Types of Compositions for Use in Music Uniform Titles

A Manual for Use with AACR2 Chapter 25

2nd, Updated Edition, June 1997
Revised 2002

Final Report of the MLA Working Group on Types of Compositions

Ann Caldwell, Chair, Jeffrey Earnest, Lynn Gullickson, Michelle Koth

Table of Contents

Introduction to the 2nd, updated edition   ||   Preface to the 1st edition
Additions and changes to this document: 2000 || 2001 || 2002 || 2003 || 2004 || 2005 || 2006 || 2007 || 2008 || 2009
Principles of the list   ||   Diacritics   ||   Use of "double," "triple," etc. in titles of musical works
Submitting terms for consideration   ||   Ordering a print copy of the list
| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | Z |

Introduction to the 2nd, updated edition

The Bibliographic Control Committee of the Music Library Association decided, following its annual meeting in 1995, to revitalize the Working Group on Types of Compositions. During this meeting a number of music catalogers expressed interest in having a number of terms added to the list as well as having it available electronically via the World Wide Web. The former members of the working group agreed to pick up where they left off in 1992 and to update the list.

The list's popularity was evidenced by the number of copies distributed through the MLA Clearinghouse and by its publication in MLAJ, the Music Library Association of Japan's newsletter (v.16, no.3). The present updated list replaces the 1992 edition in its entirety.

The Working Group hopes the music cataloging community continues to find this a useful addition to its collection of working tools.

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Preface to the 1st edition

The question of what constitutes the name of a "type of musical composition" (referred to in this preface as a "generic title") became especially important to music catalogers with the advent of AACR2 and its provision that (except when necessary to resolve conflicts) distinctive titles would not be qualified by medium, numeral, or key, and that generic titles (with one exception) would be indicated in the plural. It was consequently very necessary to be able to distinguish between generic and distinctive titles. Uniform titles could no longer be constructed without first knowing with which kind of title one was dealing.

Many titles are obviously types of composition, e.g., names of musical forms or genres (sonata, symphony, concerto), tempo designations (adagio, allegro), and standard combinations of instruments (trio, quartet). And conversely, many truly distinctive titles are obviously so, e.g., "Nozze di Figaro," "Appalachian Spring." But, it is just as obvious that many titles are ambiguous and difficult to categorize. Included in this third category are titles that look like generic titles, but that are not defined in reference sources as types of musical compositions, e.g., piece or divertissement. Some of these terms may be treated as types of composition if they are so used by enough composers; others may not. Deciding what language to use further complicates the decision. If a type of composition has cognates in English, French, German, and Italian, the accepted English form (even if adopted from another of these languages) is used, regardless of how the composer spelled it. For instance "symphony" is used, not symphonie, Sinfonie, or sinfonia; thus, the cataloger must know if the term is generic in order to know what language to use. For those types of compositions without cognates in the four languages, one must ascertain what language the composer originally used and the plural in that language. For instance, the cataloger would use "piece" for works of an American composer and "Fantasien" for works of a German composer (assuming those were the terms originally used by the composers)

Music catalogers have been dealing with these incongruities for quite some time. Some specific problems have been addressed by the Library of Congress through rule interpretations and music cataloging decisions, but LC has not made a thorough-going attack on the problem. For instance, "composition" and "piece" were deemed types of compositions because they were definitely not distinctive and were used by many composers. "Composition," having cognates in the four languages, is used in the English form and plural, but "piece," not having cognates in all four languages, is not.

The Bibliographic Control Committee of the Music Library Association decided to provide some guidance to music catalogers, thus attempting to eliminate the necessity of each cataloger making his or her own decision on each kind of title, a practice that has resulted in a multitude of solutions, much inaction, and a great deal of inconsistency. The Committee charged its Subcommittee on Descriptive Cataloging (Jennifer Bowen, Chair) to develop a list of terms that might be considered types of composition and to develop a research methodology of determining the status of these terms. A working group of four people (the editors of this publication) was formed to coordinate a group of volunteers from the membership of MLA who researched the use of these titles in music reference sources, Library of Congress documentation (AACR2, Library of Congress Rule Interpretations, and Music Cataloging Decisions), the Library of Congress Name Authority File, and LC MARC cataloging. The working group then checked and refined this research, using the above tools (in particular the Terminorum Musicae Index Septem Linguis Redactus), the result of which was the list of generic and distinctive titles that was published in the November 1989 issue of the Music Cataloging Bulletin. The decision was then made to expand the list with new terms and to created an extensive alphabetical list that would include explanations of the use of certain terms, scope notes, all distinctive terms that might be considered generic, and cognates of the generic titles in six major European languages (English, French, German, Italian, Spanish, and Russian), as well as selected terms in other languages. What you have before you is the result of this process.

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Principles of the list

The following list of terms that are either "types of compositions" or "distinctive titles" (AACR2 Rev. 25.27A1, footnote 10) includes equivalent terms in English, French, German, Italian, Russian, Spanish, and in some cases, Czech, Dutch, Hungarian, Latin, and Polish. The list is not exhaustive.

Terms identified as "types" and their plurals are listed in boldface type, followed by the designation "Type" and language. These terms should be used in the plural if a composer has written more than one composition of that type. If a term is followed by a note beginning "use..." and has no plural listed, it is a cognate of another term, and the cataloger should refer to that term to determine its usage.

Terms that are "distinctive" are given only in the singular, followed by the designation "Distinctive" in boldface type and language.

Many terms include a brief explanation of their usage. It is essential to read this information before constructing a uniform title.

When available, LCCN's and LCNAF numbers are included as illustrations of the use of the terms. Users of this list are cautioned against making decisions based solely on these examples.

The list must be used in conjunction with accepted cataloging tools: Anglo-American Cataloging Rules, 2nd ed., Rev. (AACR2) and Library of Congress Rule Interpretations (LCRIs). Throughout this list there are many references to elements contained in these tools. To facilitate use of the list, excerpts from the most frequently cited are included below.

Neither this list, nor the excerpts below, are substitutes for cataloging tools.

1. LCRI 25.27A

All modifiers other than medium or numeral make the phrase a distinctive title--no matter how common sounding it is.

2. LCRI 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.

3. LCRI 25.29A (Liturgical titles)

Give Latin liturgical titles (e.g., "Gloria," "Salve," "Te Deum") in the singular. Exception: Use "Magnificats" and "Requiems" when appropriate. Apply 25.30B1, and do not normally include a statement of medium of performance.

4. 25.30A1 (Combination terms)

Combination terms ("Theme and variations," "Prelude and fugue") do not appear on this list and are addressed in 25.30A1: if the initial title element consists solely of the name of a type, or of two or more types, make additions to it as instructed in 25.30B-25.30E (use the original language). From the Music Cataloging Bulletin v. 13, no. 9, 4th question under LC correspondence: All titles consisting of the names of two or more types of compositions do not qualify as cognate forms to be converted to the accepted English forms of name in accordance with 25.29A1 which limits such conversions to titles consisting solely of the name of one type of composition. Such titles will, however, require a statement of medium of performance in accordance with 25.30B1.

5. 25.29A1 (Cognates)

If the initial title element resulting from the application of 25.27 and 25.28 consists solely of the name of one type of composition, use the accepted English form of name if there are cognate forms in English, French, German, and Italian, or if the same name is used in all these languages. Give the name in the plural (this may be a non-English plural form, e.g., divertimenti) unless the composer wrote only one work of the type.

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Diacritics

Several diacritics are not available as text, only as images, in Web format. When a term includes a diacritic that is not available, the affected letters in the term will be linked to its image in this section of the document.

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Use of "double," "triple," etc. in titles of musical works

" ... it would be a mistake to try to draw any hard and fast conclusions about the treatment of words like "double," "triple," etc. in titles of musical works, since they may have various meanings. In the case of "double concertos," etc., we felt the need for a Music Cataloging Decision because in the past honest differences of opinion had led to inconsistent results. Those who feel that "Double concerto" should not be treated as distinctive argue that "double" implies medium of performance and hence should be omitted from the initial title element under 25.28A, while the majority feel that this is stretching the meaning of "statement of medium of performance" too far. These differences of opinion still exist, but now that we have agreed on a policy and stated it in an MCD we may expect to have more consistency... Titles like "Double quartet" present a rather different situation. Ordinarily a double concerto is indeed a type of concerto, but a double quartet is not a quartet but an octet. Therefore we have never hesitated to treat such titles as distinctive. On the other hand, we seem to have been consistent in treating "Double fugue" as the name of a type of composition... Obviously "double" has an entirely different meaning in this case, one which has no medium-of-performance implications at all. Hence none of us seem to have given serious consideration to treating "double fugue" as distinctive. These different uses of the words "double," "triple," etc., really have little relation to one another, and it would be a mistake, I believe, to try to make any general statement about the use of such words in uniform titles..."

Communication from Richard Hunter, Mar. 7, 1991; used with permission. This represents Richard Hunter's personal opinion and is not an official Library of Congress statement.

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Submitting terms for consideration

Do you have a term or title that is being treated inconsistently or about which you are uncertain? Feel free to submit new terms or titles for consideration to Mickey Koth by email (mickey.koth@yale.edu) or US mail (Yale Music Library, PO Box 208240, New Haven, CT 06520-8240). Any supporting citations or documentation you can provide will be appreciated.

A

Abanera
(Italian); use habanera.

Abertura
(Spanish); use overture.

Adagietto/Adagiettos
TYPE (Italian) LCCN 85-755458

Adagio/Adagios
TYPE (Italian) LCNAF n90-716174

Agnus Dei
TYPE (Latin); liturgical (see note 3); fifth item of Ordinary of Mass. LCNAF n2001-63695

Aire/Aires
TYPE (English)

Air/Airs
TYPE (English); a vocal or instrumental tune. LCCN 85-754672

Album leaf
DISTINCTIVE (English)

Albumblatt
DISTINCTIVE (German) LCNAF n95-9104

Albumblad
DISTINCTIVE LCCN 93-701574

Albumleaf
DISTINCTIVE (English)

Allegretto/Allegrettos
TYPE (Italian) LCNAF n88-643389

Allegro/Allegros
TYPE (Italian) LCNAF n90-666998

Alleluia
DISTINCTIVE

Alleluja
DISTINCTIVE

Alleluya
DISTINCTIVE; LCCN 95-750144

Allemande/Allemandes
TYPE (French, German); use this form when it is the composer's original title; see also almain, almaine, alman. LCCN 91-750145

Almain/Almains
TYPE (English); use this form when it is the composer's original title; see also allemande, almaine, alman.

Almaine/Almaines
TYPE (English); use this form when it is the composer's original title; see also allemande, almaine, alman.

Alman/Almans
TYPE (English); use this form when it is the composer's original title; see also allemande, almain, almaine. LCCN 90-751329

Andante/Andantes
TYPE (Italian) LCNAF n81-81233

Andantino/Andantinos
TYPE (Italian) LCNAF n86-867322

Anglaise/Anglaises
TYPE (English, French, German); a late Baroque dance movement in a harpsichord or orchestra suite; also used loosely to refer to any of the English dance types popular during the late 17th century; use for anglez, inglesa, inglese.

Anglez
(Russian); use anglaise.

Anthem/Anthems
TYPE (English); a choral setting (in English) of a religious or moral text; frequently used as a collective uniform title. Do not include medium of performance when the anthem is for chorus, with or without instrumental accompaniment, as it is the implied medium, LCCN 96-706257. Include medium of performance in all other cases, LCNAF n87-139957

Antifon
DISTINCTIVE (Russian)

Antifona
DISTINCTIVE (Italian)

Antífona
DISTINCTIVE (Hungarian, Spanish)

Antiphon
DISTINCTIVE (English, German) LCCN 82-761300

Arabesca
(Italian, Spanish); use arabesque.

Arabesco
(Spanish); use arabesque.

Arabeska
(Russian); use arabesque.

Arabeske
(German); use arabesque.

Arabesque/Arabesques
TYPE (English, French); use for arabesca, arabesco, arabeska, Arabeske. LCNAF n81-82730

Aria/Arias
TYPE (English, French, Hungarian, Italian, Spanish); use for Arie, ariia. LCCN 90-751615

Arie          
(German); use aria

Arieta
(Spanish); use arietta.

Arietta/Ariettas
TYPE (English, German, Italian, Russian); use for arieta, ariette. LCCN 85-753723

Ariette
(French, German); use arietta.

Ariia          
(Russian); use aria.

Arioso/Ariosos
TYPE (English); a piece in a songlike style; use for vocal and instrumental works and short arias so titled not part of a larger recitative. LCCN 87-753030

Armonia
DISTINCTIVE (Italian) LCCN 96-702694

Armonía
DISTINCTIVE (Spanish)

Aubade/Aubades
TYPE (English, French, German, Italian, Spanish); a piece of morning music; counterpart of serenade or nocturne; use for Aube. Note: Poulenc's Aubade is considered to be distinctive. See LCRI 25.27A1, footnote 10. LCNAF n91-101570

Aube          
(Hungarian); use aubade.

Ave Maria
TYPE (Latin); liturgical (see note 3); LCNAF no 98019175

Ayre/Ayres
TYPE (English); LCCN 95-704833

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B

Bagatela
(Spanish); use bagatelle.

Bagatell
(Hungarian); use bagatelle.

Bagatella
(Italian); use bagatelle.

Bagatelle/Bagatelles
TYPE (English, French, German); use for bagatela, bagatell, bagatella. LCNAF n81-133634

Balada/Baladas
TYPE (Russian, Spanish); vocal work; do not confuse with ballata; for instrumental baladas use ballade.

Ballad/Ballads
TYPE (English); type of folksong. LCNAF n78-23530

Ballada
(Hungarian, Russian); use ballade for instrumental works so named.

Ballade/Ballades
TYPE (English, French, German); vocal work; form fixe of 14th- to 15th-century France; also an instrumental piece in narrative style; do not confuse with the instrumental ballade. LCNAF n82-80087

Ballade/Ballades
TYPE (English, French, German); an instrumental work (usually for piano) in a narrative style; do not confuse with the vocal ballade; use for instrumental works titled balada, ballada, ballata. LCNAF n85-72077

Ballata/Ballatas
TYPE (Italian); Italian dance song; do not confuse with balada; for instrumental ballatas use ballade. LCNAF n79-31582

Ballett/Balletts
TYPE (English); a late 16th-/early 17th-century English part-song using nonsense refrains. Use for works of English origin or influence.

Balletto/Balletti
TYPE (Italian); a 15th-century Italian dance; a late 16th-/early 17th-century Italian part-song using nonsense refrains; use for works of Italian origin or influence; a late 16th-century Italian instrumental dance. LCNAF n89-631472

Barcarola
(Spanish); use barcarolle.

Barcarole
(English, German); use barcarolle.

Barcarolle/Barcarolles
TYPE (French); use for barcarola, barcarole, barcaruola, barkarola. LCNAF n79-68400

Barcaruola
(Italian); use barcarolle.

Barkarola
(Hungarian, Russian); use barcarolle.

Basdans
(Russian); use basse danse

Bassa danza
(Italian); use basse danse

Bassadanza
(Italian); use basse danse

Basse danse
TYPE (English, French, Spanish); the principal court dance during the late Middle Ages and Renaissance; use for bassa danza, bassadanza, basdans.

Beguine/Beguines
TYPE (English, German, Italian, Spanish); a social dance popular in Europe and American from the 1930s, with a rhythm similar to that of the bolero; use for béguine, bigin, biguine. LCNAF nr00-36825

Béguine
(French); use beguine.

Berceuse/Berceuses
TYPE (French); a quiet song in triple meter or a character piece for instruments. LCNAF n87-826083

Bicinium/Bicinia
TYPE (Latin); a two-voice work for voices, instruments, or keyboard. Generally used as a collective uniform title. LCCN 92-753341

Bigin     
(Spanish); use beguine.

Biguine
(Spanish); use beguine.

Boceto
DISTINCTIVE (Spanish)

Bolero/Boleros
TYPE (English, German, Hungarian, Italian, Russian, Spanish) LCNAF n81-22437

Boléro
(French); use bolero.

Boree
(English); use bourrée.

Bossa nova
TYPE (English, French, German, Portuguese) LCNAF no98-40808

Bourrée/Bourrées
TYPE (English, French, German, Italian, Spanish); use for boree, burre. LCNAF n94-111318

Boutade
TYPE (French); 18th-century term for a dance or whole ballet in a fanciful and playful style; the name given to an improvised piece of instrumental music, which, if written down, would have been given the title caprice or fantaisie; use for butada. LCNAF no98-55664

Brano da concerto
DISTINCTIVE (Italian)

Burlesca
(Italian, Spanish); use burlesque.

Burleska
(Russian); use burlesque.

Burleske
(German); use burlesque.

Burlesque/Burlesques
TYPE (English, French); use for burlesca, burleska, Burleske, burleszk. LCNAF n82-271068

Burleszk
(Hungarian); use burlesque.

Burre          
(Russian); use Bourrée.

Butada
(Russian); use Boutade.

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C

Cadence
(French); use cadenza when used as the title of an independent work.

Cadencia
(Spanish); use cadenza when used as the title of an independent work.

Cadenza/Cadenzas
TYPE (English, Italian); use as a type only when applied to the title of an independent work; not considered a type of composition when applied to cadenzas within concertos; use for Cadence, Cadencia, Kadenz. LCNAF n 8263348. Also used as a collective title for collections of a composer's cadenzas written to accompany three or more separate concertos, etc., by the same or other composers. LCCN 86751371>

Canarie
(French); use canary.

Canario
(Italian, Spanish); use canary.

Canary/Canaries
TYPE (English); a form of dance and music popular in Europe from the mid-16th to mid-18th centuries; use for canarie, canario. LCNAF no 98001482

Canción/Canciónes
TYPE (Spanish); See song for treatment. Use for collections and works specifically titled by the composer, e.g., Revueltas, Silvestre, 1899-1940. [Canciónes, orchestra acc.]; Botto, Carlos, 1923-2004. [Canciónes, op. 4]. LCNAF n 2005015454; apply LCRI 25.27A1 footnote 10 to instrumental works. LCNAF no 97080154

Cançoneta
(Portuguese); use canzonetta.

Canon/Canons
TYPE (English, French, Spanish); use for canone, Kanon, kánon. LCNAF n90-604188

Canon doble
(Spanish); use double canon.

Canon double
(French); use double canon.

Canone
(Italian); use canon.

Canone doppio
(Italian); use double canon.

Cantabile/Cantabiles
TYPE (English, French, German, Italian, Russian, Spanish); use for Kantabile. LCNAF n81-24681

Cantata/Cantatas
TYPE (English, Italian); usually used as a collective uniform title; use for cantate, Kantate. LCNAF n81-14379; LCNAF n92-54003

Cantate
(French); use cantata (for collective uniform titles only)

Canticle/Canticles
TYPE (English); used as a type for vocal works only; use for cantico, cántico, Canticum, cantique, kantikum. LCNAF n79-121995

Cantico
(Italian); use canticle.

Cántico
(Spanish); use canticle.

Canticum
(German); use canticle.

Cantiga/Cantigas
TYPE (Spanish); a medieval Iberian monophonic song; generally used as a collective uniform title; use for kantiga.

Cantilena
DISTINCTIVE (Italian) LCCN 86-755421

Cantilène
DISTINCTIVE (French) LCCN 86-750118

Cantione
DISTINCTIVE (Italian)

Cantique
(French); use canticle.

Canto/Canti/Cantos
TYPE (English, Italian); use as a type when applied to vocal works, see song for treatment. Use for collections and works specifically titled by the composer, LCNAF no2003080633; apply LCRI 25.27A1 footnote 10 to instrumental works. LCNAF n 2007077432

Cantus
DISTINCTIVE (Latin) LCCN 86-751532

Canzon
(Italian); alternate spelling of canzona; use canzona.

Canzona/Canzonas
TYPE (English, Italian, Spanish); originally a Provençal troubadour song; later, a piece of 16th-century Italian secular music, 16th- to 17th-century instrumental work; in this usage, not a cognate of canzone; use canzona when a work of this type was originally titled canzone. LCNAF n87-110288

Canzone/Canzoni
TYPE (Italian); an 18th- and 19th-century song-like work for voice or instruments. In this usage, not a cognate of canzona. See song for treatment. Also, an alternate spelling of canzona above; use canzona for a work of this type.

Canzonet/Canzonets
TYPE (English); late 16th-century English part-song; use for works of English origin or influence. LCNAF n81-5621

Canzoneta
(Spanish); use canzonetta.

Canzonetta/Canzonettas
TYPE (English, Italian); late 16th-century Italian part-song; also used for solo songs and instrumental pieces of a songlike nature; use for cançoneta, canzoneta, canzonette, kantsonetta, Kanzonette. LCNAF n89-646645

Canzonette
(French, German); use canzonetta.

Capriccetto/Capriccetti
TYPE (English) LCNAF no98-46131

Capriccio/Capriccios
TYPE (English, German, Italian); use this form when it is the composer's original title; do not use caprice or capricho unless the composer specified it as the original title; use for kaprichchio. LCNAF n86-860139

Caprice/Caprices
TYPE (English, French, German); use this form when it is the composer's original title; do not use capriccio or capricho unless the composer specified it as the original title; use for kaprichch, Kaprice, kaprisa, Kaprize. LCNAF n81-22436

Capricette/Capricetten
TYPE (German) LCCN 79-771124

Capricho/Caprichos
TYPE (Spanish); use this form when it is the composer's original title; do not use capriccio or caprice unless the composer specified it as the original title. LCCN no 00062227

Carol/Carols
TYPE (English) LCNAF n87-130699

Casación
(Spanish); use cassation.

Cassation/Cassations
TYPE (English, French); use for casación, cassazione, Kassation, kassatsiia. LCCN 82-772616

Cassazione
(Italian); use cassation.

Catch/Catches
TYPE (English); an English round for 3 voices; generally used as a collective uniform title. LCCN 89-751455

Cavatina/Cavatinas
TYPE (English, Italian, Spanish); originally signified a short opera aria; now an aria-like vocal piece or a song-like instrumental work; use for independent works titled as such, not for individual cavatinas within operas; use for cavatine, kavatina, Kavatine. LCNAF n94-71214

Cavatine
(French); use cavatina.

Chacona
(Spanish); use chaconne.

Chacarera/Chacareras
TYPE (Spanish); Argentine couple dance. LCNAF nr2004007876

Chaconne/Chaconnes
TYPE (English, French, German); use for chacona, chakona, ciaccona. LCNAF n84-162660

Chakona
(Russian); use chaconne.

Chamber concerto
DISTINCTIVE (English) LCCN 83-752805

Chamber sonata
DISTINCTIVE (English)

Chamber symphony
DISTINCTIVE (English) LCNAF n 2003085983

Chanson/Chansons
TYPE (French); a term meaning song in all its uses; spanning a wide range of periods and genres from the troubadour/trouvère repertoires through the secular polyphony of the 14th to 16th centuries to the art song of the 19th and 20th centuries and folk and popular song of all eras. See song for treatment. Use for miscellaneous sets, e.g. Le Jeune, Claude. [Chansons. Selections] or specific collections, e.g., Ravel, Maurice. [Chansons. Nicolette], Janequin, Clément. [Chansons (1528). Réveillez vous, cueurs endormis]; apply LCRI 25.27A1 footnote 10 to instrumental works. LCNAF n92-188

Chant/Chants
TYPE (English, French); use as a type when applied to vocal works, see song for treatment. Use for collections and works specifically titled by the composer; apply LCRI 25.27A1 footnote 10 to instrumental works. LCCN n 2005025773

Chast'/Chasti
TYPE (Russian); for "movement". Use for an independent work titled as such, not for individual movements of a larger work; see also mouvement, movimento, movimiento, Satz, tétel.

Chœur
(French); use chorus.

Chor    
(German); use chorus.

Choral
(French, German); use chorale.

Choralbearbeitung/Choralbearbeitungen
TYPE (German); a vocal or instrumental composition based on a pre-existing sacred melody; do not apply 25.30B1a. LCNAF n2008018787

Chorale/Chorales
TYPE (English); use for Choral, coral, corale, khoral. LCNAF n87-810276

Chorale prelude/Chorale preludes
TYPE (English); use this form when it is the composer's original title; apply 25.30B1a: do not add a statement of medium of performance if the medium is implied by the title. Implied medium: organ; see also Choralvorspiel, prélude de choral. LCNAF n95-70817

Choralvorspiel/Choralvorspiele; Choral-Vorspiel/Choral-Vorspiele
TYPE (German); use this form when it is the composer's original title;apply 25.30B1a: do not add a statement of medium of performance if the medium is implied by the title. Implied medium: organ; see also chorale prelude, prélude de choral. LCNAF n88-642589

Chorinho/Chorinhos
TYPE (Spanish); various meanings in Brazilian popular music, generically denoting urban instrumental ensemble music, often with one group member as a soloist, consisted mostly of dances of European origin performed at popular festivities; use this form when it is the composer's original title; see also choro.

Choro/Choros
TYPE (Spanish); various meanings in Brazilian popular music, generically denoting urban instrumental ensemble music, often with one group member as a soloist, consisted mostly of dances of European origin performed at popular festivities; use this form when it is the composer's original title; see also chorinho.

Chorus/Choruses
TYPE (English); use for Chor, chœur, coro, khor. LCNAF n 84012213

Chotis
(Spanish); use ecossaise.

Ciaccona
(Italian); use chaconne.

Ciciliano
(Italian); use siciliana.

Composición
(Spanish); use composition.

Composition/Compositions
TYPE (English, French); usually used in reference to the process of creating a musical work: also used as a title for an independent work; use for composición, composizione, Komposition, kompozitsiia. LCNAF n88-667940

Composizione
(Italian); use composition.

Concert piece
DISTINCTIVE (English) LCCN 86-754853

Concertant
(French); use concertante.

Concertante/Concertantes
TYPE (English, Italian, Spanish); use for concertant, Konzertant. LCNAF n84-191693

Concertino/Concertinos
TYPE (Italian) LCNAF n88-643187

Concerto/Concertos
TYPE (English, French, Italian); use for concierto, kontsert, Konzert. LCNAF n87-801353

Concerto da camera
DISTINCTIVE (Italian) LCCN 89-755372

Concerto grosso/Concerti grossi
TYPE (Italian) LCNAF n87-803133

Concertone/Concertoni
TYPE (English); a rarely-used term meaning "large concerto," the form closely approximates the symphonie concertante; use for Konchertone, Konzertone.

Concertpiece
DISTINCTIVE (English) LCCN 89-751073

Concertstück
DISTINCTIVE (German) LCNAF n88-669977

Concierto
(Spanish); use concerto.

Conductus
TYPE (Latin); a medieval vocal work for one or more voices; usually used as a collective uniform title.

Contradanza
(Italian, Spanish); use country dance.

Contredanse
(French); use country dance.

Coral
(Spanish); use chorale.

Corale
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