Music Cataloging at Yale ♪ Call numbers
This document explains the practices of assigning call numbers to scores in the Yale University Music Library. These practices may or may not coincide with those of other libraries.
It is the goal to have different manifestations of the same work or expression sit next to each other on the shelf. This may occasionally call for using an incorrect, but already existing class number or cutter number. If possible, when a class or cutter number is egregiously incorrect, reclass the item. If there are several items with the incorrect number, use that class or cutter number.
General guidelines for Class M | Class numbers | Oversize
Cutter numbers for main entry: Composer as main entry (100) | Title as main entry: uniform title (130) ; title proper (245)
Additional elements for title: 1. Opus or work number | 2. Serial number | 3. Cutter by first letter of title | 4. Key | 5. Date of composition | 6. Title implied by class number
Parts of a larger work: With a number designation | With a title
Further elements needed to make the call number unique: Capital letter | Publication date | Vocal range | Cutter number by: Publisher ; Editor
Translations | Reprints
General guidelines for Class M
See LC classification: Class M
Use class M for all printed music (with some exceptions for rare items and for facsimiles) and MT for instructional items that are scores (there are both books and scores classed in MT). The first line of the call number includes the class letter (M or MT) and number.
Class numbers for instrumental music: M6-M175 | M180-M298.5 | M300-M990 | M1000/M1100, etc. | M1005/M1105, etc.
Class numbers for dramatic and vocal music: M1500/M2000, etc. | M1528/M2018, etc. | M1611/M2102, etc.
Class numbers for instrumental instruction: MT179-MT735
See Local practice in Class M for explanations of Yale's local practices for class numbers for scores.
Local practice for manuscripts and facsimiles
Facsimiles of scores or sketches are classed in ML96.4 (collections) and ML96.5 (individual works). Manuscripts are classed in Misc. ms. [no.]. Manuscripts are assigned sequential numbers.
Yale practice for oversize scores
A plus sign (+) or double plus sign (++) is added to the end of a call number for books and scores 27 cm. in width or height or more. The existence of a plus or double plus sign does not make the call number unique.
Plus (+) = equal to or more than 27 cm. and up to or equal to 36 cm. in any direction (height or width)
When an item is 36 cm. and will be bound commercially, the binding will add enough to the height that the item should be made a double plus (++).
Double-plus (++) = equal to or more than 37 cm. in any direction (height or width)
The second line of the call number is a cutter number, usually for main entry, using the first letter and two to four numbers.
Use the Cutter-Sanborn Three-Figure Author Table to derive cutter numbers for composers. See Using the Cutter-Sanborn Three-Figure Author Table for instructions.
When a class number requires a specific cutter number for instrument (e.g., M110 R4), special season or occasion (e.g., M2098.M6), text (e.g., M2099.G4), etc., use the cutter number already given in Class M. When required but not specified in class M, derive the number using the LC cutter table).
Composer as main entry | Uniform title as main entry | Title proper as main entry
If the main entry is a composer, use the cutter number already for this composer:
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | V | W | XYZ |
Or use the Cutter-Sanborn Three-Figure Author Table to find the appropriate cutter number, e.g., Mozart = M939.
The Yale Music Library does not use decimal points in the cutter number: M939 not .M939
When there is a conflict with a cutter number (the number is the same as one assigned to another composer), check the class number in which the item will go to determine if another cutter for the composer has been established in that class. If there is none, search the composer's name in the catalog to see if a specific cutter has been used for that composer in other class numbers. If there is none, add an additional number to the cutter. When possible, adjust the number to ensure that the composers' names are in alphabetical order within that class number. That may require adding an additional number to the cutter number preceding the number already established for the first composer.
A7479 Arne, Michael, 1741?-1786
A748 Arne, Thomas Augustine, 1710-1778
C5975 Clarke, Herbert L. (Herbert Lincoln), 1867-1945
C598 Clarke, Jeremiah, 1669?-1707
K96 Kuhlau, Friedrich, 1786-1832
K965 Kuhnau, Johann, 1660-1722
B117 Bach, Carl Philipp Emanuel, 1714-1788
B1171 Bach, Georg Christoph, 1642-1697
B1172 Bach, Johann Christian, 1735-1782
B1173 Bach, Johann Christoph, 1642-1703
B1174 Bach, Johann Christoph Friedrich, 1732-1795
B1175 Bach, Jan
B1176 Bach, Johann Ernst, 1722-1777
B1177 Bach, Johann Ludwig, 1677-1731
B1178 Bach, Johann Michael, 1648-1694
B118 Bach, Johann Sebastian, 1685-1750
S911 Straus, Oscar, 1870-1954
S9111 Strauss, Christoph, approximately 1575-1631
S9113 Strauss, Eduard, 1835-1916
S9114 Strauss, Franz, 1822-1905
S9115 Strauss, Johann, 1804-1849
S9116 Strauss, Johann, 1825-1899
S9118 Strauss, Josef, 1827-1870
S912 Strauss, Richard, 1864-1949
If the main entry is a uniform title (130), cutter by the first word.
Squarcialupi codex.
Il codice Squarcialupi ...
ML96.5 S773
Codex Faenza. Selections.
Three madrigals for keyboard ...
M11 C669
If the main entry is the title proper (245), cutter by the first word, excluding any initial article.
Assumpta est Maria : for 4 or 5 instruments ...
M990 A851
The Fitzwilliam virginal book ...
M21 F564 1949
Additional elements for title are added in most cases. It is best to use the same type of additional element for a composer's work in a given class number. Preferably, the choice of additional element is in this order of preference, but existing practice within a class number takes precedence:
1. Opus or work number
2. Serial number
3. Cutter number for first letter of the title
4. Key
5. Date of composition
6. The title is implied by the class number (e.g., M8, M23, M219, M231, M1001, etc.)
1. Opus or work number, when known. Opus or work number is the preferred means of indicating title in the call number because it is a unique identifier for the work. The number may appear on the item or you may find it in another source.
Do not add a space between the opus or work number and the number:
M1001 B415 op.91
M622 H415 H II,1
M1004 S912 AV80
M76 B118 S.1007- 1008
M246 T268 TWV41:a3
When opus or work number is available, use that element only; do not also include a cutter number for title. For example, for this piece, "op.45" is unique enough to identify this work; adding "S4" for "serenade" would be redundant, since the title is already indicated by "op.45" in the call number:
Hétu, Jacques, 1938- 2010.
Serenade, flute, string quartet, op. 45
M562 H591 op.45 not M562 H591 S4 op.45 or M562 H591 op.45 S4
When two works are included, both opus/work numbers will appear in the call number.
|
Sequential opus/work numbers |
M452 M537 op.12,13 M1620 M492 op.19,19a 1911a M221 M939 K.374a-b |
|
|
|
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Non-sequential opus/work numbers |
M25 C966 op.20, op.39 M25 G789 op.3, op.61 |
Special procedures for individual composers
J.S. Bach: Work numbers assigned to works by J.S. Bach should be preceded by S. (Schmieder) rather than BWV Bach-Werke-Verzeichnis). When needed in the uniform title, BWV rather than S is used. The number itself would be the same in either case:
M25 B118 S.906 not M25 B118 BWV906
C.P.E. Bach: Work index numbers assigned to works by C.P.E. Bach should be the W. (Wotquenne) numbers, even though the uniform titles are assigned the H. (Helm) numbers. They are not the same:
M242 B117 W.123 not M242 B117 H.550
Beethoven: for WoO numbers, use "K." instead of "WoO" in the call number. The WoO number will be the same as the K. number.
Haydn: String quartets: use the op. number instead of the H. number. The number not be the same:
Uniform title: Quartets, strings, H. III, 45, C major
Call number: M452 H415 op.50 no.2
Haydn: Symphonies: use M. instead of H. in the call number. The H. number is used in the uniform title. The number will remain the same:
Uniform title: Symphonies, H. I, 94, G major
Call number: M1001 H415 M.94
2. Serial number, when an opus or work numbering is unknown or lacking.
Do not include a space between "no." and the number so that they will appear on the same line when the label is printed.
M452 A385 no.1
M452 S559 no.1-5
For a series of numbered works with the same title for different instruments (they would class in different class numbers), cutter by the title and do not add the serial number:
| M62 B511 S4 | Berio, Luciano, 1925-2003 | [Sequenza, no. 1] | Sequenza : per flauto solo |
| M117 B511 S42 | Berio, Luciano, 1925-2003 | [Sequenza, no. 2] | Sequenza II : per arpa sola |
| M1621.2 B511 | Berio, Luciano, 1925-2003 | [Sequenza, no. 3] | Sequenza III : per voce femminile |
| M25 B511 S4 | Berio, Luciano, 1925-2003 | [Sequenza, no. 4] | Sequenza IV : for piano |
| M92 B511 S4 | Berio, Luciano, 1925-2003 | [Sequenza, no. 5] | Sequenza V : for trombone solo |
| M47 B511 | Berio, Luciano, 1925-2003 | [Sequenza, no. 6] | Sequenza VI : per viola sola |
| M67 B511 | Berio, Luciano, 1925-2003 | [Sequenza, no. 7] | Sequenza VII : per oboe solo |
| M107 B511 S4 no.7b 1 | Berio, Luciano, 1925-2003 | [Sequenza, no. 7b] | Sequenza VIIb : per sassofono soprano |
| M42 B511 S4 | Berio, Luciano, 1925-2003 | [Sequenza, no. 8] | Sequenza VIII : per violino solo |
| M107 B511 S4 no.9b 1 | Berio, Luciano, 1925-2003 | [Sequenza, no. 9b] | Sequenza IXb : per sassofono soprano |
1 The serial number is needed here because there are two works with this title, but with different serial numbers, for saxophone. They are classed in the same class number.
For a series of numbered works with the same title for the same instrument (they would class in the same class number), see below in the section on cuttering by first letter of the title.
3. First letter of the title.
Some class numbers include a cutter number as part of the class number, for examples, instrument (e.g., M110 R4), special season or occasion (e.g., M2098.M6), text (e.g., M2099.G4). Use the cutter number already given in Class M. When required but not already given in class M, derive the number using the LC cutter table).
Most class numbers, however, do not include a specific cutter number. In those cases, use the Cutter-Sanborn Three-Figure Author Table to derive cutter numbers for titles. See Using the Cutter-Sanborn Three-Figure Author Table for instructions.
In the absense of opus, work, or serial number, cutter by the first letter of the title. When there is a uniform title in the 240 field, cutter by that title. If there is no uniform title in the 240, cutter by the first word, excluding any initial article, of the title proper (245):
| M557.4 B1175 F2 | Bach, Jan. | [Fanfare and fugue, trumpets (5)] | (cuttered by uniform title (240)) |
| M557.4 B1175 L3 | Bach, Jan. | Laudes | (cuttered by title proper (245)) |
| M557.4 B1175 R8 | Bach, Jan. | [Rounds and dances, trumpets (2), horn, trombone, tuba] | (cuttered by uniform title (240)) |
When two different works by the same composer in the same class number would be assigned the same cutter number, add another number to the cutter number of the second work. As much as possible, adjust the number to ensure that the works appear in alphabetical order within that class number:
| M261 C5975 S7 | Clarke, Herbert L. ... | The southern cross |
| M261 C5975 S79 | Clarke, Herbert L. ... | Stars in a velvety sky |
For a series of numbered works with the same title for the same instrument (they would be classed in the same class number), cutter by the title and add the serial number. Do not include a space between "no." and the number so that they will appear on the same line when the label is printed.
| M25 I95 S9 no.20 | Ives, Charles, 1874-1954. | [Studies, piano, no. 20] |
| M25 I95 S9 no.21 | Ives, Charles, 1874-1954. | [Studies, piano, no. 21] |
| M25 I95 S9 no.22 | Ives, Charles, 1874-1954. | [Studies, piano, no. 22] |
| M25 I95 S9 no.23 | Ives, Charles, 1874-1954. | [Studies, piano, no. 23] |
| M25 I95 S9 no.5 | Ives, Charles, 1874-1954. | [Studies, piano, no. 5] |
When the first letter in the first word of a series of titles are all the same, which occurs with masses, madrigals, etc., cutter by the first letter of the second word:
Palestrina, Giovanni Pierluigi da, 1525?-1594.
| M2011 P157 | Masses, book 1 |
| M2011 P157 A8 | Missa, Assumpta est Maria |
| M2011 P157 D5 | Masses, book 6. Missa Dies sanctificatus |
| M2011 P157 I8 | Masses, book 5. Missa Iste confessor |
| M2011 P157 L3 | Missa Lauda Sion |
| M2011 P157 T9 | Missa, Tu es Petrus |
When two or more editions of the same work are being cataloged, adding an additional cutter number is one method of making the call number unique, as explained in the section about elements needed to make the call number unique.
| M2011 P157 P2 | Masses, book 2. Missa Papae Marcelli |
| M2011 P157 P2 L8 | Masses, book 2. Missa Papae Marcelli |
| M2011 P157 P2 S6 | Masses, book 2. Missa Papae Marcelli |
Specific works are assigned a cutter for title even when the opus, work, or serial number is known. After the cutter, a capital letter makes the call number unique as explained in the section about elements needed to make the call number unique:
Bach, Johann Sebastian, 1685-1750.
[Inventions, harpsichord, BWV 772-786]
M25 B118 I6
M25 B118 I6 A
M25 B118 I6 B
M25 B118 I6 C
M25 B118 I6 D
M25 B118 I6 E
M25 B118 I6 F
M25 B118 I6 G
M25 B118 I6 H
M25 B118 I6 I
4. Key. Use the key to distinguish among works when cuttering by title would not make sense (such as when the title is implied by the class number) and there is no other way to distinguish among them (opus, work, or serial number). For example, it would not make sense to cutter all of Telemann's sonatas for recorder by S6, S61, S62, etc. or Wagenseil's symphonies as S9, S91, S92, etc., so key is used to distinguish among them:
M242 T268 Cmaj.
M242 T268 Fmaj.
M1001 W131 Dmaj.
M1001 W131 Emaj.
M1001 W131 Fmaj.
When the key includes a flat sign, it is spelled out (e.g., flat) in the call number.
M129 P116 S9 Aflatmaj.
When there is no other means of assigning unique call numbers, the date of composition may be used. The date may appear in the uniform title, in the title proper, or in a reference source. To distinguish the piano sonata of 1949 from that of 1956:
Lilburn, Douglas, 1915-2001.
[Sonatas, piano (1949)]
M23.5 L728 1949
[Sonatas, piano (1956)]
M23.5 L728 1956
To distinguish the two violin, piano sonatas, the date is used. Since the mode of the keys were not used in the uniform title, using the letters E and C in the call numbers would imply different editions of the same work, as described in Section 6. Other below.
Hindemith, Paul, 1895-1963.
[Sonatas, violin, piano, E]
Sonate in E fur Geige und Klavier (1935)
M219.5 H662 1935
Hindemith, Paul, 1895-1963.
[Sonatas, violin, piano, C]
Sonate fur Violine und Klavier, 1939
M219.5 H662 1939
6. The title is implied by the class number (e.g., M8, M23, M219, M231, M1001, etc.)
Some class numbers imply a title, e.g.,
| M8 = organ sonatas M23 = piano sonatas (Yale practice in M23) M219 = violin sonatas (Yale practice in M219) M231 = cello sonatas (Yale practice in M231) M1001 = symphonies In these classes, it does not make sense to cutter by title because everything in that class number would be cuttered by the same cutter number, e.g., S6 for sonata or S9 for symphony If the composer has written only one work of that type that would be classed in that class number, do not include a cutter number for title: Boatwright, Howard. However, do include a cutter number for title if the work has a distinctive title, such as: Constant, Marius, 1925-2004. If the composer has written more than one sonata/sonatina or symphony in that class number, use either opus or work number, serial number, key, year, etc. to distinguish among them. For example:
These violin sonatas by Bach are cuttered by work number only, since S6 (sonata) is implied by the class number and is redundant. (Elements to make the call number unique are added as explained in the section about elements needed to make the call number unique). M219.5 B118 S.1021 [publisher: Breitkopf & Härtel Add an additional element to the call number when cataloging a part of a larger work. Parts of a larger work with a number designation | title Number designation Veracini, Francesco Maria, 1690-1768. Brahms, Johannes, 1833-1897.
When a part of a larger work has a serial number, but the work itself has no work or serial number, use a cutter number for the title of the work followed by the serial number for the part of the work: Haussmann, Valentin, active 1588-1611. When a part of a larger work has both a serial number and a title, generally use the serial number rather than a cutter number for the part in the call number: When the work itself has a work, opus, or serial number, but the individual parts have titles, but no numbers, use the work, opus, or serial number for the larger work with a cutter number for title of the part. Mozart's incidental music Thamos, König in Ägypten is K. 345; the individual parts are titled but not numbered: Two or more (but not all) numbered parts are included: Sequentially numbered parts: Byrd, William, 1539 or 1540-1623. Satie, Erik, 1866-1925. Bach, Johann Christian, 1735-1782. Sonatas, keyboard instrument, op. 5. No. 2-4 Corelli, Arcangelo, 1653-1713. Kozeluch, Leopold, 1747-1818. Rheinberger, Josef, 1839-1901. Non-sequentially numbered parts: Dering, Richard, approximately 1580-1630. When a composer has written several "books" with the same title, include the book number in the call number when only the item in hand does not contain all the books: Godard, Benjamin, 1849-1895. Buus, Giacques, -1565. Debussy, Claude, 1862-1918. Two books of madrigals are included in this edition: Loeillet, Jean Baptiste, 1688- Even when an equivalent word for "book" is used in the uniform title, but the English abbreviation "bk." in the call number: Byrd, William, 1539 or 1540-1623. In these examples, however, the abbreviation for the word "series" or "part" is the word used in the uniform title. Use that in the call number: Wolpe, Stefan. For parts of a larger work with a title, add a cutter number for it on a separate line: Copland, Aaron, 1900-1990. Wagner, Richard, 1813-1883. Strozzi, Barbara, 1619-1677. Monteverdi, Claudio, 1567-1643. Gussago, Cesario. Frescobaldi, Girolamo, 1583-1643. Banchieri, Adriano, 1568-1634. Franck, Melchior, -1639. Guami, Gioseffo, 1542-1611. Cavaccio, Giovanni, approximately 1556-1626. Further elements needed to make the call number unique A capital letter, date of publication when a publisher reissues a work, cutter number by vocal range, publisher, editor, or some other aspect can be used. Some works are assigned a letter rather than an opus or work number or cutter. When the end of the alphabet is reached, begin with AA, BB, etc. When to use this practice can be determined only by consulting the shelflist. When a work is in many editions, frequently a capital letter is added to the call number: Bach, Johann Sebastian, 1685-1750. Other works are assigned capital letters rather than other available elements because the call number assigned to the first cataloged edition did not include any of those elements. For example, Bach's cello suites might normally be assigned the call number M51 B118 S.1007-1012. However, it was originally assigned the call number M51 B118 and we must follow that practice. To distinguish among the various editions, a capital letter is added to the call number for each new edition that is cataloged: Bach, Johann Sebastian, 1685-1750. Score and parts: Date of publication when a publisher reissues the piece: Add the date of publication when a publisher reissues the same work at a later date: Carter, Elliott, 1908-2012. Rossini, Gioacchino, 1792-1868.
Title: Italian arias of the Baroque and Classical eras
Schubert, Franz, 1797-1828.
Haydn, Joseph, 1732-1809.
1This call has number for this edition has no cutter for publisher because it was the first edition added to the collection. This chart lists the cutter numbers already established for the major music publishers. Use the the Cutter-Sanborn Three-Figure Author Table for any not listed here.
Use the Cutter-Sanborn Three-Figure Author Table for the editor. Generally use only one number following the letter (e.g., B4 rather than B47 or B475 for the editor Rita Benton) unless a longer cutter number is needed to break a conflict. Debussy, Claude, 1862-1918.
Here, the cutter number for editor for the second item needs an additional number to break the conflict with the call number for the first item.:
An extra number is added to the title cutter number to indicate that the item is a translation. Reserve number 1 for translations from any language into English; any other number can be used for translations from any language into any language other than English. This is generally the case with books; however, practice varies with scores due to the high number of translations for vocal scores. Usually, another means of indicating the item is a translation is used, one of the elements needed to make the call number unique. In this example, an extra number is added to the title cutter number (although "1" is used for an Italian translation): Massenet, Jules, 1842-1912. Add the original date of publication followed by a lower case letter as the last line of the call number. This is added whether or not we own the original edition. If not, when we receive it, it would be assigned the same call number as the reprint minus the lower case letter following the date: Senaille, Jean Baptiste, approximately 1688-1730. If we receive more than one reprint of the same publication, assign lower case letters to the original date of publication alphabetically: Scarlatti, Domenico, 1685-1757. Scarlatti, Domenico, 1685-1757. An incorrect way of doing this is adding an additional cutter number, as was done below: Original edition: Reprint received first: Reprint received second: |