In AACR2 and RDA until April 2014, the following practice was applied to works for three to five instruments that fall into one of the standard combinations:

Former practice: works for three to five instruments considered to be standard combinations followed the treatment outlined in this table:

The April 2014 RDA update eliminated this practice.

Current practice: Name each instrument.
Note: LCSH still uses the names of standard chamber combinations followed by the word "music"; e.g., Piano trio music, String quartet music.

AACR2:

RDA:

AACR2:

RDA:

AACR2:

RDA:

The order of further subfields in an authorized access point has changed from AACR2 to RDA:
Damian Iseminger, MOUG-L, 10/8/2014:
"Since Selections is considered a work element in RDA, it should be with the work subfields.
For the remaining additions, RDA prescribes no order, but several of us have advocated for using AACR2 order. Thus:
   ° Sketches,
   ° Arrangement,
   ° Vocal score(s),
   ° Chorus score(s),
   ° Language."

In other words
   ° Work subfields: t, m, n, r, k
   ° Expression subfields: o, s, l

AACR2:

RDA:

AACR2:

RDA:

Best practices for music cataloging [72]: Follow LC-PCC PS.

Construct the access point for an arrangement, etc. of a work or part or parts of a work, broadly speaking, in the category of "serious," "classical," or "art" music:
     ° the authorized access point representing the original work (6.28.1.1-6.28.1.8 [15] and 6.28.1.9-6.28.1.11 [16]) or part or parts of the work (6.28.2 [17]), as applicable
     ° the term arranged
Apply this instruction also to a transcription by the original composer.

Example:
Concertos, ‡m cello, orchestra, ‡n op. 104, ‡r B minor; ‡o arranged.

LC-PCC PS: LC practice: When identifying an expression not already represented by a name authority record, do not add another characteristic to differentiate one such expression from another expression (e.g., do not differentiate one arrangement of Berlioz' Corsaire from another arrangement). Other elements in LC's bibliographic record (e.g., date, medium of performance) are available to the user for selecting a specific expression if desired; RDA 0.6.3 allows differentiating characteristics to be recorded as separate elements or as part of the authorized access points. If there is a name authority record with an authorized access point for an expression that includes an additional characteristic LC would not have added, use the form of the access point in that authority record; this action is consistent with the LC/PCC policy of using authorized access points in existing name authority records.

LC-PCC PS: LC practice:
° Do not add arranged to the preferred title for a musical work to which an accompaniment or other parts have been added with no alteration of the original music
° For notated music, classify the resource as an arrangement, assign subject headings for both the expanded and the original media of performance, and add "Arranged" to the subject heading for the expanded version.

If the resource described contains expressions of the work in more than one language, create access points for each of the language expressions.

LC-PCC PS: LC practice: If the resource described contains expressions of the same musical work in more than one language, identify an expression in a language different from that of the original expression by adding the name of the language in subfield $l to the authorized access point. When the original expression and one translation are in a compilation, give an analytical authorized access point for each expression. If a compilation contains the original expression and more than one translation, give analytical authorized access points for the original expression and at least one translation. See the LC-PCC PS for 6.27.3.:

Identify an expression in a language different from that of the original expression by adding the name of the language in subfield $l to the authorized access point for the work.
When the original expression and one translation are in a compilation, give an analytical authorized access point for each expression. If a compilation contains the original expression and more than one translation, give analytical authorized access points for the original expression and at least one translation.

Example:
2013568182
    100 1_ Smetana, Bedřich, ‡d 1824-1884, ‡e composer.
    240 10 Prodaná nevěsta. ‡p Ten laśky sen. ‡l English
    500 __ English and Czech words; translated from Czech.
    700 12 Smetana, Bedřich, ‡d 1824-1884. ‡t Prodaná nevěsta. ‡p Ten laśky sen. ‡l Czech.

These instructions cover:
     a. musical works with lyrics, libretto, text, etc. (6.28.1.2)
     b. pasticcios, ballad operas, etc. (6.28.1.3)
     c. works composed for choreographic movement (6.28.1.4)
     d. adaptations of musical works (6.28.1.5)
     e. operas and other dramatic works with new text and title (6.28.1.6)
     f. cadenzas (6.28.1.7)
     g. musical scores and incidental music for dramatic works, etc. (6.28.1.8)

These instructions do not cover:
     ° music that is officially prescribed as part of a liturgy
     ° librettos and other texts for musical works

LC-PCC PS: Do not make an addition to the authorized access point when one or more instrumental parts for a work or a compilation of works by one composer are published separately. Use the same authorized access point that would be used for a score or a complete set of parts.
Best practices for music cataloging [73]: Follow LC-PCC PS.

Best practices for music cataloging [73]: Album compilations (audio recordings) can be candidates for category d only when the performer(s) associated with them are judged to be creators at the album level, thereby warranting the use of a 1XX field in the bibliographic record. The mere fact that a performer is prominently named in a resource is not sufficient justification for deeming that performer to be a creator, and thus the aggregate work to be a derivation subject to this rule. ...
[A]pply this rule to album compilations according to the following criteria, regardless of genre:
     1) Do all of the component works in the compilation meet the definition given in category d?
     and
     2) Does the compilation as a whole constitute a distinct artistic creation of the performer(s)?
If the above criteria do not apply, and in cases of doubt, apply 6.27.1.4 and identify the album compilation by title.

For a musical work that includes words in the form of lyrics, a libretto, text, etc. (e.g., a song, opera, musical comedy), construct the authorized access point representing the work by combining (in this order):
     ° the authorized access point representing the composer of the music
     ° the preferred title [6] for the work

Libretto vs. lyrics:
Libretto = the words of an opera or other musical stage work, or an oratorio.
Lyrics = the words of a popular song, including a song or songs from a musical

Music Bibliographic Access Section (MBAS), Music Division, Library of Congress interim^* best practice to follow when encountering access points for operas, musicals, etc. for which the music and libretto is by the same creator:
Due to the intense retroactive BFM required by RDA instructions for creator access points of operas, musicals, etc. (6.27.1.2, 6.27.4.2, 6.28.1.2, 6.28.1.10, 6.28.3.5), MBAS, in consultation with PSD, has devised the following interim instructions for constructing and updating these access points. These directions illustrate how one group of catalogers is dealing with the issue; they are not necessarily directions for others to follow.

If the creator of an opera, musical, etc. is responsible for both music and libretto, do not follow the RDA instructions to differentiate access points for the music and for the libretto via qualifiers "(Opera)" and "(Libretto)." Instead, continue to structure and record these access points as under AACR2.

For newly created access points:
     ° follow AACR2 for structure
     ° do NOT code the authority record "rda"
     ° employ new MARC fields as applicable
     ° include 667 note reading: "This AACR2 1XX field should be used in RDA records pending a formal review of RDA instructions for composer-librettist authorized access points."

For unavoidable 1XX changes to existing access points:
     ° follow AACR2 for structure
     ° do NOT code the authority record "rda"
     ° employ new MARC fields as applicable
     ° include 667 note reading: "This AACR2 1XX field should be used in RDA records pending a formal review of RDA instructions for composer-librettist authorized access points."

The RDA instructions for authorized access points of this type will be reviewed by the RDA Music Joint Working Group. Should a change be desired, the Group will submit a change request to the JSC. It may also happen that North American constituencies agree to an LC-PCC PS addressing these instructions. Changes may involve different instructions for retrospective NARs vs. new authorities or may require changes in coding, e.g., recoding "‡s Libretto" to "‡p Libretto."
Source: edited from a message on NMP-L, the listserv for the NACO-Music Project, 5/10/2013, from Joe Bartl, Head, Music Bibliographic Access Section, Music Division, Library of Congress
Update of 8/8/2013: NACO Music Project Coordinator Mark Scharff announced on NMP-L that the NACO Music Project Advisory Committee recommendation is to follow LC practice given above.

In case of doubt about whether a work is an arrangement, etc., or an adaptation, treat it as an arrangement, etc. (6.28.3.2)

If the cadenza does not have its own title, devise a title by applying the instructions at 2.3.2.1 and 2.3.2.11 (Devised titles for music):
If the resource itself bears no title, and a title cannot be found in any of the other sources of information specified under 2.2.4 [76], devise a brief descriptive title that includes, as applicable:
     ° medium of performance,
     ° numeric designation (e.g., serial number, opus number),
     ° key,
     ° and/or other distinguishing characteristic.

For a work for solo instrument or instruments and accompanying ensemble, add the terms for the solo instrument or instruments followed by the term for the accompanying ensemble

Exceptions:
a) Omit the medium of performance when one or more of the following conditions apply:
     ° i) the medium is implied by the title:

          » add the medium when it is not implied by the title
     ° ii) the work consists of a set of compositions for different media, or is one of a series of sets of compositions with the same title but for different media
          » Barrière, Jean, ‡d 1707-1747. ‡t Sonatas, ‡n book 1 [for cello and continuo]
          » Barrière, Jean, ‡d 1707-1747. ‡t Sonatas, ‡n book 6 [for harpsichord]
     ° iii) the medium was not indicated by the composer
     ° iv) the medium of performance cannot be recorded succinctly and other elements are more useful for identifying the work (e.g., thematic index number or opus number)

b) If there is more than one part for a particular instrument or voice, add the number of parts:
     Duets, ‡m violins (2)
     Quartets, ‡m violin, violas (2), cello
     Septet, ‡m piano, flutes (2), violins (2), viola, cello
     Septet, ‡m piano, violins (3), viola, cellos (2)

c) Do not add the number of players for percussion:
     Concertinos, ‡m piano, saxophones (4), harp, percussion, string orchestra
          The percussion parts require 4 performers
     Serenade, ‡m piano, flute, percussion, violin, cello, double bass
          The percussion parts require 2 performers
     Divertimento, ‡m trumpets (6), horns (2), trombones (3), tuba, percussion
          The percussion parts require 3 performers

d) Omit the designation of the key in which an instrument is pitched or terms indicating a range
e) Omit alternative or doubling instruments.
f) For an accompanying ensemble with one performer to a part, record the appropriate term for the ensemble (see 6.15.1.6) rather than the individual instruments.
g) Omit solo voices if the medium includes a chorus.

Best practices for music cataloging [72]: Follow LC-PCC PS: Interpret "one or more of the following" to mean "all of the following that are applicable and readily ascertainable."
_________________________________________
Numeric designation:

In some cases, thematic index numbers are to be preferred to opus numbers. Consult Thematic indexes used in the Library of Congress/NACO authority file [78].
     ° For a quick list, see Work numbers for composers [19].

LC-PCC PS: Serial number:
Record a serial number if works with the same title and the same medium of performance are consecutively numbered in music reference sources.
Record serial number if works with the same title for different media are consecutively numbered in music reference sources if the medium of performance is omitted from the authorized access point per 6.28.1.9.1 exception a) ii)

When recording a serial number that is accompanied in the source by a term such as "number," "book," "collection," etc., apply the following:

Examples:

Year of completion of composition:
n 2013023708 Gorton, David, ‡d 1978- ‡t Sonatas, ‡m cello ‡n (2005)
no 98040650 Heise, Peter, ‡d 1830-1879. ‡t Sonatas, ‡m cello, piano, ‡r A minor (1867)
no2013046123 Berwald, Franz, ‡d 1796-1868. ‡t Trios, ‡m ... ‡r C major ‡n (1845)
no2013046125 Berwald, Franz, ‡d 1796-1868. ‡t Trios, ‡m ... , ‡r E♭ major ‡n (1849a)
no2013046124 Berwald, Franz, ‡d 1796-1868. ‡t Trios, ‡m ... , ‡r C major ‡n (approximately 1850)

Name of the first publisher:
no2011039148 Devienne, François, ‡d 1759-1803. ‡t Trios, ‡m flute, violin, cello (Gaveaux)
no 00065690 Devienne, François, ‡d 1759-1803. ‡t Trios, ‡m flute, violin, cello (Imbault)

no 98040609 Gyrowetz, Adalbert, ‡d 1763-1850. ‡t Divertimenti, ‡m piano, flute, cello, ‡n op. 50 (André), ‡r A major
n 85337308 Boccherini, Luigi, ‡d 1743-1805. ‡t Sonatas, ‡m cello, continuo, ‡r A major (Zanibon)
n 84039977 Danzi, Franz, ‡d 1763-1826. ‡t Duets, ‡m viola, cello, ‡n op. 9 (Schott)

Manuscript repository and number:
n 2013017841 Graziani, Carlo, ‡d -1787. ‡t Sonatas, ‡m cello, continuo, ‡r D major (Staatsbibliothek zu Berlin Preussischer Kulturbesitz: M1942)

Number within Gordon Dodd's Thematic index of music for viols:
no2010145153 Ferrabosco, Alfonso, ‡d approximately 1575-1628. ‡t Almans, ‡m viols (5) (VdGS no. 1)

The number is instruments/elements included in the medium of performance is no longer limited to three, as in AACR2 25.30B1
Sextet, ‡m oboe, clarinet, bassoon, violin, viola, cello
Fantasia, ‡m horns (4), trumpets (3), trombones (3), tuba, timpani
Serenades, ‡m oboes (2), clarinets (2), bassoons (2), contrabassoon, horns (3), cello, double bass
Octet, ‡m celesta, flute, clarinet, percussion, violin, viola, cello, double bass
Septet, ‡m clarinet, bassoon, horn, violin, viola, cello, double bass
Nonet, ‡m flute, oboe, clarinet, horn, bassoon, violin, viola, cello, double bass

Indicating number of instruments:
Octet, ‡m clarinet, bassoon, horn, violins (2), viola, cello, double bass
Octet, ‡m clarinet, bassoon, percussion, violin, viola, cello, double bass
     There are two parts for percussion; the number of percussion parts is not indicated.
Serenade, ‡m clarinet, bassoon, horn, violins (2), viola, cello, double bass
Sextet, ‡m trumpets (3), horn, trombones (2)
Septet, ‡m trumpets (3), horn, trombones (2), tuba
Allegros, ‡m violins (2), violas (2), cello, double bass
Pieces, ‡m flute, harp, violins (2), viola, cello
Serenades, ‡m oboes (2), clarinets (2), bassoons (2), contrabassoon, horns (3), cello, double bass
Concertos, ‡m horns (4), trumpets (3), trombones (3), tuba, orchestra

Score order:
Nocturne, ‡m piano, flute, clarinet, violin, cello, percussion
     ° note that score order in the resource puts percussion following the strings
Octet, ‡m violin, viola, cello, flute, clarinet, bassoon, horns (2)
     ° note that score order in the resource places the strings before the winds
Octet, ‡m clarinet, bassoon, horn, violins (2), viola, cello, double bass
Octet, ‡m clarinet, horn, bassoon, violins (2), viola, cello, double bass
     ° note that score order is not set; in these two octets, the bassoon is above the horn in the score in the first, but follows the horn in the second

Accompanied vocal works:
Songs
     The implied medium of performance for the preferred title "Song" is a single voice and piano accompaniment. A statement of medium of performance is included only when the medium of performance or accompaniment is other than a single voice or piano accompaniment.
Songs, ‡m piano, violin, cello accompaniment
Songs, ‡m violins (2), viola, cello accompaniment
Songs, ‡m flute, viola, cello accompaniment
Songs, ‡m viols (4) accompaniment
Lieder, ‡m orchestra accompaniment

Unaccompanied vocal works:
Responses, ‡m mixed voices, unaccompanied
Vocalises, unaccompanied

(6.28.1.11) Additions to resolve conflict:
If the additions above are insufficient to resolve a conflict, add one or more of the following:
     ° a numeric designation [11] (6.16),
     ° a key [12] (6.17)
     ° the year of completion of composition (6.4 [79])
     ° the year of original publication (6.4 [79])
       and/or
     ° any other identifying element, such as place of composition (6.5 [80]), or the name of the first publisher (6.6).

Alternative:
When identifying two or more parts of a musical work, identify the parts collectively.
Construct the authorized access point representing the parts by combining (in this order):
     ° the authorized access point representing the work as a whole (6.28.1 [15] and 6.14.2.7.2 alternative [84])
     ° the term Selections following the preferred title for the whole work.

Alternative: When identifying two or more parts that are unnumbered or non-consecutively numbered, identify the parts collectively. Construct the authorized access point representing the parts by combining (in this order):
     ° the authorized access point representing the work as a whole (6.28.1.1-6.28.1.8 [15] and 6.28.1.9-6.28.1.11 [16])
     ° the term Selections following the preferred title for the whole work.

LLC-PCC PS: LC practice for Alternative: Add Selections to the authorized access point representing the work as a whole.
Best practices for music cataloging [72]: Follow Alternative only if giving separate access points for the individual parts is not feasible.

Alternative: Construct the authorized access point representing the work by combining (in this order):
a) the authorized access points for all creators named either in resources embodying the work or in reference sources; include them in the order in which they are named in those sources; apply the guidelines and instructions at 9.19.1 for persons, 10.11.1 for families, or 11.13.1 for corporate bodies, as applicable
b) the preferred title for the work (see 6.2.2 (6.14 [6] for musical works)).

LC practice/PCC practice for Alternative: Do not apply the alternative.

Musical works. For collaborations between a composer and a lyricist, librettist, choreographer, etc., apply the instructions at 6.28.1.2 [86]–6.28.1.4 [87].

If two or more persons, families, or corporate bodies are represented as having principal responsibility for the work, construct the authorized access point representing the work by combining (in this order):
a) the authorized access point representing the first-named of those persons, families, or corporate bodies
b) the preferred title for the work (see 6.2.2 (6.14 [6] for musical works).

If principal responsibility for the work is not indicated, construct the authorized access point representing the work by combining (in this order):
a) the authorized access point representing the first-named person, family, or corporate body
b) the preferred title for the work (see 6.2.2 (6.14 [6] for musical works).

If there is no consistency in the order in which the persons, families, or corporate bodies responsible for the work are named either in resources embodying the work or in reference sources, construct the authorized access point representing the work by combining (in this order):
a) the authorized access point representing the person, family, or corporate body who is named first in the first resource received
b) the preferred title for the work (see 6.2.2 (6.14 [6] for musical works).

If the compilation lacks a collective title, construct separate access points for each of the works in the compilation.

Alternative: Construct an authorized access point representing the compilation by using a devised title (2.3.2.11 [88]). Construct this access point instead of, or in addition to, access points for each of the works in the compilation.
LC practice/PCC practice for Alternative: Generally, do not apply the alternative.

• Edition 49 [340]
• Accolade Musikverlag [341]
• C. Alan Publications [342] Band and percussion music emphasis
• Alliance Publications [343] (specializes in Czech and Slovak music)
• Amadeus [344]
• Amos Editio [345]
• AVK [346] (New Consonant Music)
• Ballerbach [347]
• Bardic Edition [348]
• Bayard-Nizet [349] (modern music, principally by Belgian composers)
• Befoco-Verlag [350]
• Billaudot [351]
• Editions Bim [352]
• BMIC [353] (British Music Information Centre)
• Bnote [354]
• Bodensee [355]
• Boosey [356]
• Brassworks 4 [357]
• Carpe Diem Music [358]
• Carus Verlag [359]
• CeBeDeM [360]
• M.J. Cerri [361]
• Clivis Publicacions [362]
• Ceskly Rozhlas Nakladatelstvi [363] (Cezch Radio)
• Cimmaron [364]
• Editions Combre [365]
• Edizioni Curci [366]
• Dacapo Records [367] good for Danish composers and performers
• Edition Daminus [368]
• Donemus [369]
• ECS Pub. [370]
• eNoty [371]
• Estonian Music.com [372]
• Edition Ex tempore [373]
• Editions Daminus [374]
• Dinsic [375]
• Doblinger [376]
• Edition Dohr [377]
• Donemus [378]
• Doberman-Yppan [379]
• Durand-Eschig-Salabert [380] pdf catalogs by medium of performance
• Canadian composers [381] from Eighth Note Publications
• Durand-Eschig-Salabert [380] pdf catalogs by medium of performance
• European American Music Distributors Corp. [382]: European American, Helicon, Universal Edition
• Faber Music: [383] contemporary composer [384] | educational composers [385] | film and TV composers [386]
• FJH Music [387]
• Frog Peak Music [388]
• Theodore Front [389] 20th-century composers in Front's approval plan
• Galaxy [370]
• Goldberg Edições Musicais [390]
• W.G. Haas [391]
• W. Hansen [392]
• Harrassowitz [393] list of 20th and 21st centuries composers
• Heinrichshofen [394] (composers listed in no apparent order)
• Edition HH [395]
• Hildegard Publishing Company [396]
• Hubert-Hoche-Musikverlag [397]
• Edition Hoffmann [398] (double bass literature; includes birth/death dates)
• Bill Holab Music [399]
• HoneyRock [400] (publisher of percussion music)
• International Opus [401]
• Japan Federation of Composers [402]
• Jobert [403]
• Jomar Press [404]
• Kallisti Music Press [405]
• Kammermusik Verlag [406]
• Kendor Music [407]
• Keys Press [408]
• K.O.M. Musikverlag [409]
• Kompozitor [410]
• Martin Krämer Musikverlag [411]
• Laurentius-Musikverlag [412]
• Leisure Planet Music [413]
• H. Lemoine [414]
• Leonarda Productions [415] (strong focus on women composers)
• Lothringer [416]
• Lux Nova Press [417]
• Edition Margaux [418]
• Media Press [419]
• Meredith Music [420]
• Merseburger [421]
• MMB Music [422]
• Musica Baltica [423]
• Editions Musicales européennes [424]
• Muziekuitgeverij van Teeseling [425] (Dutch)
• Verlag Neue Musik [426]
• New Consonant Music [427] (series published by Alain Van Kerckhoven)
• Notissimo [428]
• Edition Nova Vita [429]
• Robert Ostermeyer Musikedition [430]
• Oxford University Press [431]
• Productions d'Oz [432]
• Peer Music [433]
• J.W. Pepper [434]
• Peters [435] (modern composers)
• Phylloscopus Publications [436]
• Piles Editorial [437]
• Pizzicato [438]
• Potenza Music [439]
• T. Presser [440]
• Productions d'Oz [441]
• Promethean Editions [442]
• PWM [443]
• Red Frog Music [444]
• Red House Editions [445]
• Editions Marc Reift [446]
• Edition Reimers [447]
• Ricordi [448] (German composers) Ricordi [449] (Italian composers)
• Rosewood Publications [450]
• Durand-Eschig-Salabert [380] pdf catalogs by medium of performance
• Edition Samfundet [451]
• Schirmer [452]
• Schott [453]
• Schweitzer Musikedition [454]
• Seilkopf-Verlag [455]
• Shawnee Press [456]
• Sikorski [457]
• Sloway Music [458]
• Smith Publications [459]
• Casa musicale Sonzogno [460]
• SOUNZ [461]
• Studio 4 Music [462]
• Subito Music [463]
• Tecla [464]
• Edition Text + Kritik [465]: Komponisten der Gegenwart
• Theophilius [466]
• Transcontinental Music [467] (publisher of Jewish music); scroll down to pull down menu in lower right column
• Tre Media Edition [468]
• TrevCo [469]
• Triangiel Music Publishers [470] (Polish)
• Tritó [471] Catalan composers
• Universal Edition [472]
• Muziekuitgeverij Van Teeseling [425]
• Edition Viento [473]
• Verlag Vierdreiunddreissig [474]
• Vogt & Fritz [475]
• Vox Novus [476]
• VP Music Media [477] guitar music
• Warwick Music [478]
• Edizioni Musicali Wicky [479]
• Wolfhead Music [480]
• Yelton Rhodes Music [481]
• United Music Publishers [482]
• University of York Music Press [483]
• Zentralbibliothek Zürich Kantons-, Stadt- und Universitäatsbibliothek [484]

• Edition 49 [486]
• Accolade Musikverlag [487]
• C. Alan Publications [488] Band and percussion music emphasis
• Alliance Publications [489] (specializes in Czech and Slovak music)
• Amadeus [490]
• Amos Editio [491]
• AVK [492] (New Consonant Music)
• Ballerbach [493]
• Bardic Edition [494]
• Bayard-Nizet [495] (modern music, principally by Belgian composers)
• Befoco-Verlag [496]
• Billaudot [497]
• Editions Bim [498]
• BMIC [499] (British Music Information Centre)
• Bnote [500]
• Bodensee [501]
• Boosey [502]
• Brassworks 4 [503]
• Carpe Diem Music [504]
• Carus Verlag [505]
• CeBeDeM [506]
• M.J. Cerri [507]
• Clivis Publicacions [508]
• Ceskly Rozhlas Nakladatelstvi [509] (Cezch Radio)
• Cimmaron [510]
• Editions Combre [511]
• Edizioni Curci [512]
• Dacapo Records [513] good for Danish composers and performers
• Edition Daminus [514]
• Donemus [515]
• ECS Pub. [516]
• eNoty [517]
• Estonian Music.com [518]
• Edition Ex tempore [519]
• Editions Daminus [520]
• Dinsic [521]
• Doblinger [522]
• Edition Dohr [523]
• Donemus [524]
• Doberman-Yppan [525]
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• Canadian composers [527] from Eighth Note Publications
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• European American Music Distributors Corp. [528]: European American, Helicon, Universal Edition
• Faber Music: [529] contemporary composer [530] | educational composers [531] | film and TV composers [532]
• FJH Music [533]
• Frog Peak Music [534]
• Theodore Front [535] 20th-century composers in Front's approval plan
• Galaxy [516]
• Goldberg Edições Musicais [536]
• W.G. Haas [537]
• W. Hansen [538]
• Harrassowitz [539] list of 20th and 21st centuries composers
• Heinrichshofen [540] (composers listed in no apparent order)
• Edition HH [541]
• Hildegard Publishing Company [542]
• Hubert-Hoche-Musikverlag [543]
• Edition Hoffmann [544] (double bass literature; includes birth/death dates)
• Bill Holab Music [545]
• HoneyRock [546] (publisher of percussion music)
• International Opus [547]
• Japan Federation of Composers [548]
• Jobert [549]
• Jomar Press [550]
• Kallisti Music Press [551]
• Kammermusik Verlag [552]
• Kendor Music [553]
• Keys Press [554]
• K.O.M. Musikverlag [555]
• Kompozitor [556]
• Martin Krämer Musikverlag [557]
• Laurentius-Musikverlag [558]
• Leisure Planet Music [559]
• H. Lemoine [560]
• Leonarda Productions [561] (strong focus on women composers)
• Lothringer [562]
• Lux Nova Press [563]
• Edition Margaux [564]
• Media Press [565]
• Meredith Music [566]
• Merseburger [567]
• MMB Music [568]
• Musica Baltica [569]
• Editions Musicales européennes [570]
• Muziekuitgeverij van Teeseling [571] (Dutch)
• Verlag Neue Musik [572]
• New Consonant Music [573] (series published by Alain Van Kerckhoven)
• Notissimo [574]
• Edition Nova Vita [575]
• Robert Ostermeyer Musikedition [576]
• Oxford University Press [577]
• Productions d'Oz [578]
• Peer Music [579]
• J.W. Pepper [580]
• Peters [581] (modern composers)
• Phylloscopus Publications [582]
• Piles Editorial [583]
• Pizzicato [584]
• Potenza Music [585]
• T. Presser [586]
• Productions d'Oz [587]
• Promethean Editions [588]
• PWM [589]
• Red Frog Music [590]
• Red House Editions [591]
• Editions Marc Reift [592]
• Edition Reimers [593]
• Ricordi [594] (German composers) Ricordi [595] (Italian composers)
• Rosewood Publications [596]
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• Edition Samfundet [597]
• Schirmer [598]
• Schott [599]
• Schweitzer Musikedition [600]
• Seilkopf-Verlag [601]
• Shawnee Press [602]
• Sikorski [603]
• Sloway Music [604]
• Smith Publications [605]
• Casa musicale Sonzogno [606]
• SOUNZ [607]
• Studio 4 Music [608]
• Subito Music [609]
• Tecla [610]
• Edition Text + Kritik [611]: Komponisten der Gegenwart
• Theophilius [612]
• Transcontinental Music [613] (publisher of Jewish music); scroll down to pull down menu in lower right column
• Tre Media Edition [614]
• TrevCo [615]
• Triangiel Music Publishers [616] (Polish)
• Tritó [617] Catalan composers
• Universal Edition [618]
• Muziekuitgeverij Van Teeseling [571]
• Edition Viento [619]
• Verlag Vierdreiunddreissig [620]
• Vogt & Fritz [621]
• Vox Novus [622]
• VP Music Media [623] guitar music
• Warwick Music [624]
• Edizioni Musicali Wicky [625]
• Wolfhead Music [626]
• Yelton Rhodes Music [627]
• United Music Publishers [628]
• University of York Music Press [629]
• Zentralbibliothek Zürich Kantons-, Stadt- und Universitäatsbibliothek [630]

• C. Alan Publications [488] Band and percussion music emphasis
• Alliance Publications [631] (specializes in Czech and Slovak music)
• Amadeus [632]
• Amos Editio [491]
• AVK [633] (New Consonant Music)
• Bardic Edition [494]
• Bayard-Nizet [495] (modern music, principally by Belgian composers)
• Billaudot [634]
• Editions Bim [635]
• Bnote [636]
• Bodensee [637]
• Boosey & Hawkes [502]
• Brassworks 4 [638]
• Carpe Diem Music [504]
• Carus Verlag [505]
• CeBeDeM [506]
• Clivis Publicacions [639]
• Ceskly Rozhlas Nakladatelstvi [640] (Cezch Radio)
• Cimmaron [510]
• Editions Combre [641]
• Edizioni Curci [642]
• Dacapo Records [643] good for Danish composers and performers
• Edition Daminus [644]
• Donemus [645]
• ECS Pub. [646]
• eNoty [517]
• Estonian Music.com [518]
• Edition Ex tempore [575]
• Dinsic [521]
• Doblinger [522]
• Edition Dohr [523]
• Donemus [524]
• Doberman-Yppan [525]
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• Canadian composers [527] from Eighth Note Publications
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• European American Music Distributors Corp. [528]: European American, Helicon, Universal Edition
• Faber Music: [529] contemporary composer [530] | educational composers [531] | film and TV composers [532]
• FJH Music [533]
• Frog Peak Music [534]
• Theodore Front [535] 20th-century composers in Front's approval plan
• Galaxy [516]
• Goldberg Edições Musicais [536]
• W.G. Haas [537]
• W. Hansen [538]
• Harrassowitz [539] list of 20th and 21st centuries composers
• Heinrichshofen [540] (composers listed in no apparent order)
• Edition HH [541]
• Hildegard Publishing Company [542]
• Hubert-Hoche-Musikverlag [543]
• Edition Hoffmann [544] (double bass literature; includes birth/death dates)
• Bill Holab Music [545]
• HoneyRock [546] (publisher of percussion music)
• International Opus [547]
• Japan Federation of Composers [548]
• Jobert [549]
• Jomar Press [550]
• Kallisti Music Press [647]
• Kammermusik Verlag [552]
• Kendor Music [553]
• Keys Press [554]
• K.O.M. Musikverlag [555]
• Kompozitor [556]
• Martin Krämer Musikverlag [557]
• Laurentius-Musikverlag [558]
• Leisure Planet Music [559]
• H. Lemoine [560]
• Leonarda Productions [561] (strong focus on women composers)
• Lothringer [562]
• Lux Nova Press [563]
• Edition Margaux [564]
• Media Press [565]
• Meredith Music [566]
• MMB Music [568]
• Musica Baltica [569]
• Editions Musicales européennes [570]
• Muziekuitgeverij van Teeseling [571] (Dutch)
• Verlag Neue Musik [572]
• New Consonant Music [573] (series published by Alain Van Kerckhoven)
• Notissimo [574]
• Edition Nova Vita [575]
• Robert Ostermeyer Musikedition [576]
• Oxford University Press [577]
• Productions d'Oz [578]
• Peer Music [579]
• J.W. Pepper [580]
• Peters [581] (modern composers)
• Phylloscopus Publications [582]
• Piles Editorial [583]
• Pizzicato [584]
• Potenza Music [585]
• T. Presser [586]
• Productions d'Oz [587]
• Promethean Editions [588]
• PWM [589]
• Red Frog Music [590]
• Red House Editions [591]
• Editions Marc Reift [592]
• Edition Reimers [593]
• Ricordi [594] (German composers) Ricordi [595] (Italian composers)
• Rosewood Publications [596]
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• Edition Samfundet [597]
• Schirmer [598]
• Schott [599]
• Schweitzer Musikedition [600]
• Seilkopf-Verlag [601]
• Shawnee Press [602]
• Sikorski [603]
• Sloway Music [604]
• Smith Publications [605]
• Casa musicale Sonzogno [606]
• SOUNZ [607]
• Studio 4 Music [608]
• Subito Music [609]
• Tecla [610]
• Edition Text + Kritik [611]: Komponisten der Gegenwart
• Theophilius [612]
• Transcontinental Music [613] (publisher of Jewish music); scroll down to pull down menu in lower right column
• Tre Media Edition [614]
• TrevCo [615]
• Triangiel Music Publishers [616] (Polish)
• Tritó [617] Catalan composers
• Universal Edition [618]
• Muziekuitgeverij Van Teeseling [571]
• Edition Viento [619]
• Verlag Vierdreiunddreissig [620]
• Vogt & Fritz [621]
• Vox Novus [622]
• VP Music Media [623] guitar music
• Warwick Music [624]
• Edizioni Musicali Wicky [625]
• Wolfhead Music [626]
• Yelton Rhodes Music [627]
• United Music Publishers [628]
• University of York Music Press [629]
• Zentralbibliothek Zürich Kantons-, Stadt- und Universitäatsbibliothek [630]

• C. Alan Publications [488] Band and percussion music emphasis
• Alliance Publications [631] (specializes in Czech and Slovak music)
• Amadeus [632]
• Amos Editio [491]
• AVK [633] (New Consonant Music)
• Bardic Edition [494]
• Bayard-Nizet [495] (modern music, principally by Belgian composers)
• Billaudot [634]
• Editions Bim [635]
• Bnote [636]
• Bodensee [637]
• Boosey & Hawkes [502]
• Brassworks 4 [638]
• Carpe Diem Music [504]
• Carus Verlag [505]
• CeBeDeM [506]
• Clivis Publicacions [639]
• Ceskly Rozhlas Nakladatelstvi [640] (Cezch Radio)
• Cimmaron [510]
• Editions Combre [641]
• Edizioni Curci [642]
• Dacapo Records [643] good for Danish composers and performers
• Edition Daminus [644]
• Donemus [645]
• ECS Pub. [646]
• eNoty [517]
• Estonian Music.com [518]
• Edition Ex tempore [575]
• Dinsic [521]
• Doblinger [522]
• Edition Dohr [523]
• Donemus [524]
• Doberman-Yppan [525]
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• Canadian composers [527] from Eighth Note Publications
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• European American Music Distributors Corp. [528]: European American, Helicon, Universal Edition
• Faber Music: [529] contemporary composer [530] | educational composers [531] | film and TV composers [532]
• FJH Music [533]
• Frog Peak Music [534]
• Theodore Front [535] 20th-century composers in Front's approval plan
• Galaxy [516]
• Goldberg Edições Musicais [536]
• W.G. Haas [537]
• W. Hansen [538]
• Harrassowitz [539] list of 20th and 21st centuries composers
• Heinrichshofen [540] (composers listed in no apparent order)
• Edition HH [541]
• Hildegard Publishing Company [542]
• Hubert-Hoche-Musikverlag [543]
• Edition Hoffmann [544] (double bass literature; includes birth/death dates)
• Bill Holab Music [545]
• HoneyRock [546] (publisher of percussion music)
• International Opus [547]
• Japan Federation of Composers [548]
• Jobert [549]
• Jomar Press [550]
• Kallisti Music Press [647]
• Kammermusik Verlag [552]
• Kendor Music [553]
• Keys Press [554]
• K.O.M. Musikverlag [555]
• Kompozitor [556]
• Martin Krämer Musikverlag [557]
• Laurentius-Musikverlag [558]
• Leisure Planet Music [559]
• H. Lemoine [560]
• Leonarda Productions [561] (strong focus on women composers)
• Lothringer [562]
• Lux Nova Press [563]
• Edition Margaux [564]
• Media Press [565]
• Meredith Music [566]
• MMB Music [568]
• Musica Baltica [569]
• Editions Musicales européennes [570]
• Muziekuitgeverij van Teeseling [571] (Dutch)
• Verlag Neue Musik [572]
• New Consonant Music [573] (series published by Alain Van Kerckhoven)
• Notissimo [574]
• Edition Nova Vita [575]
• Robert Ostermeyer Musikedition [576]
• Oxford University Press [577]
• Productions d'Oz [578]
• Peer Music [579]
• J.W. Pepper [580]
• Peters [581] (modern composers)
• Phylloscopus Publications [582]
• Piles Editorial [583]
• Pizzicato [584]
• Potenza Music [585]
• T. Presser [586]
• Productions d'Oz [587]
• Promethean Editions [588]
• PWM [589]
• Red Frog Music [590]
• Red House Editions [591]
• Editions Marc Reift [592]
• Edition Reimers [593]
• Ricordi [594] (German composers) Ricordi [595] (Italian composers)
• Rosewood Publications [596]
• Durand-Eschig-Salabert [526] pdf catalogs by medium of performance
• Edition Samfundet [597]
• Schirmer [598]
• Schott [599]
• Schweitzer Musikedition [600]
• Seilkopf-Verlag [601]
• Shawnee Press [602]
• Sikorski [603]
• Sloway Music [604]
• Smith Publications [605]
• Casa musicale Sonzogno [606]
• SOUNZ [607]
• Studio 4 Music [608]
• Subito Music [609]
• Tecla [610]
• Edition Text + Kritik [611]: Komponisten der Gegenwart
• Theophilius [612]
• Transcontinental Music [613] (publisher of Jewish music); scroll down to pull down menu in lower right column
• Tre Media Edition [614]
• TrevCo [615]
• Triangiel Music Publishers [616] (Polish)
• Tritó [617] Catalan composers
• Universal Edition [618]
• Muziekuitgeverij Van Teeseling [571]
• Edition Viento [619]
• Verlag Vierdreiunddreissig [620]
• Vogt & Fritz [621]
• Vox Novus [622]
• VP Music Media [623] guitar music
• Warwick Music [624]
• Edizioni Musicali Wicky [625]
• Wolfhead Music [626]
• Yelton Rhodes Music [627]
• United Music Publishers [628]
• University of York Music Press [629]
• Zentralbibliothek Zürich Kantons-, Stadt- und Universitätsbibliothek [630]

Record the date of the work in terms of the calendar preferred by the agency creating the data.
     LC-PCC PS: LC practice: Record dates in terms of the Gregorian calendar.
For works other than treaties, generally record the date of the work by giving the year or years alone.
Record date of work as a separate element, as part of an access point, or as both.
For instructions on recording date of work as part of authorized access points representing musical works, see 6.28.1.9-6.28.1.10 [16].
Indicate the source of information by applying the instructions at 5.8.1.3.

Best practices for music cataloging [652]: If giving date of work as a component of an access point (i.e., to distinguish two works with the same preferred title), routinely also give date of work in an 046 [651] ‡k (and ‡l as appropriate). For other works, give date of work separately in a an 046 [651] ‡k (and ‡l as appropriate) if readily ascertainable.

Record the place of origin as a separate element, as part of an access point, or as both.
For instructions on recording place of origin as part of authorized access points representing musical works, see 6.28.1.9-6.28.1.10 [16].
Indicate the source of information by applying the instructions at 5.8.1.3.

Best practices for music cataloging [654]: In authority records for works, give place of origin of the work in 370 [655] ‡g if readily ascertainable. Give country or local place within a country, as appropriate.

Best practices for music cataloging [72]: Generally do not record date of expression in a 046 field, in either bibliographic or authority records. In bibliographic records for scores, the date of expression can be inferred from the date of publication and/or copyright date. In bibliographic records for sound recordings, date of expression is equivalent to date of capture ( 7.11.3).

Record language of expression as a separate element, as part of an access point, or as both.
For instructions on recording language of expression as part of the authorized access point, see 6.27.3
For instructions on recording language of expression as part of authorized access points representing expressions of musical works, see 6.28.3.6.
Indicate the source of information by applying the instructions at 5.8.1.3.

Best practices for music cataloging [72]:
Routinely record language for the following linguistic content::
     ° Text underlying printed music (scores) (008/35-35, 041 ‡a)
     ° Sung or spoken text (sound recordings) (008/35-35, 041 ‡d)
     ° Text presented separately (e.g., librettos) (041 ‡e)
     ° Subtitles (041 ‡j)
     ° Language of accompanying text (e.g., critical commentary, program notes) (041 ‡g)

If readily ascertainable, also record:
     ° Original language of printed, sung or spoken text (041 ‡h)
     ° Original language of text presented separately (e.g., librettos) (041 ‡n)
     ° Original language of accompanying text (‡m)

Optionally, explain the language content in a 546 field (for primary language content) and/or a 500 field (for accompanying text), if deemed useful for identification and access.

For additional instructions on other distinguishing characteristics of expressions of musical works, see 6.18 [13].

Indicate the source of information by applying the instructions at 5.8.1.3.

Record form of work as a separate element, as part of an access point, or as both.

Best practices for music cataloging [658]: If giving form of work as a component of an access point [15] (i.e., preferred titles consisting of the name of one or more type of composition [2]), routinely also record form of work in a 380 [660] field.
For other works, record form of work separately in a 380 field if readily ascertainable.
Prefer controlled vocabulary such as Library of Congress Genre/Form Terms for Library (LCGFT) (See Commonly used music terms in the Library of Congress Genre/Form Terms [661].

For consistency, capitalize the first term.

When terms do not come from a controlled vocabulary, use the singular form.

Do not record in a 380 field types of composition [2] terms that are:
   ° terms indicating a number of performers (e.g. Duets)
   ° tempo markings (e.g., Allegros)
   ° other generic terms that do not convey formal characteristics (e.g., Pieces, Music).

Instrumental music: one performer to a part | Individual instruments | Accompanying ensembles with one performer to a part | Music for orchestra, string orchestra, or band | One or more solo instruments and accompanying ensemble | Vocal music: | Solo voices | Choruses | Accompaniment for songs, Lieder, etc. | Indeterminate/unspecified medium

Record the medium of performance by applying these instructions, as applicable:
     ° instrumental music intended for one performer to a part (6.15.1.4)
     ° instruments (6.15.1.5)
     ° accompanying ensembles with one performer to a part (6.15.1.6)
     ° instrumental music for orchestra, string orchestra, or band (6.15.1.7)
     ° one or more solo instruments and accompanying ensemble (6.15.1.8)
     ° solo voices (6.15.1.9)
     ° choruses (6.15.1.10)
     ° indeterminate medium of performance (6.15.1.11).

Record medium of performance as a separate element, as part of an access point, or as both. For instructions on recording medium of performance as part of the authorized access point, 6.28.1.9-6.28.1.11.

If there is more than one part for a particular instrument or voice, record the number of parts.
     Exception:
          If the term percussion is used (6.15.1.4), record the number of players if there is more than one.

Use continuo for a thorough bass part whether it is named as basso, basso continuo, figured bass, thorough bass, or continuo, and whether the individual instrument or instruments of the continuo are specified or not.

For guidelines on recording details about the medium of performance, apply the instructions for medium of performance of musical content at 7.21.

Best practices for music cataloging [72]: If giving the medium of performance as a component of an access point, routinely also give medium of performance in a 382 [664] field. For other works, give medium of performance in a 382 [664] field if readily ascertainable.

Best practices for music cataloging [72]: There is no limit to the number of medium elements recorded, either as components of access points or in 382 [664] fields.

Use the following list of terms as a guide:
     ° cello or violoncello (LC-PCC PS: LC practice: cello)
     ° cor anglais or English horn (LC-PCC PS: LC practice: English horn)
     ° double bass (not bass viol or contrabass)
     ° double bassoon or contrabassoon (LC-PCC PS: LC practice: contrabassoon)
     ° harpsichord (not cembalo or virginal)
     ° horn (not French horn)
     ° kettle drums or timpani (LC-PCC PS: LC practice: timpani)
     ° viol (for sizes of viola da gamba other than bass)
     ° viola da gamba (not bass viol or gamba)
     ° viols (for viols of different sizes)
LC-PCC PS: Use the following instrument names: cello, English horn, contrabassoon, timpani.

LC-PCC PS: LC practice: In applying RDA 6.15.1.5, if a composer wrote works for or including various keyboard stringed instruments such as harpsichord, piano, or clavichord, use the one that predominates in the composer's works of a given type of composition in all preferred titles for works of that type. If no predominant instrument is apparent, use the term "keyboard instrument" in the medium of performance element.

For two or more keyboard or mallet (marimba, vibraphone, xylophone, etc.) instruments, specify the number of hands if other than two per instrument.
     piano (2), 3 hands
     pianos (2), 8 hands

Examples:
violins (2), viola, cello
strings
piano, violin, viola, cello
horns (2), violin, viola, cello
timpani, tom-tom, snare drum
bassoon, violin, viola, cello
piano, flute, clarinet, marimba, violin, cello
flute, harp, violin, viola, cello
piano, flutes (2), clarinets (2), oboes (2), horns (2), trombones (2), bassoons (2), trumpets (2)
harpsichord, Jew's harp, violin, viola, cello
piano, flute, oboe, clarinet, horn, trumpet, trombone, percussion, violin, viola, cello, double bass
celesta, flute, oboe, clarinet, bassoon, horn, trumpet, harp, violin, viola, cello, double bass
     ° Celesta is considered a keyboard instrument and is given first
organ, trumpets (4), horns (4), trombones (4), baritone, tuba, timpani, percussion, harp
flute, oboe, clarinet, bassoon, horn, trumpet, violin, viola, cello, double bass
flute, oboe, saxophone, bassoon, horn, trumpet, trombone, percussion, harp, violin, viola, cello, double bass
flutes (8), oboes (6), clarinets (6), bassoons (6), horns (6), trumpets (6), trombones (6), tuba, timpani, percussion
celesta, harpsichord, piano, piccolo, flute, oboe, clarinets (3), English horn, saxophone, bassoon, contrabassoon, trumpets (3), trombones (2), flügelhorn, horns (2), baritone, tuba, glockenspiel, harp

Don't list the individual instruments.

Disregard continuo when it is part of an orchestra or string orchestra.

The Library of Congress Medium of Performance Thesaurus for Music [665] (LCMPT) gives scope notes for "orchestra" and "string orchestra":

• orchestra: a large ensemble consisting of bowed string instruments and some combination of wind and other types of instruments, or such an ensemble whose relative size is not specified. For a small orchestra so specified, use chamber orchestra.
  • Keep in mind that the terms in the LCMPT are intended to be used in field 382 of MARC 21 bibliographic records, and not necessarily in the medium of performance of authorized access points. "Chamber orchestra" is not used in authorized access points.
• string orchestra: an orchestra consisting solely or primarily of string instruments.
  • Use "string orchestra" even when there are keyboard, percussion, and/or plucked instruments. It is the presence of one or more wind instruments that would define the ensemble as an orchestra.

LC-PCC PS: For an accompanying ensemble that has only one performer to a part, use the word "ensemble" preceded by the appropriate qualifying term (e.g., "string ensemble," "jazz ensemble," "wind ensemble") in the part of the medium of performance element that follows the solo instruments.
Best practices for music cataloging [72]: Follow LC-PCC PS.

Record an appropriate term from the following list to identify a type of solo voice:
     ° soprano
     ° mezzo-soprano
     ° alto
     ° tenor
     ° baritone
     ° bass
     ° other terms as appropriate (e.g., bass-baritone, countertenor)

If no specific voice types or ranges can be ascertained for two or more solo voices of different ranges, record an appropriate term from the following list:
     ° mixed solo voices
     ° men's solo voices
     ° women's solo voices
     ° other terms as appropriate (e.g., children's solo voices)

For compositions that include solo voice(s) with chorus, record only the appropriate terms for the chorus (6.15.1.10) and the accompaniment, if any.
 

If:
     ° the work is not in a "popular" idiom
          and
     ° the preferred title for the work consists solely of the name of a type, or of two or more types, of composition for solo voice (e.g., Lieder, Mélodie, Songs)
          and
     ° the voice is accompanied by anything other than a keyboard stringed instrument alone,
record the name of the accompanying instrument(s) or ensemble (following 6.15.1.3 to 6.15.1.9), followed by the word accompaniment.

Examples:
flute accompaniment
violin, piano accompaniment
flute, electronics accompaniment
piano, clarinet, viola accompaniment
clarinet, viola, cello accompaniment
violins (2), cello accompaniment
orchestra accompaniment

RDA doesn't cover what to do when the voice and instruments are equal in the ensemble. Current practice is to name all the instruments (following 6.15.1.3 to 6.15.1.6) but don't add the word accompaniment.
Examples:
high voice, flute, oboe, vibraphone, violin, cello
medium voice, violin, piano
voice, flutes (2), clarinet, trombone, violin, viola, cellos (2)

If such a work is not accompanied, record unaccompanied.

Record as many of the following numeric designations of musical works as can readily be ascertained. Use the following abbreviations found in appendix B.5.4:
     ° number, in any language: n., no, no., Nr.
     ° opus: opus

Use inclusive numbering for an aggregate work that is identified by consecutive serial numbers or thematic index numbers in music reference sources and/or thematic indexes [22].

Record numeric designations of musical works as separate elements, as parts of access points, or as both. For instructions on recording a numeric designation of a musical work as part of the authorized access point, see 6.28.1.9 [668]-6.28.1.10 [669].

Best practices for music cataloging [666]: If giving numeric designation as a component of an access point, routinely also give that numeric designation in 383 [667] field. For all works, give all numeric designations that are readily ascertainable in separate 383 [667] fields.

If there is a conflict in opus numbering among works of the same title and medium
or
If the overall opus numbering of a composer's works is confused and conflicting
Add to the opus number the name of the publisher originally using the number chosen.
     ° add the publisher's name in parentheses

Precede the number by.
     ° the initial letter or letters of the musicologist's name (e.g., K. 453)
     or
     ° a generally accepted abbreviation (e.g., BWV 232).

WoO (Werke ohne Opus) numbers should also be taken from a recognized thematic index.

LC-PCC PS: A bibliography of thematic indexes used in the Library of Congress/NACO Authority File [78]
     See also Work numbers for composers [19]
Best practices for music cataloging [672]: Follow LC-PCC PS. Note that there is no restriction on thematic index numbers that may be used in variant access points or 383 [667] fields.

From the LC-PCC PS: The following are not to be considered arrangements:
° Revisions by the original composer:

• ° if a composer revises a work, retaining the original title and opus number, and the revision is one of a different instrumentation within the same broad medium (e.g., orchestra, instrumental ensemble, band), do not consider the revision to be an arrangement. Use the same authorized access point for the original and the revision.

° Alternative instruments:

• ° a work composed before 1800 for a baroque, renaissance, or other early instrument (viola da gamba, recorder, etc.), or for voice, in a resource that is edited for or performed on a modern instrument or as an alternative voice part provided the key is unchanged and the notation has not been significantly changed.
• ° a work for a melody instrument originally written for one or more alternative instruments or separately published for one or more alternative instruments in the first or other early editions, for a work with a non-distinctive title, record a preferred title for one of the alternatives and provide an addition to the preferred title for the other version(s)
  • When the preferred title for such a revision is non-distinctive, record a preferred title for one of the alternatives and provide an addition to the preferred title for the other version(s):
    • Brahms, Johannes, ‡d 1833-1897.
      Sonatas, ‡m clarinet, piano, ‡n op. 120, ‡n no. 1 (Viola)

° Added accompaniments:

• ° a work to which an accompaniment or other parts have been added with no alteration of the original music.
  • » However, for notated music, classify the resource as an arrangement, assign subject headings for both the expanded and the original media of performance, and add "Arranged" to the subject heading for the expanded version.

° Song transpositions:

• ° one or more songs transposed to accommodate a voice range different from the original.

Best practices for music cataloging [72]: Follow LC-PCC PS.

Sources of information (6.14.2.2) | Choosing the preferred title (6.14.2.3)
Recording the preferred title for: a musical work (6.14.2.4) | title consisting solely of the name of one type of composition (6.14.2.5) | duets (6.14.2.6) | a part or parts of a musical work (6.14.2.7) | compilations of musical works (6.14.2.8)

Examples:
n 2013020654
     Cinq sonates & un divertissement
     Remove number: Cinq sonates & un divertissement
     What remains:: Sonates & un divertissement

The placement of the generic information ahead of the distinctive portion does not mean all of the title (statement of medium included) should be retained.
     Quatuor à cordes "Ainsi la nuit"
     remove medium of performance: Quatuor à cordes "Ainsi la nuit"
     What remains is: Quatuor "Ainsi la nuit"

Best practices for music cataloging [72]: For pre-twentieth century works, normally consider phrases such as "a due," "a cinque" 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 (but not titles naming a form, such as Sinfonia concertante, 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 preferred title.

     ^*LC-PCC PS: Language: Record the accepted form of name in English if the name has an English cognate form or if the same name is used in English.

However: For works intended for concert performance called étude, fantasia, or sinfonia concertante or their cognates, record the form of the name in the original language.
     ^* RDA does not indicate how to determine whether one of these works is intended for concert performance or for strictly instructional purposes.

Best practices for music cataloging [72]:
     ° When a composer uses a word that is normally the name of a type of composition as the title of a work that 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.
     ° A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title.

Singular vs. plural:
6.14.2.5.2: Record the accepted form of the name of the type of composition [77] in the singular form unless the composer wrote more than one work of that type with the same title.
LC-PCC PS:
Singular vs. plural: The medium of performance is a separate element from the preferred title. If the composer wrote one piano sonata and one violin sonata, consider that the composer wrote two sonatas, and therefore the plural form for the type of composition must be used as the preferred title.

When cataloging the first occurrence of a work of a particular type of composition by a composer, choose the preferred title as follows:

When cataloging the second occurrence of a work of a particular type by a composer, if the singular form has been used in the authorized access point for the first work of that type, revise the preferred title to the plural.

LC-PCC PS: for both 6.14.2.5 and 6.28.1:
Mélodie/Mélodies; Melody/Melodies
When choosing the preferred title for a work for solo voice and keyboard stringed instrument having the French title "Mélodie" or "Mélodies," do not translate those titles into English as "Melody" or "Melodies" because the cognate words in English and other languages do not have the same meaning as the French words. Consider the medium of performance to be implied by the French title (6.28.1.9 [668]) and do not add medium of performance in the authorized access point.

When choosing the preferred title for a work for solo voice with accompaniment other than a keyboard stringed instrument alone or without accompaniment having the French title "Mélodie" or "Mélodies," do not translate the title into English. Apply RDA 6.28.1.9 and add the medium of performance of the accompaniment, or "unaccompanied," in the authorized access point.

When the English word "Melody" or "Melodies," or their cognates in another language (including French), is the title of a work that is not for solo voice and keyboard stringed instrument, consider it the name of a type of composition. Use the English form as the preferred title and add the medium of performance according to 6.28.1.9 [668].

Liturgical words or phrases
When the preferred title is a Latin liturgical word or phrase (e.g., "Gloria," "Salve Regina," "Te Deum")
     ° record it in the singular
          » Exception: Use the plural form "Magnificats," "Masses," or "Requiems" when appropriate
     ° Generally, do not add the medium of performance in the authorized access point.

Best practices for music cataloging [72]: Follow LC-PCC PS. Consult the alphabetical list at Types of Composition for Use in Authorized Access Points for Music [77] to determine whether the title in question meets the condition of the rule. Do not consider such titles as "Double concerto," "Tripelkonzert," etc. to be names of types of compositions.

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.

A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title.

For other compilations, record the preferred title for a compilation that consists of, or purports to be, the complete musical works or complete works for a broad or specific medium in various or a single type by a composer by applying the instructions below.

There are two categories of titles that identify works:
     ° preferred title [6] for the work (6.14)
     ° variant title for the work

Other Terms Associated with Titles of Works
     Capitalize the first word of each term
          Goyescas (Opera)

Thematic index numbers (see 6.16 [675]): follow the capitalization practice used in the thematic index

Titles with unusual capitalization: follow the capitalization of the title as found on the source of information.

Do not capitalize:

• words or abbreviations indicating medium of performance (see 6.15 [10])
• numeric designation of a musical work (see 6.16 [676]), unless the word is, or the abbreviation stands for, a proper name
• the first word of a title if it is preceded by punctuation indicating that the beginning of the phrase from which the title was derived has been omitted