 
Overtures -- Scores 
The sc.ore and all parts from a concerto for trumpet and string orchestra: 
Concertos (Trumpet with string orchestra) -- Scores and parts 
The score and solo trumpet part only from a concerto for trumpet and orchestra: 
Concertos (Trumpet) -- Scores and parts (Solo) 
A work for oboe and string orchestra, with accompaniment reduced for organ: 
Oboe with string orchestra -- Solo with organ 
A work for violin and violoncello with chamber orchestra, with accompaniment reduced for piano: 
Violin and violoncello with chamber orchestra -- Solos with piano 
Page - 55 

Page - 56 
VIII.C. INSTRUMENTAL ARRANGEMENTS OF INSTRUMENTAL WORKS 
Any instrumental work which has been edited, altered, transposed, reduced or otherwise made playable by instrument(s) other than those intended by the composer must reflect that change in the subject heading. Assign the heading based on the instrument(s) for which the score is intended, not for the original instrumentation. (A' composer's own arrangement of a work for different instruments must also follow these rules.) Any of these headings may be subdivided by musical format as outlined in VIII.B. 
VIII.C.1. If the arranged music is in a specific form, use the form heading, instrument(s) for which it is arranged, and the qualifier 
,Arranged 
If the arranged work is a concerto, see VIII.C.3. 
EXAMPLES: 
A sonata for clarinet and piano, arranged for horn and 
piano: 
Sonatas (Horn and piano), Arranged 
An orchestral overture arranged for violin and piano: 
Overtures (Violin and piano), Arranged 
Symphony excerpts arranged for organ: 
Symphonies (Organ), Arranged -- Excerpts 

VIII.C.2. 
VIII.C.2. If the arranged music is not in a specific form, or is a collection of arrangements in various forms, assign the appropriate medium of performance heading, followed by the Qualifier 
,Arranged 
Assign the heading based on the instrument(s) for which the score is intended, not for the original instrumentation. 
EXAMPLES: 
A guitar arrangement of a work originally for piano (but not 
in a specific form) 
Guitar.music, Arranged 
A collection of Bach keyboard works arranged for saxophone and piano: 
Saxophone and piano music, Arranged 
VIII.C.3.a. If the work is a concerto and the a~companying ensemble has been reduced to a keyboard instrument but the solo instrument(s) remain the same, use the appropriate concerto heading with subdivision 
Solo with piano [organ, harpsichord, etc.] 
If more than one concerto is included, use subdivision Solos with [keyboard instrument] 
Page - 57 

VIII.C.3. 
EXAMPLE: 
A trumpet concerto originally accompanied by orchestra, arranged for trumpet and piano: 
Concertos (Trumpet) -- Solo with piano 
VIII.C.3.b. If the work is a concerto and the accompanying ensemble has been reduced to a smaller ensemble, rearranged, or otherwise altered, but the solo instrument(s) remained the same, assign the heading for the concerto and alter the accompaniment accordingly. 
EXAMPLES: 
A bassoon concerto with orchestra, arranged for bassoon and 
string orchestra: 
Concertos (Bassoon with string orchestra), Arranged 
VIII.C.3.c. If the accompanying ensemble remains the same but the solo instrument is different, alter only the solo instrument. 
EXAMPLE: 
A violin concerto with orchestra, arranged for oboe and 
orchestra: 
Concertos (Oboe), Arranged 
VIII.C.3.d. If both the solo instrument and accompanying ensemble are different, assign the heading with both elements 
altered to reflect the score. 
Page - 58 

VIII.C.3. 
EXAMPLE: 
A horn concerto with orchestra, arranged for trombone and string quartet: 
Concertos (Trombone and string quartet), Arranged 
A violin concerto with orchestra, arranged for clarinet and piano: 
Concertos (Clarinet), Arranged -- Solo with piano 
Page - 59 

Page - 60 
VIII.D. INSTRUMENTAL ARRANGEMENTS OF COMPLEX VOCAL WORKS 
EXAMPLES: 
A complete opera arranged for violin and piano: 
1.	Operas, Arranged 
2.	Violin and piano music, Arranged. 
A complete opera arranged for wind Quintet: 
1.	Operas, Arranged 
2.	Wind Quintets (Bassoon, clarinet, flute, horn, 
oboe), Arranged 
A complete oratorio arranged for string Quartet: 
1.	Oratorios, Arranged 
2.	String Quartets, Arranged 
VIII.D.2. If the work consists of arranged excerpts of complex vocal forms, use the form heading followed by the subdivision and 
Qualifier 
-- Excerpts, Arranged 

VIII.D.2. 
Format subdivisions and medium of performance qualifiers may be 
applied as outlined in VIII.D.1. 
EXAMPLES: 
EXgerpts from an opera, arranged for orchestra: 
Operas -- Excerpts, Arranged 
Excerpts from a musical,arranged for band: 
Musicals 
Excerpts, Arranged 
For instrumental settings of smaller vocal forms (songs, 
, 
hymns, etc.) see XIV.H. 
For vocal settings of instrumental music, or excerpts 
from ins~rumental works, see XIV.E. 
Page - 61 

IX. VOCAL MUSIC FOR COMPLEX PERFORMING ENSEMBLES 
The vocal music section begins with music for complex performing ensembles. These include such forms as operas, 
oratorios, or cantatas that require a variety of performers (solo voices, choruses, instrumentalists) and that are usually divided into segments such as movements or acts. This section is 
followed by works for individual voices and progresses from duets 
to vocal ensembles of 10 or more parts. Music which can be 
performed by either solo or choral ensembles is then considered, 
followed by headings for music specifically for choral ensembles. 
In each of ~hese, subdivisions and modifiers specific to the type 
of music are treated. Throughout the latter sections, secular 
and sacred headings are intermingled, since they generally follow 
the same patterns. 
Special topics are treated in Chapter XIV, since most of the 
headings are used in addition to, rather than in place of, the headings already discussed. Topical headings are usually used ~ with vocal music~umental musi~r~~~o 
" --- 
occasionally use these headings. 
For vocal music using any type of electronic media, see 
also V.D. 
Vocal headings are not Qualified by language unless the work is considered to be ethnic (XIV.C.) or except where clearly noted 
(such as "Part-songs," XII.B.-C.) 
No reference is made tola ! 
i 
translation even if a language Qualifier is permitted. All language information ;s brought out in the uniform title, 
descriptive area, or notes. 
Page - 62 

Page - 63 
IX.A. OPERAS, ORATORIOS, MASSES, ETC. 
IX.A. The work is an opera, oratorio, musical, masQue, mass, zarzuela, reQuiem, or revue. Assign the appropriate heading from the list below. There is no second heading for medium of performance when any of these headings are used. 
	MasQues with music 	Oratorios 
	Masses 	ReQuiems 
	Musicals 	Revues 
	Operas [Use for both 	Zarzuelas 
Operas and Operettas] 
Subdivide according to the principles in IX.C.2. For excerpts of any of these works, see IX.C.1. 

Page - 64 
IX.B. CANTATAS 
IX.B. The work is a cantata, but not a solo cantata, although it may have incidental solo passages. Assign the appropriate heading as outlined below. There is no second heading for medium of performance when any of the cantata headings are used. Subdivide according to principles in IX.C.2. For excerpts, 
see IX.C.1. 
If the work has secular text, assign the heading Cantatas, Secular 
If the work has sacred text, assign the heading Cantatas, Sacred 
If the work has both secular and sacred texts, assign the heading 
Cantatas 

Page - 65 
IX.C. SUBDIVISIONS 
IX.C.1. EXCERPTS 
The work is an excerpt from a larger work or works, as listed in IX.A. The excerpts may be arias, choruses, ensembles, or any other component of the larger work. No second heading for medium of performance is used. 
IX.C.1.a. If only one large vocal form is represented by the excerpt(s), enter under form with subdivision 
-- Excerpts 
and subdivide again for accompaniment and/or format as outlined 
in IX.C.2. 
EXAMPLES: 
Arias from one or more operas: 
Operas -- Excerpts 
Choruses from one or more operas: 
Operas -- Excerpts 
IX.C.l.b. If multiple larger forms are represented, use a practical number of headings for the vocal forms. Subdivide 
each by 
-- Excerpts 
and subdivide again for accompaniment and/or format as outlined 
in IX.C.2. 

IX.C.1. 
EXAMPLE: 
A collection of arias from both operas and oratorios would use a heading for each form 
Operas -- Excerpts 
Oratorios -- Excerpts 
Page - 66 

Page - 67 
IX.C.2. FORMAT SUBDIVISIONS 
IX.C.2.a. A work may be published in several formats or types of scores. This is particularly true of the larger forms or of any vocal work with orchestral accompaniment. Ascertain whether ~our score is the original version or an arrangement and apply the appropriate subdivisions for the format. The most freQuent formats used for vocal music are complete score with orchestral accompaniment; complete score with accompaniment arranged for another instrument or instruments; or choral and/or solo parts with accompaniment arranged for another instrument. 
The most freQuently used subdivisions for vocal music are: 
Chorus 	scores 	with piano 	[organ, 	etc.] 	
Chorus 	scores 	without accompaniment 	
Scores 						
Vocal 	scores 	with 	piano 	[organ, 	etc.] 	
Vocal 	scores 	without accompaniment 	
For the full list of subdivisions, see LC Subject Cataloging Manual, H1160, p.2. 
EXAMPLES: 
A mass with full orchestra score: 
Masses -- Scores 

IX.C.2. 
An oratorio with chorus only, omitting solo sections, accompanied by organ where original accompaniment was orchestral: 
Oratorios -- Excerpts -- Chorus scores with organ 
A musical with solo and chorus parts accompanied by piano where original accompaniment was orchestral: 
Musicals -- Vocal scores with piano 
Arias from one or more operas with full orchestra accompaniment: 
Operas 
Excerpts -- Scores 
Arias from one or more operas with accompaniment arranged for piano: 
Operas -- Excerpts -- Vocal scores with piano 
IX.C.2.b. If a work or collection is excerpted from a larger work or works and arranged for voice(s) or chorus other than that for which it was written, so that it does not actually represent the work fo~ the original voice or key or medium, use the heading 
for the main form and subdivide by 
Excerpts 
Add the Qualifier "Arranged" to the heading; do not use a 
format subdivision. 
Page - 68 

IX.C.2. 
EXAMPLE: 
Highlights from a musical comedy, arranged for any voice and with accompaniment for piano and optional guitar: 
Musicals -- Excerpts, Arranged 
IX.C.2.c If a work for one of the complex performing ensembles is originally written for keyboard accompaniment, do not consider it an arrangement. (Check reference sources if necessary to help determine if keyboard is the intended accompaniment.) Assign a heading for the form and subdivide by 
-- Scores 
Clarify the accompaniment in a note if it has not been made clear in the descriptive area. 
EXAMPLE: 
A requiem written for solo voices, chorus and organ: 
Requiems -- Scores 
Page - 69 

Page - 70 
X. VOCAL MUSIC FOR SOLO PERFORMER 
X.A. SONGS 
The work ;s intended for one voice and is-in a'single form or movement. 
X.A.1 .. If the work has secular text, assign the heading . Songs 
and qualify as outlined in X.D. 
X.A.2. If the work has sacred text, assign the heading Sacred songs 
and qualify as outlined in X.D. 
X.A.3. If the work has both secular and sacred texts, assign both headings 
Songs 
Sacred songs 
and qualify as outlined in X.D. 

Page - 71 
X.B. SONG CYCLES 
The work is a song cycle as described in the work itself or in reference sources. Assign the heading 
Songs 
and Qualify as outlined in X.D. Assign a second heading Song cycles 

Page - 72 

, X.C. SOLO CANTATAS 
The work is intended for one voice and is a solo cantata. 
X.C.1. If the work has secular text, assign the heading Solo cantatas, Secular 
and Qualify as outlined in X.D. 
SUbdivi'de by musical format if appropriate (see IX.C.2.) 
X.C.2. If the work has sacred text, assign the heading Solo cantatas, Sacred 
and Qualify as outlined in X.D. 
Subdivide by musical format if appropriate (see IX.C.2.) 
X.C.3. If a single solo cantata contains both secular and sacred texts, assign a heading which reflects the most predominant text. 
X.C.4. If the work is a collection of solo cantatas with both secular and sacred texts, assign the heading 
Solo cantatas 
and Qualify as outlined in X.D. 
Subdivide by musical format if appropriate (see IX.C.2.) 

Page - 73 
X.D. QUALIFIERS 
Qualify song and solo cantata headings by voice range and accompaniment as outlined below. 
X.D.1. VOICE RANGE: Specification of voice range must be given in headings for solo vocal works if only one range is involved, even if it is not stated in the work. The work itself may indicate voice range, either specifically (soprano, mezzosoprano, contralto, tenor, baritone, bass) or generally (high, medium, low). If the work does not specify voice range, assess its range by comparing its high and low notes and the general proportion of high, medium, and low notes with the voice ranges given in standard reference sources. If the voice range is called by a combination of ranges (e.g., medium high, medium low), assess its most prominent characteristics by comparison with reference sources. Choose only one range for the subject heading and Quote the actual wording in a note. 
If more than one voice range is included in a collection, 
Qualify by accompaniment only. 
No distinction is made in the subject heading between male 
and female voices. Use the term for the voice ranges as shown below, and always place selected term in parentheses. 

X.D.1. 
High Voice 
Use for soprano, tenor, high, and for foreign equivalents. 
Medium Voice 
Use for mezzo-soprano, baritone, medium, and for foreign equivalents. 
Low Voice 
Use for contralto or alto, bass, low, and for foreign equivalents. 
X.D.2.a. ACCOMPANIMENT: Treat the accompaniment as part of a phrase heading. The accompaniment is not used as a subdivision, although musical format subdivisions may be applied as outlined in IX.C.2. If a single instrument is used, specify it. If two or more solo instruments are used (with or without continuo), use the phrase "instrumental ensemble." If continuo is used, without other instruments, specify "continuo." If there is no accompaniment, or if there is a phrase such as "accompaniment 
for rehearsal only," use "Unaccompanied." 
Page - 74 

X.D.2. 
EXAMPLES: 
A secular song for low voice, without accompaniment: 
Songs (Low voice), Unaccompanied 
A secular song for contralto or bass with piano accompaniment: 
Songs (Low voice) with piano 
A collection of sacred songs for various voices with organ accompaniment: 
Sacred songs with organ 
A collection of secular and sacred songs for various voices, with piano accompaniment: 
Songs with piano 
A secular solo cantata for baritone and flute, oboe, violin and continuo: 
Solo cantatas, Secular (Medium voice) with instrumental ensemble 
A collection of sacred cantatas for mezzo-soprano and continuo: 
Solo cantatas, Sacred (Medium voice) with continuo 
Page - 75 

X.D.2. 
X.D.2.b. If the song or solo cantata was written for accompaniment by a larger ensemble (10 or more instruments), such as orchestra, chamber orchestra, etc., specify the ensemble in the heading (see VI.A.7. and VI.B.1.) and subdivide by format as outlined in IX.C.2. 
EXAMPLES: 
A solo cantata with secular text for high voice and 
orchestra: 
Solo cantatas, Secular (High voice) with orchestra 
Scores 
A solo cantata with sacred text for medium voice and accompaniment arranged for organ (originally for orchestra): 
	Solo cantatas, Sacred (Medium voice) 	Vocal 
scores with organ 
A collection of sacred and secular solo cantatas for various voices with accompaniment arranged for piano: 
Solo cantatas -- Vocal scores with piano 
A collection of concert arias for soprano with orchestra: 
Songs (High voice) with orchestra -- Scores 
A collection of secular and sacred cantatas for medium voice with string orchestra arranged for piano: 
Solo cantatas (Medium voice) with string orchestra 
Vocal scores with piano 
Page - 76 

Page - 77 
XI. VOCAL MUSIC FOR SOLO ENSEMBLES 
XI.A. SOLO VOICES (TWO TO NINE VOICES) 
The work is intended for between two and nine solo voices (1 voice per part), but it is not in any of the specific forms listed in IX.A-IX.B. Although the vocal range(s) may be specified in the score, no indication of voice range is made in the subject headings. Information on the intended voices is included in the description or note area. 
XI.A.1. If the work has secular text, assign the heading Vocal duets [or trios, quartets, quintets, sextets, septets, octets, or nonets] 
and qualify by accompaniment as outlined in X.D.2. 
XI.A.2. If the work has sacred text, assign the heading Sacred duets [or trios, Quartets, quintets, sextets, septets, octets or nonets] 
and qualify by accompaniment as outlined in X.D.2. 
XI.A.3. If the work has both secular and sacred texts, assign both headings and qualify each heading by accompaniment as outlined in X.D.2. 
EXAMPLES: 
A secular trio for soprano, alto and bass, accompanied by 
continuo: 
Vocal trios with continuo 

XI.A.3. 
A collection of secular unaccompanied works for solo SATB quartet: 
Vocal quartets, Unaccompanied 
A sacred duet for 2 medium voices with organ accompaniment: 
Sacred duets with organ 
A collection including secular and sacred texts for 5 solo voices without accompaniment: 
1.	Vocal Quintets, Unaccompanied 
2.	Sacred quintets, Unaccompanied 
Page - 78 

XI.B. SOLO VOICES (TEN OR MORE VOICES) 
Page - 79 
The work is for ten or more solo voices (1 voice per part), but is not in any of the specific forms listed in IX.A-IX.B. Although the vocal range(s) may be specified in the score, no indication of voice range or number of voices is made in the subject heading. 
XI.B.1. If the work has secular text, assign the heading Vocal ensembles 
and Qualify by accompaniment as outlined in X.D.2. 
XI.B.2. If the work has sacred text, assign the heading Sacred vocal ensembles 
and Qualify by accompaniment as outlined in X.D.2. 
XI.B.3. If the work has both secular and sacred texts, assign both headings and Qualify each heading by accompaniment as outlined in X.D.2. 
EXAMPLES: 
A secular work for 12 solo voices· and band: 
Vocal ensembles with band 
A secular work for 15 unaccompanied solo voices: 
Vocal ensembles, Unaccompanied 
A collection of sacred ensembles for 11-14 voices, with organ accompaniment: 
Sacred vocal ensembles with organ 

XI.B.3. 
A collection of secular and sacred texts for 16 solo voices and chamber orchestra: 
1.	Vocal ensembles with chamber orchestra 
2.	Sacred vocal ensembles with chamber orchestra 
Page - 80 

Page - 81 

XII. VOCAL MUSIC FOR SOLO OR CHORAL ENSEMBLES 
Works treated in this section were usually composed before approximately 1700, or are in the style of those works. The medium of performance may be 2 or more solo voices on independent 
parts, or may be an ensemble of 2 or more voices per part, with 
I I 
I 
! 
I I I 
I 	~ 
independent lines for each part. Often the medium of performance 
was not specified by the composer. One or more vocal lines may 
be replaced by one or more instruments. The form may be spelled 
out in the title or preliminary material. If it is, use the most specific term that corresponds to the stated ~form. 
If the form of the work is not clearly stated, consult 
common reference sources under the composer's name, or the 
complete works edition for the composer if one exists, to ascertain the form. Be practical about this, however. It is 
better to use a correct broader term than an incorrect narrower 
one, because the broader term is more likely to be familiar to 
the patron. 
If the work is a collection, use a broad term unless all are 
in a single specific form. 
The first heading should always be for the form; a second heading may be applied if a second form is prominent in a collection. A heading for medium may be used as outlined in 
XII.A. 

XII. 
If a work for 2 or more voices was written later than approximately 1700, and is in one of these forms, the form headings can still be used. If, however the later work is not in one of these forms, refer to section XI -- "Vocal Music for Solo Ensembles," or XIII -- "Vocal Music for Choral Ensembles." 
Page - 82 

Page - 83 
XII.A. ANTHEMS, MADRIGALS, MOTETS 
If the work is an anthem, madrigal, or motet (or collection of these), assign a subject heading for the form using the appropriate heading: 
Anthems 
Madrigals (Music) Motets 
Assign a second heading for medium of performance if given or implied for an anthem, or if specifically stated for a madrigal or motet. Follow the principles in X.D., XI, or XIII as appropriate. 
EXAMPLE: 
A collection of anthems for chorus and organ: 
1.	Anthems. 
2.	Choruses, Sacred (Mixed voices) with organ 
The heading "Madrigals (Music)" may be Qualified by language if the text is in one language only. Do not Qualify "Anthems" or "Motets" by language, or use language Qualifiers for madrigals if more than one language is present. 

Page - 84 

XII.B. PART SONGS -- SPECIFIED FORMS 
If the work or collection is in one of the following specific forms, assign the heading as given, without specification of voices and without second heading for medium of performance. (Note-that the abbreviation "etc". is part of the heading. Where the term "(Vocal)" is used, it must be used in the heading to distinguish it"from instrumental forms.) 
Canons, fugues, etc. (Vocal) Chansons, Polyphonic 
Conductus 	[for monophonic or polyphonic] 
Glees, catches, rounds, etc. 
Lieder, Polyphonic 
Rondos (Vocal) 

Page - 85 
XII.C. PART SONGS -- UNSPECIFIED FORMS 
If the work or collection is in various part-song forms, or is in unidentifiable forms, assign the headings as outlined below. 
XII.C.1. If the work is a separately-published secular part-song, not in a more specific form, or is a collection of secular part-songs in more than one language, assign the heading 
Part-songs 
XII.C.1.a. If the text is entirely in one language, assign a language Qualifier. 
Part-songs, English 
XII.C.2. If the work is a separately-published sacred part-song, not in a more specific form, or is a collection of sacred part-songs, assign the heading 
Part-songs, Sacred 
XII.C.2.a. If the sacred text is in Latin, no language Qualifier is used. 
XII.C.2.b. If the text is other than Latin, assign a second heading for the language, without qualifier "Sacred". 
EXAMPLE: 
A collection of sacred German part-songs 
1.	Part-songs, Sacred. 
2.	Part-songs, German 

XII.C.2. 

XII.C.2.c. If more than one language is included for sacred 
texts, neither of which is Latin, you may assign more than one 
language subject heading (or none at all) depending on the amount 
of material, or local needs and practices. 
XII.C.2.d. If a collection of sacred part-songs has Latin and another language, assign headings without language for the Latin 
works and a second heading with the other language. 
EXAMPLE: 
A collection of 5 Latin and 6 German sacred part-songs 
1. Part-songs, Sacred 
2 .. Part-songs, German 

	d\-""~ 	fi,-c:.. 	f r-c.Vtll\J{. t:..k~r t, 
	o C 	((h'll ~ 	C. e.r~~o1) 5~er~ 
, 
	VQVY-~ ..- S ~5 	• 
Page - 86 

Page - 87 
XIII. VOCAL MUSIC FOR CHORAL ENSEMBLES 
XIII.A. The following section applies to choral music which is not in a specific form. These rules apply to single works and to collections. A collection may include a variety of forms but these general headings are used unless all pieces in the collection are in the same form. (If a work or collection is in one specific form, refer to i~dex to find the appropriate section.) Incidental solo passages may be included within the choruses, but are not brought out in subject headings. 
XIII.A.1. If the work has secular text, or is a collection of secular texts, assign the heading 
Choruses, Secular 
and Qualify as outlined in section XIII.B.-XIII.C. 
XIII.A.2. If the work has sacred text, or is a collection of sacred choral texts, assign the heading 
Choruses, Sacred 
and Qualify as outlined in sectibn XIII.B.-XIII.C. 
XIII.A.3. If the work is a collection of secular and sacred texts, assign the heading 
Choruses 
and Qualify as outlined in section XIII.B.-XIII.C. 

Page - 88 

XIII.B. MEDIUM OF PERFORMANCE QUALIFIERS FOR CHORAL MUSIC 
Headings for choruses are usually modified by the type (voice grouping) and number of voices. These medium of performance qualifiers for voice groupings, listed as XIII.B.1. and XIII.B.2. below, must be considered together to determine their applicability. 
Medium of performance qualifiers are assigned for the headings "Choruses," "Choruses, Secular," and "Choruses, Sacred" as appropriate in this order: 
XIII.B.1. VOICE GROUPING: If the work or collection is for a specific type of vocal group throughout, qualify by type of group using one of these terms, in parentheses: 
	(Changing voices) 	(Mixed voices) 
	(Equal voices) 	(Unison vo i cee ): 
	(Men's voices) 	(Women's voices) 
EXAMPLES: 
A chorus for changing voices, secular text Choruses, Secular (Changing voices) 
A collection of sacred music for women Choruses, Sacred (Women's voices) 
A collection including sacred and secular texts for mixed chorus 
Choruses (Mixed voices) 
See XIII.B.3. for additional application and examples. 

XIII.B.2. 
XIII.B.2. NUMBER OF VOCAL PARTS: 
XIII.B.2.a. 	Specify the number of vocal parts if the following criteria all apply: 
-:::::--
(1.) "There are 8 or fewer parts 
(2.) The music is for the same number of parts throughout 
(3.) There is" only one type of chorus 
(4.) The accompaniment is one of the following: (a.) Accompaniment is for a specific 
instrument OR 
(b.) Accompaniment is for 2 keyboard 
instruments or continuo OR 
(c.) The specification is "Unaccompanied" 
OR 
(d.) Acco~paniment is present but unspecified 
(for example, when any combination of 2 or 
more unspecified solo instruments could be 
used, or when accompaniment varies between 
pieces in a collection) 
XIII.B.2.b. Do not specify the number of vocal parts if 
(1.) There are 9 or more parts OR 
(2.) There are 8 or fewer parts but the accompaniment 
does not meet the criteria listed in 
XI I I . B. 2 . a. (4) . 
Page - 89 

XIII.B.3. 
XIII.B.3. In all cases, assign qualifiers for accompaniment unless it is unspecified or it varies between pieces in a collection. (The qual ifier "Unaccompanied" is used if the piece states "unaccompanied", "a cappella" or a similar term, or if it states "Accompaniment for rehearsal only," or a similar phrase.) 
EXAMPLES: 
A collection for 3 equal voices, sacred texts, all with organ: 
Choruses, Sacred (Equal voices, 3 parts) with organ [Number of voices is specified in subject heading because it is for fewer than 8, all one type of chorus, and one specified accompanying instrument] 
A work for 4-part mixed chorus, sacred ~ext, with continuo: 
Choruses, Sacred (Mixed voices, 4 parts) with 
continuo. 
[Number of voices is used because there are fewer than 8, and accompaniment qualifies under XIII.B.2.a.(4)] 
A secular collection for 5-part mixed voices, unaccompanied: 
Choruses, Secular (Mixed voices,S parts), Unaccompanied 
[Number of voices is used because there are fewer 
than 8 and unaccompanied] 
Page - 90 

XIII.B.3. 
A collection for 4-part women's chorus, secular and sacred texts, with accompaniment for "any two C instruments": 
Choruses (Women's voices, 4 parts) 
[Use number of voices but no qualifier for accompaniment because it is unspecified] 
A collection for a-part male chorus, secular and sacred texts, some with piano, some with organ, and some unaccompanied: 
Choruses (Men's voices, a parts) 
[Use number of voices but no qualifier for accompaniment because it varies] 
A collection for 4-part male chorus, secular and sacred texts, with band: 
Choruses (Men's voices) with band 
[Do not use number of voices because the accompaniment does not meet criteria listed in XIII.B.2.b.(2)] 
A collection for chorus of 3 equal voices, secular and sacred texts, with handbell accompaniment 
Choruses (Equal voices) with handbells 
[Do not use number of voices because the accompaniment does not meet criteria listed 
in XIII.B.2.b.(2)] 
Page - 91 

XIII.B.3. 
A collection for 10-part unaccompanied mixed voices, 'secular text 
Choruses, Secular (Mixed voices), Unaccompanied 
[Number of voices is not used because it exceeds 8 parts] 
Page - 92 

Page - 93 
XIII.C. SPECIAL RULES FOR COLLECTIONS 
Only one typ~ of subject heading may be applied to anyone collection, regardless of how many types of choruses or numbers of parts are represented in the collection. Choose the broadest, most representative heading for the collection. Qualifiers may be added as appropriate based on the preceding sections. 
EXAMPLES: 
A collection for 4- ·AND 5-part mixed chorus, sacred text, 
with piano: 
Choruses, Sacred (Mixed voices) with piano [No. of parts cannot be specified because it varies] (See XIII.B.2.a) 
A collection for men's chorus, mixed chorus, and women's chorus, secular text, with piano and unaccompanied: 
Choruses, Secular 
[Various types of choruses and accompaniment are present; no Qualification can be made for either type of chorus or accompaniment] (See XIII.B.2-3) 

Page - 94 

XIV. VOCAL MUSIC -- ADDITIONAL FORMS AND HEADINGS 
XIV.A. TOPICAL HEADINGS 
A work or collection may have a theme or topic which would be useful as a subject heading. Often these works are specific to seasons, occasions, individual people, or to a group of people (nationalities, careers, organizations, etc.). These headings are often applied particularly to collections, and to music of popular or semi-popular nature. They are not usually applied to collections of art music, although they may be applied to individual pieces if the work is of specific significance for its topic. If the topical content seems of sufficient importance to make a heading, use the following guidelines as appropriate. 
XIV.A.1. The work is a song, or a collection of songs, or instrumental arrangement of the song(s), which has a specific topical aspect as represented by a phrase in LCSH. (Note that these headings all include the word "songs.") 
Assign appropriate phrase heading from LCSH and subdivide geographically as indicated in LCSH under that phrase heading. 
EXAMPLES: 
Children's songs Love songs 
Sea songs Students' songs 

XIV.A.1. 
[If songs are for a particular school, assign a second heading for the school with the subdivision Songs and music.] 
If the work is an instrumental arrangement of a song(s) assign subdivision 
-- Instrumental settings. 
EXAMPLES: 
Children's songs -- Instrumental settings Sea songs -- Instrumental settings 
XIV.A.2. When a topical phrase heading is not available from LCSH, assign the subdivision 
Songs and music 
under specific sUbjects, classes of persons, institutions, societies, etc. Subdivide as appropriate by place. (See LCSH for the main heading to see if it can also be subdivided geographically.) 
EXAMPLES: 
Camping -- Songs and music 
	Fasts and feasts -- JUdaism 	Songs and music 
Lumbermen -- Songs and music 
Prisons -- United States -- Songs and music 
Page - 95 

1. Peron, Eva, 1919-1952 
Drama. 

XIV.B. PERSONAL NAME HEADINGS 
XIV.B.1. The piece is a musical work ABOUT a person. 
If the work is a musical-dramatic setting of a person's life (such as an opera or musical), assign the individual's name 
heading with subdivision 
Drama 
EXAMPLES: 
Nixon in China [an opera] 
Nixon, Richard M. (Richard Milhous), 1913- '4~~ 
~ 
-- Drama 
Evita [a musical] 
Peron, Eva, 1919-1952 -- Drama 
Assign a second heading to represent the form of the work as 
outlined in IX.A. 
EXAMPLE: 
A vocal score for Evita 
2. Musicals -- Vocal scores with piano. 
XIV.B.2. If the work is about a person, is not a dramatic work, 
but is a song, song collection, chorus, etc., assign the 
individual's name with subdivision 
Songs and music 
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XIV.B.2. 
EXAMPLES: 
Father of the land [song] 
Washington, George, 1732-1799 -- Songs and music 
Lincoln portrait [monologue] Lincoln, Abraham, 1809-1865 
Songs and music 
Assign a second heading to represent the ·form of the work as appropriate. 
EXAMPLE: 
1.	Lincoln, Abraham, 1809-1865 -- Songs and music 
2.	Monologues with music -- Scores 
XIV.B.3. The work is a text or collection of texts BY a specific individual. 
XIV.B.3.a. If the work is a song, cantata, chorus, solo cantata or other non-dramatic form, the author may be emphasized by a subject heading. Assign the first heading for form or medium as appropriate. Assign a second heading for the individual's name heading with the subdivision 
Musical settings 
Use this heading only when a work emphasizes the poet or author. Do not apply it to works having more than one author. 
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EXAMPLE: 
A collection of songs for soprano with piano, using Shakespeare's texts: 
1.	Songs (High voice) with piano 
2.	Shakespeare, William, 1564-1616 -- Musical settings 

XIV.B.3. 
XIV.B.3.b. If the work is an opera, make an added entry for the librettist (author) but do not make a subject entry for the individual. 
EXAMPLE: 
An opera with text by Lorenzo da Ponte, in full score: 
1. Operas -- Scores 
I. Oa Ponte, Lorenzo, 1749-1838. 
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And 
XIV.C. MUSIC OF ETHNIC AND NATIONAL GROUPS 
The following section is taken from Subject Cataloging Manual H19l7 but includes only the information pertaining to the actual music. 
XIV.C.l~ For collections or single works of national or ethnic 
groups, whether vocal or instrumental, the following types of headings are applied for each work: 
Heading for [ethnic or national group]--[place]--Music 
Heading(s) for musical genre or style, including ballads - 
or songs of national emphasis. 
For vocal works, add a Qualifier for language as appropriate. 
[See XIV.C.3.l 
If a topical aspect is present, assign an appropriate 
heading as outlined in XIV.A. 
XIV.C.l.a. A heading for an ethnic or a national group is assigned only when the work consists of music of the group ~s found outside the country of origin. Do not assign this type of heading for an ethnic or national group within its own 
, 
boundaries. For a group which supersedes national boundaries, assign the heading for the group but omit the subdivision for 
place; subdivide directly by 
-- Music. 
Page - 99 

XIV.C.1. 

'l V\ f<N.-ShHj Se.-er~ 
Page 

EXAMPLES: 
Germans -- Hungary -- Music 
[for German ethnic music in Hungary] 
Jews -- Music 
[for Jewish music crossing national borders]· 
XIV.C.1.b For American Indians, assign a heading for the tribe 
with the subdivision 
-- Music 
EXAMPLE: 
Fox Indians -- Music 
XIV.C.1.c. For national groups residing in countries other than 
their own, assign a heading for each location. 
EXAMPLE: 
A collection of Italian folk music for Italians who reside 
in Hungary: 
1. Italians -- Hungary -- Music 
2. Folk music 
Italy 
3. Folk music 
Hungary 
XIV.C.1.d. For general music of religious groups, use the 
l+ 

- 100 

XIV.C.1. 
EXAMPLES: 
Music, Buddhist Music, Taoist 
XIV.C.2. Headings for genre or style use the following types of headings and any headings listed under each in LCSH, etc. Local subdivisions may be applied as appropriate. 
Music (use this for music of various genres) Folk music 
Popular music 
Dance music 
Folk dance music Patriotic music 
Use folk music headings for cultures in which musical types and styles are not differentiated, for example, when no apparent distinction exists between the culture's folk songs, popular songs and art songs. 
XIV.C.3. Qualifiers for language may be used only if the work consists primarily or entirely of ballads, folk songs, or songs. Works in a single language or language group are Qualified by language. If three or more unrelated languages are present, omit language Qualification. Do not include mention of translations in the subject headings. Assign the appropriate heading for the genre "and Qualify according to the principles outlined here. 
Page - 101 

XIV.C.3. 
EXAMPLES: 
Folk-songs, Hungarian Ballads, English Songs, Armenian 
But, a collection including Hungarian, English, and Armenian ballads would use only 
Ballads 
XIV.C.3.a. A Qualifier for voice range and accompaniment is not used with the heading "Songs" when the material is of ethnic nature. 
XIV.C.3.b. Geographic subdivisions may be used with these three headings, and are used as appropriate even if the country name corresponds with the name.of the language. 
EXAMPLE: 
Folk-songs, Hungarian -- Hungary Ballads, English -- Scotland Songs, Armenian -- Armenia 
XIV.C.3.c. For ballads, folk-songs, or songs of an individual ethnic group, make the following additional subject headings: 
[Ethnic group] -- Music [use for all situations] AND 
Folk music -- [place] OR 
Music 
[place] 
Page - 102 

XIV.C.3. 

[Choose either "Folk music" or "Music" depending on the nature of the collection. See XIV.C.2.J 
For any of the added headings for ethnic group, do not subdivide them geographically if the nationality is within its own borders. 
If appropriate, the [ethnic group] heading may also be subdivided geographically as outlined in XIV.C.1. and XIV.C.4. 
EXAMPLES: 
A collection of German folk-songs as sung in Germany 
1.	Folk-songs, German -- Germany 
2.	Germans -- Music 
3.	Folk music 
A collection of German folk-songs as sung in the u.s. 
1.	Folk-songs, German -- United States. 
2.	Germans -- United States -- Music 
	3.	Folk music 	United states 
	4.	Folk music 	Germany 
XIV.C.4. Geographic subdivisions for a national group within its own country may be used with "Ballads", "Folk-songs" and "Songs". In no other circumstance is a geographic subdivision used for an ethnic group in its own country. 
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Page - 104 

XIV.D. MONOLOGUES WITH MUSIC 
XIV.D.1. The work includes a spoken part which is an integral component of the piece. Usually the spoken part requires a separate performer. 
If the work is secular, or a collection of sacred and secular texts, use the· heading: 
Monologues with music 
If the work is sacred, use the heading Sacred monologues with music 
XIV.D.2. If the work is an individual piece, or is a collection for specific medium, add to the heading a qualifier for the accompanying medium. (The presence of the speaker is inferred from the term "monologue.") For 1 solo instrument or 2 or more like solo instruments, qualify by the instrument name and number of instruments as outlined in V. If 2 or more different solo instruments are used, qualify by (Instrumental ensemble). Use (Voice) for solo voice, whether high, medium or low. Use head~ngs from XI for more than one solo voice. Use (Chorus) for men's, women's, or children's voices in 2 or more parts. Parentheses form a part of the correct heading. Subdivisions for musical format may be added as outlined in the respective vocal and instrumental sections. 

XIV.D.2. 

EXAMPLES 
A secular piece for speaker and piano: 
Monologues with music (Piano) 
A collection of sacred and secular pieces for speaker and 2 violins: 
Monologues with music (Violins (2» 
A secular collection for speaker, high and low solo voices, flute, oboe, bassoon: 
Monologues with music (Vocal duet with instrumental ensemble) 
A sacred work for speaker, high voice and orchestra: 
Sacred monologues with music (Voice with orchestra) 
A sacred collection for speaker, mixed chorus, and orchestra: 
Sacred monologues with music (Chorus with orchestra) 
XIV.D.3. Topical subject headings may be added if appropriate. 
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Page - 106 

XIV.E. VOCAL EXCERPTS OF NON-VOCAL FORMS 
If the work is a vocal excerpt of a form or piece which is primarily instrumental, app-ly a heading for the instrumental form with the subdivision 
Excerpts 
and subdivide again by format as outlined in IX.C.2. Examples of this would be symphonies or symphonic poems with vocal material (solo or choral or both). 
EXAMPLE: 
The vocal parts of Beethoven's Ninth Symphony with piano accompaniment: 
Symphonies -- Excerpts -- Vocal scores with piano 

Page - 107 

XIV.F. SONGBOOKS 
A collection of home and community songs, largely secular in content, arranged principally for mixed voices on two staves, is assigned the heading· 
Songbooks 
The heading can be qualified by language if appropriate, or by group or organization. 
EXAMPLES: 
Songbooks, French [German, etc.] Songbooks, Catholic 
If a songbook is for a chorus other than "mixed," assign the appropriate heading for choruses with Qualifiers as outlined in 
XIII. 

Page - 108 

XIV.G. SCHOOL SONGBOOKS 
A collection of songs designed primarily for use in schools is assigned the heading 
School songbooks 
The heading can be qualified by language, group, or organization as outlined in XIV.F. 
EXAMPLE: 
Songs for use in American Baptist schools School songbooks, Baptist 
Songs for use in French schools School songbooks, French. 

Page - 109 

XIV.H. SACRED VOCAL MUSIC 
XIV.H.1. SEASONAL, OCCASIONAL, OR LITURGICAL SEASON 
Music appropriate to a specific day or season of the Christian liturgical year, or for funerals, weddings, or memorials, may be assigned a heading reflecting that emphasis. 
These headings may be used in conjunction with form or medium of performance headings as appropriate, or may be used alone if a collection is either nonspecific or includes too many medium of performance options to make subject headings for the form or medium. Multiple seasonal headings may be applied as appropriate and reasonable. Although these ~eadings generally are used for sacred music, they can also be used for secular seasonal music (such as popular Christmas music) or for instrumental settings of sacred or secular vocal music with subdivision 
Instrumental settings. 
The major headings are given below. If music for another occasion or season is encountered, check LCSH and the on-line authority file for possible additional headings. If none is found, use the closest heading from this list or omit a heading for season/occasion. 

Advent music 
All Saints' Day music Ascension Day music Christmas music 
Corpus Christi festival music Easter music 
Epiphany music 
Funeral music 
Good Friday music 
For carols, see XIV.H.2. For hymns, see XIV.H.6. 
XIV.H.1. 

Holy Saturday music Holy-Week music Lenten music 
Maundy Thursday music Memorial music 
Palm Sunday music Passion-music 
Tenebrae service music Wedding music 
EXAMPLES: 
A collection of 4-part unaccompanied Advent and Christmas music with sacred texts: 
1. Choruses, Sacred (Mixed voices, 4 parts), Unaccompanied. 
2.	Advent music. 
3.	Christmas music. 
A collection of organ music for Easter, originally for organ: 
1.	Organ music. 
2.	Easter music. 
Page - 110 

XIV.H.1. 

A sacred wedding song for soprano and organ: 
1.	Sacred songs (High voice) with organ. 
2.	Wedding music. 
A collection of sacred and secular Christmas music, including solo instrument pieces, choral works, and solo vocal with piano accompaniment: 
1. Christmas music. 
A collection of music with sacred and secular Christmas texts for soprano and piano: 
1.	Christmas music [BUT see also Carols, XIV.H.2.] 
2.	Songs (High voice) with piano 
A work for SATB chorus, unaccompanied, for Easter: 
1.	Easter music 
2.	Choruses (Mixed voices, 4 parts), Unaccompanied 
A collection of wedding music arranged for guitar and medium voice: 
1.	Wedding music 
2.	Songs (Medium voice) with guitar, Arranged 
An organ work written for use at a funeral: 
1.	Funeral music 
2.	Organ music 
Page - 111 

Page - 112 

XIV.H.2. CAROLS 
The heading "Carols" is applied without language Qualifier for a collection of carols in various languages. For works in a single language, or related group of languages, the heading may be Qualified by name of language. Geographic subdivisions may also be applied. Christmas and Easter carols are entered under "Carols" without distinction f.or season. Translations are not indicated in subject headings. 
EXAMPLES: 
A collection of Christmas carols in original languages with 
English translations 
Carols 
A collection of German Easter and Christmas carols Carols, German 

Page - 113 

XIV.H.3. PSALMS 
Collections of psalm settings are entered as Psalms (Music) 
Settings of individual psalms are entered as Psalms (Music) 
with subdivision for the number of the psalm. 
Psalms (Music) Psalms (Music) 
1st Psalm 3rd Psalm 
A complete list of psalm numbers, with references from their Latin titles, can be found in LCSH and on-line. Use contemporary numbering of psalms, regardless of other numbering systems used in the piece; if necessary, match the psalm text to the number as given in LCSH. 
For Psalms 6, 32, 51, 102, 130 and 143, the heading may be 
changed to 					
	Penitential 	psalms 	(Music) 	6th Psalm 		
	Penitential 	psalms 	(Music) 	32nd Psalm 	[etc.] 	
or, 	if more than 	one, 				
	Penitential 	psalms 	(Music) 			
Headings for medium of performance or form are also assigned as appropri ate .. 

XIV.H.3. 

EXAMPLES: 
Handel's Dixit Dominus, usually designated no. 109, but in rea 1 i t y no. 1 1 0 : 
1. Choruses, Sacred (Mixed voices, 5 parts),' 
Unaccompanied. 
	2. Psalms (Music) 	110th Psalm. 
A collection of psalm settings from various composers for 4-part chorus and piano: 
1. Choruses, Sacred (Mixed voices, 4 parts) with 
piano 
2. Psalms (Music) 
Page - 114 

Page - 115 

XIV.H.4. CHANTS 
Chants of various religions are entered under the following broad headings as appropriate. Parentheses form part of the heading and must be used. 
Chants (Anglican) Chants (Armenian) Chants (Buddhist) Chants (Byzantine) 
[for chants originating in the early Eastern Christian Church] Chants (Hindu) 
Chants (Jewish) 
Chants (Plain, Gregorian, etc.) 
[for chants originating in the early western 
Christian/Roman Catholic practice] 
Chants (Sufi) 
Some specific liturgical chants of the·Christian tradition can be entered under the individual texts (see XIV.H.5.). 
The heading "Chants (Plain, Gregorian, etc.)" can be used in combination with liturgical text headings, but is used alone if the collection includes many different texts and/or texts which do not have their own established headings. 

XIV.H.4. 

EXAMPLE: 
A collection of early Greek Christian chants: 
Chants (Byzantine) 
A collection including several "Nunc dimittis" settings as well as general chants 
1.	Nunc dimittis (Music) 
2.	Chants (Plain, Gregorian, etc.) 
Page - 116 

Page - 117 

XIV.H.5. LITURGICAL TEXTS 
Musical settings of specific historical Christian liturgical texts are entered under the name of the text, with the Qualifier (Music). These are usually in Latin, with cross-references from the English forms in LCSH and on-line. Use the prescribed form of title in the subject heading, regardless of, and without Qualification for, the actual· language of the piece. If the piece is not in Latin, the fact should be mentioned in the body or in a note, not in the.subject heading. 
Headings for medium of performance may be used as appropriate. 
XIV.H.5.a. The following list contains the liturgical texts most likely to be encountered. Check LCSH, etc., for any liturgical texts not found here. 
	Alleluia (Music) 	Lord's Prayer (Music) 
	Agnus dei (Music) 	Magnificat (Music) 
	Ave Maria (Music) 	Nunc dimittis (Music) 
	Ave Maris stella (Music) 	Regina caeli laetar~ (Music) 
	Ave Regina coelorum (Music) 	Salve Regina (Music) 
	Credo (Music) 	Sanctus (Music) 
	Dies irae (Music) 	Stabat mater dolorosa (Music) 
Gloria in excelsis Deo (Music) Te Deum laudamus (Music) 
	Kyrie eleison (Music) 	Veni Creator Spritus 

XIV.H.5. 

'1- 
XIV.H.5.b. The following texts may either be complete works in themselves or may be excerpts from a larger work (primarily a mass or requiem). Assign a heading as shown in XIV.H.5.a. 
for a complete work using the text. If the work is an excerpt from a larger form, such as a mass, assign the heading for the form according to section IX.A., using the subdivision 
-- Excerpts. 
Make no subject heading for the text in this circumstance. 
	Agnus dei 	Gloria in excelsis 
	Credo 	Kyrie eleison 
	Dies irae 	Sanctus 
EXAMPLES: 
A Kyrie setting which is complete in itself: 
Kyrie eleison (Music) 
A Kyrie excerpted from a requiem: 
	Requiems 	Excerpts 
XIV.H.5.c. Pieces or collections of pieces for other liturgical functions or services are entered under the name of the function or service, with qualifier (Music) 
Amens (Music) Antiphons (Music) Graduals (Music) Introits (Music) Lauds (Music) Litanies (Music) 
Offertories (Music) Responses (Music) Sequences (Music) Tropes (Music) Vespers (Music) 
Page - 118 

XIV.H.5. 

XIV.H.5.d. If a collective heading is appropriate for one or more specific texts, use the collective heading. This can only be ascertained by checking the headings in LCSH, etc., for broader and narrower terms. If in doubt, use the separate titles. 
EXAMPLE: 
A collection of settings of the texts Regina cae1i laetare 
and Salve Regina: 
Antiphons (Music) 
[The collective heading, "Antiphons (Music)" is used instead of a heading for each text. It appears as the BT (Broader term) under each of the specific titles.] 
See also XIV.H.4. for use of the general "Chants" heading. 
XIV.H.5.e. Music designated for morning or evening services, but without further specification, can be assigned headings for the time of service. Again, see LCSH to determine if a more specific heading exists and is appropriate to the work. 
Morning-service music Evening-service music 
Page - 119 

Pa~e - 120 

XIV.H.6. HYMNS 
For Christian hymns, see XIV.H.6a-i. For other hymns, see XIV.H.6.j. 
XIV.H.6.a. Hymnals containing both texts and tunes, whether single-line melodies or full harmonization, are assigned the 
heading 
Hymns 
XIV.H.6.b. If the hymns are all in one language, the language can be added as a qualifier 
Hymns, German 
XIV.H.6.c. If the hymnal is specific to one country, a geographical subdivision may be applied. If the hymnal is not primarily in one language, assign the geographic subdivision directly after Hymns, without specification of language. If it is primarily in one language, assign the geographic subdivision 
after the language. 
EXAMPLES: 
A hymnal in Spanish and English for use in the U.S.A.: 
Hymns -- United States 
A hymnal in Spanish for use in the United States Hymns, Spanish -- United States 

XIV.H.6. 

XIV.H.6.d. A hymnal designed for or published by a specific denomination is assigned a second heading for the denomination, subdivided by 
-- Hymns 
EXAMPLE: 
A Baptist hymnal published for any English-speaking 
country 
1. Hymns, English 
2. Baptists -- Hymns 
XIV.H.6.e. If all the hymns are for a special season, or are in 
a specific form, or pertain to specific events or groups of 
people, these characteristics may be brought out through special subject headings. Use these if only a limited number of special headings would be required. Do not break down an entire hymnal into its categories. Consult LCSH or the on-line authority file 
for specific headings. Examples of several specific headings are 
given here. For specific forms for seasonal hymns, it is 
especially important to consult LC. Some seasons use "[season] 
music", while others use "[season] hymns" . 
. 
Examples of hymn categories for which special headings may 
be used: 
Seasonal: Advent hymns; Easter hymns; Christmas hymns 
Specific hymn forms: Carols, Chorales 
Events or groups of people: Revivals -- Hymns; 
Seamen -- Hymns 
Page - 121 

XIV.H.6. 

EXAMPLE: 
A hymnal in English especially for use in an Afro-American congregation: 
1.	Hymns, English. 
2.	Afro-Americans -~ Music. 
XIV.H.6.f. Do not specify the medium for hymns unless they are arranged for instrument(s) and the arrangement is not intended to be sung. This includes arrangements for organ. If the work ;s an instrumental arrangement of a hymn or hymns, use the heading for medium as appropriate and add a second heading as appropriate: 
Hymns -- Instrumental settings or 
[special category of hymn] -- Instrumental settings 
EXAMPLES: 
An arrangement of Easter hymns for trombone Quartet: 
1.	Brass Quartets (Trombones (4)) 
	2.	Easter hymns 	Instrumental settings 
A collection of organ music based on hymns: 
1.	Organ music 
2.	Hymns -- Instrumental settings 
Page - 122 

XIV.H.6. 

XIV.H.6.g. If the work has texts only, even though it is called a hymnal, apply the appropriate headings as outlined in XIV.H.6. Classify in BV rather than M. 
XIV.H.6.h. If the work contains hymn tunes only, without text, or with only one stanza of text, use the heading 
Tune-books 
XIV.H.6.i. For specific hymn titles based on psalms or Latin liturgical texts see XIV.H.3. and XIV.H.5. 
XIV.H.6.j. For hymns of other religions, the most common subject heading type is the use of a phrase heading combining the adjectival form of the religion's name with the word "hymns": 
Buddhist hymns Jewish hymns Islamic hymns 
Some are also formed by using the name of the religion with subdivision --Hymns: 
Saivism -- Hymns 
Various related headings exist for these forms. Refer to LCSH or on-line files for additional possibilities and for geographicsubdivision provisions. 
Page - 123 

Page - 124 

xv. POPULAR MUSIC 
Popular music is divided into two general headings ~- one encompassing instrumental music, the other, vocal music. Some specific forms are permitted (see XV.E.). For jazz, see XVI. 
XV.A. For popular instrumental music, or a collection of popular instrumental music, for any instrument(s) without text and in no specific form, assign the heading: 
Popular instrumental music 
This heading is also used for instrumental arran~ements of popular vocal music. 
XV.B. For popular vocal music (single piece or collection) or a collection including both. vocal and instrumental pieces, assign 
the heading: 
Popular music 
XV.C. Each of these headings may be subdivided geographically. 
XV.D. Each of these headings may be subdivided by period. 
Use a practical number of period subdivisions. If the music is not specific to one or two decades, omit period subdivision. The following period subdivisions may be used as appropriate: 
	To 1901 	1931-1940 	1971-1980 
	1901-1910 	1941-1950 	1981-1990 
	1911-1920 	1951-1960 	1991- 
	1921-1930 1961-1970 
For period subdivisions of specific forms, see XV.E.3. 

XV.E.1. 

XV.E.1. The following specific forms may be used for popular music as appropriate. Use a practical number of headings 
in addition to a "popular music" heading as outlined above. The word "music" and the use of parentheses must appear as specified below. For other forms, see LCSH. 
Big band music Bluegrass music Blues (Music) 
Boogie woogie (Music) Bop (Music) 
Calypso (Music) 
Contemporary Christian music Country music (see XV.E.2-3) Disco music 
Dixieland music 
Doo-wap music 
Fakebooks (Music) 
Folk-rock music 
Gospel music 
Honkey-tonk music 
Jazz (see XVI) 
Jazz vocals (see XVI) Klezmer music Ragtime music 
Rap (Music) 
Reggae music 
Rhythm and blues music Rock music (see XV.E.3.) Salsa 
Soul music 
Steel band music Swing (Music) 
Western swing (Music) Zouk (Music) 
XV.E.2. The following popular music headings are considered American in origin, and thus should not be given the geographic subdivision --United States. They may be subdivided by regions, states, cities, or other subdivisions within the U.S., or by other countries as approp r i at.e . 
Page - 125 

Big band music Bluegrass music Blues (Music) 
Boogie woogie (Music) Bop (Music) 
Country music Dixieland music Doo-wap (Music) Folk-rock music Gospel music 
XV.E.2. 

Honky-tonk music Jazz (see XVI) 
Jazz vocals (see XVI) Ragtime music 
Rap (Music) 
Rhythm and blues music Rockabilly music 
Soul music 
Swing (Music) 
western swing (Music) 
The heading "Rock music" may be subdivided by --United States. Although originally an American form, it is now considered an international genre. 
XV.E.3. Period subdivisions of the specific headings are permitted under Country music and Rock music. 
	Country music 	Rock music 
	To 1931 	To 1961 
	1931-1940 	1961-1970 
	1941-1950 	1971-1980 
	1951-1960 	1981-1990 
	1961-1970 	1991- 
1971-1980 
1981-1990 
1991- 
Page - 126 

Page - 127 

EXAMPLES: 
A collection of popular music for piano: 
Popular instrumental music 
A collection of popular music, originally with words, arranged for guitar: 
Popular instrumental music 
A collection of popular songs for voice and piano or guitar, with pieces for solo guitar interspersed: 
Popular music 
A collection of American songs from 1925-1928 for voice and instrumental ensemble: 
Popular music -- United States -- 1921-1930 
A rock song for voice and instruments: 
Rock music 

Page - 128 

XVI. JAZZ 
The heading "Jazz" is used for all combinations of 2 or more instrumental jazz soloists, ranging from duets to nonets, and for large ensembles. 
EXAMPLES: 
A jazz duet for flute and saxophone: 
Jazz 
A jazz Quintet for strings: 
Jazz 
A jazz band piece: 
Jazz 
XVI.A. For jazz for individual solo instruments, use the form [Instrument] music (Jazz) 
Parentheses form a part of the subject heading. 
EXAMPLES: 
Piano music (Jazz) Trombone music (Jazz) 
XVI.B. The term "jazz ensemble" may be used if the ensemble forms part of a statement of medium, such as when it acts as a solo ensemble accompanied by other instruments, or when it provides accompaniment for other soloists. Used in this type of heading, "jazz ensemble" represents any number and combination of 

XVI.E. The following period subdivisions may be used if the work is sufficiently specific: 
To 1921 1921-1930 1931-1940 1941-1950 1951-1960 
1961-1970 1971-1980 1981-1990 1991- 

instruments. The term is used in the same way as other ensembles as outlined in VI and VII. 
EXAMPLES: 
Jazz ensemble with string orchestra Suites (Jazz ensembles) 
Concertos (Jazz ensembles) 
Concertos (Flute with jazz ensemble) Concertos (Jazz ensemble with band) 
XVI.C. All types of vocal jazz music are covered by the heading: 
Jazz vocals 
XVI.D. No geographic subdivision is used unless the work represents jazz in a particular region, city, etc., of the United States, or in another country (see XV.E.2.). 
For jazz instructional materials, see XVIII. 
Page - 129 

Page - 130 

XVII. CHANCE OR ALEATORY MUSIC 
Chance or aleatory music is music which deliberately leaves some element of either composition or performance to "chance". 
XVII.A. Works which were composed using chance methods and/or which may be performed randomly are given the heading: 
Chance compositions 
If no medium of performance is specified, this heading is used alone. 
XVII.B. If a medium of performance is given, construct a heading for the medium as illustrated in earlier chapters. The medium may be instrumental, vocal, or a combination of both. If the work is in a specific form, construct the form heading as previously outlined. In each case, assign the heading "Chance compositions" as a second heading. 
EXAMPLES: 
A work for brass Quartet (unnamed instruments) in which the 
order of the piece is determined at each performance by shuffling pages, and the instrumentation is determined by those performing: 
1.	Brass Quartets. 
2.	Chance compositions. 

XVII.B. 

A work for baritone voice, piano, and tape-recorded electronic noise, in which the text and melody are selected by rolling dice: 
1.	Songs (Medium voice) with piano. 
2.	Electronic music. 
3.	Chance compositions. 
A sonata for flute and guitar, the length of which is determined by the number of repetitions the performers 
choose 	to give certain measures: 
1.	Sonatas (Flute and guitar) 
2.	Chance compositions 
Page - 131 
.\ 

XVI.A.2. The most frequently used subdivisions for instructional materials are: 
Instruction and study 
Instruction and study Instruction and study 
Fingering Juvenile 

XVIII. INSTRUCTIONAL MATERIALS 
A distinction is made between materials designed to teach the instrument through music, and those designed to teach about the instrument. Only the former are considered here. Other headings for books can be constructed from headings given in H 1161. The subdivisions discussed below can be applied to scores and score-like materials. Some items, such as methods, could be treated as books or scores. The decision should be based upon the amount of music included and local needs and precedents. 
XVI.A.1. For instrumental materials, begin by determining the correct form of the instrument's name. The instructionalmaterial heading is constructed from the instrument name, without the Qualifier "music" 
	Piano 	[Not Piano music] 
Determine the predominant type of material (studies, methods, etc.) and apply the appropriate subdivision from XVI.A.2. Except as noted for popular music, more than one heading and subdivision is rarely needed. 
Page - 132 

XVIII.A.2. 

Instruction and study -- Pedaling Methods 
	Methods 	Group instruction 
	Methods 	Juvenile 
	Methods 	Self-instruction 
Methods (Jazz) 
[(Rock), (Bluegrass), etc.; see note below] Orchestra studies 
Studies and exercises 
	Studies and exercises 	Fingering 
	Studies and exercises 	Pedaling 
Studies and exercises (Jazz) 
[Rock, Bluegrass, etc; see note below] 
NOTE: If the subdivisions "Methods" or "Studies and exercises" are used with popular music Qualifiers, assign the style of music as the second heading, and subdivide by 
-- Instruction and study. 
EXAMPLE: 
A collection of piano exercises: 
Piano -- Studies-and exercises 
A collection of violin parts from several symphonies: 
Violin -- Orchestra studies 
A study in jazz techniQues for saxophone: 
1.	Saxophone -- Studies and exercises (Jazz) 
2.	Jazz -- Instruction and study 
Page - 133 

XVIII.A.2. 

A general collection of saxophone exercises: 
Saxophone -- Studies and exercises 
A method book on special marimba techniques: 
Marimba -- Methods 
A collection of exercises for children studying clarinet: 
Clarinet -- Studies and exercises -- Juvenile 
A method book for bluegrass banjo: 
1.	Banjo -- Methods (Bluegrass) 
2.	Bluegrass music -- Instruction and study. 
XVI.B.1. For scores ·of instructional vocal music, the most general headings are: 
Choral singing Ensemble singing Singing 
[this can be used for solo or general material] 
Other headings can be found in LCSH under the three headings 	' 
above, as, for example, references to particular methods of vocal 
instruction or styles of singing. 
These headings can be subdivided as appropriate. The most 
common subdivisions are given in XVI.B.2. 
Page - 134 

XVIII.B.1. 

Headings are used without reference to voice range. If the material is for a specific range such as high, medium, or low, this is mentioned in the descriptive area or note, not in the subject heading. 
XVI.B.2. The following subdivisions are most commonly used for vocal instructional materials. 
Instruction and study 
	Instruction and study 	Juvenile 
Methods 
	Methods 	Juvenile 
	Methods 	Self-instruction 
Studies and exercises 
EXAMPLE~: 
A collection of vocal exercises for soprano: 
	Singing 	Studies and exercises 
A collection of vocal exercises for low voice: 
	Singing 	Studies and exercises 
A method of voice train~ng for children: 
Singing -- Methods -- Juvenile 
A collection for chorus, including warm-ups and exercises: 
Choral singing -- Studies and exercises. 
Page - 135 

EXAMPLE 3: 
Chamber music -- VI.A.1 Single instrument . 
(#575755) 

APPENDIX 
MUSICAL EXAMPLES 
EXAMPLE 1: 
Complete Works, Monuments (Etc.) -- III Personal Name Headings -- XIV.B. 
(#12544456) 
Horaz-Vertonungen vom Mittelalter bis zur Gegenwart : eine Anthologie / [herausgegeben] von Joachim Draheim und Gunther Willie. -- Amsterdam: B.R. Gruner, 1985. 
1 score (221 p.) ; 25 cm. 
[Anthology of solo and choral settings of texts by Homer; various accompaniments] 
1. Horace -- Musical settings. 2. Vocal music -Scores. 
EXAMPLE 2: 	(#6999195 ) 
Chamber Music Ensemble -- V.C. 
Percussion Instruments 
Xenakis, Iannis, 1922[Pleiades] 
Pleiades / Xenakis. -- Paris: Editions Salabert, c1979. 
1 score ([15] leaves) ; 47 x 52 cm. 
1. Percussion ensembles -- Scores. 
Debussy, Claude, 1862-1918. [Etudes, piano] 
Douze etudes pour piano / Claude Debussy. -- Paris A. 
Durand, [c1916] 2 v , ; 35 cm. 
1. Piano music. 
,?-age - 136 

EXAMPLE 4: 
Chamber music -- VI.A.3. 
Two Unlike Instruments 
arranged with format subdivisions 
(#7842846) 

Album of 10 classical pieces: for string bass and piano / compiled, edited, and transcribed by Stuart Sankey. -- New York: International Music, c1980. 
1 score (24 p.) + 1 parts (8 p.) ; 31 cm. 
1. Double-bass and piano music, Arranged -- Scores and parts. 
EXAMPLE 5: 
Chamber Music -- VI.A.3. 
Two Unlike Instruments 
Specific format with medium Qualifiers 
(#21329441) 
Beethoven, Ludwig van, 1770-1827. [Violoncello, piano music] 
Complete sonatas and variations for cello and piano: from the Breitkopf & Hartel complete works edition / Ludwig van Beethoven. -- New York : Dover, 1990. 
1 score. 
	1. Violoncello and piano music 	Scores. 2. Sonatas 
	(Violoncello and piano) 	Scores. 3. Variations 
(Violoncello and piano) -- Scores. 
EXAMPLE 6: 	(#4395131) 
Chamber Music -- VI.A.4. 
Three to Nine instruments standard combinations 
Brahms, Johannes, 1833-1897 . 
. [Trios, piano, strings, no. 2, Ope 87, C major] 
Two trios: for piano, violin and cello / Johannes Brahms. 
-- New York: Edwin F. Kalmus, [19--] 
miniature score (50, 38 p.) ; 18 cm. -- (Kalmus study 
scores; no. 1239) 
1. Piano trios -- Scores. 
Page - 137 

EXAMPLE 9: 
Chamber Music -- VI.A.5. 
Three to Nine Instruments of the same type 
with form heading 
(#2217860) 

EXAMPLE 7: 
Chamber Music -- VI.A.4. 
Three to Nine instruments standard combinations 
arranged with format subdivisions Large Ensemble Music -- VI.B. arranged with format subdivision 
(#14410050) 
Liszt, Franz, 1811-1886. 
[Annees de pelerinage, 3e annee. Angelus! Priere aux anges gardiens; arr.] 
Zwei Satze fur StreichQuartett oder Streichorchester = Two movements for string Quartet or string orchestra / herausgegeben von Hans-Wolfgang Riedel ; Erganzung der Kontrabass-Stimme von Franz Beyer. -- Winterthur/Schweiz : 
Amadeus, 1985. 
1 score (8 p.) + 5 parts ; 31 cm. 
1. String Quartets, Arranged -- Scores and parts. 
2.	String-orchestra music, Arranged -- Scores and parts. 
3.	String Quartets -- Scores and parts. 4. String-orchestra 
music -- Scores and parts. 
EXAMPLE 8: 	(#14028209) 
Chamber Music -- VI.A.5. 
Three to Nine instruments of the same type 
Poulenc, Francis, 1899-1963. [Sonatas, horn, trumpet, trombone] 
Sonata for horn, trumpet and trombone / by Francis Poulenc. -- London, J. & W. Chester, c1924. 
1 miniature score (15 p.) ; 20 cm. 
1. Brass trios (Horn, trombone, trumpet) 
Dukas, Paul, 1865-1935. [Peri. Fanfare; arr.] 
Fanfare, to precede the ballet La peri: for brass quintet 
(2 trumpets, horn and 2 trombones) / Paul Dukas ; arr. by Wayne Barrington. -- Paris Durand; Bryn Mawr, Pa. : 
Elkan-Vogel, [1975] 
score (4 p.) and 5 parts; 31 cm. 
1. Brass Quintets (Horn, trombones (2), trumpets (2», Arranged. 2. Fanfares. 
Page - 138 

EXAMPLE 12: 
Chamber Music -- VI.A.6. 
Three to Nine instruments of different types with Format subdivision 
(#6913044) 

EXAMPLE 10: 
Chamber Music -- VI.A.6. 
Three to Nine instruments of different types with medium qualifier 
Chamber Music -- VI.A.4. 
Standard Combination 
(#17763756) 
Brahms, Johannes, 1833-1897. 
[Trios] 
Complete piano trios : complete works edition / Gal. -- New York: Dover 1 score (vi, 281 p.) 
from the Breitkopf & Hartel Johannes Brahms ; edited by Hans Publications, c1988. 
30 cm. 
1. Piano trios violin) -- Scores. -- Scores. 
Scores. 2. Trios (Piano, horn, 
3.	Trios (Piano, c1arin~t, violoncello) 
EXAMPLE 11: 
Chamber Music -- VI.A.6. 
Three to Nine Instruments of Different Types 
(#4060107) 
Bach, Johann Christian, 1735-1782. [Quartets, op.· 19. No.4] 
Quartett, C-dur. / [Hrsg. von Lothar Hoffmann-Erbrecht] Lippstadt, Kistner & Siegel; sole agent for the USA: 
Concordia Pub. House, St. Louis [1963] 
	score (29 p.) and 	parts. 30 cm. 
1. Quartets (Flutes (2), violin, violoncello) -- Scores and parts. 
Reich, Steve, 1936- 
Four organs / Steve Reich. -- [London] Edition, [c1980] 
[v i] p., score (10 p.) ; 31 cm. 
Universal 
1. Quintets (Electronic organs (4), maracas) -- Scores. 
Page - 139 

EXAMPLE 15: 
Chamber Music -- VI.A.7. 
Ten or More Players 
Hldas, Frigyes. 
[Bagatelles, trumbones (12)] 
Het bagatell, 12 harsonara = Sieben Bagatellen fur 12 Posaunen = Seven bagatelles for 12 trombones / Hidas. -Budapest: Editio Musica, c1981. 
1 score (24 p.) + 12 parts; 31 cm. 
(#12915422) 

EXAMPLE 13: 
Chamber Music -- VI.A.5. 
Three to Nine Instruments of different types with Format subdivision 
(#12915348) 
Takemitsu, Toru. [Ame no jurnon] 
Rain spell : for flute, clarinet, harp, piano, and vibraphone = Arne no jumon : furuto kurarinetto hapupiano vaiburafon no tame no / Toru Takemitsu. -- Mainz, New York Schott; Tokyo: Schott Japan, c1983. 
1 score (15 p.) ; 31 cm. 
1. Quintets (Piano, clarinet, flute, harp, vibraphone) -- Scores. 
EXAMPLE 14: 
Chamber Music -- VI.A.5. 
Three to Nine different instruments Manuscripts and facsimiles -- IV. 
(#13793573) 
Xenakis, Iannis, 1922- 
Epei / Iannis Xenakis. -- Paris 1 score (13 p.) ; 27 x 35 cm. Reproduced from holograph. 
1. Sextets (Clarinet, English horn, trombones (2), trumpet, double bass) -- Scores. 2. Xenakis, Iannis, 1922-- Manuscripts -- Facsimiles. 3. Music -- Manuscripts -Facsimiles. 
Salabert, c1984. 
1. Trombone ensembles -- Scores and parts. 
Page - 140 

EXAMPLE 18: 
Instrumental Music: Specified Forms -- VII with Implied Medium reQuiring Qualifier 
(#18384804) 

EXAMPLE 16: 
Large Ensemble Music -- VI.B.2. 
Ensemble and single instrumental soloist 
(#10342483) 
Bourgeois, Derek~ 
[Romance, double bass, orchestra, Ope 64; arr.J 
Romance Ope 64 for double bass and chamber orchestra / Derek Bourgeois. -- London, England: Yorke Edition, c1981. 1 score (15 p.) + 1 part (3 p.) ; 31 cm. 
1. Double bass with chamber orchestra -- Solo with piano. 
EXAMPLE 17: 	(#10726645) 
Instrumental Music: Specified Forms -- VII 
With Implied Medium (no Qualifier) 
Dvorak, Antonin, 1841-1904. [Symphonies, no. 8, Ope 88, G major] 
Symphonies, nos. 8 and 9 : ("New world") / Antonin Dvorak. -- New York : Dover, 1984. 
258 p. ; 31 cm. 
1 .. Symphonies -- Scores. 
Widor, Charles Marie, 1844-1937. 
[Symphonies, organ, no. 5, Ope 42, no. 1, F minor] Symphonie pour orgue nr. 5 Ope 42 en fa [sound recording] / Charles Marie Widor. -- Sliedrecht : Larigot, p1985. 
1 sound disc (41 min.) : analog, 33 1/3 rpm, stereo. ; 12 
in. 
1. Symphonies (Organ) 
Page - 141 

EXAMPLE 21: 
Instrumental Music: Specified forms -- VII.A. without implied medium 
(#7898529) 

EXAMPLE 19. 
Instrumental Music: Specified Form -- VII.A. with medium variation 
Manuscript 
(#17598133) 
Reed, H. Owen, 1910- 
[La fiesta mexicana, band] 
La fiesta mexicana : a Mexican folk song symphony / H. 
Owen Reed. -- 1949. 
1 ms. score (104 p.) ; 45 cm. 
1. Symphonies (Band) -- Scores. 2. Music -Manuscripts. 
• 
EXAMPLE 20: 
Instrumental Music: Specified Form -- VII.A. 
Chamber Music with Solo Instrument Chamber Music with Two Unlike Instruments 
(#17325302) 
Bach, Johann Sebastian, 1685-1750. [Suites, violoncello, BWV 1007-1012] 
Complete suites for unaccompanied cello; and, Sonatas for viola da gamba : from the Bach-Gesellschaft edition / Johann Sebastian Bach. -- New York: Dover Publications, 1988. 
102 p. of music ; 31 cm. 
1. Suites (Violoncello) 2. Sonatas (Viola da gamba and harpsichord) -- Scores. 
Liszt, Franz, 1811-1886. 
[Annees de pelerinage, 3e annee] 
Annees de pelerinage : troisieme annee / Franz Liszt ; nach Autographen, Abschriften und der Originalausgabe herausgegeben von Ernst Herttrich ; Fingersatz von HansMartin Theopold. -- Munchen : G. Henle Verlag, c1980. 
viii p., 49 p. of music; 31 cm. 
1. Suites (Piano) 
Page - 142 

EXAMPLE 24: 
Instrumental Music: Specified Forms -- VII.C. 
With format subdivision 
(#18258329) 

EXAMPLE 22: 
Instrumental Music: Specified form -- VII.A. without medium qualifier 
(#21329437) 
Mozart, Wolfgang Amadeus, 1756-1791. [Serenades] 
Complete serenades / Wolfgang Amadeus Mozart. -- New York Dover, 1990. 
1 score (2 v.) ; 31 cm. 
[For many different instrumental groups] 
1. Suites -- Scores. 
EXAMPLE 23: 
Instrumental Music: Specified forms -- VII.C. 
Without format subdivision (Recording) 
(#17586693) 
Mozart, Wolfgang Amadeus, 1756-1791. 
[Concertos, piano, orchestra, K. 414, A major] 
Piano concerto no. 12 in A major, K. 414 ; Piano concerto no 14 in e-flat major,' K. 449 [sound recording] / Wolfgang A. Mozart. -- [Ocean, N.J.] : MHS, [1987], p1986. 
1 sound disc: digital, stereo. ; 4 3/4 in. 
1. Concertos (Piano) 
Chopin, Frederic, 1810-1849. 
[Concertos, piano, orchestra, no. 1, Ope 11, E minor] The piano concertos / Frederic Chopin. -- New York : 
Dover, 1988. 
1 score (164 p.) ; 31 cm. 
1. Concertos (Piano) -- Scores. 
Page - 143 

------------------------------ 
EXAMPLE 26: 
Instrumental Arrangements of -- VIII.D. 
Complex Vocal Works . 
(#8498157) 

EXAMPLE 25: 
Instrumental Music: Specified Forms -- VII.C. with format subdivision 
Instrumental Arrangements -- VIII.C. 
of Instrumental Works 
(#23384966) 
Mozart, Wolfgang Amadeus, 1756-1791. 
[Concertos, oboe, orchestra, K. 314, C major; arr.J Concerto in C, oboe and piano, K-314 I·W.A. Mozart; edited by Fernand Gillet and Richard B1air~ -- San Antonio, Tex. : Southern Music Co., c1990. 
1 score (36 p.) + 1 part (12 p.) ; 28 cm. 
1. Concertos (Oboe) -- Solo with piano. 
Borodin, A1eksandr Porfirevich, 1833-1887. [Prince Igor. Polovetskian dances; arr.J Polovetsian dances, from Prince Igor. Arr. hands I by Ruth GoodSmith. -- Philadelphia [1950] 
2 scores (14 p. each) ; 31 cm. 
for 2 pianos, 4 E1kan-Vogel, 
1. Piano music (4 hands), Arranged. 2. Operas -Excerpts, Arranged. 
	EXAMPLE 27; 	(# 11096879) 
Cantatas -- IX.B. 
with Qualifier for ensemble type 
Vocal Music for Choral Ensembles -- XIII. with Qualifier for ensemble type 
Vocal Music for Complex Performing Ensembles -- IX. 
Persichetti, Vincent, 1915[Choral music. Selections] 
Choral works [sound recording] I Vincent Persichetti. 
New York, N.Y. : New World Records, p1984. 
1 sound disc: 33 1/3 rpm, stereo. ; 12 in. 
1. Cantatas, Secular (Women's voices) -- 2. Choruses, Sacred (Women's voices), Unaccompanied. 3. Masses, Unaccompanied. 
Page - 144 

EXAMPLE 30: 
Vocal Music for Complex Performing Ensembless Musicals with format subdivisions 
(#1268130) IX 

EXAMPLE 28: 
Vocal Music for Complex Performing Ensembles 
(#19222078) IX. 
Bach, Johann Sebastian, 1685-1750. [Masses, BWV 232, B minor. Latin] 
Mass in B minor: from the Bach-Gesellschaft edition / Johann Sebastian Bach. -- New York: Dover Publications, c1989. 
1 score ([x], 304 p.) ; 31 cm. 
1. Masses -- Scores. 
EXAMPLE 29: 	(#21922205) 
Vocal Music for Complex Petforming Ensembles -- IX.A. 
ReQuiems for format subdivisions Facsimiles -- IV. 
Mozart, Wolfgang Amadeus, 1756-1791. [ReQuiem, K. 626, D minor. Latin] 
ReQuiem, KV 626 : vollstandige Faksimile-Ausgabe im Originalformat der Originalhandschrift in zwei leilen nach Mus. Hs. 17.561 der Musiksammlung der "Osterreichischen Nationalbibliothek / Wolfgang Amadeus Mozart; herausgegeben und kommentier von Gunter Brosehe. -- Graz, Austria: 
Akademisehe Druck-u. Verlaganstalt ; New York : Barenreiter, 
1990. 
1 score (3 v.) : ffacsims.,ill. ; 25 x 34 em. -- (Musica manuscripta ; Bd. 6) (Documenta musicologica. Zweite Reihe, Handschriften-Faksimiles. : Bd. 27) 
1. ReQuiems -- Scores. 2. Music -- Manuscripts Facsimiles. 
Rodgers, Richard, 1902[Oklahoma! Vocal score] 
The Theatre guild presents Oklahoma! ; a musical play based on the play "Green grow the lilacs" by Lynn Riggs / music by Richard Rodgers ; book and lyrics by Oscar hammerstein, 2nd; orchestrations by Russell Bennett; vocal score [edited by Albert Sirmay] ; vocal score. -- [New York] : Williamson Music: Crawford Music, sole selling agent, 
c1943. 
1 vocal score (208 p.) ; 31 cm. 
1. Musicals -- Vocal scores with piano. 
Page - 145 

EXAMPLE 33: 
Vocal Music for Solo or Choral Ensembles Madrigals 
(#20033756) XII.A. 

EXAMPLE 31: 	(#20756306) 
Vocal Music for Solo Performer -- X.A. 
with specification of vocal range & accompaniment Song Cycles -- X.B. 
Mahler, Gustav, 1860-1911. 
[Lieder eines fahrenden Gese11en] 
Songs of a wayfarer; and, Kindertotenlieder / Gustav Mahler. -- New York: Dover, 1990 . 
. 1 score (x iii, 142 p.) ; 31 cm. 
1. Songs (Low voice) with orchestra -- Scores. 
2.	Songs (Medium voice) with orchestra -- Scores. 
3.	Song cycles. 
EXAMPLE 32: 	(#518336 ) 
Vocal Music for Solo Performer -- x. 
with specification of vocal range & accompaniment 
Korngo1d, Erich Wolfgang, 1897-1957. [Songs. Selections] 
Funf Lieder fur mittlere Stimme und K1avier = Five songs for medium voice and piano, opus 38 / Erich Wolfgang Korngold. -- Mainz : B. Schott's Sohne ; New York: [distributed by] Associated Music Publishers, c1965. 
15 p. ; 31 cm. -- (Edition Schott; 4533) 
1. Songs (Medium voice) with piano. 
Monte, Philippe de, 1521-1603. [Madrigals, voices (5), book 17] 
Madrigali a 5 voci (1595) / Philippe de Monte; herausgegeben von Barlay O. Szabolcs & Dobra Janos. Budapest: Editio Musica, c1987. 
1 score (104 p.) ; 24 cm. 
1. Madrigals (Music), Italian. 
Page - 146 

EXAMPLE 36: 
Vocal Music for Choral Ensembles without number of parts subdivision for format Liturgical texts -- XIV.H.5. 
(#20222412) 

EXAMPLE 34: 	(#2334786) 
Vocal Music for Solo or Choral Ensembles -- XII.A. 
Motets ; Anthems 
Locke, Matthew, 1621 or 2-1677. [Vocal music. Selections] 
Anthems and motets / Matthew Locke; transcribed and edited by Peter Le Huray. -- London: Stainer and Bell, 1976. 
1 score (xx, 158 p.) ; facsims. ; 33 cm. 
1. Anthems. 2. Motets 
EXAMPLE 35: 
Part-songs -- XII.B. 
Specified forms and non-specified forms with Period Subdivision 
(#16718597) 
Ballads and canons / edited by Gordon K. Greene; literary texts by Terence Scully. -- Monaco: Editions de l'OiseauLyre, c1982. 
1 score (xii, 264 p.) ; 32 em. -- (Polyphonic music of the fourteenth curntury ; v. 20. French secular music) 
1. Part-songs, French -- 500-1400. 2. Canons, fugues, etc. (Vocal) -- 500-1400. 
XIII. 
Mozart, Wolfgang Amadeus, 1756-1791. 
[Regina Coe1i, K. 127, Bb major. Vocal score] 
Regina coeli in B fur Sopran, Chor, Orchester und Orgel KV 127 / Wolfgang Amadeus Mozart; Klavierauszug von Michael Obst. -- Wiesbaden : Brei~kopf & Hartel, c1988. 
1 vocal score (44 p.) ; 27 em. 
1. Choruses, Sacred (Mixed voices) with orchestra Vocal scores with piano. 2. Regina Caeli 1aetare (Music) 
Page - 147 

·	EXAMPLE 39: 
Sacred Vocal Music -- XIV.H. 
Seasonal Headings Carols & Language 
Without voice specification 
(#1516769) 

EXAMPLE 37: 
Vocal Music for Choral Ensembles -- XIII. without voice specification 
Electronic Instruments -- V.D. 
Vocal Music: Personal Name Headings -- XIV.B. 
(#3063668) 
Berio, Luciano, 1925- 
Laborintus II : per voci, strumenti e registrazioni (1965) / ~uciano Berio ; testo di Edoardo Sanguineti. -- [Milano] : 
Unlversal Edition, [c1976] score (53 p.) ; 42 cm. 
1. Choruses, Secular (Mixed voices) with instrumental ensemble. 2. Electronic music. 3. Pantomimes with music Scores. 4. Sanguineti, Edoardo -- Musical setti.ngs . 
• 
EXAMPLE 38: 
Vocal Music for Choral Ensembles -- XIII Choruses with parts 
Choruses without parts 
Topical Headings 
(#8304788) 
Billings, William, 1746-1800. 
[Singing master's assistant. Independence] 
Independence : SATB unaccompanied or with instruments ad lib. / William Billings; edited and with notes by Gillian Anderson. -- Washington, D.C. : C.T. Wagner, [1981] 
1 score (20 p.) ; 26 cm. -- (Political & patriotic music 
of the American Revolution) 
1. Choruses, Sacred (Mixed voices, 4 parts), Unaccompanied. 2. Choruses, Sacred (Mixed voices) with instrumental ensemble -- Scores. 3. United States History -- Revolution, 1775-1783 -- Songs and music. 
Das Buch der Weihnachtslieder : 151 deutsche Advents- und Weihnachts1ieder, Kulturgeschichte, Noten, Texte, Bi1der, mit Klavier- und Orge1-Beg1eitung / [herausgegeben von] Ingeborg Weber-Kellermann; musika1ische Bearbeitung von Hilger Scha1lehn. -- Mainz ; New York Schott, c1982. . 1 score (288 p.) : i 11. ; 28 em. 
1. Carols, German. 2. Advent music. 3. Christmas music. 4. Sacred songs with piano. 
Page - 148 

EXAMPLE 40: 
Sacred Vocal Music: Hymns -- XIV.H.6. without vocal range specification 
(#51736) 

Ehret, Walter, compo 
The internati~nal book of sacred song [by] Walter Ehret, Melinda Edwards [and] George K. Evans. Woodcuts by Fritz Kredel. -- Englewood Cliffs, N.J., Prentice-Hall [1969] xiv, 270 p. : illus., 29 cm. 
1. Sacred songs with piano. 2. Hymns, English. 
EXAMPLE 41: 
Sacred Vocal Music: Seasonal Music -- XIV.H.1. 
Choruses 
(#2863883) 
Billings, William, 1746-1800. [Continental harmony. A cheerful noise] 
A cheerful noise : an anthem for Christmas : for 4-part chorus of mixed voices, with optional keyboard acc. / William Billings; edited by Dale Jergenson. -- New'York : 
G. Schirmer, c1976. 
1 score (26 p.) ; 27 cm. 
1. Choruses, Sacred (Mixed voices, 4 parts), Unaccompanied. 2. Choruses, Sacred (Mixed voices, 4 parts) with organ. 3. Christmas music. 
EXAMPLE 42: 
Sacred Vocal Music: Psalms -- XIV.H.3. 
Including Psalm Number Variant from number in title 
Vocal Music for Choral Ensembles 
Chorus headings without parts (Vocal score) 
(#16713930) 
Handel, George Frideric, 1685-1759. [Dixit Dominus. Vocal score] 
Dixit Dominus : Psalm 109 / Georg Friedrich Handel ; Klavierauszug von Eberhard Wenzel. -- Kassel: Barenreiter, 
1971. 
1 vocal score (103 p.) ; 28 cm. -- (Hallische Handel- 
Ausgabe. Serie III, Kirchenmusik) 
1. Choruses, Sacred (Mixed voices) with string orchestra -- Vocal scores with piano. 2. Psalms (Music) 
110th Psalm. 
Page - 149 

EXAMPLE 45: 
Sacred Vocal Music: Hymns -- XIV.H.6. Tune-books 
(#19777117) 

EXAMPLE 43: 	(#9648426) 
Sacred Vocal Music: Psalms -- XIV.H.3. 
Including Psalm Number Variant from number in title 
Vocal Music for Choral Ensembles 
Chorus Heading without parts (Full score) 
Handel, George Frideric, 1685-1759. 
[Dixit Dominus. Latin] 
Dixit Dominus : for chorus and orchestra / George Frideric 
Handel ; edited by Damian Cranmer. 	London;' New York : 
Ernst Eu1enberg, c1981. 
1 miniature score (xii, 82 p.) ; 19 cm. 
1. Choruses, Sacred (Mixed voices) with string orchestra -- Scores. 2. Psalms (Music) --110th Psalm. 
EXAMPLE 44: 
Sacred Vocal Music: Hymns -- XIV.H.6. 
Denominational Heading 
(#16713825) 
The Hymnal 1982 : according to the use of the Episcopal Church. -- New York, N.Y. (800 2nd Ave., New York 10017) Church Hymnal Corp., c1985. 
1 close score (2 v.) ; 23 cm. 
1. Hymns, English. 2. Episcopal Church.-- Hymns. 
Billings, William, 1746-1800. 
The New-England psalm-singer: 1770 / Karl Kroeger, editor. ; Richard Crawford, editorial consultant. -- Boston : The American Musicological Society & The Colonial Society of Massachusetts; [Charlottesville?] : Distributed by the University Press of Virginia, c1981. 
1 score (1xvii;, 383 p.) : 1 facsim. ; 31 cm. -- (The complete works of William Billings; v. 1) 
1. Tune-books. 2. Hymns, English -- united States 18th Century. 
Page - 150 

EXAMPLE 48: 
Chance compositions -- XVII. 
(#3308179) 

EXAMPLE 46: 
Popular Music -- XV. 
with chronological subdivisions Songs without voice specification 
(#11054661) 
Take me out to the ball game: and other favorite song hits, 1906-1908 / edited by Lester S. Levy. -- New York: Dover Publications, c1984. 
1 score (118 p.) : ill. ; 31 cm. 
1. Songs with piano. 2. Popular music -- 1901-1910. 
EXAMPLE 47: 	(#18257473) 
Popular Music -- xv. 
In a specific style 
Joplin, Scott, 1868-1917. [Rags, piano] 
Complete piano rags / Scott Joplin; edited by David A. 
Jasen. -- New York: Dover Publications, c1988. xiv, 185 p. of music; 31 cm. 
1. Piano music (Ragtime) 
Cage, John. 
4'33" : Tacet, any instrument or combination of instruments. -- [New York, C.F. Peters Corp., 1965] c1960. 
"The title of this work is the total length in minutes and seconds of its performance ... However, the work may ... last any length of time." 
If performed by a pianist, the 3 sections are indicated by oening and closing the keyboard lid. 
1. Chance compositions. 
Page - 151 

EXAMPLE 51: 
Teaching Materials 
(.3668934) 
EXAMPLE 49: 
Chance compositions -- XVII. for unspecified instruments 
(.1952702) 
Kagel, Mauricio. [Exotica] 
Exotica: fur aussereuropaische Instrumente, 1971/72 / Maurice Kagel. -- [London] : Universal Edition, [1974] score (90 p.) ; 23 x 31 cm. 
"In this piece, 6 musicians playing under the direction of a conductor use any number of non-European instruments (at least 10 per musician)" 
1. Chance compositions. 2. Sextets (~nspecified instruments) -- Scores. 
EXAMPLE 50: 
Instructional Materials -- XVIII. 
(.2278007) 
The Tuba player's orchestral repertoire / [compiled by] Abe Torchinsky. -- Hackensack, N.J. : J. Boonin, c1975- 
v , ; 31 cm. 
1. Tuba -- Orchestral studies. 
Bartlett, Harry R. 
Guide to teaching percussion / by Harry R. Bartlett. -DubuQue, Iowa ~ w. C. Brown Co., c1978. 
x, 181 p. : ill. ; 28 cm. 
1. Percussion instruments -- Instruction and study. 
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Cou\cl 									
	JLS .: L,;~ 	~~lvl 	~~m ~ 	C· 	r;M1P 	-hr~ 	
of 				,e. . 				
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	o ("A ... tD\,,"d> ) 				Vlol\'\ - vttvsk 	reV''')o»-n 	- 		
				c'\. 					
Page - 152