Selected LCRIs that apply to music cataloging rules in AACR2

 

(formerly published separately as Music Cataloging Decisions)

 

 

 

Chapter 1 General Rules for Description

 

1.0. General Rules.   

LCRI 1.0 gives guidance in determining when a new manifestation of an item is to be

considered a new edition, and enumerates those areas of the bibliographic description in

which differences signal an edition rather than a copy. In addition, for printed music and

sound recordings, consider that different editions exist whenever two items have different publisher's or plate numbers.

 

 

1.5. Physical Description Area.

 

1.5E. Accompanying material.

 

1.5E1.   

Normally consider options (c) and (d) to be mutually exclusive with regard to a specific

item of accompanying material. If the need is felt to give more information about

accompanying material than can be given under option (d) (including the "Optional addition”), describe the material in a note and omit it from the physical description area. (In the second sentence of 6.7B11, the phrases "neither mentioned in the physical description area nor given a separate description" modify "accompanying material," not "details.")

 

See also MCD 6.7B11.

 

 

Chapter 6 Sound Recordings

 

6.0. General Rules.

 

6.0B. Sources of Information

 

6.0B1.   

For compact discs and cassettes, consider information which can be read through the closed container (including information on the front cover of a booklet inserted in the container) to be on the container.

 

For sound recordings containing two works of the same type by one composer without a

collective title on the label(s), do not consider as a collective title a title on the

container or accompanying material that is made up of the name of the type plus one or more of the following identifying elements for the two works: serial number, opus number, thematic index number, key.

 

   Do not transcribe as collective title:

 

On container: Piano concertos no. 25, K. 503, no. 26, K. 537

On container: Sonatas no. 4, op. 7, and no. 11, op. 22

On container: Symphonies nos. 88 and 104 (London)

 

   Transcribe as collective title:

 

On container: The violin concertos / Serge Prokofiev

On container: Les deux sonates pour violoncelle et piano

On container: Ballets / Igor Stravinsky

(Contains Apollo and Orpheus)

 

 

6.1. Title and Statement of Responsibility Area.

 

6.1F. Statements of responsibility

 

6.1F3.   

For recordings of those types of music for which it is possible for performers' names to

appear in the statement of responsibility (cf. 6.1F1), use bracketed words or phrases under this rule only when it is not clear from other parts of the description (e.g., the performer note, the contents note, etc.) whether the names in the statement of responsibility are those of composers, performers, or composers-performers.

 

6.5. Physical Description Area.

 

6.5B. Extent of Item (including specific material designation

 

6.5B1.   

For multipart items, give only the number of physical units (e.g., discs) in the physical

description area. If the number of containers or discographic units (often called "volumes") differs from the number of physical units, give this information in notes (cf. MCD 6.7B10, MCD 6.7B18).

 

For multipart items that are not yet complete, give in the physical description area the

cumulative number of physical units held in angle brackets (i.e., follow DCM B7.2.2b 4) in all cases). If the holdings are not clear from the contents note (e.g., when there is no

contents note), give them in a separate note (cf. 6.7B20, LCRI 1.7B20).

 

 

6.5B2.   

Apply the "Interpretation" in LCRI 6.5B2 and give the total duration in the physical

description area if the recording contains only one work (as defined in Appendix D, "Musical work" (1)), regardless of the number of physical units (e.g., discs) in the recording. State the duration in the form illustrated by the examples in 1.5B4. Give a duration equal to or greater than one hour as hours and minutes or as minutes (in either case with seconds if appropriate), depending on how it is stated in the item being cataloged.

 

For sound recordings containing more than one work, apply LCRI 6.7B10 and MCD 6.7B10.

 

 

6.5C. Other physical rules

 

6.5C3. Playing speed.   

For tape cassettes, give the playing speed only if it is stated on the item.

 

 

 

6.5C7. Number of sound channels.   

When the number of sound channels is not stated explicitly, do not record any term.

 

 

6.5C8. Optional addition. Recording and reproduction characteristics.   

Apply this option whenever the information would be needed for selecting playback equipment to get the full audio effect of the recording; e.g., record the quadraphonic process in the physical description area when special equipment is required to listen to the recording in quad., even if it can be listened to in stereo. without the special equipment.

 

 

6.7. Note Area.

 

6.7B. Notes

 

6.7B10. Physical description.   

Do not make the note "Analog recording" or "Digital recording."

 

DURATIONS

Generally do not give more than six statements of duration in the note area. If durations of more than six works in a collection are available from the item, generally do not give any durations in the note area. More than six durations may be given, however, if in the

cataloger's judgment they are especially important.

 

In a statement of duration in the note area, separate the digits representing hours,

minutes, and seconds by colons. If a duration is expressed in seconds only, precede it by a colon.

 

500 ## $a Duration: 45:00.

500 ## $a Duration: 1:25:00; :48; 15:10.

500 ## $a Duration: ca. 1:15:00.

500 ## $a Duration: ca. 27:00; ca. 17:00.

 

For instructions on the use of "ca." preceding durations in the note area, see LCRI

 

6.7B10.

CONTAINERS

Give a note on the presence of container(s) only when the number of containers is not clear from the rest of the description.

See also MCD 6.5B2, MCD 6.5B1.

 

 

 

6.7B11. Accompanying material.   

The phrases "neither mentioned in the physical description area nor given a separate

description" modify "accompanying material," not "details." For further information see MCD 1.5E1.

 

Make notes on accompanying program notes, etc., only if they are important, either because of their content or because they are physically separable. Do not, however, make a note for physically separable materials accompanying a compact disc unless their content is important.

 

 

6.7B18. Contents.   

Transcribe titles in a contents note from the source in the item being cataloged that

provides the best identification. Use judgment in deciding what additional information to

transcribe, taking into account the type of music and the length, complexity, and

readability of the resulting note.

 

If the musical compositions in an item are all in the same musical form, and that form is

named in the title proper of the item, do not repeat the form in the contents note (cf. 5.7

B18).

 

Opus numbers or thematic index numbers may be added to the titles of individual musical

compositions contained in an item if they are necessary to identify the compositions named (cf. 5.7B18, MCD 5.7B18).

 

505 0# $a Me and my rhythm guitar ; Waiting for you (Johnny Powers) -- Huh huh oh yeah (Tracy Pendarvis) -- Love love memory (Mack Self) -- Dear John ; I'm movin' on/Golden rocket (Warren Smith) -- Mystery train (Vernon Taylor) -- Eight wheel (Edwin Bruce) -- Your lovin' man ; This kind of love (Vernon Taylor) ...

 

505 0# $a 1. BBC sound effects -- 2. Exterior atmospheres -- 3. Household -- 4. Interior

backgrounds -- 5. Transport -- 6. Animals and birds -- 7. Human crowds, children, and

footsteps -- 8. Comedy, fantasy, and humor ...

 

If two or more titles with statements of responsibility are being transcribed for one part

of a multipart item, apply the punctuation conventions from 1.1G3 so that titles by the same person, body, etc., are separated by a space-semicolon-space and titles by different

persons, bodies, etc., are separated by a period-space. If no statements of responsibility

are being transcribed, separate the titles with a space-semicolon-space in all cases.

 

505 1# $a -- v. 2. O Lord, look down from heaven / Jonathan Battishill. How beautiful upon the mountains : from Awake, awake, put on thy strength, O Zion / John Stainer. Justorum amimae : from Three motets, op. 38 / Charles Stanford. And I saw a new heaven / Edgar Bainton. As truly as God is our father / William Mathias. O Lorde, the maker of al thing / John Joubert. Save us, O Lord / Edward Bairstow. O Saviour of the world / Frederick Gore Ouseley. Viri Galilaei / Patrick Gowers. Lord, what is man? / Robin Holloway. Lo, the full, final sacrifice of Zion / Gerald Finzi --

 

505 1# $a v. 3. O how glorious / Basil Harwood. The Lord is my shepherd / Sir Charles

Villiers Stanford. Hymn to the Mother of God / John Tavener. Expectans expectavi / Charles Wood. Faire is the heaven / Sir William Harris. Come, Holy Ghost, our souls inspire / Thomas Attwood. In exitu Israel / Samuel Wesley. At the round earth's imagined corners / Robert Saxton. Set me as a seal upon thine heart / William Walton. Turn back, O man / Gustav Holst. There is an old belief / Sir C. Hubert Parry. Give unto the Lord : Psalm 29 / Sir Edward Elgar

 

505 1# $a v. 1. At a Georgia camp meeting / K. Mills (Edison Band). Trombone sneeze : a humoresque cake-walk / A. Pryor (Sousa's Band). Silence and fun : a ragtime oddity / Mullen (Sousa's Band). The Brooklin : cake-walk / Thurban (Orch. Pathé-Frères). Red onion rag / A. Holzmann (Roy Spangler) ...

 

505 1# $a -- v. 2. Forgotten melodies : op. 38, no. 2-8 ; Fairy tales : op. 51, no. 2-6 ;

Sonata triad : op. 11 -- v. 3. Eight mood pictures : op. 1 ; Etude "of medium difficulty" ;

Three improvisations, op. 2 ; ...

 

In a bibliographic record for an item containing a single musical work or excerpts from a

single musical work, use judgment in deciding whether to list the movements or other

component parts of the work, as instructed in MCD 5.7B18.

 

For the forms of durations recorded in a formal contents note, see MCD 6.7B10.

505 0# $a vol. 1. Concerto no. 1 para piano e orquestra em mi menor, op. 11 (1830) (43:00) -- vol. 2. Concerto no. 2 para piano e orquestra em menor, op. 21 (33:00) ; Grande fantasia sobre temas populares poloneses : op. 13 (15:12) -- ...

 

For multipart items, when the number of discographic units (often called "volumes" by

publishers) differs from the number of physical units (e.g., discs) or containers, include

when necessary the number of physical units or containers in the contents note.

 

505 0# $a 1. Vom 6. Sonntag bis zum 17. Sonntag nach Trinitatis (6 discs) -- 2. Vom 18. bis zum 27. Sonntag nach Trinitatis (6 discs) ...

See also MCD 6.5B1.

 

 

6.7B19. Publishers' numbers.   

When a publisher's number appears in variant forms on a sound recording, its container,

accompanying material, etc., transcribe only the form on the recording itself (e.g., the

labels of a disc).

 

On disc: S-37337

On container: DS 37337

 

028 32 $a S-37337 ...

 

When an item consists of two or more individual units (e.g., discs), do not transcribe

numbers which represent in a truncated form the numbers of the individual units.

 

 On discs:

 LPX 18124

 LPX 18125

 LPX 18126

 LPX 18127

 LPX 18128

 

 On container:

 LPX 18124-28

 

500 ## $a Hungaroton: LPX 18124--LPX 18128.

 

 On discs:

 HMC 1235

 HMC 1236

 HMC 1237

 

 On container:

 HMC 1235.37

 

500 ## $a Harmonia Mundi France: HMC 1235--HMC 1237.

 

When two or more distinct publisher's numbers appear on a sound recording, its container, accompanying material, etc., transcribe each in a separate note. Follow each number other than the first by an indication of its location, if appropriate.

 

500 ## $a Pape: FSM 43721.

500 ## $a Pape: POPR 790051 (on container).

 

If, however, each unit (e.g., disc) in a set bears an individual number but the item also

bears a number applying to the set as a whole, follow the instructions in LCRI 6.7B19.

 

Apply the above principles also when a disc (or discs) bears only matrix numbers but a

different or variant number appears on the container.

 

 Matrix numbers on disc:

 S10-17429

 S10-17430

 

On container:

 S10 17429 008 [a "set" number]

 

500 ## $a MelodiÂ: S10 17429 008 (S10-17429 (matrix)--S10-17430 (matrix)).

 

 

 

 Matrix numbers on disc:

 S10-06513

 S10-06514

 

 On container:

 S10-06513-14 (a truncation of the matrix numbers)

 

500 ## $a MelodiÂ: S10-06513 (matrix)--S10-06514 (matrix).

 

 

 

Chapter 21 Choice of Access Points

 

21.4. Works for Which a Single Person or Corporate Body is Responsible.

 

21.4C. Works erroneously or fictitiously attributed to a person or corporate body.

 

21.4C1.   

When a musical work has been erroneously or fictitiously attributed to a composer,

optionally make, instead of the added entry prescribed by 21.4C1, a name-title reference

from the heading for the attributed composer and the uniform title which the work would have if it were in fact by the attributed composer to the heading for the actual composer and the actual uniform title, or to the title if the actual composer is unknown (see MCD 26.4B).

Apply this option when doing so would improve access to the work, e.g., because an added entry under the heading for the attributed composer alone would be lost in that composer's file, or because the work is represented only by a secondary entry in a bibliographic record.

 

         Transcription: Violin-Konzert Nr. 3 B-Dur / Joseph Haydn

         (The work was actually composed by Christian Cannabich)

 

Main entry under the heading for the work by Cannabich; reference (name-uniform title) from the heading for the work attributed to Haydn

 

See also MCD 26.4B.

 

 

 

21.18. General Rule (Musical Works)

 

21.18C. Adaptations.   

For a musical work adapted by its original composer, see MCD Appendix D "Musical work."

 

21.21. Added Accompaniments, Etc.      

For uniform titles, subject headings, and classification for works with added

accompaniments, etc., see MCD 25.35C.

 

21.23. Sound Recordings.

 

21.23C. Principal Performer   

In determining whether the name of a performing group includes a personal name that appears in conjunction with it (LCRI 21.23D, first paragraph), apply MCD 24.1A.

 

POPULAR MUSIC FOLIOS

Apply the instructions for for popular music folios in LCRI 21.23C only when a sound

recording exists which has essentially the same title and content as the printed folio being

cataloged.

 

 

21.28. Sound Recordings.

 

21.28A. Scope.   

 

CADENZAS:

Treat cadenzas as related works under this rule whether they are composed by the composer of the works into which they are to be interpolated or by someone else.

 

100 1# $a Mozart, Wolfgang Amadeus, $d 1756-1791.

240 10 $a Cadenzas, piano. $k Selections

245 00 $a Trente-cinq points d'orgue pour le piano-forté / $c composés par W.A. Mozart et se rapportant à ses concertos ...

700 1# $a Mozart, Wolfgang Amadeus, $d 1756-1791. $t Concertos, $m piano, orchestra. $k Selections.

 

 

100 1# $a Backhaus, Wilhelm, $d 1884-1869.

245 10 $a Kadenz zum Rondo des C-Dur Konzerts von Beethoven / $c von Wilhelm Backhaus ...

700 1# $a Beethoven, Ludwig van, $d 1770-1827. $t Concertos, $m piano, orchestra, $n no. 1, op. 15, $r C major. $p Rondo.

 

LIBRETTOS:

In order for a libretto to qualify for entry "under the heading appropriate to the musical

work" (footnote 7), a reference to the libretto's musical setting must appear in the chief

source of information or in the foreword or other prefatory matter of the publication.

 

 

 

21.29. General Rule (Added Entries)

 

21.29D.   

In determining whether the name of a performing group includes a personal name that appears in conjunction with it (LCRI 21.29D, first paragraph), apply MCD 24.1A.

 

 

 

21.30. Specific Rules (Added Entries)

 

21.30F. Other related persons or bodies.   

Make an added entry for any person mentioned in the title proper or other title information of a bibliographic record for a musical work or collection. Exception: Do not make an added entry if the person's relationship to the item is purely a subject relationship.

 

100 1# $a Liszt, Franz, $d 1811-1886.

240 10 $a Präludium und Fuge über den Namen BACH

700 1# $a Bach, Johann Sebastian, $d 1685-1750.

 

ELECTRONIC OR COMPUTER MUSIC STUDIOS:

For recordings of electronic or computer music, make an added entry for the studio or

studios where the music was realized, when the item being cataloged identifies the studio or studios. If more than three studios were involved, however, make no such added entries.

 

Many studios are (or can be assumed to be) corporate bodies and can be established as such, if not already established. For studios which are not corporate bodies and are not already established, follow the procedures outlined in Subject cataloging manual H 405, "Procedures for Group Two headings. Heading requested by descriptive cataloger for use as descriptive access point." For further guidance see DCM Z11.3.

See also MCD 21.30H.

 

LIBRARY OF CONGRESS FOUNDATIONS AND FUNDS:

If the work being cataloged was commissioned by a Library of Congress foundation or fund (e.g., Elizabeth Sprague Coolidge Foundation, McKim Fund), make an added entry under the corporate heading for the foundation or fund. Justify the added entry by naming the foundation or fund in a note (see 21.29F).

 

 

21.30G. Related works.   

When an instrumental work or collection is based on, inspired by, etc., one or two

individual literary works, make a simple added entry or entries (cf. LCRI 21.30M) for the

literary work or works. (For vocal works based on literary works, see 21.19A.)

 

100 1# $a Tchaikovsky, Peter Ilich, $d 1840-1893.

240 10 $a Romeo et Juliette (Fantasy-overture)

245 10 $a Romeo und Julia : $b Fantasie-Ouvertüre nach Shakespeare ...

700 1# $a Shakespeare, William, $d 1564-1616. $t Romeo and Juliet

 

When an instrumental work or collection is based on, inspired by, etc., three or more

literary works by the same author, or an author's oeuvre in general, make an added entry for the author.

 

100 1# $a Henze, Hans Werner, $d 1926-

240 10 $a Royal winter music. $n No. 1

245 10 $a Royal winter music. $p First sonata on Shakespearean characters ...

700 1# $a Shakespeare, William, $d 1564-1616.

 

When a musical work is based on, inspired by, etc., one or more works by an artist, or an

artist's oeuvre in general, make an added entry for the artist.

 

100 1# $a Mussorgsky, Modest Petrovich, $d 1839-1881.

240 10 $a Kartinki s vystavki

245 10 $a Pictures at an exhibition ...

500 ## $a Suite, based on paintings and drawings by Victor Hartmann.

700 1# $a Gartman, Viktor Aleksandrovich, $d 1834-1873.

 

21.30H. Other relationships.   

For electronic or computer music studios, see MCD 21.30F.

 

 

21.30J. Titles.   

Follow the instructions in LCRI 21.30J in making title added entries for music publications and music sound recordings, disregarding the restriction in rule 21.30J1 (d). Exception: For works entered under the heading for a composer, do not make an added entry under a title that is not sufficiently distinctive by itself to be a useful access point (e.g., Piano music; Symphony no. 3 in F major).

 

For collections without a collective title, follow the instructions in the section "Items

Without Collective Title" in LCRI 21.30J, subject to the exception above.

 

245 14 $a Die kleine Kammermusik $h [sound recording] ; $b Sonata in A minor ; L'hiver ; Naise ; Napolitana ; Air trompette / $c Telemann.

246 3# $a Kleine Kammermusik ; Sonata in A minor ; L'hiver ; Naise ; Napolitana ; Air

trompette

 

245 10 $a Flos campi $h [sound recording] : $b for viola, voices, and orchestra ; Suite for

viola and orchestra / $c Ralph Vaughan Williams.

 

245 10 $a Balorosa soldatesca ; $b Gradevole assemblea ; Partite / $c J.A. Scheibl ; izbor

in redakcija Milko Bizjak.

246 3# $a Balorosa soldatesca ; Gradevole assemblea ; Partite

740 02 $a Gradevole assemblea.

 

245 10 $a Deutsches Te Deum $h [sound recording] : $b 1976 : für gemischten Chor und Orgel / $c von Georg Trexler. Aus den "Acht geistlichen Gesängen" : für gemischten Chor, op. 138 / Max Reger. Ein Orgelstück für eine Uhr : Fantasie in f-Moll KV 608 / Wolfgang Amadeus Mozart.

246 1# $i Title on container: $a Deutsche Te Deum

740 02 $a Aus den "Acht geistlichen Gesängen."

740 02 $a Orgelstück für eine Uhr.

 

245 10 $a Czech polkas $h [sound recording] = $b Tschechische Polkas / $c František Hilmar. Slavonic maidens : orchestral suite = Slawische Frauen / Jan Malát.

246 31 $i Tschechische Polkas

740 02 $a Slavonic maidens.

740 02 $a Slawische Frauen.

 

When a title that is to be traced contains a number, follow the instructions for alternate

forms containing numbers in LCRI 21.30J. In addition, when such a title begins with a

cardinal number that is not an integral part of the title, make an added entry under the

title with the number omitted.

 

245 10 $a 3 romances sans paroles : $b pour piano, op. 17 / $c par Gabriel Fauré.

246 3# $a Trois romances sans paroles

246 30 $a Romances sans paroles

 

245 00 $a Symphony no. 3 $h [sound recording] ; $b Three pieces in old style / $c Górecki.

246 1# $i Subtitle on container: $a Symphony of sorrowful songs

740 02 $a Three pieces in old style

740 02 $a 3 pieces in old style

740 02 $a Pieces in old style

 

When such a title begins with an ordinal number that is not an integral part of the title,

make only one title added entry: under the title with the number omitted.

 

245 00 $a 3a suite brasileira : $b sobre têmas originais, para piano = 3rd Brazilian suite :

about originals [sic] themes / $c Lorenzo Fernandez.

246 30 $a Suite brasileira

246 30 $a Brazilian suite

 

 

 

21.30L. Series.   

The Library of Congress classifies collected works of composers (Gesamtausgaben) as

collected sets in M3. Many such publications are divided into subseries by medium of

performance or genre, and individual volumes are numbered only within each subseries.

 

In such cases LCRI 21.30L requires that each subseries be established separately (cf. the "Progress in nuclear energy" example in LCRI 21.30L). This would preclude making a collected set record for the set as a whole and would therefore require classifying each subseries according to its content (Piano music in M22, Operas in M1500, etc.). To avoid this the Music Section has been given permission to deviate from LCRI 21.30L for access points for Gesamtausgaben. For Gesamtausgaben that are issued in numbered (or alphabetically designated) subseries, with individual volumes numbered only within the subseries, make only one series authority record and only one collected-set bibliographic record--for the set as a whole. In bibliographic records for analyzed volumes (cf. MCD 13.3), transcribe series statements as instructed in the LCRI, but in series added entries omit the subseries title and consider the numerical designation of the subseries to be part of the series numbering. Include an explanatory note in the series authority record.

 

   Bibliographic record:

490 1# $a Neue Ausgabe sämtlicher Werke. Serie II, Messen, Passionen, oratorische Werke / Jhann Sebastian Bach ; $v Bd. 8

800 1# $a Bach, Johann Sebastian, $d 1685-1750. $t Works. $f 1954 ; $v Ser. 2, Bd. 8.

 

 

   Series authority record:

100 10 $a Bach, Johann Sebastian, $d 1685-1750. $t Works. $f 1954

667 ## $a Issued in 9 numbered "Serien." Do not include the title of the "Serie" in the

series tracing, but include the number of the "Serie" in the series numbering.

 

In contents notes in collected-set records for Gesamtausgaben treated in this way, list only the numerical designations and the titles of the subseries, not the numbers and titles of individual volumes.

 

505 1# $a Contents: Ser. 1. Kantaten -- Ser. 2. Messen, Passionen, oratorische Werke

 

 

 

 

Chapter 24 Headings for Corporate Bodies

 

24.1. General Rule.

 

24.1A.    

When the name of an individual performer appears in conjunction with the name of a

performing group, ordinarily do not consider the person's name to be part of the name of the group, in the absence of evidence to the contrary.

 

On item: J.D. Crowe and the New South

Corporate heading: New South (Musical group)

 

On item: Artie Shaw and his orchestra

No corporate heading (body is unnamed; cf. 21.1B1)

See also MCD 21.23D, MCD 21.29D.

 

 

 

 

Chapter 25 Uniform Titles

 

25.8-25.11. Collective Titles.    

When necessary (e.g., to keep series added entries for an analyzable multipart item together and separate them from other collections with the same uniform title), add a qualifier according to the fourth and fifth paragraphs of LCRI 25.8-25.11 to the uniform title "Selections" when applied to collections of musical works under rule 25.34B.

 

490 1 $a Edition John Cage

800 1 $a Cage, John. $t Selections (Wergo)

 

 

25.25. General Rule.    

When the uniform title assigned to a particular manifestation of a musical work is identical (except for the deletion of an initial article) to the title proper of the item, do not

include the uniform title in the bibliographic record for the item, even though a name

authority record must be generated in order to trace references to the uniform title, unless

one or more of the following exceptions applies.

 

1)   If the uniform title contains any of the elements prescribed as additions in 25.30-25.

32 and 25.35, include the uniform title in the bibliographic record.

 

2)   If the uniform title is for one or more parts of a musical work (25.32), include it in

the bibliographic record.

 

3)   If the uniform title is a collective one (25.34), include it in the bibliographic

record.

 

4)   If a uniform title is required for a work entered under title and a qualifier must be

added to the uniform title to distinguish the work from others with the same title, include

the uniform title in the bibliographic records for all manifestations of the work (LCRI 25.

5B, "Monographs that Conflict").

 

Note that an alternative title is part of the title proper (1.1B1). Therefore when the title

proper contains an alternative title, the uniform title, which will not include the

alternative title (MCD 25.27), will be different from the title proper and must be included

in the bibliographic record.

 

Note also that for collections without a collective title the title proper is the first

title in the title and statement of responsibility area, inclusive of part titles and

alternative titles but exclusive of parallel titles and other title information (cf. 1.1C2).

 

For collections with a collective title, apply the above provisions to the first title

transcribed in the title and statement of responsibility area (inclusive of part titles and

alternative titles but exclusive of parallel titles and other title information).

 

 

 

25.25A. Musical Work   

Footnote 9. (Cf. MCD 25.35C, "Revisions by the Original Composer")

 

If a composer changes the title and/or assigns a new opus number for his revised,

transcribed, recomposed, reordered, altered, arranged, or adapted version of an earlier

work, treat this new version as another work, not as a part of, or as an arrangement of, the

earlier work.

 

100 1# $a Stravinsky, Igor, $d 1882-1971.

245 14 $a Les cinq doigts : $b 8 pièces très faciles sur 5 notes, pour piano ...

 

100 1# $a Stravinsky, Igor, $d 1882-1971.

240 10 $a Instrumental miniatures

245 14 $a Eight instrumental miniatures ...

(Recomposed in 1962 for 15 winds and strings)

 

100 1# $a Prokofiev, Sergey, $d 1891-1953.

240 10 $a Romeo i Dzhuľetta (Ballet)

245 10 $a Romeo and Juliet : $b complete ballet, op. 64 ...

 

100 1# $a Prokofiev, Sergey, $d 1891-1953.

240 10 $a Romeo i Dzhuľetta (Piano work)

245 10 $a Romeo i Dzhuľetta : $b desÂt' p'es dl fortepiano, op. 75 ...

 

If the new version’s title has not been changed and identifying elements (such as opus

number) unique to the new version are lacking, yet the revision and/or addition of new

material by the composer is extensive, treat the new version as another work.

 

100 1# $a Hindemith, Paul, $d 1895-1963.

240 10 $a Marienleben, $m soprano, piano $n (1923)

245 14 $a Das Marienleben : $b (original version) ...

(Fifteen songs)

 

100 1# $a Hindemith, Paul, $d 1895-1963. $t Marienleben, $m soprano, piano $n (1923); $o arr.

400 1# $a Hindemith, Paul, $d 1895-1963. $t Marienleben, $m soprano, orchestra $n (1939)

(Arrangements of four songs)

 

100 1# $a Hindemith, Paul, $d 1895-1963.

240 10 $a Marienleben, $m soprano, piano $n (1948)

245 14 $a Das Marienleben ...

(“Neue Fassung (1948) der Original-Ausgabe, Opus 27 (1922–1923)”)

 

100 1# $a Hindemith, Paul, $d 1895-1963.

240 10 $a Marienleben, $m soprano, orchestra $n (1959)

245 14 $a Das Marienleben : $b op. 27 ...

(Orchestrations of four songs from the 1923 version and two from the 1948 version)

 

If the revised version or edition of a composer’s work retains the same title and opus

number as the original version, and the revision is one of different instrumentation within

the same broad medium (e.g., orchestra, instrumental ensemble, band) rather than extensive overall revision and the introduction of new material, use the same uniform title for the original and revised versions.

 

100 1# $a Schoenberg, Arnold, $d 1874-1951.

240 10 $a Stücke, $m orchestra, $n op. 16

245 00 $a Fünf Orchesterstücke, op. 16 : $b Originalfassung ...

 

100 1# $a Schoenberg, Arnold, $d 1874-1951.

240 10 $a Stücke, $m orchestra, $n op. 16

245 00 $a Five pieces for orchestra, op. 16 : $b new version = Fünf Orchesterstücke ...

(“Revised edition, reduced for normal-sized orchestra by the composer”)

 

100 1# $a Stravinsky, Igor, $d 1882-1971.

245 10 $a Petrushka : $b complete original 1911 version ...

 

100 1# $a Stravinsky, Igor, $d 1882-1971.

240 10 $a Petrushka

245 10 $a Petrouchka : $b burleske in four scenes (revised 1947 version) ...

 

 

25.27. Selection of Title.    

Although according to 1.1B1 an alternative title is part of the title proper of an item, for

uniform title purposes consider the main title and the alternative title to be two separate

titles of a work, i.e., two members of the universe of titles from which one is selected as

the basis of the uniform title (cf. 25.2A and LCRI 25.3B).

 

100 1# $a Costa, Onorato.

240 10 $a Souvenir d'Orient

245 10 $a Souvenir d'Orient, ou, Fantaisie brillante ...

 

100 1# $a Piccinni, Niccolò, $d 1728-1800.

240 10 $a Buona figliuola

245 13 $a La Cecchina, ossia, La buona figliuola ...

 

See also MCD 25.25, MCD 25.28.

 

 

25.27A. General rule.   

If the title of the first edition of a work is not known to be different in wording or

language from the composer's original title, use the first edition title as the basis for

the uniform title unless a later title in the same language is better known.

See also MCD 25.30D2.

 

 

25.27A1.   

Footnote 10

When a composer uses a word which is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition.

 

 

100 1# $a Carlid, Göte.

245 10 $a Mässa : $b för stråkar ...

 

not

 

100 1# $a Carlid, Göte.

240 10 $a Mass, $m string orchestra

245 00 $a Mässa för stråkar ...

 

 

 

100 1# $a Poulenc, Francis, $d 1899-1963.

245 10 $a Aubade : $b concerto chorégraphique pour piano et 18 instruments ...

 

not

 

100 1# $a Poulenc, Francis, $d 1899-1963.

240 10 $a Aubade, $m piano, instrumental ensemble

245 00 $a Aubade pour piano et 18 instruments : $b concerto chorégraphique ...

 

 

 

 

100 1# $a Ravel, Maurice, $d 1875-1937.

245 13 $a La valse : $b poème chorégraphique ...

 

not

 

100 1# $a Ravel, Maurice, $d 1875-1937.

240 10 $a Waltzes, $m orchestra

245 03 $a La valse : $b poème chorégraphique ...

 

 

 

100 1# $a Sculthorpe, Peter, $d 1929-

245 10 $a Requiem : $b for cello alone ...

 

not

 

100 1# $a Sculthorpe, Peter, $d 1929-

240 10 $a Requiem, $m violoncello

245 00 $a Requiem for cello alone ...

 

 

 

 

 

100 1# $a Sims, Ezra, $d 1928-

245 10 $a String quartet #2 (1962) ...

 

not

 

100 1# $a Sims, Ezra, $d 1928-

240 10 $a Quartets, $m strings

245 00 $a String quartet #2 (1962) ...

 

not

 

100 1# $a Sims, Ezra, $d 1928-

240 10 $a Quintet, $m flute, clarinet, violin, viola, violoncello

245 00 $a String quartet #2 (1962) ...

 

Do not consider such titles as "Double concerto," "Tripelkonzert," etc., to be names of

types of compositions.

 

 

25.27D. Titles including the name of a type of composition.   

Note that 25.27D does not apply if a work is cited as one of a numbered sequence of

compositions of a particular type but the title selected according to 25.27A-25.27C does not include the name of the type.

 

100 1# $a Kelterborn, Rudolf, $d 1831-

245 10 $a Espansioni : $b Sinfonie III ...

 

(Uniform title, [Espansioni], not included in bibliographic record; cf. MCD 25.25)

 

but

 

100 1# $a Hovhaness, Alan, $d 1911-

240 10 $a Symphonies, $n no. 21, op. 234

245 10 $a Symphony Etchmiadzin : $b Symphony no. 21 ...

 

The word "cited" in 25.27D1 means that the work in question must be explicitly identified as one of a numbered sequence of compositions in at least one reference source or manifestation.

 

 

25.28. Isolation of Initial Title Element   .   

For alternative titles, see MCD 25.27.

For pre-twentieth century works, normally consider phrases such as "a due," "a cinque," etc., to be statements of medium of performance and not part of the title as defined in this

rule.

 

For pre-twentieth century works with titles such as Duo concertant, Quartetto concertante, etc. (but not titles naming a form, such as Sinfonia concertante (cf. rule 25.29A), Rondeau concertant, etc.), consider the word "concertant" or its equivalent to be an adjective or epithet not part of the original title of the work, and omit it from the uniform title.

 

100 1# $a Vanhal, Johann Baptist, $d 1739-1813.

240 10 $a Quartets, $m flute, violin, viola, violoncello, $n op. 14

245 10 $a Sei quartetti concertantte : $b a flauto o violino, violino, alto e basso, op. 14 ...

 

100 1# $a Vanhal, Johann Baptist, $d 1739-1813.

240 10 $a Quartets, $m strings, $n op. 1

245 10 $a Six quartuors concertantes : $b a 2 violons, alto et basse, oeuvre 1 ...

 

100 1# $a Vanhal, Johann Baptist, $d 1739-1813.

240 10 $a Quartets, $m strings, $n op. 13

245 00 $a Sei quartetti a due violini, alto et basso, opera 13a ...

 

 

 

25.30. Additions to Initial Title Elements Consisting of the Name(s) of One or More Type(s) of Composition   

 

Do not apply this rule to titles consisting of two words each of which alone would be the

name of a type of composition, when the combination of the two words produces a distinctive title.

 

240 10 $a Humoreske-bagateller

 

not

 

240 10 $a Humoreske-bagateller, $m piano, $n op. 11

 

Note, however, that "trio sonata" (cf. 25.29C1) and "chorale prelude" are each the name of one type of composition.

 

 

 

25.30B. Medium of performance.

 

25.30B1. General rule.

 

25.30B1(a)   

Although section a) of 25.30B1 seems to prohibit the use of statements of medium of

performance in uniform titles whose initial title element (as formulated under 25.27-25.29) is "Mass(es)" or "Requiem(s)," add the medium of performance to such uniform titles when no other information is available to distinguish between two or more works by the same composer.

 

100 1# $a Byrd, William, $d 1542 or 3-1623.

240 10 $a Masses, $m voices (3)

 

100 1# $a Byrd, William, $d 1542 or 3-1623.

240 10 $a Masses, $m voices (5)

 

For the title Melody or Melodies and its cognates in other languages, and for commonly used liturgical titles such as Requiem, Te Deum, Salve Regina, Dixit Dominus, etc., see LCRI 25.29A.

 

 

 

25.30B3. Standard Combinations of Instruments   

Use a standard combination from the list in 25.30B3 only in the singular, and only if no

other instruments, standard combinations, groups of instruments (other than an accompanying ensemble), or voices are named in the statement of medium of performance. Use it to designate the solo group in a work for solo instruments and accompanying ensemble (25.30B7) or the accompanying ensemble in a work with the initial title element Songs, Lieder, etc. (25.30B10), provided that the above condition is met.

 

100 1# $a Celis, Frits.

240 10 $a Divertimento, $m wind quintet, $n op. 32

245 00 $a Divertimento per flauto, oboe, clarinetto, corno e fagotto ...

(A standard combination)

 

100 1# $a Laderman, Ezra.

240 10 $a Octets, $m violins (4), violas, violoncellos

245 00 $a Double string quartet octet ...

 

not

 

240 10 $a Octets, $m string quartets (2)

(Not a standard combination although one, doubled, is included)

 

 

100 1# $a Konarski, Jan.

240 10 $a Music, $m woodwinds, strings

245 00 $a Muziek voor 8 instrumenten ...

 

not

 

240 10 $a Music, $m woodwind quartet, string quartet

(Not a standard combination although two are included)

 

 

100 1# $a Spohr, Louis, $d 1784-1859.

240 10 $a Septet, $m piano, winds, strings, $n op. 147, $r A minor

245 00 $a Septet in A minor for flute, clarinet, horn, bassoon, violin, violoncello, and

piano ...

 

not

 

240 10 $a Septet, $m woodwinds, horn, piano trio ...

(Not a standard combination although one is included)

 

100 1# $a Stanford, Charles Villiers, $c Sir, $d 1852-1924.

240 10 $a Fantasies, $m clarinet, strings, $n no. 1

245 00 $a Fantasy no. 1 for clarinet and string quartet ...

 

not

 

240 10 $a Fantasies, $m clarinet, string quartet ...

(Not a standard combination; not a solo with accompanying ensemble)

 

 

100 1# $a Weigl, Joseph, $d 1766-1846.

240 10 $a Concertinos, $m harp, woodwind ensemble, $r B major

245 00 $a Concertino for harp and woodwinds ...

 

not

 

240 10 $a Concertinos, $m harp, woodwind quartet ...

(For harp with accompaniment of flute, oboe, clarinet, and bassoon—a standard combination)

 

100 1# $a Françaix, Jean, $d 1912-

240 10 $a Duets, $m sopranos, string ensemble

245 00 $a Trois duos pour deux sopranos et quatuor à cordes ...

 

not

 

240 10 $a Duets, $m sopranos, string quartet

(Voices with accompaniment of a standard combination)

 

100 1# $a Beethoven, Ludwig van, $d 1770-1827.

240 10 $a Concertos, $m piano trio, orchestra, $n op. 56, $r C major

245 00 $a Konzert in C für Klavier, Violine, Violoncello und Orchester ...

(Solo group is a standard combination)

 

 

100 1# $a Lessard, John, $d 1920-

240 10 $a Concertos, $m woodwinds, strings, string orchestra

245 00 $a Concerto for flute, clarinet, bassoon, string quartet, and string orchestra ...

 

not

 

240 10 $a Concertos, $m woodwinds, string quartet, string orchestra

(Solo group is not a standard combination although it includes one)

 

 

100 1# $a Pizzetti, Ildebrando, $d 1880-1968.

240 10 $a Canzoni, $m string quartet acc.

245 00 $a Tre canzoni per canto e quartetto d’archi ...

(Songs with accompaniment of a standard combination)

 

100 1# $a Routh, Francis.

240 10 $a Vocalise, $m instrumental ensemble acc., $n op. 38

245 00 $a Vocalise, op. 38, for soprano, clarinet, piano, violin, violoncello ...

 

not

 

240 10 $a Vocalise, $m clarinet, piano trio acc. ...

(Accompanying ensemble is not a standard combination although it includes one)

 

 

 

25.30B4. Individual instruments.   

The list of terms for keyboard instruments in this rule is illustrative, not restrictive.

Other terms may be used as necessary.

 

clavichord, 3 hands

harpsichords (3)

player-piano

 

 

25.30B5. Groups of instruments.   

Use "winds" in uniform titles for chamber music combinations only when it is either not

possible (e.g., because of the three-element limitation in 25.30B1) or not more informative to use "woodwinds" or "brasses" together with the names of individual instruments.

Specifically:

1)      For works for two different woodwind instruments and two different brass instruments, state the medium of performance simply as "winds." Do not list the woodwind instruments individually and group the brass instruments (e.g., "flute, oboe, brasses") or group the woodwind instruments and list the brass instruments individually (e.g., "woodwinds, trumpets (2), horn"), since the choice of which to list and which to group is arbitrary; do not use "woodwinds, brasses," since this

would convey no additional information.

 

2)   For works for two different woodwind instruments and three or more different        brass instruments or for two different brass instruments and three or more different woodwind instruments, list the two and group the others.

 

240 10 $a Serenade, $m woodwinds, horn, trombone ...

240 10 $a Suite, $m flutes (2), oboe, brasses ...

 

3)   For works for two or more different woodwind instruments, two or more different brass instruments, and one other instrument or group of instruments, use "winds," not "woodwinds, brasses."

 

240 10 $a Suite, $m piano, winds

(For piano, flute, oboe, trumpet, and trombone)

 

 

Do not use the phrases "string ensemble," "wind ensemble," etc., under this rule. For groups of four or more different instruments from a single family, use "strings," "winds," etc., as in the first example in the rule.

 

 

 

25.30B7. Solo instrument(s) and accompanying ensemble.   

The phrase "jazz ensemble" may be used, when appropriate, for either the accompanying

ensemble or the group of solo instruments.

 

240 10 $a Concertos, $m violin, jazz ensemble ...

240 10 $a Concertos, $m jazz ensemble, orchestra ...

 

 

 

25.30B10. Accompaniment for songs, Lieder, etc.   

Apply this rule to French works for solo voice with the title Mélodie or Mélodies (cf. LCRI 25.29A).

 

 

 

25.30C. Numeric identifying elements.

 

25.30C2. Serial numbers.   

When a serial number to be used in a uniform title is accompanied in the source on which the uniform title is based by a term such as "number," "book," "collection," etc., apply the

following:

 

1)   If the term is the English word "number" or its abbreviation, or an equivalent word or

abbreviation in another language, precede the number in the uniform title by the English

abbreviation "no."

 

2)   If the term is a non-English term not meaning "number" and the initial title element is

in English because of the application of 25.29A1, substitute the English equivalent of the

term.

 

3)   In all other cases give the term as it appears in the source on which the uniform title

is based.

 

In cases (2) and (3) above do not abbreviate the term unless it is abbreviated in the

source, even if it is one for which an abbreviation is given in Appendix B.

 

If no term appears with the number in the source on which the uniform title is based, give

the number in the uniform title as a cardinal number and precede it by the English

abbreviation "no."

 

Use arabic numerals; express the conventional English form of an ordinal numeral (1st, 2nd, 3rd, etc.) or the conventional form of a non-English ordinal numeral (1., 2., 3., etc.)

according to the context.

 

If different works in a consecutively numbered series have different forms of numerical

designation in the sources on which their uniform titles are based, select one of the forms

for use in the uniform titles of all the works.

 

240 10 $a Sonatas, $m pianos (2), $n no. 1

(Original title: Sonate voor twee piano's nummer 1)

 

240 10 $a Preludes, $m piano, $n book 1

(Original title: Préludes pour piano, livre 1)

 

240 10 $a Pièces, $m flute, continuo, $n livre 2.

(Original title: Pièces pour la flûte traversière ... livre deuxième)

 

240 10 $a Clavierübungen, $n 1. Sammlung

(Original title: Clavierübungen ... erste Sammlung)

 

240 10 $a Symphonies, $n no. 2

(Original title: Symphony 2)

 

240 10 $a Symphonies, $n no. 3

(Original title: Third symphony)

 

Do not routinely change existing uniform titles to bring them into conformity with these

guidelines unless they must be changed for another reason.

See also MCD 25.34C3.

 

 

25.30C3. Opus numbers.   

Precede the opus number by "op."; precede the number within the opus, when used, by "no."

Use arabic cardinal numerals.

 

 

25.30C4. Thematic index numbers.   

For works by Franz Schubert, use numbers from Deutsch's thematic index in preference to opus numbers. As a corollary to this decision, enter a song which is not part of a cycle (such as Die schöne Müllerin, Schwanengesang, etc.) directly under its own title (with the Deutsch number added where necessary to distinguish between songs having the same title), even if it was originally published as part of an opus, since Deutsch does not group songs by opus.

When cataloging a publication of one of the original opera, apply 25.34C3 and use the

uniform title [Songs. Selections] unless the original opus contained only two songs (e.g.,

op. 36), in which case apply 25.33.

 

For works by Antonio Vivaldi, use numbers from Ryom's thematic index. preceded by the abbreviation RV (without a period). Exception: for works in Vivaldi's op. 1-12, use the opus numbers instead of RV numbers.

 

 

25.30D. Key.

 

25.30D2. Post-nineteenth-century works.   

For post-nineteenth-century works, include the key in the uniform title if it is part of the

composer's original title (25.27A) or the first-edition title used as a substitute for the

composer's original title (MCD 25.27A) (before the deletion of elements such as key under 25.28).

 

 

25.31. Additions to Other Initial Title Elements

 

25.31B. Conflict resolution.

 

25.31B1.   

 

NUMBERED WORKS:

Read the second paragraph of this rule to mean that the medium of performance or descriptive phrase is to be omitted when this element would be the same for all titles that conflict.

 

240 10 $a Fantasie-sonate, $n no. 1

240 10 $a Fantasie-sonate, $n no. 2

240 10 $a Fantasie-sonate, $n no. 3

240 10 $a Fantasie-sonate, $n no. 4

(All are for organ)

 

For works with titles not consisting of the name of a type of composition which have serial numbers associated with them (whether the numbers appear as arabic or roman numerals or spelled out, and whether or not they are preceded by the designation "no." or its equivalent), apply 25.30B1 (d) to 25.31B1 and omit the medium of performance when a better file arrangement would result.

 

240 10 $a Antiphony, $n no. 2

245 10 $a Antiphony II : $b variations on a theme of Cavafy ...

 

When cataloging the first work received in such a sequence, it may, however, be advisable to defer the use of a uniform title until another work in the sequence is received, since it will then be easier to see what numbering pattern is being followed.

 

When the second work is cataloged, the bibliographic record(s) for the first will have to be revised to add the uniform title.

 

SINGULAR VS. PLURAL:

Consider that a conflict exists under this rule when two works by the same composer have titles which are identical except that one is in the singular and the other is in the

plural.

 

240 10 $a Fantasistykke, $m clarinet, piano

240 10 $a Fantasistykker, $m oboe, piano

 

 

25.32. Parts of a Work.

 

25.32A. One part.

 

25.32A1.   

 

NUMBERED PARTS:

When the number of a part of a work is used in the uniform title of the part, precede the

number by the abbreviation "No." ("No," "Nr.," "N.," etc.) when such an abbreviation, or the corresponding word, appears with the numbers of the parts in the source on which the uniform title is based, or when the number appears alone there. In the latter case give the

abbreviation in the language of the initial title element. If any other term appears with

the numbers of the parts, give it as it appears in the source on which the uniform title is

based. Use arabic numerals.

 

100 1# $a Wagner, Richard, $d 1813-1883.

240 10 $a Lohengrin. $n 3. Akt

 

100 1# $a Caix d'Hervelois, Louis de, $d ca. 1670-ca. 1760.

240 10 $a Pièces de viole, $n 5. livre. $n No 3

(Original title of part: IIIe suite)

 

Do not routinely change existing uniform titles to bring them into conformity with these

guidelines unless they must be changed for another reason.

See also MCD 25.32B1.

 

REFERENCES:

Make a name/title reference from the heading for the composer and the title of the part

whenever such a reference would provide a useful access to the uniform title of the part,

regardless of whether the title of the part is distinctive.

 

100 1# $a Beethoven, Ludwig van, $d 1770-1827. $t Stücke, $m musical clock, $n WoO 33. $p Allegro

400 1# $a Beethoven, Ludwig van, $d 1770-1827. $t Allegros, $m musical clock, $n WoO 33, no. 3, $r G major

 

When appropriate, name/title references may be made to the uniform title for a part of a

work from the uniform title of the work followed by a variant title of the part.

 

100 1# $a Rossini, Gioacchino, $d 1792-1868. $t Stemiramide. $p Sinfonia

400 1# $a Rossini, Gioacchino, $d 1792-1868. $t Stemiramide. $p Overture

 

When the title of a part of a work is the same as the title of the work, do not make a name

/title reference from the heading for the composer and the title of the part.

 

100 1# $a Bach, Johann Sebastian, $d 1685-1750. $t Was Gott tut, das ist wohlgetan (Cantata), $n BWV 99. $p Was Gott tut, das ist wohlgetan (Chorus)

 

Do not make:

400 1# $a Bach, Johann Sebastian, $d 1685-1750. $t Was Gott tut, das ist wohlgetan (Chorus), $n BWV 99, no. 1

For instructions for the formulation of the references prescribed by this rule, see MCD 26.4B1.

 

See also MCD 26.4B3.

 

 

 

25.32B. More than one part.

 

25.32B1.    

CONSECUTIVELY NUMBERED PARTS

Apply 25.6B1 to parts of a musical work only when, under 25.32A1, the numbers of the parts are used in the uniform titles for individual parts of the work. Otherwise apply 25.6B2 or 25.6B3. Express numbers of parts according to MCD 25.32A1.

 

100 1# $a Brahms, Johannes, $d 1833-1897.

240 10 $a Ungarische Tänze. $n Nr. 5-6

   (Individual uniform titles: [Ungarische Tänze. Nr. 5]; [Ungarische Tänze. Nr. 6])

 

but

 

100 1# $a Brahms, Johannes, $d 1833-1897.

240 10 $a Stücke, piano, $n op. 119. $k Selections

   (Contains no. 2-4. Individual uniform titles: [Stücke, piano, op. 119. Intermezzo, E

minor]; [Stücke, piano, op. 119. Intermezzo, D major]; [Stücke, piano, op. 119. Rhapsody])

 

"ORIGINAL CAST" AND "ORIGINAL SOUND TRACK" RECORDINGS

When evidence is lacking as to whether an "original cast" recording of a musical comedy,

etc., or an "original sound track" recording of a motion picture score contains all the

music, do not add "Selections" to the uniform title.

 

 

25.34. Collective Titles.

 

25.34B-25.34C.Selections and Works of various types in one broad or specific medium, and works of one type for one specific medium or various media.    

 

COLLECTIVE UNIFORM TITLES AND ANALYTICAL ADDED ENTRIES

Do not apply the following provisions to collections of the types listed in LCRI 25.34B-25.34C. For excerpts from one work, treat each excerpt the same as a separate work unless there are two or more excerpts numbered consecutively (25.6B1) or three or more unnumbered or nonconsecutively numbered excerpts (25.6B3).

 

Printed and manuscript music

If a music publication or manuscript contains three or more works entered under a single

personal name heading, enter the collection under the collective uniform title appropriate

to the item as a whole. Make name-title added entries only in the following situations:

 

1)   If the item contains four or more works, and all the works but one form a group for

which a collective uniform title naming a type (25.34C2-25.34C3) would be appropriate, make a name-title analytical added entry for the group and one for the single work.

 

100 1# $a Chopin, Frédéric, $d 1810-1849.

240 10 $a Piano music. $k Selections

245 00 $a Scherzi ; $b und, Phantasie f Moll ...

700 12 $a Chopin, Frédéric, $d 1810-1849. $t Scherzos, $m piano

700 12 $a Chopin, Frédéric, $d 1810-1849. $t Fantasia, $m piano, $n op. 49, $r F minor

 

2)   If the item contains six or more works, and the works may be divided into two groups of three or more works, for each of which a collective uniform title naming a type (25.34C2-25.34C3) would be appropriate, make a name-title analytical added entry for each group.

 

100 1# $a Scriabin, Aleksandr Nikolayevich, $d 1872-1915.

240 10 $a Piano music. $k Selections

245 00 $a The complete preludes & etudes : $b for pianoforte solo ...

700 12 $a Scriabin, Aleksandr Nikolayevich, $d 1872-1915. $t Preludes, $m piano

700 12 $a Scriabin, Aleksandr Nikolayevich, $d 1872-1915. $t Etudes, $m piano

 

Sound recordings

For sound recording collections containing three, four, or five works entered under a single personal name heading, see LCRI 25.34B-25.34C.

 

If a sound recording collection contains six or more works entered under a single personal name heading, enter the collection under the collective uniform title appropriate to the item as a whole. Make name-title analytical added entries as follows:

 

1)   If the works may be divided into no more than five groups of three or more works, for each of which a collective uniform title naming a type (25.34C2-25.34C3) would be

appropriate, make an analytical added entry for each group.

 

100 1# $a Chopin, Frédéric, $d 1810-1849.

240 10 $a Piano music. $k Selections

245 00 $a Waltzes $h [sound recording] ; $b and, Scherzos ...

700 12 $a Chopin, Frédéric, $d 1810-1849. $t Waltzes, $m piano

700 12 $a Chopin, Frédéric, $d 1810-1849. $t Scherzos, $m piano

 

2)   If some of the works can be grouped as in (1) above and others cannot, and the groups and the remaining individual works together add up to five or less, make an analytical added entry for each group and for each of the remaining works.

 

100 1# $a Saint-Saëns, Camille, $d 1835-1912.

240 10 $a Orchestra music. $k Selections

245 00 $a Symphonies $h [sound recording] ; $b & Tone poems ...

700 12 $a Saint-Saëns, Camille, $d 1835-1912. $t Symphonic poems

700 12 $a Saint-Saëns, Camille, $d 1835-1912. $t Marche héroïque

 

3)   If neither (1) nor (2) above can be applied but one of the works is featured, make an

analytical added entry for that work; in addition, make an analytical added entry under the collective uniform title appropriate to the remaining works if it is different from that

used in the main entry.

 

100 1# $a Glinka, Mikhail Ivanovich, $d 1804-1857.

240 10 $a Instrumental music. $k Selections

245 00 $a Trio pathétique $h [sound recording] : $b in D minor for clarinet, bassoon, and

piano ; Selected piano works ...

700 12 $a Glinka, Mikhail Ivanovich, $d 1804-1857. $t Trio pathétique

700 12 $a Glinka, Mikhail Ivanovich, $d 1804-1857. $t Piano music. $k Selections

 

100 1# $a Reger, Max, $d 1873-1916.

240 10 $a Chamber music. $k Selections

245 00 $a Chamber music $h [sound recording] ...

   (Contains the String quartet, op. 109 (55 min.), and various short works for clarinet and piano or violoncello and piano (10 min. total))

 

700 12 $a Reger, Max, $d 1873-1916. $t Quartets, $m strings, $n op. 109, $r E@ major

 

For references for collections without a collective title, see MCD 26.4B4.

See also MCD 25.34B-25.34C (3).

 

COLLECTIONS OF WORKS ALL HAVING THE SAME TITLE

If all the works in a collection entered under a personal name heading have the same title

and this title is not the name of a type of composition, assign a collective uniform title

according to 25.34B, 25.34C1, or 25.34C2, using the most specific uniform title that will

cover all the works in the collection. If appropriate, add "Selections" according to the

first paragraph of 25.34C3. If the collection is a sound recording, make name-title analytic added entries according to LCRI 25.34B-25.34C and MCD 25.34B-25.34C and the instructions above. For references for collections without a collective title, see MCD 26.4B4.

 

240 10 $a Selections

(Contains Antiphony I for unaccompanied chorus, Antiphony III for piano, and Antiphony V for orchestra)

 

240 10 $a Instrumental music. $k Selections

(Contains Antiphony III for piano, Antiphony V for orchestra, and Antiphony VII for string quartet)

 

240 10 $a String quartet music

(Contains Antiphony VII, Antiphony IX, and Antiphony XI, all for string quartet and the

composer's only works in that medium)

 

If, however, the works are consecutively numbered, apply the second paragraph of 25.34C3, adding the consecutive numbering to the title of the individual works (in the singular). Do this even if the collection contains all of the composer's works with that title.

 

240 10 $a Antiphony, $n no. 2-4

240 10 $a Kammermusik, $n no. 1-7

 

 

25.34C.Works of various types in one broad or specific medium, and works of one type for one specific medium or various media.   

For a collection of popular songs by a composer such as George Gershwin or Cole Porter,

normally use the uniform title [Songs. Selections] regardless of whether or not some of the songs may have originally been intended for theatrical productions. If, however, the item being cataloged provides clear evidence that all the songs in the collection are from larger works of a single type, use the name of the type as the basis of the uniform title (e.g., [Musicals. Selections]).

 

 

25.34C1.    

Use the uniform title [Piano music] (with "Selections" if appropriate) for both (1)

collections of music for one performer using two hands on one piano and (2) collections of music for varying numbers of performers and/or varying numbers of hands on one or more pianos. Apply the same principle to collections of music for other keyboard instruments.

 

 

25.34C2.    

Apply this rule to a collection containing trio sonatas and other sonatas, using "Sonatas"

in the uniform title.

 

 

25.34C3.   

Express numbers of consecutively numbered works according to MCD 25.30C2.

 

 

25.35. Additions for Musical Titles.   

When one or more instrumental parts for a work or a collection of works by one composer are published separately, do not make an addition to the uniform title to bring this out. Use the same uniform title that would be used for a score or a complete set of parts.

 

100 1# $a Bach, Johann Sebastian, $d 1685-1750.

240 10 $a Wer mich liebet, der wird mein Wort halten, $n BWV 74

245 10 $a Kantate Nr. 74 : $b Wer mich liebet, der wird mein Wort halten : BWV 74 / $c Joh. Seb. Bach ; Continuo-Aussetzung von Ulrich Haverkampf.

256 ## $a Orgel.

260 ## $a Wiesbaden : $b Breitkopf & Härtel, $c c1982.

300 ## $a 1 part (32 p.) ...

 

 

100 1# $a Bach, Johann Sebastian, $d 1685-1750.

240 10 $a Vocal music. $k Selections

245 14 $a The flute solos from the Bach cantatas, passions, and oratorios ...

 

 

100 1# $a Strauss, Richard, $d 1864-1949.

240 10 $a Orchestra music. $k Selections

245 10 $a Orchesterstudien aus Richard Strauss' symphonischen Werken : $b für Flöte ...

 

 

 

25.35C. Arrangements.   

 

REVISIONS BY THE ORIGINAL COMPOSER (Cf. MCD 25.25A, Footnote 9)

 

If a composer revises a work, retaining the original title and opus number, and the revision is one of different instrumentation within the same broad medium (e.g., orchestra, instrumental ensemble, band) rather than extensive overall revision and the introduction of new material, do not consider the revised version an arrangement, etc. Use the same uniform title for the original and revised versions.

 

100 1# $a Schoenberg, Arnold, $d 1874-1951.

240 10 $a Stücke, $m orchestra, $n op. 16

245 00 $a Fünf Orchesterstücke, op. 16 : $b Originalfassung ...

 

100 1# $a Schoenberg, Arnold, $d 1874-1951.

240 10 $a Stücke, $m orchestra, $n op. 16

245 00 $a Five pieces for orchestra, op. 16 : $b new version = Fünf Orchesterstücke ...

("Revised edition, reduced for normal-sized orchestra by the composer")

 

100 1# $a Stravinsky, Igor, $d 1882-1971.

245 10 $a Petrushka : $b complete original 1911 version ...

 

100 1# $a Stravinsky, Igor, $d 1882-1971.

240 10 $a Petrushka

245 10 $a Petrouchka : $b burleske in four scenes (revised 1947 version) ...

 

ADDED ACCOMPANIMENTS, ETC.

Do not add arr. to the uniform title for a musical work to which an additional accompaniment or additional parts have been added with no alteration of the original music (21.21). Assign subject headings for both the expanded and the original media of performance, adding ", Arranged" to the former heading. Classify the item as an arrangement.

 

050 10 $a M223 $b .B

100 1# $a Bach, Johann Sebastian, $d 1685-1750.

240 10 $a Sonaten und Partiten, $m violin, $n BWV 1001-1006

245 00 $a Sechs Sonaten für Violine solo / $c von Joh. Seb. Bach ; herausgegeben von J.

Hellmesberger ; Klavierbegleitung von Robert Schumann ...

 

(Contains the 3 sonatas and 3 partitas)

 

650 #0 $a Sonatas (Violin and piano), Arranged $v Scores.

650 #0 $a Suites (Violin and piano), Arranged $v Scores.

650 #0 $a Sonatas (Violin)

650 #0 $a Suites (Violin)

 

ALTERNATIVE INSTRUMENTS

Provided the key is unchanged and the notation has not been significantly changed, do not consider to be an arrangement

 

1)   a work composed before 1800 for a baroque, renaissance, or other early instrument (

viola da gamba, recorder, etc.) which is edited for or performed on a contemporary

instrument;

2)   a work for a melody instrument which is edited for or performed on an alternative

instrument specified by the composer or in early editions, preferably the first

 

100 1# $a Bach, Johann Sebastian, $d 1685-1750.

240 10 $a Sonatas, $m viola da gamba, harpsichord

245 00 $a Drei Sonaten für Violoncello und Klavier $h [sound recording] ...

650 #0 $a Sonatas (Violoncello and piano)

 

050 10 $a M226 $b .B

100 1# $a Brahms, Johannes, $d 1833-1897.

240 10 $a Sonatas, $m clarinet, piano, $n op. 120. $n No. 1

245 00 $a Sonata no. 1 in F minor, opus 120, for viola and piano ...

500 $a Originally for clarinet or viola and piano.

650 #0 $a Sonatas (Viola and piano) $v Scores and parts.

 

SONG TRANSPOSITIONS

 

When a song or a set or collection of songs is published or performed at a pitch other than

the original to accommodate a voice range different from the one for which it was composed, do not consider this transposition to constitute an arrangement.

 

100 1# $a Schubert, Franz, $d 1797-1828.

240 10 $a Songs

245 00 $a Lieder, Gesang und Klavier / $c Franz Schubert.

250 $a Neue Ausg. / $b herausgegeben von Dietrich Fischer-Dieskau ; musikwissenschaftliche Rivision von Elmar Budde, tiefe Stimme.

 

(Originally for high voice)

 

See also MCD 21.21.

 

25.35D. Vocal and chorus scores.

 

25.35D1.   

Note that the rule says that "vocal score" or "chorus score" is to be added to the uniform

title if the item being cataloged is a vocal score or chorus score, i.e., if it has been

described as such in the physical description area (cf. 5.5B1 and MCD 5.5B1). Therefore

whenever either of these terms is used in the physical description area to describe the item as a whole, the term must also be included in the uniform title. The use of such terms in uniform titles is no longer limited to "works in the larger vocal forms" as was the case under AACR 1.

 

This does not apply if the chorus score or vocal score is part of a set which also includes

a full score, parts, etc., since the item being cataloged in such cases cannot be said to "be" a chorus score or vocal score.

 

 

25.35F. Language.   

Under rule 25.35F2, which was cancelled in 1993, the language was added to the uniform title for a liturgical work even if the text was in the original language only. When adding to the catalog an access point for a musical setting of a liturgical text, delete such language designations from any existing access points for the same work.

 

 

Appendix C: Numerals

 

C.8. Ordinal Numerals 

When using ordinal numerals in music uniform titles being newly established (cf. MCD 25.30C2 and MCD 25.32A1), use the conventional English form (1st, 2nd, 3rd, etc.) or the conventional non-English form (1., 2., 3., etc.) according to the context, except where a pattern of usage of ordinal numerals in a different form already exists. Where such a

pattern exists, change existing uniform titles to conform to one of the above conventional

forms when most or all of the headings involved are being changed for another reason;

otherwise continue to follow the existing pattern.

 

Appendix D: Glossary   

 

Chorus Score

This term is used only for works originally for solo voice(s) and chorus with accompaniment.

In order for this term to be used in the physical description area for a particular

manifestation of a work, the item must omit the solo voice(s), at least in those portions of

the work in which the chorus does not sing. In addition, if the accompaniment is originally for other than keyboard instrument it must be either arranged for keyboard instrument or omitted; if originally for keyboard instrument it must be omitted. \

 

(Understand "if any" to mean "omitted or.") This term is not used for works originally unaccompanied or for any manifestation of an accompanied work with the original accompaniment.

 

See also MCD 5.5B1.

 

 

Vocal Score

This term is used for works originally for chorus and/or one or more solo voices, with

accompaniment. In order for this term to be used in the physical description area for a

particular manifestation of a work, the item must include the solo voice(s) (if any). In

addition, if the accompaniment is originally for other than keyboard instrument it must be

either arranged for keyboard instrument or omitted; if originally for keyboard instrument it must be omitted. (Understand "if any" in the definition to mean "omitted or.") This term is not used for works originally unaccompanied or for any manifestation of an accompanied work with the original accompaniment.

 

See also MCD 5.5B1.

 

 

From Music Cataloging Decisions

Copyright (c)2004 by the Library of Congress except within the USA.