Changes from the AACR2 editions of Types of Composition for Use in Authorized Access Points for Music: a Manual for Use with AACR2 Chapter 25 to the RDA edition Types of Composition for Use in Authorized Access Points for Musical Works: A Manual for Use with RDA

Preface

This document lists the changes from the list of types of compositions in uniform title for music, used in consultation with AACR2 Chapter 25, to the version of the list to be used in consultation with RDA, of types of composition for use in preferred titles for musical works. The nature of the changes range from wording changes, such as changing references to AACR2 rules to RDA rules and Library of Congress/PCC policy statements, to change in treatment. The changes are indicated in the following manner:

  • Change in treatment is indicated by change in treatment
  • Deletions in the document are indicated with strike through.
  • Additions or new entries are indicated in red.

Diacritics

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

There should be a miagkii znak (not available as an image) at the apostrophe (representing the miagkii znak) from which this is linked. The miagkii znak occupies a space rather than appearing over a letter. A miagkii znak can appear in the following languages appearing in this document: Russian

A
  • Allemande/Allemandes change in treatment
    • TYPE (English, French, German); use this form when it is the composer's original title; see also use for allemanda, almain, almaine, alman, almand, almaygne, almayne.
  • Almain Almain/Almains change in treatment
    • (English); use allemande. TYPE (English); use this form when it is the composer's original title; see also allemande, almaine, alman, almaygne, almayne.
  • Almaine Almaine/Almaines change in treatment
    • (English); use allemande. TYPE (English); use this form when it is the composer's original title; see also allemande, almaine, alman, almaygne, almayne.
  • Alman Alman/Almans change in treatment
    • (English); use allemande. TYPE (English); use this form when it is the composer's original title; see also allemande, almain, almaine, almaygne, almayne.
  • Almaygne Almaygne/Almaygnes change in treatment
    • (French, German); use allemande. TYPE (French, German); use this form when it is the composer's original title; see also allemande, almain, almaine, alman, almayne.
  • Almayne Almayne/Almaynes change in treatment
    • (French, German); use allemande. TYPE (French, German); use this form when it is the composer's original title; see also allemande, almain, almaine, alman, almaygne.
  • Anthem/Anthems
    • TYPE (English); a choral setting (in English) of a religious or moral text; frequently used as a conventional collective uniform title. Do not include medium of performance when the anthem is for chorus, with or without instrumental accompaniment, as it is the implied medium. Include medium of performance in all other cases.
B
  • Bicinium/Bicinia
    • TYPE (Latin); a two-voice work for voices, instruments, or keyboard. Generally used as a conventional collective uniform title.
C
  • Canción/Canciónes
    • TYPE (Spanish); use as a type when applied to for vocal works; see song for treatment. Use for collections and works specifically titled by the composer, e.g., Revueltas, Silvestre, 1899-1940. [Canciónes, orchestra accompaniment]; Botto, Carlos, 1923-2004. [Canciónes, op. 4]; DISTINCTIVE for instrumental works (see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21) apply LCRI 25.27A1 footnote 10 to instrumental works.
  • Cantata/Cantatas
    • TYPE (English, Italian); usually used as a conventional collective uniform title; use for cantate, Kantate.
  • Cantate
    • (French); use cantata (for conventional collective uniform titles only)
  • Cantiga/Cantigas
    • TYPE (Spanish); a medieval Iberian monophonic song; generally used as a conventional collective uniform title; use for kantiga.
  • Capriccio/Capriccios change in treatment
    • TYPE (English, German, Italian, Spanish); use this form when it is the composer's original title;do not use caprice or capricho unless the composer specified it as the original title; use for capricho, capricio, kaprichchio.
  • Caprice/Caprices
    • TYPE (English, French, German); use this form when it is the composer's original title; do not use capriccio or capricho unless the composer specified it as the original title; use for kaprichch, Kaprice, kaprisa, Kaprize.
  • Capricho Capricho/Caprichos change in treatment
    • (Spanish); use capriccio TYPE (Spanish); use this form when it is the composer's original title; do not use capriccio or caprice unless the composer specified it as the original title.
  • Catch/Catches
    • TYPE (English); an English round for 3 voices; generally used as a conventional collective uniform title.
  • Chanson/Chansons
    • TYPE (French); use as a type for vocal works; a term meaning song in all its uses; spanning a wide range of periods and genres from the troubadour/trouvère repertoires through the secular polyphony of the 14th to 16th centuries to the art song of the 19th and 20th centuries and folk and popular song of all eras. See song for treatment. Use for miscellaneous sets, e.g. Le Jeune, Claude. [Chansons. Selections] or specific collections, e.g., Ravel, Maurice. [Chansons. Nicolette], Janequin, Clément. [Chansons (1528). Réveillez vous, cueurs endormis]; DISTINCTIVE for instrumental works (see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21) apply LCRI 25.27A1 footnote 10 to instrumental works.
  • Chast'/Chasti
    • TYPE (Russian); for "movement"; use for an independent work titled as such, not for individual movements of a larger work; see also mouvement, movement, movimento, movimiento, Satz, tétel.
  • Chorale prelude/Chorale preludes change in treatment
    • TYPE (English); use this form when it is the composer's original title; apply 25.30B1a 6.28.1.9, exception: do not add a statement of medium of performance if the medium is implied by the title. Implied medium: organ; use for prélude de choral; see also Choralvorspiel, prélude de choral.
  • Choralvorspiel/Choralvorspiele; Choral-Vorspiel/Choral-Vorspiele
    • TYPE (German); use this form when it is the composer's original title; apply 25.30B1a 6.28.1.9, exception: do not add a statement of medium of performance if the medium is implied by the title. Implied medium: organ; see also chorale prelude, prélude de choral.
  • Conductus
    • TYPE (Latin); a medieval vocal work for one or more voices; usually used as a conventional collective uniform title.
  • Corant Corant/Corants change in treatment
    • (English); use courante. TYPE (English); use this form when it is the composer's original title; see also corrente, courante.
  • Corrente Corrente/Correnti change in treatment
    • (Italian); use courante. TYPE (Italian); use this form when it is the composer's original title; see also corant, courante.
  • Courante/Courantes change in treatment
    • TYPE (English, French); use this form when it is the composer's original title; see also use for corant, corrente.
D
  • Danza/Danzas
    • TYPE (Spanish); the particular genre of salon music for piano developed in Puerto Rico in the late 19th and early 20th centuries. Do not translate to "dance" in the uniform preferred title; for all others, use dance.
  • Danza
    • (Italian); when danza refers to the particular genre of salon music for piano developed in Puerto Rico in the late 19th and early 20th centuries, use Danza and do not translate to "dance" in the uniform preferred title; for all others, use dance.
  • Danzón
    • DISTINCTIVE (Spanish); Cuban dance form; do not translate to "dance" in uniform preferred title.
  • Duet/Duets change in treatment
    • TYPE (English); use for dueto, Duett, duetto, duo, kettős; see also kettős.
  • Duo concertante
    • DISTINCTIVE for 20th-century works; TYPE for pre-20th-century works. Apply LCRI 25.28: fFor pre-20th-century works with titles such as duo concertant, quartetto concertant, etc, (but not titles naming a form, such as sinfonie concertante, rondeau concertante, etc.) consider the word "concertante" or its equivalent to be an adjective or epithet not part of the original title of the work and omit it from the uniform preferred title (see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21). For treatment of duo, see duet.
E
  • Ejercicio Ejercicio/Ejercicios change in treatment
    • (Spanish); use exercise. TYPE (Spanish); treat as a type of composition when the term is used to mean "study," "etude," etc.; see also esercizio, exercice, exercise, Übung.
  • Epilog
    • DISTINCTIVE (German); use for independent pieces so named. For epilogues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Epilogo
    • DISTINCTIVE (Italian); use for independent pieces so named. For epilogues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Epílogo
    • DISTINCTIVE (Spanish); use for independent pieces so named. For epilogues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Epilogue
    • DISTINCTIVE (English); use for independent epilogues. For epilogues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Épilogue
    • DISTINCTIVE (French); use for independent epilogues. For epilogues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Esercizio Esercizio/Esercizi change in treatment
    • (Italian); use exercise. TYPE (Italian); treat as a type of composition when the term is used to mean "study," "etude," etc.; see also ejercicio, exercice, exercise, Übung.
  • Exercice Exercice/Exercices change in treatment
    • (French); use exercise. TYPE (French); treat as a type of composition when the term is used to mean "study," "etude," etc.; see also ejercicio, esercizio, exercise, Übung.
  • Exercise/Exercises change in treatment
    • TYPE (English); treat as a type of composition when the term is used to mean "study," "etude," etc.; use for ejercicio, esercizio, exercice; see also ejercicio, esercizio, exercice, Übung.
F
G
  • Gesang/Gesänge
    • TYPE (German); use as a type for vocal works; German song or choral work; see song for treatment. Use for works of this type in German and only for sets specifically titled by the composer, e.g., Becker, Gunther. [Gesang]; Beethoven, Ludwig van. [Gesänge, op. 75]; Kreutzer, Conradin. [Gesänge, men's voices, op. 24] For miscellaneous collections use "song", e.g., [Songs. Selections]; DISTINCTIVE for instrumental works; see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21.
  • Glee/Glees
    • TYPE (English); an English part-song for three or more voices; usually used as a conventional collective uniform title.
  • Gradual/Graduals
    • TYPE (English, German, Spanish); an item of the Proper of the Mass; usually used as a conventional collective uniform title.
H
  • Hymn/Hymns
    • TYPE (English); for vocal works; usually used as a conventional collective uniform title; use for gimno, himno, Hymne, inno.
  • Hudba Hudba change in treatment
    • (Czech); use music TYPE (Czech); see also music.
I
  • Improvisation/Improvisations change in treatment
    • TYPE (English, French, German); use for improvisación, improvizáció, improvizálás, improvizatsiia, improvvisazione, rőgtőnzés; see also rögtönzés; the Italian "improvviso" and Spanish "improviso" are not cognates.
  • Intermède/Intermèdes
    • TYPE (French); use when this is the title of a character piece; do not apply this treatment to an independent stage work whose title begins with or includes the word intermède; intermèdes that are performed between the acts of a stage work follow 6.14.2.7.1 rule 25.32; use for intermedio, intermedium.
  • Introit/Introits
    • TYPE (English, French, Latin); liturgical (see note 3); an item of the proper of the Mass; usually used as a conventional collective uniform title; use for Introitus; distinctive when an instrumental work.
K
  • Kantate
    • (German); use cantata (for conventional collective uniform titles only).
L
  • Lullaby/Lullabies; Lullabye/Lullabyes change in treatment
    • TYPE (English); use for lullabye. the composer's original spelling.
M
  • March/Marches change in treatment
    • TYPE (English); use for induló, marcha, marche, marcia, mars, Marsch, marsh, marsz; see also induló.
  • Mélodie/Mélodies
    • TYPE (French); apply LC-PCC PS for 6.14.2.5 LCRI 25.29A; use for a French work for 1) solo voice and keyboard stringed instrument, in which case do not include the medium of performance in the authorized access point (LC-PCC PS for 6.14.2.5) uniform title (LCRI 25.29A), e.g., Chausson. Ernest [Mélodies, op. 2] or for 2) solo voice and accompaniment of other than a solo keyboard stringed instrument or without accompaniment, in which case indicate the medium of accompaniment or absence of accompaniment in the authorized access point (6.15.1.12) uniform title (25.30B10). See song for treatment. "Mélodies," in these cases, do not have the same meaning as the cognate in other languages.
  • Melody/Melodies
    • TYPE (English); see LC-PCC PS for 6.14.2.5 LCRI 25.29A: considered a type distinct from the French "mélodie" (e.g., Cage, John. [Melodies, violin, keyboard instrument]). Use for melodia, melodie (use for the French "Mélodie" when medium of performance is other than specified in LC-PCC PS for 6.14.2.5 LCRI 25.29A), melodiia, melodja.
  • Movement/Movements change in treatment
    • TYPE (English); use for an independent work titled as such, not for individual movements of a larger work; use for mouvement, movimento, movimiento; see also chast', mouvement, movimento, movimiento, Satz, tétel.
  • Movimiento Movimiento/Movimientos change in treatment
    • (Spanish); use movement. TYPE (Spanish); for "movement"; use for an independent work titled as such, not for individual movements of a larger work; see also chast', mouvement, movement, movimento, Satz, tétel.
  • Music change in treatment
    • TYPE (English); use for hudba, musica, música, Musik, musique, muzyka; see also hudba.
  • Musicals
    • TYPE (English); usually used as a conventional collective uniform title.
N
  • Nachtstück
    • DISTINCTIVE (German); do not translate to "nocturne" in uniform preferred title.
O
  • Overture/Overtures change in treatment
    • TYPE (English); use for independent overtures, either non-distinctively named individual overtures or for collections of a composer's overtures. Overtures that are part of a larger work follow rule 25.32 6.14.2.7.1. When used as a generic title, see 25.30B1a 6.28.1.9, exception: do not include medium of performance when the overture is for orchestra, as it is the implied medium; include medium of performance in all other cases; use for abertura, obertura, Ouvertüre, ouverture, overtura, sinfonia, uvertiura, uwertura; see also sinfonia when it is used to mean "overture."
P
  • Part song/Part songs; Part-song/Part-songs; Partsong/Partsongs (provisional entry)
    • TYPE (English); a work in two or more voice parts without independent accompaniment; (however, some works may be accompanied). The problems with this type of composition continue to be unresolved. The first problem is the form of the name of the type. Until a definitive policy is issued, use the spelling the composer used. The second problem is medium of performance. Although "part song" is not included in the list of types of composition with implied medium of performance in 6.28.1.9 exception 25.30B1, the New Grove definition of the type lends credence to applying 6.28.1.9 exception 25.30B1. Examples in the authority file are inconsistent in stating the medium of performance. Until this problem is resolved, follow the treatment in established headings for a composer's works.
  • P'esa P'esa/P'esy change in treatment
    • (Russian); use piece. TYPE (Russian); for "piece"; use this form when it is the composer's original title; see also darab, morceau, pala, pezzo, piece, pièce, pieza, skladba, Stück, stuk, utwór.
  • Pezzo Pezzo/Pezzi change in treatment
    • (Italian); use piece. TYPE (Italian); for "piece"; use this form when it is the composer's original title; see also darab, morceau, pala, p'esa, piece, pièce, pieza, skladba, Stück, stuk, utwór.
  • Pièce Pièce/Pièces change in treatment
    • (French); use piece. TYPE (French); for "piece"; use this form when it is the composer's original title; see also darab, morceau, pala, p'esa, pezzo, piece, pieza, skladba, Stück, stuk, utwór.
  • Pieza Pieza/Piezas change in treatment
    • (Spanish); use piece. TYPE (Spanish); for "piece"; use this form when it is the composer's original title; see also darab, morceau, pala, p'esa, pezzo, piece, pièce, skladba, Stück, stuk, utwór.
  • Pisen/Pisne
    • TYPE (Czech); use for vocal works of this type in Czech; see song for treatment; when an instrumental work is titled "Pisen," treat this title as distinctive. Use for specific collections, e.g., Klein, Gideon. [Pisne, op. 1], Krása, Hans [Pisne, clarinet, viola, violoncello accompaniment] or as the first word of a composer's distinctive title, e.g., Martinů, Bohuslav [Pisne o Marii]. For miscellaneous collections use "song", e.g. [Songs. Selections]
  • Poema sinfonico Poema sinfonico/Poemi sinfonici change in treatment
    • TYPE (Italian); use symphonic poem when it is the composer's original title; see also poema sinfónico, poème symphonique, simfonicheskaia poėma, sinfonische Dichtung, sinfonische Gedicht, symphonic poem, symphonische Dichtung.
  • Poema sinfónico Poema sinfónico/Poemas sinfónicos change in treatment
    • TYPE (Spanish); use symphonic poem when it is the composer's original title; see also poema sinfonico, poème symphonique, simfonicheskaia poėma, sinfonische Dichtung, sinfonische Gedicht, symphonic poem, symphonische Dichtung.
  • Poème symphonique Poème symphonique/Poèmes symphoniques change in treatment
    • TYPE (French); use symphonic poem when it is the composer's original title; see also poėma sinfonico, poema sinfónico, simfonicheskaia poėma, sinfonische Dichtung, sinfonische Gedicht, symphonic poem, symphonische Dichtung.
  • Potpourri/Potpourris change in treatment
    • TYPE (English, German, Hungarian, Spanish); use for popurri, popurrí, pot-pourri.
  • Pot-pourri Pot-pourri/Pot-pourris change in treatment
    • (French, Italian); use potpourri. TYPE (French, Italian). 
  • Prélude de choral Prélude de choral/Préludes de chorals change in treatment
    • (French); use chorale prelude; TYPE (French); use this form when it is the composer's original title; apply 25.30B1a: do not add a statement of medium of performance if the medium is implied by the title. Implied medium: organ; see also chorale prelude, Choralvorspiel.
  • Prolog
    • DISTINCTIVE (German, Hungarian, Russian); use for independent pieces so named. For prologues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Prologo
    • DISTINCTIVE (Italian, Spanish); use for independent pieces so named. For prologues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Prologue
    • DISTINCTIVE (English, French); use for independent prologues. For prologues that are part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
  • Psalm/Psalms
    • TYPE (English, German, Russian); use as a type for vocal works; use in the language of the original and in the singular if a single psalm is qualified in a title by the number of the psalm. Give the numeral in the numerical system used by the composer (e.g., [Psalm 116], [Psaume XLVII], [Salmo XIX]). If a composer used the single title "psalms" (or its cognates) for several psalms without indication of psalm numbers or grouped several psalms in one publication (whether psalm numbers are indicated or not), use the English plural form and (if necessary to distinguish from other psalms), the qualifying statement that best facilitates a logical arrangement of entries (e.g., Head, Michael. [Psalms], Mendelssohn-Bartholdy, Felix. [Psalms, op. 78], Holst, Gustav. [Psalms, mixed voices, string orchestra]). Use for psalmo, psalmus, psaume, salmo, žalm; DISTINCTIVE for instrumental works; see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21.
Q
  • Quartettino/Quartettinos
    • TYPE (Italian); because titles like Terzettino, Quartettino, Quintettino, etc. do not include the words trio, quartet, quintet, etc., 6.15.1.5 rule 25.30B3 cannot be applied.
  • Quintettino/Quintettinos
    • TYPE (Italian); because titles like Terzettino, Quartettino, Quintettino, etc. do not include the words trio, quartet, quintet, etc., 6.15.1.5 rule 25.30B3 cannot be applied.
R
  • Récit/Récits
    • TYPE (French); a generic term used in France during the 17th and 18th centuries for fragments or entire compositions for solo voice and, by extension, for solo instrument; also used as a title for an organ piece with a distinct melodic part, as opposed to earlier, contrapuntal organ music; use for works for solo instrument with or without accompaniment.; distinctive when the title means "story" or "narrative."
  • Romance/Romances
    • TYPE (English, French, Spanish); a 16th- to 17th-century Spanish ballade (also Romanza), an 18th-century French song, and a 19th-century instrumental work. If an instrumental work, use the English form. Use for instrumental works titled romans, Romanza, romanze. If a vocal work, use the form of the language of the text; see also romans, romanza (Italian), romanza (Spanish), Romanze; when in English, apply 6.15.1.10 rule 25.30B8 and name the type of solo voice.
  • Rondo/Rondos
    • TYPE (English, French, German); use for rondó, rondò, Rundgesang.
  • Round/Rounds change in treatment
    • TYPE (English); a short perpetual canon in which all the parts sound at the same pitch or at an octave to it; see also Rundgesang.
S
  • Satz/Sätze
    • TYPE (German); use for an independent work titled as such, not for individual movements of a larger work; see also chast', mouvement, movement, movimento, movimiento, tétel.
  • Service/Services
    • TYPE (English); a term used in the Anglican liturgy to refer to musical settings of the canticles for Matins (Morning prayer) and Evensong, and of certain parts of the Communion service; apply 6.28.1.9 exception 25.30B1 and do not normally include a statement of medium of performance; regard any title in which "service" is modified by something other than medium or key as distinctive. 
  • Simfonicheskaia poėma Simfonicheskaia poėma/Simfonicheskie poėmy change in treatment
    • TYPE (Russian); use symphonic poem when it is the composer's original title; see also poema sinfonico, poema sinfónico, poème symphonique, sinfonische Dichtung, sinfonische Gedicht, symphonic poem, symphonische Dichtung.
  • Sinfonietta/Sinfoniettas
    • TYPE (English, German, Italian); apply 6.28.1.9 exception 25.30B1a; use for simfonietta, simphonietta, symfoniieta, symphonietta, symphoniette.
  • Song/Songs
    • TYPE (English); use for as a type for vocal works; of this type in English; when an instrumental work is titled "Song," treat this title as distinctive. For vocal works, apply 6.28.1.9 exception 25.30B1a: do not add a medium of performance for works with the initial title element preferred title Songs, Lieder, etc. unless it differs from the implied medium of solo voice(s) with accompaniment for keyboard instrument (this does not apply to songs in a popular medium). Apply 6.15.1.12 25.30B10: accompaniment for works with the initial title element preferred title Songs, Lieder, etc.: when the work is accompanied by any medium other than a keyboard instrument, add the name(s) of the instrument(s) followed by "accompaniment." If the work is unaccompanied, add "unaccompanied" as the medium of performance. Use only for miscellaneous sets, e.g., [Songs], [Songs. Selections] and specific collections, e.g., [Songs, op. 14], [Songs. op. 56. Maid sings light]. For other languages see canción, canzone, chanson, dal, Gesang, laulu, Lied, melodie, pisen, romance; DISTINCTIVE for instrumental works (see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21).
  • Spiritual/Spirituals
    • TYPE (English); use as a type for vocal works; a type of folksong that originated in American revivalist activity between 1740 and the close of the 19th century; treat as a type for vocal works; use for spirichuėl; DISTINCTIVE for instrumental works; see 6.14.2.5 in Best practices for music cataloging using RDA and MARC 21.
  • Symphonette/Symphonettes
    • TYPE (English); apply 6.28.1.9 exception 25.30B1a: add a statement of medium of performance only when not for the implied medium of orchestra
T
  • Tétel/Tételek
    • TYPE (Hungarian); for "movement"; usually refers to an independent work; use for an independent work entitled as such, not for individual movements of a larger work; see also chast', mouvement, movement, movimento, movimiento, Satz.
  • Terzettino/Terzettinos
    • TYPE (Italian); because titles like Terzettino, Quartettino, Quintettino, etc. do not include the words trio, quartet, quintet, etc., 6.15.1.5 rule 25.30B3 cannot be applied; for terzetto use trio.
U
  • Übung/Übungen
    • TYPE (German); treat as a type of composition when the term is used to mean "study," "etude," etc.; see also ejercicio, esercizio, exercice, exercise.
V
  • Vorspiel/Vorspiele
    • TYPE (German); use for independent works titled as such; when part of a larger work, apply 6.14.2.7.1 follow rule 25.32.
W
Z