Updates, additions, changes, etc., for the book Uniform Titles for Music

See Outline for Uniform Titles for Music for a detailed outline,
with chapter headings and subheadings with page numbers

This document includes updates, additions, etc., to the book Uniform Titles for Music.
New examples and text are in blue, with blue bold used for emphasis; corrections are in bold red.

Updates to:
Chapter 1 | Chapter 2 | Chapter 3 | Chapter 5 | Chapter 6 | Chapter 7 | Chapter 8 | Chapter 9 | Chapter 10 | Chapter 11 | Chapter 12 | Chapter 13 | Chapter 15 | Appendix A | Index

Chapter 1 Principles of Uniform Titles for Music

p. 19 Capitalization in Titles for Sacred Music
additional examples:
     
Redemptor
      Quid petis, O Fili
p. 20 capitalization of a pronoun refering to the name of a deity
additional examples
     O Lord, in thy wrath rebuke me not
p. 24 Other Punctuation: slash, colon, ampersand, parentheses, dashes
add additional example of a dash, after the first paragraph:
     
, um wahr zu sein
     Si j'étais . k Selections
     "Es war einmal-- "
p. 24 When to Include a Composer's Original Punctuation in the Uniform Title
additional examples for the top of p. 25:
     
Why (?) Jacob
      Tu?! Indietro! fuggi!!
      !?dialogues suffisants!?
p. 25: ADD new section following the examples at the top of the page:
Titles With Separate Letters or Initials Without Periods or Spaces Between Them (1.1B6)
When the title includes separate letters or initials without periods between them, transcribe the letters without spaces between them.
     Hommage JFK not Hommage J F K
When separate letters or initials have periods between them, transcribe them with the periods, without spaces between them.
     I.M.C. fanfare not I. M. C. fanfare
p. 25 Ending Punctuation
p. 25 Within Elements of a Uniform Title
p. 26: additional example for the paragraph on exclamation points and question marks:
     Where do we go from here? p Nina
, the Pinta, the Santa Maria
     COncErto? p Cynddaredd, brenddwyd

Chapter 2 The Initial Title Element (25.27-25.28)

p. 36 Treatment of Titles Naming More Than One Type of Composition
additional example:
     Sonatas or duets
However, LC considers this title with the connecting words "on a" to be distinctive:
     Variations on a theme
p. 37 Add to the paragraph "Titles in which two or types of composition are named, but only one is actually present in the work, are distinctive."
Other examples are:
Fantasie en trio: "en trio" refers to the number of performers; there is no individual "trio" in the work.
Sarabande en canon" "en canon" refers to the form in which the sarabande was written; there is no individual canon in the work.
p. 37 Add to the paragraph "When two or more names of types of composition are used together, with no connecting word, and one of the types functions a s an adjective, consider it to be distinctive."
When the multi-type title represents successive parts of a single work, e.g., Präludien und Fugen, follow rule 25.30A1;
When the multi-type title represents the entirety of a work, e.g., Humoreske-bagateller, then follow RI 25.30.
     source: an LC cataloger who no doubt wishes to remain unnamed.
ch2p38a
p. 38 Treatment of Terms Used in Phrases
p. 38 Bound Phrases
additional example:
Title proper
22 petits morceaux d'ensemble
Initial title element
Petits morceaux d'ensemble

p. 38 Titles With Embedded Medium of Performance
additional examples:
Title
Embedded medium of performance?  
Remove medium of performance:
Remove quantifying number:
Remaining elements:
Type or distinctive?
Retain medium of performance?
Initial title element:
Double violin concerto
yes
Double violin concerto
N/A
double concerto
distinctive
yes
Double violin concerto

Title
Embedded medium of performance?  
Remove medium of performance:
Remove quantifying number:
Remaining elements:
Type or distinctive?
Retain medium of performance?
Initial title element:
Orchesterstücke zu einer ungarischen Komödie
yes
Orchesterstücke zu einer ungarischen Komödie
N/A
Stücke zu einer ungarischen Komödie
distinctive
yes
Orchesterstücke zu einer ungarischen Komödie

Chapter 3 Formulating the Initial Title Element: Generic Titles (25.29)

p. 44 add before the last paragraph:
There are terms in the list of types for which no cognate is preferred, for example, allemande, almain, almaine, alman; corant,corrente, courante; and fantaisie, fantasia (Italian), fantasía, Fantasie, Fantasio, fantasy, Phantasie, phantasy. This practice seems to strictly apply the wording in in 25.29A1: "If the initial title element ... consists solely of the name of one type of composition, use the accepted [emphasis added] English form of name if there are cognate forms in English, French, German, and Italian."

When a composer writes two works in one of these forms but uses different names of the forms, for example, a Fantaisie and Fantasy, even when the works are for the same medium of performance, the initial title element will not be in the plural:
   Fantaisie, m piano
   Fantasy, m piano

When a composer writes two or more works with the same title and only one with another form of the title, the initial title element for the former will be pluralized and the initial title element for the latter will be in the singular:
   Fantaisies, m piano
   Fantaisies, m oboe, piano
   Phantasie, m piano
   source: an LC cataloger who no doubt wishes to remain unnamed.

Chapter 5 Medium of Performance: Instrumental Music (25.30B2-B7)

p. 62 Two or More of an Individually Named Instrument
add after the 6th paragraph with the example Duet(s), m piano, bassoons
When there are three individually named instruments, one of which is a keyboard instrument, and the initial title element is "duet(s)," 25.30B1 still applies, and the keyboard instrument is named first:
   Duet(s), m
piano, violin, viola
p. 66 Keyboard Instruments
p. 67 add examples immediately following the chart of keyboard instruments/hands:
Romance(s), m piano, 6 hands
Toccata(s), m pianos (2), 6 hands
Waltz(es), m piano, 3 hands
Rondo(s), m piano, 4 hands
 for 1 piano, 3 performers
 for 2 pianos, 3 performers
 for 1 piano, 2 performers, one of which uses only 1 hand
 for 1 piano, 2 performers
p. 70 Standard Combinations of Instruments
p. 71 Initial Title Element is Trio(s), Quartet(s), or Quintet(s)
add to the end of this section:
Chamber combinations that do not appear on this list cannot be used in uniform titles. The standard combination for a piano quintet is piano, 2 violins, viola, and violoncello. Any other combination of piano and four strings is not considered a piano quintet:
   Quintet(s), m piano, violin, viola, violoncello, double bass
   not
   Quintet(s), m
piano, strings
p. 73 Initial Title Element is Not Trio(s), Quartet(s), or Quintet(s)
p. 73 add to the end of the section:
The initial title elements terzettino(s), quartettino(s), and quintettino(s) are not considered to have the words trio(s), quartet(s), or quintet(s) in them. Thus rule 25.30B3 (the rule of three) is not applied and the number of elements in the statement of medium of performance is limited to three:
   Quartettino(s), m woodwinds, horn
   not
   Quartettino(s), m oboe, clarinet, horn, bassoon

   Quartettino(s), m woodwinds
   not
   Quartettino(s), m flute, oboe, clarinet, bassoon
However, the number of performers is implied in these initial title elements and thus the number of instruments is not included in the statement of medium of performance.
   Quartettino(s), m recorders
   not
   Quartettino(s), m recorders (4)
p. 73 Other Groups of Instruments
p. 78 add this example before the paragraph beginning "The phrase 'instrumental ensemble' ... "
For two different woodwind instruments, two string instruments, and two guitars:
Initial title element:
Instrumentation
Uniform title:
Not:
Sextet
flute, clarinet, violin, violoncello, 2 guitars
Sextet(s), m woodwinds, guitars, strings
Sextet(s), m woodwinds, guitars (2), strings
     The number of guitars is not indicated. Because there is a total of six instruments, there can be only two woodwind instruments, two guitars, and two string instruments. The woodwind instruments and string instruments are grouped to avoid exceeding the limit of three elements.
p. 79 Solo Instrument(s) and Accompanying Ensemble
p. 80 2nd paragraph: LC policy as communicated by an LC cataloger in an e-mail in 2005 was that an accompanying ensemble does not count toward the limit of three elements in the medium of performance and may be added following the names of up to three individual instruments ...
In an e-mail of September 22, 2010, a different LC cataloger contradicted this policy. LC will not follow the policy stated in 2005.
LC will now count the accompanying ensemble as one element of the three allowed in the statement of medium of performance.
p. 83 Add to the end of this section, immediately preceding the section Indeterminate or Unspecified Medium of Performance
25.30B1 does not consider the occasional problem that arises under 25.30B7 from a numbered series of works with the same title and solo medium but different accompanying media:
   Concerto no. 1, D minor, mandolin, string orchestra
   Concerto no. 2, D major, mandolin, chamber orchestra, and percussion
   Concerto no. 3, E minor, mandolin, strings, and percussion
   Concerto no. 4, G major, mandolin, string orchestra
The uniform titles for these works will omit medium of performance:
   Concertos, n no. 1, r D minor
   Concertos, n no. 2, r D major
   Concertos, n no. 3, r E minor
   Concertos, n no. 4, r G major

Chapter 6 Medium of Performance: Vocal Music (25.30B8-B10)

p. 96 Two or More Solo Voices
add text before Two Solo Voices of the Same Vocal Type:
In the following examples, note that the name of the keyboard instrument follows the names of the voices, contrary to the practice for instrumental music given on p. 61 (Keyboard Instrument When There is More Than One Non-keyboard Instrument) "When there are three or more instruments, one of which is a keyboard instrument and two or more of which are not keyboard instruments, name the keyboard instrument first ..." In uniform titles for vocal ensembles of solo voices with keyboard accompaniment, the names of the solo voices or the indication of number of unnamed voices (e.g., voices (2)) precede the name of the keyboard instrument.
   Title: Two ballads for two voices and pianoforte
   Uniform title: Ballads, m voices (2),
piano

Chapter 7 Numeric Identifying Elements (25.30C)

p. 105 Serial Numbers (25.30C2)
p. 106 Add to the example for "set":
use "set" even when the composer's original title used "sett":
Title: A second sett of six solos for a German flute or violin with a thorough bass for the harpsichord
Uniform title: Solos, m flute, continuo, n 2nd set
Title: A first sett of three duetts, for two performers on one forte piano or harpsichord
Uniform title: Duets, m piano, 4 hands, n 1st set
p. 106 Add following the example for "set":
Other terms that do not mean "number" may also be used:
   Symphony, n Werk 8, r B minor
p. 109 Add the subheading Ordinal Numbers and these sentences to the beginning of the first full paragraph:
According to LCRI C8, ordinal numbers in the title area of the bibliographic record are transcribed as found on the item. Ordinal numbers in the edition area are abbreviated in the form found on the item, according to the standard in the language of the item (1st, 2nd, 3rd, 4th in English; 1ra, 2a in Spanish; 1e, 2me, 3ème in French, etc.) or, in the regularized form 1., 2., etc. However, in uniform titles for music, the following applies:
p. 116 Both Serial and Opus Numbers
additional example:
   Duettinos, m flutes, n 2nd set, op. 42
For explanatory (and completely hypothetical) examples of uniform titles with both serial and opus numbers, see Examples of serial and opus numbers in uniform titles (this chart is not included in the book)
p. 121 Examples of Thematic Index Numbers
additional examples:
"K. 533/494" does not represent a range of thematic index numbers. In this case, the composer wrote an Allegro in F major and an Andante in Bb major (K. 533) to which he added a Rondo in F major (K. 494). The work was then published as a sonata:
   Sonatas, m piano, n K. 533/494, r F major
A thematic index may include one or more appendices for spurious works or works of questionable authorship. The word "Anhang" is used in German publications. Although the word doesn't appear in Appendix B of AACR2, it is abbreviated "Ahn." in uniform titles:
   Concertos, m trumpet, instrumental ensemble, n HWV Anh. B, r D major

Chapter 8 Key (25.30D)

p. 123-4 add following the sentence "General practice seems to be to use the key of the opening movement of a work, excluding short introductions":
However, there are examples of LC practice in which the key has been omitted from a heading when there is conflicting information about the what the key actually is. The following heading was based on a recording of Diabelli's Serenade op. 100. On the accompanying material, the movements are listed as in C major (movements 1-2 and 4-5) and E major (movement 3). The entry for this work in the thematic catalog for Diabelli's works gives the keys as A major (movements 1-2), D major (movement 3), and C major (movements 4-5). The key is therefore omitted from the heading:
   Diabelli, Anton, d 1781-1858. t Serenades, m guitars (2), n op. 100, r C major

Chapter 9 Other Identifying Elements (25.30E)

p. 130 Any Other Identifying Elements
additional examples:
p. 130 First Publisher
   Sonatas, m trumpets (2), string orchestra, r D major (McNaughtan, no. 2)
   Sonatas, m violoncello, continuo, r A major (Zanibon)
p. 130 ADD new section before Text on Which a Vocal Work is Based:
The Name of the Person Who Completed/Orchestrated Unfinished Sections
In these examples, the last name of the person who completed the work is used to resolve the conflict:
   Requiem, n K. 626, r D minor (Beyer)
   Requiem, n K. 626, r D minor (Druce)
   Requiem, n K. 626, r D minor (Landon)
   Requiem, n K. 626, r D minor (Levin)
   Requiem, n K. 626, r D minor (Maunder)
   Requiem, n K. 626, r D minor (Süssmayr)
p. 130 Text on Which a Vocal Work is Based
   Ave Maria (Benedicta tu)
   Ave Maria (Virgo serena)
p. 131 Manuscript Repository and Number
The name of the repository and number of the manuscript is not separately subfielded. Common practice is to use the AACR2 form of the name of the repository and precede the number with a colon, e.g., [Name of repository]: [manuscript number]; however, this is not prescribed and practice varies.
   Sonatas, m violin, continuo (Bayerische Staatsbibliothek: Mus. Ms. 4123)
   Pavans, m voices (6) (No. 16 of dances in Fitzwilliam Museum: MS. Mus. 24 E 13-17)
   Quartets, m oboe, violin, viola, violoncello (Országos Széchényi Könyvtár: Mus. 1.558)
   O Jesu mi dulcissime (Staatsbibliothek Preussischer Kulturbesitz: Mus. ms. 40028)
   Laudate pueri (Bayerische Staatsbibliothek: Coll. Mus. Max. 190)
   Divisions, m viols (2) (Bodleian Library: Mus. Sch. C59-60, p. 54, 57)

In some headings, the indication of manuscript is given before the name of the repository:
   Concertos, m violin, string orchestra, r E major (Ms. Sächsische Landesbibliothek Mus. 2421-O-7)

In older headings, only the name of place of repository may be given:
   Concertos, m flute, string orchestra, r G major (Münster Mus. 373)

The name of the repository, The British Library, is not given in the qualifier in this heading:
   Almans, m viols (5) (Eg. MS 2485)
But is given in the qualifier in this heading.
   Fantasias m voices (4) (British Library Add. 29246, f. 39)

This is an example of a qualifier for a work edited from two manuscripts in different handwriting from Uppsala universitetsbibliotek:
   Sonatas, m mandolin, continuo, r D major (Gimo 142, 143)
      
Note that the name of the repository is not given in the qualifier
p. 132 ADD additional example of numbering in RISM:
   Sonatas, m trumpet, string orchestra, r C major (RISM A/II 659000919)
   Sonatas, m trumpet, string orchestra, r C major (RISM A/II 659000920)

Chapter 10 Distinctive Titles (25.3, 25.31A-B)

p. 142 Internal Ordinal Numbers Not Integral to the Title
additional example:
    Title: Hymnorum Ecclesiasticorum liber primus
Uniform title: Hymni ecclesiastici
   The book numbering (n liber 1) is omitted because this is the only volume of hymns by the composer.
p. 143 Additions to Distinctive Titles to Resolve Conflicts (25.31B1)
additional examples:
p. 144 Medium of Performance
   
Hæc est virgo sapiens, m sopranos (4), basses (4), continuo
   Hæc est virgo sapiens, m altos (4), continuo
p. 147 Serial number
Add following the example given after the 2nd paragraph:
Use the term given by the composer:
   Rimbasly, n work 1
   Rimbasly, n work 3
   Rimbasly, n work 5
p. 145 Descriptive Term or Phrase
   Distant hills coming nigh (Chamber version)
   Distant hills coming nigh (Orchestra version)
p. 152 ADD new section before Descriptive Term or Phrase and Thematic Index Number:
Medium of Performance and Placement in the Composer's Complete Works
In these examples, the number assigned by the editor of the composer's complete works is used to resolve the conflict:
    De profundis clamavi, m voices (4) (Smijers no. 47)
De profundis clamavi, m voices (4) (Smijers no. 91)

Chapter 11 Additions to Both Generic and Distinctive Titles (25.32, 25.35)

p. 155 Parts of a Larger Work (p, n) (25.32)
p. 156 Titled Parts
LC recently changed the following heading:
    Smyth, Ethel, d 1858-1944. t Entente cordiale. p Interlinked French folk melodies
to
Smyth, Ethel, d 1858-1944. t Entente cordiale. p Two interlinked French folk melodies (n 2007061505)
This implies that LC is strictly following 25.32A1: "Use as the uniform title for a separately published part of a musical work the uniform title for the whole work followed by the title or verbal designation and/or the number of the part ... " [emphasis added]
For the Smyth title above, it means that 25.28A.4) ["When determining an initial title element, omit from the title selected ... number(s) (unless they are an integral part of the title)"] is not applied to the title of a part of a larger work.
Another example, from a recent name/title authority record, implies that LC is strictly applying LCRI 25.32A1: "When selecting the title of a part of a musical work, follow 25.27A1 [composer's original title], 25.27B [better known title in the same language], and 25.28A [isolation of initial title element], but not 25.29A [cognates, language, plural]."
    Woolrich, John. t From the book of disquiet. p Three capriccios for oboe (n 2008005618)
not
Woolrich, John. t From the book of disquiet. p
Capriccios

Another example of this:
Ozi, Etienne, d 1754-1813. t Novelle méthode de basson. p 12 sonates d'une difficulté progressive (n 95025469)
not
Ozi, Etienne, d 1754-1813. t Novelle méthode de basson. p
Sonates d'une difficulté progressive
These examples also imply that, since not only is the initial title element of the title of the part formulated as if it the title of the whole work, none of the additions made to generic initial title elements are added:
    1. medium of performance (25.30B)
2. numeric identifying elements (25.30C)
3. key (25.30D)
4. other identifying elements (25.30E)
p. 159 The Term Does Not Mean "Number"
p. 160 additional examples
   Musique de table. n 1ère production
   Musique de table. n 2e production
p. 164 ADD new section before Part of a Part:
Parts With Neither Titles Nor Numbers
In these examples, the number of each duet could not be determined. The key is used to identify each:
    Duets, m violin, piano, n 1st book. r C major
Duets, m violin, piano, n 1st book. r E minor
Duets, m violin, piano, n 1st book. r F major
p. 166 Distinguishing Between Two or More Parts With the Same Title Without Numeric Identifying Elements
p. 167 Additional examples
add following the Liederkreis example:
The name of the part is qualified by the "tone":
      Psalmi et mottecta, n liber 2. p Dixit Dominus (1st tone)
      Psalmi et mottecta, n liber 2. p Dixit Dominus (2nd tone)
add following the mandolin concerto example:
The name of the movement may also be qualified using an ordinal number followed by the word "movement":
      Cimento dell'armonia e dell'inventione. n N. 1. p Allegro (1st movement)
      Cimento dell'armonia e dell'inventione. n N. 1. p Allegro (3rd movement)
p. 165 Resolving Conflicts in Titles of Parts
p. 168 Subtitle of the Part
additional example:
Both the third and fourth parts of Musikalische Jugendträme are titled "Der Liebestrank" and subtitled "L'elisire d'amore" ; however, the parts are further subtitled "1. potpourri" and "2. potpourri" respectively:
      Musikalische Jugendträme. p Liebestrank (1. Potpourri)
p. 171 Added accompaniments
add following the Moscheles example:
      Assign the same uniform title for all versions for a single work with different accompaniment versions. The following work was originally for unaccompanied mixed voices. The composer later wrote separate accompaniments for organ and for string orchestra:
      Vasks, Peteris, d 1946- t Mass
      not
      Vasks, Peteris, d 1946- t Missa [or Mass], m mixed voices
      Vasks, Peteris, d 1946- t Missa [or Mass], m mixed voices, organ
      Vasks, Peteris, d 1946- t Missa [or Mass], m mixed voices, orchestra

Chapter 12 Collective Titles (25.8, 25.34)

p. 185 Add to the end of the first sentence of the chapter:
This includes a collection of works that are, or purport to be, complete at the time of publication while the composer is still alive.
p. 188 In Two or More Forms or Types For the Same Medium of Performance
additional example:
    Title: Sextuors à vent
Uniform title: Clarinets (2), horns (2), bassoons (2) music
   (This is actually a collection in which composer did not title any individual work "sextet" so a collective title by medium of performance is required)

Chapter 13 Works of Unknown or Collective Authorship (21.5, 21.6)

p. 197 Unknown or Uncertain Authorship (21.5)
p. 198 Additions to Resolve Conflicts
additional example:
   Medium of performance is used to break the conflict in these titles:
   
Russkie narodnye pesni, m piano, 4 hands
   Russkie narodnye pesni, m voice, piano

Chapter 15 References (26.1, 26.4)

p. 210 Misattributed works
RI 21.4C1 allows a name/uniform title reference for a work erroneously or fictitiously attributed to one composer from the name/uniform title heading for the actual composer and the actual work. The reference is established as if the work were by the attributed composer.
    A set of duets for guitars attributed to Fossa, who assigned the opus no. 17; the set is actually an arrangement of Enrique Atayde y de Portugal's String quartets op. 1:
100 1 Atayde y de Portugal, Enrique. t Quartets, m strings, n op. 1; o arr.
400 1 Fossa, François de, d 1775-1849. t Duets, m guitars, n op. 17
p. 219 References From Distinctive Uniform Titles
Numbers
p. 220 The word "ein" in the third reference in the Hirschfeld example should be "eins." Use "eins" when it follows a noun; use "ein" when it precedes the noun.
Hirschfeld, C. René q (Caspar René), d 1965- t Sonett, n no. 1
Hirschfeld, C. René q (Caspar René), d 1965- t Sonett ein
s
p. 224 References From the Title of a Part of a Work (26.4B3)
p. 225 Parts With Generic Titles
Add following the first three examples on p. 225 and before the paragraph beginning "In most cases, a reference ..."

The reference for
Serenades, n K. 320, r D major. p Rondeau      [the rondeau is numbered no. 4 within K. 320]
would not be:
Rondos, m orchestra, n K. 320, r G major
since the rondo does not constitute the entirety of K. 320.
The correct reference would be:
Rondos, m orchestra, n K. 320, no. 4, r G major


Quoting Mark Scharff and Phyllis Jones in e-mail correspondence:
"The issue is that a whole-part reference requires that the portion of the reference naming the whole has to be in the authorized form for the work."

The reference for Quartets, m strings, n H. III, 76, D minor
would not be:
Quartets, m strings, n op. 76. n No. 2
since the uniform title for the work as a whole is not Quartets, m strings, n op. 76.
The correct reference would be:
Quartets, m strings, n op. 76, no. 2, r D minor


For a more complete discussion of numbering of part of a part of a work with a generic title, see the 3rd question in the Questions and Answers section in the Music Cataloging Bulletin, vol. 42, no. 5.

Appendix A Thematic Index Numbers for Composers Whose Works Are Assigned Numbers Other Than or in Addition to Opus Numbers

p. 235 Additional entries:
       Composer Abbrev. Source Comments

       Bacheler, Daniel
Blauth, Brenno
Chambonnières, Jacques Champion de
Cimarosa, Domenico
Dering, Richard  
Gabrieli, Giovanni
Graun, Johann Gottlieb
Graun, Karl Heinrich
Leberl, Rudolf
Mico, Richard
Okeover, John
Richter, Franz Xaver
Scheidt, Samuel
Sorkocevic, Luka
Tomkins, Thomas
Torelli, Giuseppe
L.
T.
B.
C.
VdGS no.  
K. C.
GraunWV
GraunWV
LWV
VdGS no.
VdGS no.
R.A
SSWV
S.
G. P.
T.
Long
Ferreira
Brunold
Coen
Dodd/Viola da Gamba Society  
Kenton Charteris
Graun-Werkverzeichnis
Graun-Werkverzeichnis
Englberger
Dodd/Viola da Gamba Society
Dodd/Viola da Gamba Society
Ruetter
Koch
Sulek
Giegling Passodore
Tuttle
Use for Bacheler's lute music
--
Use for Cimarosa's keyboard sonatas
Use for Dering's consort works
--
replaces Mennick for all of J.G. Graun's works
--
--
--
Use for Okeover's consort works
Use for Richter's sacred works
--
Use for Sorkocevic's symphonies
Use for Tomkins' keyboard music
Use for Torelli's works that lack opus numbers
These names are not necessarily in the AACR2-established forms found in the authority file; dates have been omitted; diacritics may have been omitted.

See also Thematic Indexes Used in the Library of Congress/NACO Authority File

Index

p. 273 Add Initials, in distinctive titles, 25; in references, 218
p. 273 Under keyboard instruments
add following "as song accompaniment":
      as accompaniment for vocal ensembles, solo voices, 96;
p. 273 Under medium of performance
add following "32, 51;":
      alternative instrument named, 213;
p. 273 Under non-numeric designations
add:
      numberless terms usually associated with numbers, 113; posthumous opus numbers, 116
p. 273 Under numeric identify elements, See also
add:
      ordinal numbers, 32, 105, 109, 141-3, 159
p. 274 Under plural forms
add after "in Eastern European languages":
      in Latin, 142-43
p. 275 Under references
replace complete entry:
      abbreviations, 217; acronyms, 218; alternate forms of words or characters, 223; ampersand, 217; arrangements, 216; conflict resolution, 226-7; conflicts between references, 231-3; conflicts between references and headings, 228-31; dates; 222-3; initial title element, 212-3; initials, 218; letters, 218; medium of performance, 213-4, 216; numbers, 219-22; numeric identifying element, 214-6; part of a work, 224-5; translations, 225-6
p. 275 Under serial numbers
add additional page numbers for "in distinctive titles":
      143, 147, 148-49, 193
add to end of entry:
      when to omit; 117


Comments to Mickey Koth Yale University Music Library
©Yale University Library Last revised May 30, 2013.