G 800  Music Materials  (LC-Specific Information)

BACKGROUND:  The music shelflist was begun in the Music Division in 1904.  At that time, a system of Cuttering, different from that used in other classes, was devised for subclasses M, ML, and MT.  As a part of the transfer of music cataloging from the Music Division to the Processing Department, the music shelflist was transferred in 1943 to the Subject Cataloging Division, where the main part of the shelflist was housed.  There was an effort made to coordinate music shelflisting methods with those used in the main shelflist.  The result was that new methods of shelflisting were created, adding to those inherited from the Music Division.  Several methods of Cuttering may be found in the same class, and it is sometimes difficult to determine which pattern to follow when a new entry is introduced.  In 1957, when the then Music Section was established, the music shelflist was moved to the Descriptive Cataloging Division.  The Music Section performed the descriptive and subject cataloging, as well as the shelflisting, of most music materials.  After the cataloging reorganization of 1992, this arrangement continued, with the music teams of the Special Materials Cataloging Division replacing the former Music Section.  Many revisions of shelflisting processes have been made in an effort to improve, simplify, and rationalize the work.  Where the introduction of new procedures would have meant extensive changes to older entries, new entries were made to fit into the old system.  For example, if some of a composer's works are provided with opus numbers, some with serial numbers, and still others with keys, three methods of shelflisting may be found, not only in the same class but for the same composer.  Because of the volume of music published and received by the Library of Congress, not all items cataloged receive full call numbers.  These materials fall into the category known as un-Cuttered classes.  Books about music are shelflisted following the provisions for shelflisting other materials at the Library of Congress.  This instruction provides guidance in the shelflisting of music materials.

1.  General procedures

a.  Instrumental music

(1)  Works entered under title.  Single Cutter works entered under title.

(2)  Opus number or thematic index number.  Add the opus number or thematic index number whenever they appear in the uniform title.

(3)  Other additions.  If the opus number or thematic index number is not given, and the class number is specifically for the individual title or uniform title of the work, add one of the following elements, in the following order of preference:

1.  serial number

2.  key (major is abbreviated as maj.; minor is abbreviated as min.)

3.  date of composition (enclosed in parenthesis)

4.  Double Cutter by title or editor, etc.

If none of these elements is available, single Cutter.

Examples:

b.  Collections

(1)  Collected works.  Single Cutter collected works by one composer classed in M3.

(2)  Collection of works by one composer.  Double Cutter collections of works by one composer that have a uniform title that means the same as the class number (i.e., works, songs, quartets, piano works, etc.).  Assign the first Cutter for the name of the composer.  Assign a second Cutter for the compiler, editor, arranger, or publisher.  If none of the above appear, or the publisher is a very common one, assign a second Cutter for the title.

c.  Arrangements

(1)  Assign a first Cutter for the composer.  Assign a second Cutter for the title with a digit representing the arranger.

(2)  If the composer is the arranger, do not assign a second Cutter.

(3)  If the name of the arranger is not given, base the second Cutter on the editor or publisher.

d.  Vocal music

(1)  General principle.  Double Cutter for composer and title.

(2)  Pattern existing in the shelflist.  If a pattern using thematic index numbers as part of the call number has already been established in the shelflist, follow the existing pattern.

(3)  Masses.  Double Cutter by the name of the composer and the person whom the Mass honors.  Ignore words like Saint, Pope, Blessed, etc.  If the Mass is not written in honor of an individual, base the second Cutter on the first significant word in the title, ignoring words like Mass and Missa.  If a pattern has already been established using the opus number, key, or number of the Mass, follow the existing pattern.  If none of these options are possible, the words Mass or Missa may be used.

e.  Excerpts.  Add a digit for the excerpt to the Cutter number for the title.  If an excerpt has been expressed by a number, add the number to the Cutter number for the title.  If the work is an excerpt of an excerpt, use an additional digit.

Examples:

f.  Selections.  Double Cutter selections from a composer's work for the type of music named in the uniform title with another digit for the editor, arranger, publisher, or title.  If the uniform title is Selections, base the second Cutter number on the editor, arranger, publisher, or title.

Examples:

g.  ML94-ML96 materials.  Add the accession number below the Cutter number for the composer in classes for holographs (ML94-ML96) whenever introducing a new composer in these classes.

h.  ML29-ML31 materials.  Add the accession number below the Cutter number for the composer in the special foundations classes (ML29-ML31) whenever another system has not been firmly established.

i.  Translations.  For translations, use the Music Translation Table.

If the item is not a translation, if possible, use a single digit for the title portion of the call number.

2.  Special assignments

a.  Case assignments.  Assign to the Case, rare materials such as rental materials, librettos, holographs, publications of special foundations, and items published before 1800. Insert a Case slip.

b.  Folio.  Assign music 40 cm. in height and over to folio.

3.  Content designation of call numbers

Apply the standard conventions for inputting call numbers.

Examples:

050  00  $a M1140 $b .M3 1981

050  00  $a M1503.K626 $b I8 1981

050  00  $a M20.B12 $b S8 1980 Heft 1

050  00  $a M1505.R73 $b J85 1978

050  00  $a ML30.4c $b no. 2765 Miller

050  00  $a ML31 $b .M24e no. 1095

050  00  $a M175.H8 $b Y5

050  00  $a M175.X6 $b H

050  00  $a M2 $b .E12 vol. 12 $a M1999

050  00  $a M2 $b .E12 vol. 20, etc. $a M3.1

050  00  $a M1012.5 $b .B3 op. 61 .S5 1984

4.  More than two copies

If the book or score in hand is the third (or more) copy, mark the duplicate slip copy 3 (4, 5, etc.).  Place the material on the shelf.

5.  Marking materials

a.  Cuttered music.  Record the call number on the verso of the title page in the upper right-hand corner of the page.  Cuttered music of 40 pages of less is marked in the same manner as un-Cuttered music (cf. section 5.b. below).

b.  Un-Cuttered music.  Record the call number in the lower left-hand corner of the cover.

6.  Consult Music Division

Consult the Music Division for special treatment of unusually valuable materials.  They may require special containers.

Appendix:

In the music shelflist, some numbers in the M and MT subclasses are considered semi-Cuttered, while others are considered un-Cuttered.  Semi-Cuttered means that the first Cutter number is usually for an instrument or other aspect of the work and that the call number is not completed beyond the second Cutter letter.  Un-Cuttered means that the call number is not completed beyond the first Cutter letter.  The designation of semi in the following list of M class numbers, indicates that the call number is completed only through the second Cutter letter.  The designation of sep in the following list of M class numbers, indicates classes in which collections are Cuttered and separate works are un-Cuttered.

1.A1-.A15 semi
10-11
13
14.5 semi
14.85
17
19
20.C58-61,
.E7 semi
25-32
33.5-39
42
44
44.3
47
49
52
54
54.3
57-58
59 semi
59.5
62
64
67
69
72
74
77
79
82
84
87
89
92
94
97
99
102
104
107
109
110 semi
111
117
119
122
124
127
129
132
134
137
139
141
142 semi
145-172
174 semi
175 semi, sep
175.5 sep
176
176.5
181
184
186
190
193
195
204-205
208.5
212-213
215
221
223
226
228
233
236
238
239 semi
242
244
246-247
250
252
254
257-269 odd nos.
271 semi
273-281 odd nos.
283 semi
285 semi
285.6
287-297 odd nos.
298
298.5 sep
304-344
353
359-384
385
386 sep
404-484
485
486 sep
504-986
1200
1203-1269
1350-1362
1375
1380
1385 semi
1390
1395-1410
1415
1417
1420
1508
1518
1526
1527.2
1527.6
1527.8
1529.3
1529.5
1537
1542
1546
1552-1570
1575-1577 sep
1582-1609
1621-1622
1624-1624.8
1626
1627.15
1627.5 semi
1628.3
1629.3 semi, sep
1629.6 semi, sep
1629.7 semi, sep
1630
1630.2
1630.3 semi
1631-1632 sep
1634
1636
1638
1638.2 sep
1640
1642
1644
1645-1650 sep
1658 semi, sep
1658.5 semi
1659 semi
1659.5 semi
1661
1663
1665 semi
1667
1668-1668.8 sep
1668.9 semi, sep
1669 sep1671
1673 semi
1675 sep
1676 semi, sep
1677 sep
1677.2 semi, sep
1677.3 semi, sep
1677.4 sep
1677.8
1678-1853
1901 semi
1906 semi
1921 semi
1941
1950 semi
1956 semi
1959 semi
1960 semi, sep
1961-1972 sep
1973 semi, sep
1978 semi
1994.6 semi
1998
2007
2014 sep
2016.2-.8
2019.3
2019.5
2028
2032 sep
2036 sep
2072-2077
2078 semi
2079 semi
2079.5 sep
2080 sep
2080.5-.7 sep
2092-2097
2098 semi
2099 semi2099.5 sep
2100.2
2101 sep
2105.5 sep
2113-2113.4
2114-2114.7
2114.8 semi
2146
2157-2160.65 sep
2160.67 semi, sep
2160.7-2168.9 sep
2170.2-2170.9 sep
2171 semi, sep
2172-2181 sep
2183 semi, sep
2184 semi, sep
2186-2187 sep
2188 semi, sep
2196
2199

Subclass MT

In subclass MT, all decimal numbers are treated as un-Cuttered classes except the following:

The following numbers are treated as un-Cuttered:

To return:

LC Specific Information