The Harris Classification: Pt. 4 Music is the only section of the Harris shelflist write-up that is mostly designed to stand on its own. It should not normally be necessary for music catalogers to consult any other section for information on how to classify scores using the Harris Classification. However, if more examples of application of classes are sought, Pt. 1 Dated classes is often the best place to start.
The Harris Classification, strictly speaking, is not a classification scheme. It is rather a method of arranging materials on the shelves by broad categories, within which the provision of Cutter-type call numbers for individual titles is the chief distinguishing device.
The classes are: Music; hMusic; fMusic; hfMusic; and Lat. Amer. Music. hLat. Amer. Music has never been used. While most works classed in these categories are cataloged in the Scores format, some reference materials, including biographies of composers and concert programs, are cataloged in the Books format. Currently most reference materials on music are cataloged in Harris class Ref. There are two special music class numbers for Edgar Allan Poe and Walt Whitman, most often used for musical renderings or adaptations of their poetry.
One subject not covered in this section is how to handle translations of individual titles, in part because music by its very nature is not amenable to translation. For information on this subject, and some music examples, see Harris Classification: Pt. 1, Dated classes, p. 17-18, and pt. 5, Foreign language classes, the whole document.
By far the largest class in the Harris music categories, Music is used for both collections and individual works of secular vocal music. American, Canadian, British and other scores with words in English are classed here. Also included are: American scores in languages other than English, including French; and Canadian scores in languages other than English, excluding French. Collections of secular and sacred vocal music are also classed under Music, whether by several persons or by one author, unless the sacred element clearly predominates, in which case the collection is classed in hMusic. Note that in this and all subsequent categories, scores including translations of the words class with those in the original language.
Examples:
1-SIZE Music AB366f
Abdul, Paula. Forever your girl
Music B88196 1917
Songs of the Women's College in Brown University
1-SIZE Music CH2516 1928
Chants populaires des Franco-Américains
[Although mainly descended from French-Canadians, this is a
distinctly American population; the music belongs with American music]
1-SIZE Music CO568w
The Complete wedding music collection
[Secular and sacred vocal music]
Class hMusic is used for both collections and individual works of sacred vocal music. Languages of the words to scores included in this class are the same as for Music. French-Canadian scores are again excluded. Originally this class was mostly confined to hymnals with music. Gospel music and contemporary Christian music are now classed in hMusic. Note that collections of hymns, or one individual hymn, where the tune(s) are named but no music is provided, are classed in hColl, the class for hymns without music.
Examples:
hMusic C2295
Shaker hymnal
hMusic AF8974s 1948 2
The A.M.E. General Conference special song book no. 2 of the 33rd quadrennial session, May 4-16, 1948
hMusic DE674s
De Reef, R. E. Six Easter carols
1-SIZE hMusic GO8321 1983
Gospel : the 1st top 25 of 1983
hMusic B7983k
Bradbury, William Batchelder. The key-note : a collection of church and
singing school music ...
[In this work the church music clearly predominates over the (secular)
singing-school music]
This class is used for both collections and works by individual persons of secular vocal music with words written by or for French-Canadians. Music published in France with French words may also be classed here, although there may be cases where classing in the more general Music category may be more appropriate. French music published in the United States does not belong in fMusic, unless there is also a Canadian publisher's address. As with Music, collections of sacred vocal music are not included; mixed collections of secular and sacred vocal music are usually classed in fMusic.
Examples:
fMusic G1353
Chansons populaires du Canada / recueillies et publiées par Ernest Gagnon.
1-SIZE fMusic GA8993s
Songs of Acadia (Chantes d'Acadie) / collected by Laura C. Gaudet.
[French and English words. Since Acadia or Acadie was a
former French colony, the French element predominates]
1-SIZE fMusic LE192c
Leclerc, Félix. Les chansons de Félix Leclerc.
For another example, see section, The Harris Foreign Language Classes.
This category is used for collections of French-Canadian sacred vocal music, also works of individual authors.
Examples:
hfMusic CH25 1862
Chants évangéliques pour le culte public a l'usage des églises du Canada.
hfMusic RE198
Recueil de cantiques anciens & nouveaux
hfMusic CH2517
Chants pour le temps des Fêtes : chants religieux et chants profanes
This class is used for secular works whose predominant association is with Latin America, either directly or indirectly. "Latin America" is here defined as that part of the American continents in which Romance languages are officially spoken, including offshore islands in the West Indies and elsewhere. The languages are Spanish, Portuguese and French. Persons now living in the United States or Canada who were born in, or spent a significant period of their lives in, a Latin American country may be classed either in Lat. Amer. Music or in the appropriate American or Canadian class--whichever makes more sense. Mixed collections of secular and sacred music should usually be classed here.
Examples:
1-SIZE Lat. Amer. Music LA877s
Latin American songs and dances
1-SIZE Lat. Amer. Music CA541
Cancionero popular del niño venezolano
1-SIZE Lat. Amer. Music JA247c
Chansons folkloriques d'Haiti / recueillies et harmonisées par Werner A. Jaegerhuber
For other examples, see section, The Harris Foreign Language Classes.
This class, which could have been used for sacred works associated with Latin America, has in fact never been used. Class hymns and/or sacred songs in class Lat. Amer. Music.
These are discussed in the next section.
On the line below the class designation (Music, fMusic, etc.) a Cutter-type call number always appears, representing the author/title or title of the work. In some sections of the Harris Classification, particularly in literature, a Cutter-based call number occupies two lines. When cataloging scores, however, a one-line Cutter is the only kind used (except for the special numbers for Poe and Whitman).
Two schemes of Cuttering are used in scores cataloging. They are referred to as the Old Classification Procedure and the New Classification Procedure.
The first letter of an author's name is used as the basis for the Cutter. Where there is no author, or author-substitute such as an editor or compiler, the first letter of a title may be used. A Cutter number is constructed decimally using C.A. Cutter's Alfabetic-Order Table, a copy of which is kept above the Harris shelflist. The table, which largely consists of what are called "Cutter-Sanborn author-marks," has been constructed for the use of three figures in the Cutter; however additional figures may be added when required. As far as possible, a fairly strict alphabetical order is maintained in the shelflist. While this is irrelevant to the needs of patrons, since browsing the Harris shelves is not permitted, maintaining the order does make it easier to assign new numbers when they are required.
here Cuttering has not been consistent in the past, new Cutters should be assigned recognizing the imperfections; the Cutter-Sanborn author-marks may need to be disregarded in order to place the new title in the most logical place.
Following the Cutter, on the same line, it is usually necessary or desirable to add a letter or letters, for instance to distinguish between two or more titles by the same author. Such letters are provided as smalls, except for the letter "l", which is now always supplied as capital L (in order to avoid confusion with the number 1.) No attempt is made to maintain strict alphabetical order for the individual titles.
Examples:
Music B5952b
Bilbro, Mathilde. Belling the cat
[The Cutter is interpolated between B595, Bil and B596, Bill]
Music A733Lc 1933
The Laurel S.A.B. book / [edited by] M. Teresa Armitage
[Two points here: (1) Cuttered for the editor, even though the editor's name
is not used as the main entry; (2) Capitalization of letter "l" when following the Cutter]
1-SIZE fMusic GA8154E 1925
Chansons of old French Canada / with accompaniments by Margaret Gascoigne
[The E following the Cutter represents a translation (into English); no small letter
was used here for the title. Capital letters F, G, I, and S represent French,
German, Italian, and Spanish translations respectively]
1-SIZE Music A784s
Art songs by contemporary composers
[A784 represents the word "art"; the s is derived from
the second word "songs"]
Other lines may be added to distinguish between editions or between presentations; these are discussed below in the section, Use of dates in Harris call numbers. A line may be added to distinguish a biographical, critical, or bibliographical work, or to indicate that the work is a program or an advertisement. This is rarely of interest to music catalogers, since such works are rarely cataloged in Scores format. If such a number needs to be constructed, or if a sequence of Cutter numbers needs interpretation or correction, consult an appropriate staff member.
The first two letters of an author's name are used as the basis for the Cutter. Where there is no author (or author-substitute) the first two letters of a title may be used.
The "New procedure" was introduced to reduce the incidence of crowding in some sections of the Harris shelflist. In effect there are two alphabets under each letter in the shelflist.
Again the Sanborn-Cutter author-mark tables are used. However Cuttering is done from the second, not the first, letter--which can be a little awkward at times, particularly when attempting to interpolate. In this connection classifiers should beware of variant past practices which differ from current practice. When the order in the shelflist is unclear, Cutter the item in the way that makes the most sense, even though the Cutter that results is "wrong" in terms of the table. (This applies to use of the "Old procedure" also.)
Examples:
1-SIZE Music TA9783i 1989
Pinkham, Daniel. In heaven soaring up
[Cuttered for the English poet Edward Taylor, whose work is set to music]
1-SIZE Music TE556a 1957
Shirley Temple song album
[Although entered under title, this work has been Cuttered for the singer.
Alternatively it could have been Cuttered for the title (as Music SH6685t 1957)]
1-SIZE Music TE567mb
10,000 Maniacs (Musical group) Blind man's zoo
Music KE715 xB728
Bordman, Gerald Martin. Jerome Kern : his life and music
[Not a score. Cuttering is done for the subject of this work; the lower
line represents the author of this work treated as a biography]
Musical settings of poems, or other works, by these authors follow the special schemes designed for them:
| 76 PO27 Y99 | Edgar Allan Poe |
| WW Y | Walt Whitman |
The next line in the call number represents a Cutter number, usually representing the composer of the musical setting.
Examples:
2-SIZE 76 PO27 Y99 C78s
Crumb, George. The sleeper
[Setting of a poem by Poe; see note below on Cuttering]
1-SIZE WW Y IA613w
Iannaccone, Anthony. A Whitman madrigal
Cite M.G. Evans, Music and Edgar Allan Poe, for musical settings of Poe's poems included in the work. They must have been published before 1940, since Evans was published in 1939 (reprint edition, 1968.)
For more information on Poe musical settings, including another example, see the Poe scheme in Harris Classification: Pt. 6, Poe Classification, class Y99A-Z, Musical arrangement of works by Poe.
For more information on Whitman musical settings, including another example, see the Whitman scheme in Harris Classification: Pt. 7, Whitman Classification, class YA-Z, Musical arrangements of works by Whitman.
The length of a line should not normally exceed eight (8) characters. However this system of Cuttering was designed for use with card catalogs, which were of necessity limited in terms of field length. On occasion it may be necesssary or at least desirable to exceed the eight-character limit.
For musical works based on poems by authors other than the composers, Cuttering is generally preferred under the author of the words, even though the main entry is under composer (see Poe example above). This is also true of plays developed into musicals; the playwright is preferred for Cuttering purposes over the composer. On other occasions, particularly where the playwright is not known or authorship is diffuse, Cuttering may be done for a named lyricist (writer of songs.)
The same Cutter is given to a complete score and to selections from that score. Various manifestations are distinguished by date and/or by small letter after the date (b, c, etc.); see section below on use of dates.
Examples:
1-SIZE Music S6491r 1919
De Koven, Reginald. Robin Hood : a comic opera in three acts. c1919
[Full vocal score]
1-SIZE Music S6491r 1919b
De Koven, Reginald. Selections (instrumental and vocal) from Robin Hood. [1919?], c1891
Use of a third line, other than a date, is rare in Harris music classing--in part because most reference materials are classed elsewhere (mostly in class Ref.).
For more information on the use of dates in Harris call numbers, including more examples, see Harris Classification: pt. 1 Dated classes, p. 18-21. The section below concentrates on the differences, and the similarities, between Harris practice and LC practice as demonstrated in LC Subject Cataloging Manual: Shelflisting, section G140.
Formerly different editions of the same work were distinguished by the addition of a decimal point followed by a number at the end of the second line. So for T.J. Cook's Oriental glee and anthem book, classed in Music, the 1861 edition has been Cuttered C7717, while the 1889 edition was assigned the Cutter C7717.2. An alternative system simply added a number on to the second line classed in Cutter; this method was used whenever the Cutter ended with a small letter. W.B. Bradbury's School singer, 1843 edition, was Cuttered B7983sc; the 1845 edition was assigned B7983sc2. The final numbers did not need to represent the actual number of the edition. This system has long been discontinued in favor of adding a date of publication or printing on the third line.
For many years adding dates to Harris call numbers has followed much the same pattern as has been used for library call numbers in general. Currently Harris generally follows the practices outlined in the LC Subject Cataloging Manual: Shelflisting, section G140 Dates. Exceptions to following G140 are noted below.
Currently (G140, as revised in 2002), the general rule at LC is to add the date of imprint to all monographs. Some of the various ways in which this is done, particularly when the date to record is not particularly obvious, are illustrated by a very useful list of 17 examples in section 1 of G140.
See also Harris Classification: Pt. 1, Dated Classes, p. 18-21, for more examples.
1. Section 1: General rule. Dates are not added to all monographic call numbers; they are added only when needed to distinguish between editions, issues, and/or printings of the same work.
2. Section 1: General rule. Where a printing date is specified in the 260 field, this should be used in the call number; ignore the interpretation in CSB 41, p. 87. So among the examples in G140, there are two which treat the date of printing. Disregard the examples as written; edit them to read as indicated below:
1969 (1973 printing); do not use 1969 as directed in G160;
use 1973
1980 printing, c1957; do not use 1957; use 1980
The rest of the examples under "General rule" may be followed as written.
3. Section 2.a: Congress or conference headings. Follow the procedure as written: use the latest date of the congress, or if not available, an imprint date (e.g. example in G230).
611 20 Geraldine R. Dodge Poetry Festival (1996 : Waterloo Village, N.J.)
Dates in imprint: 1994-1996. Use 1996, the date of the festival.
4. Section 2.b: Photocopy or facsimile editions. "Add the date from the 260 field."-G140. Disregard this section; Harris follows G60, not G140, in distinguishing such editions.
1-SIZE WW A2 1855; 1st edition of Whitman's Leaves of grass
1-SIZE WW A2 1855 a; Xerox copy made in 1968 of 1st edition
1-SIZE WW A2 1855b-1855c; facsimile editions by T.B. Mosher of 1st edition
1-SIZE WW A2 1855d; facsimile edition by C.J. Furness of 1st edition
1-SIZE WW A2 1855d a; photocopy of the facsimile edition above
5. Section 2.c: Other editions. "For later editions of the same work, use the imprint date."-G140. Often two or more "new" editions of the same work appear in the same year; distinguish these by adding small Cutter letters to the call number, starting with b then continuing with c, d, etc. This does not conform to the LC rule, which includes the letter a among the acceptable additions.
1951 B661 R63s; imprint date of what is probably the 1st ed., 1962, not used in the
call number.
1951 B661 R63s 1967; imprint date of new edition, 1967; used in the call number.
1951 W422 J32q 1959; imprint date, 1959; however used here is the printing date
of the 2nd printing; Brown does not yet have the 1st printing at this call number.
1951 W422 J32q 1978; imprint date of new edition by a different publisher, used
in the call number.
6. Section 2.d: Corporate authorship. This is a very rare category in Harris. "For works entered under a corporate body, use the imprint date. If another work by the same corporate body is received, use work letters starting with a (cf. G220)."-G140. However, for the sake of consistency, preferably begin the Cutter "alphabet" with b, rather than a. The a at the end of a call number has long had a special meaning in Harris; see the Brown-provided new section following 2.f . This modifies the LC rule.
American Poets Fellowship Society. Society poems 1978.
Coll AM562pf 1978, 1978b, etc.; use imprint date, adjusted if necessary, as a
basis for all editions, printings, etc.
7. Section 2e: Printing dates in the note area. Disregard this rule; if a printing date in a note, or anywhere else, gives an accurate picture of the date the work in hand appeared, use it in preference to the date in the imprint; cf. Section 1 above.
8. Section 2f: Date in main entry uniform title area. Use the imprint date, or if this is a later printing, the printing date. This modifies the LC rule.
The next group of categories is called by LC: Exceptions to adding a date.
9. Section 3a: Supplement and indexes. "Do not add a date to the call number after the designations Suppl. or Index."-G140. Apply this rule regardless of whether there is a date preceding Suppl. or Index. Since the cataloger's objective here is to avoid having two dates towards the end of a call number, apply this rule to the use of any other term in the call number, such as advt., proof, galley proof (in two lines), etc. This rule of course does not apply to a term that begins a call number with what looks like a date, such as 1951, p1901, f2001, etc. Such a term is a class number, not a date in disguise. This modifies the LC rule.
10. Sections 3.b-3.d: Disregard these subsections: they do not apply to practices in the Harris Collection.
These are sometimes used to distinguish between separately cataloged works with the same or similar basic title.
Consecutive years are coded in the form:
1981-82
1983-84
Overlapping dates are coded:
1981/82
1982/83
Examples:
1-SIZE Music BE799w 1955-59
The Best of 1955-[1959] 1 score (5 v. in 1)
1-SIZE Music BE799w 1955-59b
The Best of 1955-1959. 1 score (5 v.)
1-SIZE Music BI244c 1987/88
Biggest country hits of 1987/88
Music for "The lark" also ascribed to Billings. Cf. Barbour, J.M. Church
music of W. Billings, p. 14
"Book design and drawings by Bill Johnson"--T.p. verso
Lyricists' initials at end of several songs: H.L.; P.G.; A.G.; and, A.S.
Not in Evans
Not in Shaw & Shoemaker
"Published in an edition of 500 copies"--T.p. verso
"Printed by the poet on hand-made paper, the edition is limited to fifty-six copies
signed by the author and artist: Dan Carr, Julia Ferrarie"--Colophon on p. [10] [A separate note
is made in the 590 field for the copy number and other specific information]
Colophon on p. 73: John Worley Co., music engravers and printers, Boston, Mass.
For piano or organ, with chord symbols; interlinear words
For voice and chamber ensemble with strong electronic component. "The music score is
for realization by non-musicians and musicians together. Similar or compatible instruments
can be added"--T.p. verso
For four-part chorus and narrator
Melodies with chord symbols
Includes children's songs, with directions for movement. [Title of work: Folk songs of old New England]
Includes extra score for the 2nd and 8th songs, and extra two scores for the 5th and 6th songs
Also contains texts of songs without music, and "Up-to-date jokes" on p. [16]
Includes detachable color poster of Lionel Richie
Contains poetry. [Most of the item contains something else]
Cover illustration: portrait of Carson J. Robison.
Cover illustration: Inhabitants of Tonga on seashore / E. Bartlett
Illustration mounted on cover
Duration: ca. 6:00.
Usually issued as a supplement to Billings's The Suffolk harmony
(Boston, 1786). Cf. Nathan; McKay & Crawford. [Refers to bibliographies of Billings cited in the record]
"The eight poems set are drawn from the three parts of Grace Paley's collection Leaning
forward (published by Granite Press in 1985)"
Contains 14 songs from the 1931 ed. and 19 new songs
According to the "Vorbericht" (p. [iii]), this is the second volume prepared by the compiler. The title and imprint of the first volume, if published, are not available
"The world premiere took place in Jackson, Mississippi, on November 26, 1991, with
Lester Senter, mezzo-soprano, and the Mississippi Symphony, Coleman Pearce, conductor".
[Source of note is the title page, which does not need to be cited after the second quotation mark]
Special issue for the use of Brown University Chapel
The title seems to imply that the selections are taken from the "Byronical operatic
burlesque," The Corsair, with music by Edward E. Rice and John J. Braham. Cf. NUC pre-1956
NR 0238797
Popular songs, chiefly American, composed from the 1960s through the 1980s. [Clarifies
title, "80's gold"]
Includes words to songs. [Clarifies title, "Briggs' Banjo instructor"]
Some songs printed without the music; tunes indicated. [Clarifies 300 field for a college songbook,
where subfield a reads: "73 p. of music"]
Chance composition
French words; "I went to the market" also has English words
Shape-note notation. [From record for "Die Franklin Harmonie," 1821]
Tonic sol-fa notation. [From AACR2 5.7B8]
Introduction has printed signature: Joe Ayers, May 28, 1992
Prefatory material in Portuguese and English
Contains introductory material of a technical nature in German or English (p. iv-xii)
Contains prefatory material by Stephen Sondheim and others
Place of publication from advertisement on p. [8] [Noted since this is an unusual source
for an imprint element]
Probable place of publication from other works by Mason; probable dates from Rich. ["Mason" is
Lowell Mason; "Rich" is the bibliography of Mason by A.L. Rich]
The music was engraved by John Norman. Cf. McKay & Crawford, p. 141, note
Name of publisher from coat-of-arms on t.p.
First carol: Angels from the realms of glory / J. Montgomery, H. Smart. [Noted when it is
known or suspected that the text may vary from edition to edition, or when the work is relatively obscure and there is
only a cover title. One may also have: First song; First hymn, etc.]
Each song is preceded by a brief biographical note
Text ends on p. [3] of cover
"Responsive services" (iv, 56 p. at end, without music) has special t.p. also dated 1905
Reproduced from holograph. [This means the actual handwriting of the author, composer, etc.
When in doubt, word the note: "Reproduced from ms."]
Reproduced from the copy in Brown University Library (1-SIZE Music BR5696b Hay Harris)
Paged continuously as follows: v. 1: 282, [1] p., [1] leaf of plates; v. 2: [283]-576, [2] p., [1] leaf
of plates ... [In 300 field: 1 score (4 v.)]
Errata slip inserted. [Tipped in or otherwise attached to the item; when loose the note
reads: "Errata slip laid in"]
"Original cast": p. [1] of 1st group
Illustrated t.p.
Decorative t.p.
Caption title: Conference song service
Spine title: Boston Academy's Manual of vocal music / by Lowell Mason
Cover title: Chas. H. Rosskam offers the Chicago Stock Co. souvenir album
At head of title: P.H.C. Safety, economy, fidelity, purity
Partial contents: no. 6. The applicant / by Sylvia Plath -- no. 7. To the harbormaster / by Frank O'Hara -- no. 11. In dreams begin responsibilities / by Delmore Schwartz ... [An example of a practice very common in Harris: One lists works by American authors, and ignores the rest (with a few exceptions: if William Blake had been present, he should have been listed, since Harris often analyzes authors collected elsewhere in the John Hay]
NUC pre-1956 NB 0487551 ["Mansell"]
Nathan, W. Billings, 5a
Checklist Amer. imprints 100
Stoddard, R.E. "Guide to Spencer's Boston theatre." PAAS 79 (1969): 45-98, p.
96. [Proceedings of the American Antiquarian Society]
Fisher, W.A. Music festivals in the U.S., p. 16-17
CPM, to 1800, v. 49, p. 421 (B.483.c.)
ESTC T155276
Seidensticker, G. German printing, p. 214
"About the writers": t.p. verso
Biographical note on back cover
Portrait of the composer on p. [3] of cover
Hay Harris copy: Advertisement for other works by Zanitelli on back cover
Hay Harris copy: Advertisements: [3] p. at end. [Pagination not recorded in extent statement.
If it had been recorded, the note should have been placed in the 500 field]
Hay Harris copy: On p. [4] of cover: advertisement for this and similar works, with publisher's
or distributor's imprint reading: London: J. Curwen & Sons ... [Differs from imprint of score]
Hay Harris copy: Advertisement, "The music never stops!": [1] p. at end
Hay Harris copy: Signed: "Edward Smith[?] Boston. 1837"
Hay Harris copy: "This is copy number 274 [signed:] W.D. Snodgrass". [There should also be a general note describing the edition as a whole; for an example see "Colophon information" above]
Hay Harris copy 2: "Second printing"--T.p. verso
Hay Harris copy: Vol. 2 imperfect: lacking covers
Hay Harris copy 1: Issued in orange paper wrappers in plastic comb binding. [Such a
binding is often described as "spiral binding," even by the publishers themselves. See
definitions in ALA glossary (1983)]
Hay Harris copy: Ms. notes in pencil in the text
Hay Harris Rare copy: With: The psalm-singer's amusement / composed by
William Billings. Boston : Printed and sold by the author, 1781. Issued separately.
Hay Harris Rare copy: Copy 2 bound with four other works by Billings: The singing-master's
assistant. [Boston] : E. Russell, [between 1786 and 1789] -- An anthem. Psalm 126. [Boston? :
Engraved and printed by J. Norman, between 1786 and 1790?] -- The bird ... ; The lark. [Boston? : s.n.,
1790?] -- The Suffolk harmony. Boston : J. Norman, 1786. Some of these works may have been issued together
| Brown University Library Cataloging Services | |
| Document created by: | David Rich |
| Last updated: | |
| If you have questions, please contact: | Rock_Catalog@brown.edu |
