EPC Exhibit 131-29
May 8, 2009
THE LIBRARY OF CONGRESS
Dewey Section
To:
Caroline Kent, Chair
Decimal Classification Editorial Policy Committee
Cc:
Members of the Decimal Classification Editorial Policy Committee
Karl E. Debus-López, Chief, U.S. General Division
From:
Rebecca Green, Assistant Editor
Dewey Decimal Classification
OCLC Online Computer Library Center, Inc.
Via:
Joan S. Mitchell, Editor in Chief
Dewey Decimal Classification
OCLC Online Computer Library Center, Inc.
Re:
780 Music
Relocations
From
781.284
781.643
781.657
782.265
To
781.286
781.644
781.68
782.25
Topic
Polyphony
Comprehensive works on rhythm and blues
Third stream
Anthems
Expansions
From
781.64
789.4
To
781.648
789.48
Topic
Electronica
Electronica
A discussion paper on 780 Music was prepared as EPC Exhibit 128-34 and revised as EPC
Exhibit 130-32; the paper took up the following tasks:
 reviewing treatment of folk music and popular music, including rethinking the current
division between 781.62 from 781.63-781.64 and providing instructions for hybrid music
styles,
 taking care of miscellaneous revisions, and
 rectifying several large-scale situations where inconsistencies in indexing (and related
entries) have been discovered.
A follow-up exhibit, EPC Exhibit 130A-32, addressed the issue of hybrid styles of music.
1
During Meeting 130, EPC concurred with the suggestion that the exhibit be posted for comment.
Accordingly, a version of Exhibit 130-32 focusing on contemporary styles of music was posted
on the Dewey website, with a link from an entry in the Dewey blog; the text of the blog is found
in appendix A. A preliminary version was also distributed to selected persons in national and
university libraries in Sweden, South Africa, and Trinidad and Tobago for comment; related
correspondence is found in appendix B. We received one response to the blog entry: “Me
personally i think Kwaito should be considered as a folk music, because of teh [sic]style, and the
thought that comes to mind when listening to it..”
The exhibit is structured into three sections, corresponding to the three bullet points above. The
first section closely follows the posted version of the discussion paper referred to above; the final
two sections are taken from Exhibit 130-32.
Contemporary Styles of Music
There is an ongoing need to provide for current styles/genres under 781.6. However, this is an
extremely difficult subject area to provide for. As the literature on automatic music genre
classification points out:
 Human annotators often disagree about what genre label (even from a reasonably small
set) to assign to specific pieces. They also disagree as to what genre labels should be
used (McKay & Fujinaga 2006, 102).
 Music genre classification is difficult because new genres are introduced regularly (music
classifications are “very sensitive to music evolution”) and because our understanding of
existing genres can change over time (“music evolution induces . . . genre compression
[different genres are merged] and expansion [genres split into subgenres];” “new genres
are often very difficult to insert in an existing taxonomy . . . because of multiple
inheritance issues;” “precise taxonomies of this kind are not only difficult to build, but
also impossible to maintain” (Aucouturier & Pachet 2003, 85).
The consensus is that a perfect system of music genre classification is not feasible, especially for
(reasonably) current music. Originally we were considering this problem in the context of
popular music only, but the folk music revival of the late twentieth century and the attendant
emergence and development of contemporary folk music has complicated the situation further.
A particular version of the problems of genre compression/expansion and polyhierarchy noted
above involves the emergence of a musical style within the context of a specific national or
ethnic group, followed by its dissemination to a larger (e.g., worldwide) audience and its
assimilation of musical elements from other (external) musical styles. A musical style that in its
original “pure” state may have qualified reasonably clearly as contemporary folk music may
develop and spawn substyles with a more popular music feel. The Oxford Companion to Music
(s.v. “Folk music”) further notes, “Since the ‘second’ folk revival of the 1950s, the tendency of
folksingers to sing their own songs as well as traditional ones has blurred the distinction in
America between folk and pop styles.” Maintaining the current distinction between folk music
and popular music is not only difficult, but also runs counter to trends in music evolution.
2
We therefore propose to replace the distinction that currently separates 781.62 from
781.63-781.64 with a division, for traditions outside art music, between (1) styles that originate
within and are associated with an ethnic or national group and (2) styles that either did not
originate in an ethnic or national group or that are not (reasonably strongly, although not
necessarily exclusively) associated with an ethnic or national group. A replacement scope note
at 781.62 sets forth the new characterization given to folk music, and a see reference at 781.63
makes clear that popular music that fits the scope note at 781.62 should be classed in 781.62. A
scatter reference at 781.62 directs the classifier to 781.64–781.66 for styles that have been
provided for there previously. An addition to the Manual note at 781.6 (for hybrid music styles)
and a new Manual note at 781.62–781.66 reinforce the proposed changes.
As previously noted, it is not uncommon for musical styles to straddle the line of division
between 781.62 and 781.63–781.66 as they develop. Our general policy would be to place a
musical style on one or the other side of the line based on its having originated in an ethnic or
national group and the strength of its association with that ethnic or national group at the time
that we first include it explicitly in the DDC. As styles of music develop, they would not be
routinely relocated across the divide. Musical styles currently mentioned in the scheme would
stay in their current classes, but styles that are only indexed or mapped to a class would be
reexamined for possible “relocation.” Practically speaking, this proposal would have several
effects:
o The folk music / popular music distinction would effectively be eliminated going
forward.
o A larger proportion of new musical styles would (probably) be classed in 781.62.
o Because of the rich faceted development under 781.62, new musical styles and substyles
would receive more specific numbers, without the need of being explicitly developed for.
(The current development under 781.62 would remain.)
At the same time, we propose to maintain a shallow hierarchy of the more universal popular
music styles within 781.63–781.66, supplemented by mappings of style subcategories to that
hierarchy. More specifically, we propose to use the general popular music categories of
allmusic.com1 as the basis for our shallow hierarchy. Allmusic.com’s style subcategories,
LCSHs, and literary warrant counts from WorldCat would be used in determining which subjects
to mention in notes and which to treat only as index entries. A Manual note for 781.63–781.66,
instructing the classifier to use allmusic.com or a similar online source to determine the style of
western popular music, is proposed below.
For the period 2000–2008 (i.e., after the major revision to the 780s in DDC 20), ca. 28% of all
DDC music class assignments in WorldCat have been in 781.63–781.66. This proportion is high
enough to call into question whether the instruction (at 780) to “class a subject with aspects in
two or more subdivisions of 780 in the number coming last” is being observed. For example,
even though 781.649 Rap has always appeared with the note “Use this number only for building
numbers in 782–783, e.g., comprehensive works on rap 782.421649; never use it by itself,” 38%
1
We favor allmusic.com for its overall stability (the underlying database was first developed in 1991) and authority
(the content is developed by professional writers / music critics; the database has been used by various digital media
player applications [e.g., Windows Media Player, Musicmatch Jukebox] and online music stores [e.g., iTunes,
Amazon].
3
of the DDC assignments for works indexed by the LCSH “Rap (Music)” have been classed in a
subdivision of 781. Help with the classing of popular music includes both the note at 781.649,
the instruction to class rock songs in 782.42166 (not 781.66) as an example under 780, and a
note at 781.64 stating that most works on western popular music are predominantly about
popular songs and are classed in 782.42164. Is more or different help needed? We surmise that
the absence of a nonclassical music example in the Manual-like note at 781 has been interpreted
to suggest that the note be applied to classical music only. We therefore propose to add a
nonclassical example to the note at 781, the most appropriate place to address a problem
observed throughout the 781s. The note at 781.64 regarding Western popular music would be
deleted; the note at 781.649 regarding rap music would be replaced by a class-elsewhere note for
comprehensive works on rap music. We also propose to add language to the first note under 780
to make clear that it applies to all traditions of music. The addition to the Manual note at 781.6
for hybrid music styles also reinforces the class-with-the-last principle. Finally, the addition of
selected built numbers for popular music within 782 should help attract the literature that rightly
belongs there. (An entry for art songs is also being added as a schedule entry at 782.42168, since
it is required by the schedule entry at 782.42168092.
We have considered at length how to treat hybrid music styles, which are prominent in
contemporary music. Since sources do not always agree on which of two or more underlying
styles predominates in a hybrid style, we are proposing—as mentioned above—to use a classwith-the-last policy for hybrid styles, which will simplify their classification. We also
considered using notation 16 from the add table under 781.3–781.9 to express a second music
tradition in a hybrid style, but the current add provision is explicitly defined as “stylistic
influences of other traditions of music.” The notion of stylistic influence assumes an asymmetry
between two musical styles: one is the predominant style; the other influences it. But the base
number chosen by class-with-the last will not always be the predominant style. Instead, we
believe that adding a new number under the add table for hybrid styles (17) is more appropriate;
a definition note is added to make altogether clear what qualifies as a hybrid style. In addition,
see-also references have been added between 16 and 17, and examples of the new notation have
been added to the 781.6 Manual note section on hybrid styles.
Also based on the major styles in allmusic.com, we propose an expansion for Electronica at
781.648. (Locating Electronica under western popular music is appropriate, not only because
this number matches current literary warrant, but more importantly because subdivisions of
781.64 are used for musical traditions that originated as western popular music.) We bracket the
built number 781.6481554 because electronic dance music makes up a significant portion of
electronica.
In conjunction with the development of electronica, we investigated whether the number for
comprehensive works on electronic music should remain at 786.74 Synthesizers. We decided to
discontinue the comprehensive number to 786.7 and to reword the caption there to Electronic
instruments (Electrophones) to make it consistent with 787 Stringed instruments (Chordophones)
and 788 Wind instruments (Aerophones). The scope note has also been reworded to make the
modern sense of electronic music clearer. Lastly, we are adding the acoustic and electric forms
of instruments to a class-here note at 784.19 and to the class-here note under the centered entry at
786–788; this will permit subdivision for either or both forms of instruments under 784.19 and
4
786–788. This creates an apparent conflict with a note at 786.7, which is being resolved by
striking a phrase from the scatter class-elsewhere note there.
We investigated expanding Rock music, but could not devise subordinate classes for grouping
styles of rock music that created clean divisions and that would be universally recognized; this
investigation reinforces the decision to keep to a shallow hierarchy. But we do propose to spruce
up 781.66 by:
o adding a class-here note for specific rock styles, so that each style of rock approximates
the whole and allows for the addition of standard subdivisions (similar notes are being
added under other styles of popular music),
o deleting the including note, and
o indexing this number under a variety of additional rock styles.
(In keeping with our decision to maintain a shallow hierarchy for popular music, we also
investigated discontinuing the subdivisions under 781.65 Jazz. However, there are over 5,000
WorldCat records classed in these subdivisions.)
We also investigated changing the structure at 781.643 Blues (which includes a class-here note
for rhythm and blues) and 781.644 Soul, to parallel the overall structure of allmusic.com, which
distinguishes between blues and R&B and which treats soul music as a subcategory under R&B.
However, this picture contrasts with the treatment of these terms in LCSH and the LC
Classification. There are LCSHs for Blues (Music), Rhythm and blues music (UF R&B), and
Soul music. Both Blues (Music) and Soul music are RTs of Rhythm and blues music (and viceversa). WorldCat searches show that Blues (Music) has been assigned quite infrequently (58) in
comparison to Rhythm and blues music (19,025) and Soul music (17,350); works that have been
assigned the LCSH Rhythm and blues music are much more likely to have been classed in
781.643 Blues than in 781.644 Soul. LCC combines Blues and Rhythm and blues into a single
class. We believe the most helpful approach we can take is to distinguish between traditional
rhythm and blues, which is aligned with 781.643 Blues, and R&B, which is aligned with 781.644
Soul.
We struggled with what to do, if anything, to provide for world music, which has several, widely
disparate definitions. In the end, we opted for a Manual note for World music at 781.6, 780.9,
780.
Anne-Céline Lambotte-Mosseron (formerly of Bibliothèque nationale de France, now at
Université de la Méditerranée) has pointed out how confusing the classification scheme is at
781.68 Western art music (Classical music). On the surface, the class-here note (Class here
comprehensive works on art music) and the class-elsewhere note (Class general works on art
[classical] music in 780) seem to contradict one another. The intended distinction is that 781.68,
which is under 781.6 Traditions of music, is limited to works on art music as a music tradition
distinct from other traditions (with comprehensive works on art music including both western art
music and nonwestern art music), while 780 is the comprehensive number for art music, without
the traditions restriction.
Changes in 781.62–781.69 would carry over to (789) Composers and traditions of music.
5
In keeping with the extended indexing policy proposed above, additional index entries would be
added to the existing set of Relative Index headings, as well as to the rich set of mapped
headings already in WebDewey. The following new index entries are proposed:
Cajun music
781.624 107 63
Zydeco music
781.624 107 63
Latin American folk music 781.626 8
Latin folk music
781.626 8
Tejano music
781.626 872 076 4
Hausa music
781.629 37
Highlife (Music)
781.629 66
Juju music
781.629 633 3
Yoruba music
781.629 633 3
Disco music
781.64
Alternative country music
781.642
Western swing music
781.642
Boogie woogie
781.643
Doo-wop
781.643
Funk music
781.644
Dub
781.646
Gangsta rap
781.649
Latin jazz
781.657
Alternative rock music
781.66
New wave music
781.66
Psychedelic rock
781.66
Rockabilly music
781.6
Other index entries would be moved from their current numbers to the following numbers:
Soukous (Music)
781.620 096
Latin pop (Music)
781.626 8
Cumbia (Music)
781.626 886 1
Calypso (Music)
781.629 697 29
Soca
781.629 697 29
Bikutsi
781.629 671 1
Kwaito
781.629 68
World beat (Music)
781.63
Funk musicians
781.644 092
Afrobeat
781.657 296 6
Country rock music
781.661 742
Jazz-rock (Music)
781.661 75
Krautrock (Music)
781.66
References
6
Aucouturier, Jean-Julien & François Pachet. 2003. “Representing musical genre: A state of the
art.” Journal of New Music Research 32/1 (2003): 83-93. Available: http://
citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.93.102&rep=rep1&type=pdf.
McKay, Cory & Ichiro Fujinaga. 2006. “Musical genre classification: Is it worth pursuing and
how can it be improved?” Proceedings of ISMIR 2006, Victoria, Canada, 101-107.
Available: ismir2006.ismir.net/PAPERS/ISMIR06109_Paper.pdf
Schedule changes
Note: The changes indicated below include ripple effects of changes under investigation in
Table 1. The conventions used for indicating changes are those used in the monthly New and
Changed Entries: Changes to schedule numbers are indicated only by underlining. Other
changes are underlined, and deletions are marked by strikethroughs. Schedule entries without
underlining or strikethroughs are old entries that are included for context.
780
Music
After general topics (780 and 781) the basic arrangement of the schedule is based
on the voice, instrument, or ensemble making the music. Vocal music Any
tradition of vocal music (e.g., classical, popular) is classed in 782–783;
instrumental music any tradition of instrumental music (e.g., classical, popular) is
classed in 784–788
Unless other instructions are given, class a subject with aspects in two or more
subdivisions of 780 in the number coming last, e.g., sacred vocal music 782.22
(not 781.7)
When instructed, add the indicator 0 or 1 and the notation from the subdivisions
coming earlier in the schedule, e.g., rock songs 782.42166 (not 781.66). In
building numbers, do not add by use of 0 or 1 (alone or in combination) more than
twice, e.g., history of rock protest songs 782.421661592 (not 782.42166159209)
(Option: Add as many times as desired)
This schedule does not distinguish scores, texts, or recordings
(Option: To distinguish scores, texts, recordings, use one of the following:
(Option A: Prefix a letter or other symbol to the number for treatises, e.g.,
scores for violin M787.2, violin recordings R787.2 or MR787.2; use a special
prefix to distinguish miniature scores from other scores, MM787.2
(Option B: Add to the number for treatises the numbers following 78 in
780.26–780.269, e.g., miniature scores of music for violin 787.20265
(Option C: Class recordings in 789, e.g., recordings of folk music 789.2,
recordings of violin folk music 789.2072)
7
See Manual at 780; also at 781.6 vs. 780, 780.9
780.9
Historical, geographic, persons treatment History, geographic treatment,
biography
No distinction is made between the music of a place and music in a place, e.g.,
Viennese music and music played in Vienna are both classed in 780.943613
Class critical appraisal in analytical guides and program notes in 780.15
See Manual at 781.6 vs. 780, 780.9
781
General principles and musical forms
Class here music theory
Use the subdivisions of 781 only when the subject is not limited to voice,
instrument, or ensemble. If voice, instrument, or ensemble is specified, class with
voice, instrument, or ensemble; and then add as instructed. For example,
rehearsal of music 781.44, rehearsal of opera (a form for the voice) 782.1144,
rock music (both vocal and instrumental) 781.66, rock songs 782.42166
See Manual at 780.92
781.6
*Traditions of music
Works emphasizing a specific tradition
See Manual at 781.6; also at 781.6 vs. 780, 780.9
(Option: If 781-788 is used for only one tradition of music, class all other
traditions in 789)
*Add as instructed under 781.2–781.8
8
781.62
Folk music
Music indigenous to the cultural group in which it occurs, usually evolved
through aural transmission Music originating within and associated with
an ethnic or national group
Class folk rock in 781.661762. Class a specific style of music provided
for in 781.64–781.66 with the style, e.g., reggae 781.646,
Afro-Cuban jazz 781.6572687291
See also 780.9 for music of and performed in a specific location
See Manual at 781.62 vs. 780.89; also at 781.62–781.66
781.620 6
Stylistic influences Influence of other traditions of music
Add to base number 781.6206 the numbers following 781.6 in
781.63–781.69, e.g., influence of jazz on folk music 781.62065,
performances of folk music influenced by jazz 781.62065078
9
781.621–.629
Folk music of specific ethnic and national groups
Add to base number 781.62 notation 1–9 from Table 5, e.g., Spanish
folk music 781.6261; then add further as follows:
001–008
Standard subdivisions
Notation from Table 1 as modified under
780.1–780.9, e.g., performances of Spanish folk
music 781.62610078
009
Historical History, geographic, persons
treatment, biography
00901–00903
Historical periods to 1900
Add to base number 0090 the numbers
following 780.90 in 780.901–780.903, e.g.,
Spanish folk music of the Renaissance
781.6261009031
00904–00905
1900–2099
Add to base number 0090 the numbers
following —090 in notation 0904–0905
from Table 1, e.g., Spanish folk music of the
1970s 781.6261009047
[0093–0099]
Treatment by specific Specific continents,
countries, localities
Do not use; class in 03–09
01
General principles
Add to 01 the numbers following 781 in 781.1–781.5,
e.g., Spanish folk music for springtime
781.6261015242, rhythm in Spanish folk music for
springtime 781.62610152421224
02
Stylistic influences Influence of other traditions of
music
Add to 02 the numbers following 781.6 in
781.63–781.69, e.g., influence of jazz on Spanish folk
music 781.6261025, performances of Spanish folk
music influenced by jazz 781.6261025078
03–09
Specific continents, countries, localities
Add to 0 notation 3–9 from Table 2, e.g., Spanish folk
music in New York City 781.626107471
In building numbers, do not add by use of 0 or 1 (alone or in
combination) more than twice, e.g., history of Spanish protest folksongs 782.421626101592 (not 782.42162610159209)
(Option: Add as many times as desired)
10
______________
>
781.63–781.69*‡Other traditions of music
Add to each subdivision identified by † as follows:
01–08
Standard subdivisions
Notation from Table 1 as modified under 780.1–780.8, e.g.,
performances 078
09
History, geographic treatment, biography
0901–0903
Historical periods to 1900
Add to base number 090 the numbers following
780.90 in 780.901–780.903, e.g., music of the
Renaissance 09031
0904–0905
1900–2099
Add to base number 090 the numbers following
—090 in notation 0904–0905 from Table 1, e.g.,
music of the 1970s 09047
1
General principles, and stylistic influences influence of other
traditions of music, hybrid styles
11–15
General principles
Add to 1 the numbers following 781 in 781.1–781.5, e.g.,
springtime music 15242, melody in springtime music
15242124
16
Stylistic influences Influence of other traditions of
music
Add to 16 the numbers following 781.6 in 781.62–781.69,
e.g., influence of folk music 162, performances of influence
of folk music 162078
See also 17 for hybrid styles
17
Hybrid styles
Fusion of two or more styles from different traditions of
music to create a new style
Add to 17 the numbers following 781.6 in 781.62–781.69,
e.g., fusion with folk music 172, folk rock 781.66172
See Manual at 781.6: Hybrid styles
See also 16 for influence of other traditions of music
In building numbers, do not add by use of 0 or 1 (alone or in combination)
more than twice, e.g., history of rock protest songs 782.421661592 (not
782.42166159209)
(Option: Add as many times as desired)
Class comprehensive works in 781.6
11
781.63
†Popular music
Class popular music originating within and associated with an ethnic or
national group in 781.62
For western popular music, see 781.64
See Manual at 781.62–781.66
781.64
†Western popular music
Class western popular music originating within and associated with an
ethnic or national group in 781.62; class country and western music in
781.642
Most works on western popular music are predominantly about popular
songs and are classed in 782.42164
For jazz, see 781.65; for rock, see 781.66
See Manual at 781.62–781.66
781.642
†Country music
Class here bluegrass music; specific country music styles
781.643
†Blues
Class here traditional rhythm and blues; specific blues styles
Comprehensive works on rhythm and blues relocated to 781.644
781.644
†Soul
Class here comprehensive works on rhythm and blues [formerly
781.643], R&B; specific soul styles
For traditional rhythm and blues, see 781.643
781.645
†Ragtime
781.646
†Reggae
Class here specific reggae styles
12
†Electronica
781.648
Class here specific electronica styles
Class comprehensive works on electronic music in 786.7
781[.648 155 4]
Dance music
Do not use; class in 781.648
781.649
†Rap
Class here specific rap styles
Use this number only for building numbers in 782–783, e.g.,
comprehensive works on rap 782.421649; never use it by itself
Class comprehensive works on rap music in 782.421649
781.65
†Jazz
See Manual at 781.62–781.66
781[.651 7]
Hybrid styles
Do not use; class in 781.657
781.657
†Hybrid styles
Including Afro-Cuban, third stream, Indo-jazz
Add to 781.657 the numbers following 781.6 in
781.62–781.69, e.g., Afro-Cuban 781.6572687291, Indo-jazz
781.657291411
Third stream relocated to 781.68175
781.66
†Rock (Rock ‘n’ roll)
Including acid, folk, hard, punk, soft rock
Class here specific rock styles
See Manual at 781.62–781.66
13
†Western art music (Classical music)
781.68
Classical music as only one of many traditions Limited to classical music
as a tradition in contrast to other traditions
Class here comprehensive works on traditions of art music
Class general works on art (classical) music classical music in general in
780
For nonwestern art music, see 781.69
†Add as instructed under 781.63–781.69
781.681 75
Hybrid styles
Number built according to instructions under 781.63–781.69
Class here third stream [formerly 781.657]
782.4
*Secular forms
782.42
*Songs
Class here comprehensive works on songs
For sacred songs, see 782.25
*Add as instructed under 782.1–782.4
782.421 64
Western popular songs
Number built according to instructions under
782.1–782.4
Class comprehensive works on western popular music in
781.64
For jazz songs, see 782.42165; for rock songs, see
782.42166
14
782.421 649
Rap songs
Number built according to instructions under
782.1–782.4
Class here comprehensive works on rap music
For rap music limited to instrumental tracks, see the
instrument, e.g., drum rap beats 786.91649
782.421 65
Jazz songs
Number built according to instructions under 782.1–782.4
Class comprehensive works on jazz in 781.65; class
comprehensive works on western popular songs in 782.42164
782.421 66
Rock (Rock ‘n’ roll) songs
Number built according to instructions under 782.1–782.4
Class comprehensive works on rock music in 781.66; class
comprehensive works on western popular songs in 782.42164
782.421 68
Art songs
Number built according to instructions under 782.1–782.4
Class here lieder
784. 19
Instruments
Class here acoustic form of instruments, electric form of instruments
For specific instruments, see 786–788
_________________
15
>
786–788
Specific instruments and their music
Class here music for solo instrument, music for solo instruments instrument
accompanied by one other instrument when the accompanying instrument clearly
has a subsidiary role; acoustic form of instruments, electric form of instruments
Unless the forerunner of a modern instrument has its own notation, class it with
the modern instrument. For example, the shawm, a forerunner of the oboe and an
instrument without its own number, is classed with the oboe in 788.52; however,
the vihuela, the forerunner of the guitar, is classed in 787.86 (its own number), not
with the guitar in 787.87
Class chamber music in 785; class comprehensive works in 784
For voice instruments, see 783.99
786 *Keyboard, mechanical, electrophonic, percussion instruments
Class here comprehensive works on keyboard instruments, on keyboard
stringed instruments; music for unspecified keyboard instrument
See Manual at 784–788
786.7
*Electronic instruments (Electrophones)
Class here music made from electrically produced or manipulated sounds
Class here electronic music in the sense of music with a focus on
electronically produced or manipulated sounds; comprehensive works on
electronic music
Class keyboard electrophones in 786.59. Class a specific electrically amplified
or modified standard acoustic instrument other than keyboard instruments
with the instrument, e.g., electric guitar 787.87
For electronica, see 781.648
16
786.74
Synthesizers
Class here electronic music
Use of this number for comprehensive works on electronic music
discontinued; class in 786.7
For tapes, see 786.75; for computers, see 786.76
*Add as instructed under 784–788
Manual entries
781.6
Nonclassical musicians Traditions of music
Hybrid styles
Use 781.621–781.629 for a hybrid style (a blending or fusion of two or more styles
from different traditions of music to create a new style) that originates within and is
associated with an ethnic or national group, e.g., a Nigerian style that blends Nigerian
folk music and jazz 781.629669. Use the number coming last in 781.63-781.69 for
other hybrid styles, plus notation 17 from the table under 781.63-781.69 if
appropriate, e.g., blues-rock 781.661743, third stream 781.68175.
Nonclassical musicians
Comprehensive works on nonclassical musicians (musicians of a tradition other than
classical music) are classed in the most specific number that describes their careers.
Use numbers in 781.62-781.66 and in 781.69 for musicians that are equally known
for both their vocal and instrumental work, e.g., Louis Armstrong, a jazz trumpeter,
singer, and band leader, 781.65092. Use 782-783 for musicians known primarily for
vocal music, e.g., Ella Fitzgerald, a jazz singer, 782.42165092. Use 784-788 for
musicians known primarily for instrumental music, e.g., John Coltrane, a jazz tenorsaxophonist, 788.74092 788.7165092. Add 162-166 or 169 (the traditions-of-music
notation derived from 781.62-781.66 and 781.69) to the number in 782-788 before
adding notation 092 from Table 1.
See also discussion at 784-788: Add table: 092
17
781.6 vs. 780, 780.9
World music
Use 781.6 for music emphasizing specific traditions, e.g., folk music around the
world 781.62. Use 780 for music of various traditions from around the world, e.g., an
encyclopedia of world music 780.3. Use 780.9 for the music of specific places in the
world, e.g., comprehensive works on music of Brazil 780.981. If in doubt, prefer
781.6, 780.9, 780.
781.62 vs. 780.89
Folk music vs. Music with respect to specific ethnic and national groups
Use 781.62 for music indigenous to that originates within and is associated with an
ethnic or national group, e.g. African American music 781.6296073. Use 780.89 for
the group in relation to music in general, e.g., a work about African American
composers, opera singers, jazz conductors 780.8996073. If in doubt, prefer 781.62.
781.62 vs. 781.63–781.66
Folk and popular music
Use 781.62 for folk music or popular music that originates within and is associated
with an ethnic or national group. Use 781.63–781.66 for other popular music. If in
doubt, prefer 781.62.
Use allmusic.com (http://www.allmusic.com/) or a similar online source for help in
determining the style of western popular music.
Miscellaneous revisions

The current definition at 781.285 Homophony is misleading. The relationship between
281.284 Polyphony and 781.286 Counterpoint is mostly historical; the LCSH Counterpoint is
used for both. As there are only 19 WorldCat records at 781.284, it is proposed that 781.284
be relocated to 781.286.
781[.284]
*Polyphony
Two or more melodic lines
Relocated to 781.286
For homophony, see 781.285; for counterpoint, see 781.286
18
781.285
*Homophony
Two or more mutually dependent melodic lines A dominant
melodic line over chordal accompaniment
781.286
*Counterpoint
Two or more independent melodic lines
Class here polyphony [formerly 781.284]
Class comprehensive works on harmony and counterpoint in
781.25
*Add as instructed under 781.2–781.8

The relationship between 006.5 Digital audio and 781.49 Recording of music is being
clarified by adding a see also reference.
781.49
Recording of music
See also 006.5 for computer hardware and software used in digital
sound recording; also 621.3893 for sound recording and
reproducing equipment; also 780.266 for treatises on music
recordings

Anne-Céline Lambotte-Mosseron (formerly of Bibliothèque nationale de France, now at
Université de la Méditerranée) has pointed out how confusing the classification scheme is at
781.68 Western art music (Classical music). On the surface, the class-here note (Class here
comprehensive works on art music) and the class-elsewhere note (Class general works on art
[classical] music in 780) seem to contradict one another. The intended distinction is that
781.68, which is under 781.6 Traditions of music, is limited to works on art music as a music
tradition distinct from other traditions (with comprehensive works on art music including
both western art music and nonwestern art music), while 780 is the comprehensive number
for art music, without the traditions restriction. The following changes are proposed:
19
781.68
†Western art music (Classical music)
Classical music as only one of many traditions Limited to classical
music as a tradition in contrast to other traditions
Class here comprehensive works on traditions of art music
Class general works on art (classical) music classical music in general
in 780
For nonwestern art music, see 781.69
†Add as instructed under 781.63–781.69

In keeping with changes being made elsewhere in the schedules, we are modifying the form
of part of the class-elsewhere note at 781.7.
781.7
Sacred music
Class sacred music accompanying stages of life cycle in 781.58; class
works about "church music" in the sense of church music that are limited
to Christian church music in 781.71; class sacred vocal music in 782.22

It is proposed that the caption for 782.25 be changed from Sacred songs to Small-scale vocal
forms (contrasting with 782.24 Large-scale vocal works) and that motets be added to the note
of forms that are to be classed elsewhere by virtue of what a form is named. We propose to
add a see reference from 782.25 Small-scale vocal forms to 782.421599 National anthems.
In the current scheme, anthems (at 782.265) are treated as a subclass of motets (at 782.26).
As is true with many terms for musical forms, neither motet nor anthem has a single distinct
meaning, and since neither class is accompanied by notes, their scope is unclear. While
anthems and motets continue to be considered closely related musical forms in the Anglican
musical tradition, anthems in the Protestant musical tradition no longer have the sense of
representing a distinctive musical form. We propose to address the confusion here by adding
a scope note at 782.26 that restricts motets written after 1600 to the sense of imitative
polyphonic works in the style of Palestrina (the discussion of motets in The Harvard
Dictionary of Music gives both a specific and a general sense of the word for the post-1600
time period) and by relocating anthems to 782.25 (a WorldCat search on 782.265* retrieves
ca. 75 hits). Additionally, we propose to reword the class-elsewhere note at 782.27 Hymns
to clarify that hymn texts are classed at 264.23. Lastly, responding to a request from Michael
Cantlon, LC classifier, we propose to provide for contemporary Christian music by adding an
index entry for it at 782.2516408827 (sacred songs + western popular music + Christians); a
WorldCat search on (su= "contemporary Christian music") and dd: 78* retrieves 7850
records.
20
782.22
*Sacred vocal forms
For specific sacred vocal forms, see 782.23–782.29
>
782.23–782.29
Specific sacred vocal forms
Class comprehensive works in 782.22
For services, see 782.3
782.23
*Oratorios
Including passions
782.24
*Large-scale vocal forms works
Cantatas
Class here comprehensive works on cantatas
For oratorios, see 782.23; for secular cantatas, see 782.48
782.25
*Sacred songs Small-scale vocal forms
Class here anthems [formerly 782.265], small-scale sacred vocal forms
sacred songs
Unless otherwise indicated, if the songs forms are called motets, class
them in 782.26; if called hymns, class them in 782.27; if called carols,
class them in 782.28; otherwise, class them here
Class comprehensive works on songs in 782.42
For motets, see 782.26
See also 782.421599 for national anthems
782.253
*Spirituals
782.254
*Gospel music
782.26
*Motets
Motets composed after 1600 limited to those using imitative
polyphony in the style of Palestrina
21
782[.265]
*Anthems
Relocated to 782.25
782.27
*Hymns
For hymn texts without music, see 264.23; for carols, see 782.28
782.28
*Carols
782.42
*Songs
Class here comprehensive works on songs
For sacred songs, see 782.25
*Add as instructed under 782.1–782.4
782.421 599
National anthems
Number built according to instructions under
782.1–782.4
See also 782.25 for sacred anthems

The caption at 784.3–784.9 Other orchestral combinations and band is more felicitously
worded as Other orchestral and band combinations. (‘Band’ here includes wind band
[marching band, military band, woodwind band] and brass band.)
22
>
784.3–784.9
Other orchestral and band combinations and band
Add to each subdivision identified by † as follows:
01–09 Standard subdivisions
Notation from Table 1 as modified under 780.1–780.9, e.g.,
performances 078
1 General principles, musical forms, instruments
11–17 General principles
Add to 1 the numbers following 781 in 781.1–781.7, e.g.,
sacred music 17, rehearsing sacred music 17044
18–19 Musical forms and instruments
Add to 1 the numbers following 784.1 in 784.18–784.19, e.g.,
waltz form 18846, bowing techniques 19369
2 Featured voices, instruments, ensembles
Add to 2 the numbers following 78 in 782–788, e.g., flutes 2832
Class comprehensive works on orchestral and band combinations and band, on
band in 784; class comprehensive works on orchestral combinations in 784.2

Carry over changes described above to (789) Composers and traditions of music—the
deletion of the including note at 789(.4) corrects an omission from a prior reconciliation:
789(.2)
† Folk music
Music indigenous to the cultural group in which it occurs, usually evolved
through aural transmission Music originating within and associated with
an ethnic or national group
Class folk rock in 789.61762. Class a specific style of music provided for
in 789.4–789.6 with the style, e.g., reggae 789.46, Afro-Cuban jazz
789.572687291
23
789.21–.29
†Folk music of specific ethnic and national groups
Add to base number 789.2 notation 1–9 from Table 5, e.g., Spanish
folk music 789.261; then add further as follows:
001–008
Standard subdivisions
Notation from Table 1 as modified under
780.1–780.9, e.g., performances of Spanish folk
music 789.2610078
009
Historical History, geographic, persons
treatment, biography
00901–00903
Historical periods to 1900
Add to base number 0090 the numbers
following 780.90 in 780.901–780.903,
e.g., Spanish folk music of the
Renaissance 789.261009031
00904–00905
1900–2099
Add to base number 0090 the numbers
following —090 in notation 0904–0905
from Table 1, e.g., Spanish folk music of
the 1970s 789.261009047
[0093–0099]
Treatment by specific Specific continents,
countries, localities
Do not use; class in 03–09
01
General principles; stylistic influences influence of
other traditions of music, musical forms
011–015
General principles
Add to 01 the numbers following 781 in
781.1–781.5, e.g., Spanish folk music for
springtime 789.261015242, rhythm in Spanish
folk music for springtime 789.2610152421224
016
Influence of other traditions of music
Add to 016 the numbers following 789 in
789.3–789.9, e.g., influence of jazz on Spanish
folk music 789.2610165, performances of
Spanish folk music influenced by jazz
789.2610165078
018
Musical forms
Add to 018 the numbers following 784.18 in
784.182–784.189, e.g., march form in Spanish
folk music 789.26101897
02
Voices, instruments, ensembles
Add to 02 the numbers following 78 in 782–788,
e.g., Spanish folk music for the guitar
789.26102787
03–09
Specific continents, countries, localities
Add to 0 notation 3–9 from Table 2, e.g., Spanish
folk music in New York City 789.26107471
24
______________
>
789.3–.9
*‡Other traditions of music
Add to each subdivision identified by * as follows:
001–008
Standard subdivisions
Notation from Table 1 as modified under 780.1–780.8, e.g.,
performances 0078
009
History, geographic treatment, biography
00901–00903
Historical periods to 1900
Add to base number 0090 the numbers following
780.90 in 780.901–780.903, e.g., music of the
Renaissance 009031
00904–00905
1900–2099
Add to base number 0090 the numbers following
—090 in notation 0904–0905 from Table 1, e.g.,
music of the 1970s 009047
01
General principles, and stylistic influences influence of other
traditions of music, hybrid styles, musical forms
011–015
General principles
Add to 01 the numbers following 781 in 781.1–781.5,
e.g., springtime music 015242, melody in springtime
music 015242124
016
Stylistic influences Influence of other traditions of music
Add to 016 the numbers following 789 in 789.2–789.9,
e.g., influence of folk music 0162, performances of
influence of folk music 0162078
See also 017 for hybrid styles
017
Hybrid styles
Fusion of two or more styles from different traditions of
music to create a new style
Add to 017 the numbers following 789 in 789.2–789.9,
e.g., fusion with folk music 172, folk rock 789.6172
See also 016 for influence of other traditions of
music
018
Musical forms
Add to 018 the numbers following 784.18 in
784.182–784.189, e.g., march form 01897
1
Voices, instruments, ensembles
Add to 1 the numbers following 78 in 782–788, e.g.,
guitar music 1787
Class comprehensive works in 789
25
789(.3)
†*Popular music
Class popular music originating within and associated with an ethnic or
national group in 789.2
For western popular music, see 789.4
789(.4)
†*Western popular music
Including skiffle
Class western popular music originating within and associated with an
ethnic or national group in 789.2; class country and western music in
789.42
For jazz, see 789.5; for rock, see 789.6
789(.42)
†*Country music
Class here bluegrass music; specific country music styles
789(.43)
†*Blues
Class here traditional rhythm and blues; specific blues styles
Comprehensive works on rhythm and blues relocated to 789.44
789(.44)
†Soul
Class here comprehensive works on rhythm and blues [formerly
789.43], R&B; specific soul styles
For traditional rhythm and blues, see 789.43
789(.45)
†Ragtime
789(.46)
†*Reggae
Class here specific reggae styles
789(.48)
†*Electronica
Class here specific electronica styles
26
789(.49)
†*Rap
Class here specific rap styles
789(.5)
789(.57)
†Jazz
†Hybrid styles
Add to 789.57 the numbers following 781.6 in 781.62–781.69, e.g.,
Afro-Cuban 789.572687291, Indo-jazz 789.57291411
789(.6)
†*Rock (Rock ‘n’ roll)
Class here specific rock styles
Including acid, folk, hard, punk, soft rock
*Add as instructed under 789.3–789.9
†(Optional number; prefer 781–788)

Implement previously approved changes:
o Fix dual headings (at 780.285, 780.94, 781.30285, 782.1, 782.24, 782.43, 783, 785.66,
785.7, 786.5, 786.7, 787, 787.6, 788.37, 788.82, and 788.863).
o Fix T1–08 and –09 headings (at 780.8, 780.9, 780.92, 781.62008, 781[.620089],
781.62009, 781.620091, 781.620093–781.620099, 009 and [0093–0099] under 781.621–
781.629, 09 under 781.63–781.69, 789(.2008), 789[.20089], 789.(.2009), 789.(.20091–
20099), 009 and [0093–0099] under 789(.21–29), 009 under 789(.3–9)
o Incorporate Table 1 changes already approved by EPC (at 780.72, 780.721, 780.74, and
780.78).
Indexing

Currently, there are two patterns for index terms involving music for specific musical
instruments: ‘[instruments]—music’ and ‘[instrument] music.’ Analysis of the two forms
has led us to choose ‘[instruments]—music’ as the preferred form, since it has a broader
scope, will permit collocation with index entries of the form ‘[instruments]—instrument,’
and does not imply a solo instrument constraint, as ‘[instrument] music’ does. Unfortunately,
this does not correspond to the form used by Library of Congress in such subject headings as
Harmonica music (Blues) and Recorder music (Jazz) (also, the use of the style of the music
as a parenthetical qualifier does not accord with DDC indexing practice).
27
Indexing under the following instruments will require conversion: banjo, computer, guitar,
mandolin, organ (as both a main heading and a subdivision), piano, and recorder.

Currently, we use both Country music and Country and western music. We are standardizing
on Country music for several reasons: LCSH uses Country music; Country music is used in
titles ten times more often than Country and western music; and while Country music
appears in the most recent titles, Country and western music has not appeared in a title in
WorldCat since 1994. The following entries and index terms using Country and western
music will be converted:
781.64
†Western popular music
Class country and western music in 781.642
Most works on western popular music are predominantly about popular
songs and are classed in 782.42164
For jazz, see 781.65; for rock, see 781.66
†Add as instructed under 781.63–781.69
789(.4)
Western popular music
Including skiffle
Class country and western music in 789.42
For jazz, see 789.5; for rock, see 789.6
Banjos—music—country and western music
Festivals—country and western music
Festivals—country and western music—songs
Guitars—music—country and western music
Mandolins—music—country and western music
Organs (Musical instruments)—music—country
and western music
Pianos—music—country and western music
Western popular music—country and western music
Western popular music—country and western music—songs
787.881 642
781.642 079
782.421 642 079
787.871 642
787.841 642
786.516 42
786.216 42
781.642
782.421 642
Since the corrected forms of the following index entries already exist, the following will
become electronic-only terms:
Country and western music
Country and western music—songs
781.642
782.421 642
28

Current index terms include Rock musicians, Rock songs, and Rock singers, but also Rock
(Music). Rock (Music) will be replaced by Rock music in index terms:
Rock music (Music)

781.66
At present 781.34 Computer composition is indexed as Computer composition (Music) and
Computers—music—composition. A search under Composition (Music) will retrieve 781.3
Composition and the built number, 781.3071 Composition (Music)—education. The
indexing at 781.34 can be improved by bringing it more into line with the indexing at these
related numbers, specifically by replacing Computers—music—composition with
Composition (Music)—computers (while keeping Computer composition (Music)).
29
Appendix A
March 14, 2009
Contemporary Styles of Music
There are several areas of difficulty that plague classifiers when approaching 780 Music:



The citation order is complex; its implementation, via a class-with-the-last policy, is hard
to grasp.
Not all cultures recognize a distinction between folk music and popular music.
The evolution of music styles muddies everything!
We are proposing several sets of changes in the 780s to address these difficulties, which
especially affect the classification of contemporary music. The changes aim to:




Make clear that the classification of (contemporary) folk and popular music follows the
same principles that govern all of the 780s
Accommodate contemporary developments in musical styles
Make the classification of contemporary music less volatile (i.e., less subject to change
over time)
Make the classification of contemporary music more expressive
A few examples will provide a taste of the problems addressed and the solutions proposed.
Consider, for example, kwaito, which one source describes as “a mixture of all that 1990’s South
African youth grew up on: South African disco music, hip hop, R&B, Ragga, and a heavy, heavy
dose of American and British house music.” Several issues are evident here: (1) Should kwaito
be treated as folk music (781.62) or as popular music (781.63-781.66)? More generally, is there a
way to distinguish reliably between 781.62 Folk music and 781.63-781.66 Popular music? (2) If
treated as popular music, should kwaito be seen as non-western popular music (781.63) or, given
the western basis of many of its underlying influences, as western popular music (781.64781.66)? (3) If treated as western popular music, should kwaito be classed in the number coming
first, the number coming last, or the number of the most prominent genre? That is, how should
hybrid music styles be treated? (4) If classed with house music (arguably its most prominent
genre), where should kwaito be classed? That is, where does electronica belong?
Our answer to question (1) is based on a new scope note proposed for 781.62 Folk music: Music
originating within and associated with an ethnic or national group. The criteria in the scope note
are meant to be not only necessary--a musical style should not be classed in 781.62 if (a) it
originated within an ethnic or national group, but is not longer associated with them or (b) it is
associated with an ethnic or national group, but did not originate within them--but also sufficient;
that is, if the two criteria are met, the musical style should be classed in 781.62 (but see the
exception in the paragraph below). The sufficiency of the criteria is meant to be communicated
by notes at 781.63 ("Class popular music originating within and associated with an ethnic or
national group in 781.62") and 781.64 ("Class western popular music originating within and
associated with an ethnic or national group in 781.62"). We recognize that adhering to these
30
criteria may result at times in classing a style under 781.62 for which "popular music" is a better
label than "folk music."
But does kwaito meet the exception given at 781.62 ("Class a specific style of music provided
for in 781.64-781.66 with the style, e.g., reggae 781.646, Afro-Cuban jazz 781.6572687291")?
This is a trickier question, because it is more subjective. What does it mean to be a specific style
of, for example, hip-hop? Our intent is to include in "specific style of X" only those styles that
are considered solely "a kind of X" (rather than being considered, say, a blend of X and Y). The
case with kwaito is intriguing: some sources describe it as a kind of house music; other sources
refer to it as South African hip-hop. That both claims are made is evidence that kwaito is not
simply a kind of house or a kind of hip-hop.
Fortunately, there is agreement that kwaito originated within South Africa and is currently
associated with South Africans; it thus accords with the scope note at 781.62. This means kwaito
would be classed in 781.62968 South African folk music (built with 781.62 Folk music, plus
T5—96 African, following instructions in the add table under 781.621–781.629, plus notation 8,
from T2—68 South Africa, following instructions at T5—966–968).
Answering the first question as we did makes the other questions moot for kwaito, but the other
questions—especially the third and fourth questions—have significant generality beyond kwaito.
We have struggled with deciding how to handle styles of music based on two or more previous
styles. Using Grove Music Online as our source (supplemented by information on styles of
popular music at allmusic.com), we propose to distinguish between styles that are essentially
specializations of an existing style (as rockabilly is a kind of rock style) and hybrid styles, in
which two or more styles have fused to form a new style (as folk rock is a blending or fusion of
folk music and rock music). Styles that are specializations of an existing style would class with
that style; indeed, we propose to add a class-here note for specific styles (e.g., Class here specific
rock styles at 781.66), resulting in specialized styles approximating the whole of the number
where they are classed. Thus rockabilly would be classed in 781.66 Rock (Rock ‘n’ roll).
Hybrid styles would class with the number coming last (following the policy enunciated under
780), to which newly proposed notation 17 from the table under 781.63-781.69 could be added,
so a prominent other style could be expressed. Thus folk rock would be classed in 781.661762
(built with 781.66 Rock (Rock ‘n’ roll), plus notation 17 Hybrid styles from the add table under
781.63-781.69, following the footnote instruction at 781.66, plus notation 62 from 781.62 Folk
music, following the instruction at the add table notation).
As for question 4, where in the world is (Veronica) Electronica?—OK, so you gotta know the
game Where in the World is Carmen San Diego? to appreciate that clever turn of phrase—we are
proposing an expansion for electronica at 781.648.
What about existing styles whose treatment may not accord with these principles? Take, for
example, reggae, which meets the newly proposed folk music criteria: reggae clearly originated
in Jamaica and typically is still associated with that country. We have decided, however, not to
move any styles that have already been developed in the schedules, so reggae stays at 781.646,
rather than moving to 781.629697292 Jamaican folk music (built with 781.62 Folk music, plus
T5—969 African (outside Africa), following instructions in the add table under 781.621–
31
781.629, plus notation 7292, from T2—7292 Jamaica and Cayman Islands, following
instructions at T5—969).
A detailed discussion of the changes being proposed can be viewed here.
We invite your feedback on the proposed changes, either posted as a comment to this blog entry
or sent directly to dewey@loc.gov. Feedback is requested by April 15, 2009.
32
Appendix B
Correspondence with National and University Librarians
1. National Library of Sweden
We apologise for our poor understanding of Dewey, since it is a totally new concept to us, but
we would still like to give some comments.
General
It seems to us like Dewey 780 Music is more suitable for classification of literature than for
recordings and scores. For instance, as we see it, there is a problem with section 782.42 Songs in
relation to 781.6 when you classify recordings. Should for instance recordings of jazz songs be
placed under 782.421 65 while instrumental jazz recordings are placed under 781.65? We don’t
see the point in that. It means that the end user have to go to different sections to find jazz
recordings. Or have we misunderstood the whole thing?
781.65 Jazz and 781.66 Rock
We would suggest that you keep the existing subdivision of jazz and expand the section on rock
music, instead of omitting the subdivision of jazz (cf attached SAB 1997 edition translated into
English by Olle Johansson)
Mapping between SAB and Dewey
The mapping between SAB and Dewey is very useful. [H]owever, . . . we would like to point
out:
Ijxfec R&B is the modern type of soul music (sometimes with rap elements) from the 1990s and
onwards, called R&B, and not the old type of rhythm and blues (which is sometimes abbreviated
R&B). So its Dewey equivalent should rather be 781.644 Soul than 781.643 Blues
(The problem with the term R&B should perhaps be explained also in the EPC exhibit on page 5)
Olle Johansson
Bibliographic Expert
National Library of Sweden
Audiovisual Department
Box 24124
SE-104 51 STOCKHOLM
+46 8 783 3756
olle.johansson@kb.se
Anders Cato
Katalogiseringschef - Head of Cataloguing
Kungl. biblioteket - National Library of Sweden
Box 5039
SE-102 41 Stockholm
anders.cato@kb.se
33
THE REVISED SWEDISH CLASSIFICATION SYSTEM
FOR ROCK/POP, JAZZ AND FOLK MUSIC
Y
Recorded music
Yu
Western folk music
Here both instrumental and vocal music.
Here traditional music from European cultures, both authentic performances and
special arrangements.
If the rock/jazz element is considerable, classification on Yxng/Yxccd is preferred,
if necessary with a double classification here.
Yv
Music from Non-Western cultures
Here both instrumental and vocal music.
Here traditional music, popular music and art music of non-European origin
(entirely or partly).
Here also American, Australian, etc. traditional music of Non-Western nature, e.g.
native American music.
If the rock/jazz element is considerable, classification on Yxnv/Yxccd is preferred,
if necessary with a double classification here.
Yx
Jazz, blues and rock/pop music
Yxb
Ragtime
Yxc
Jazz
Yxca
Early jazz
Yxcb
Swing and sweet
Here the small ensembles and the big bands of the 1930’s and 1940’s.
Western swing -> Yxgb.
Yxcc
Modern jazz
Here modern jazz from 1945 and onwards.
Here also modern jazz which cannot be classified in any of the following
subsections.
Yxcca
Bebop
Yxccb
Cool jazz and hardbop
Yxccc
Progressive jazz
Here free form, European improvisation music and AACM jazz (great black
music).
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Yxccd
Fusion
Here jazz rock, jazz funk and folk jazz.
Here also acid jazz.
Yxd
New age
Here new age which cannot be classified in any other section.
Yxf
Blues
Here blues which cannot be classified in any of the following subsections.
Gospels and negro spirituals -> Ysg.
Yxfa
Country blues
Here the original blues forms from the Southern states, primarily solo singing
accompanied by acoustic guitar.
Yxfb
Classic blues
Here solo singing accompanied by jazz ensemble.
Yxfc
City blues
Here also Chicago blues, urban blues and boogie-woogie.
Yxfd
Rhythm & blues
Here also doo-wop and jump.
Yxfe
Soul, funk, hip-hop and rap
Here funk rock.
Here disco and eurodisco.
Here all forms of house.
Jazz funk -> Yxccd.
Disco pop och disco rock -> Yxne.
New romantics -> Yxne.
Techno -> Yxnei.
Yxff
Zydeco
Cajun -> Yxg.
Tex-Mex -> Yxg.
Yxg
North American folk music except blues
Here cajun and Tex-Mex.
North American traditional music of Non-Western nature -> Yv-qa.
Zydeco -> Yxff.
Yxga
Early North American folk music
Here early forms of North American folk music, e.g. bluegrass, old-time and
hillbilly.
35
Yxgb
Country & western
Here western swing.
Rockabilly -> Yxna.
Country rock -> Yxnh.
Yxn
Rock/pop music
Here rock/pop music which cannot be classified in any of the following
subsections.
Here also compilations which are intended to give a picture of the development of
rock/pop music.
Compilations which cover a certain genre ->suitable section
Yxna
Early rock music
Here rock ‘n’ roll and rockabilly.
Doo-wop -> Yxfd.
Yxnd
Rock/pop of the 60’s
Here rock/pop music which cannot be classified in any of the following
subsections.
Folk rock -> Yxng.
Country rock -> Yxnh.
Singers/songwriters -> Yxni.
Yxnda
British rock/pop
Here British blues and rhythm & blues, Merseybeat, instrumental guitar pop,
psychedelic rock, blues rock and “underground”.
Yxndb
American rock/pop
Here milksap, instrumental guitar pop, surf pop, garage rock, acid/psychedelic
rock, blues rock and “underground”.
Yxne
Rock/pop of the 70’s and onwards
Here rock/pop music which cannot be classified in any of the following
subsections.
Here pub rock, new wave and British ska music.
Here disco rock and disco pop.
Here new romantics.
Folk rock -> Yxng.
Country rock -> Yxnh.
Singers/songwriters -> Yxni.
Hard rock -> Yxned.
Experimental rock -> Yxneg.
Industrial rock -> Yxnei.
Yxned
Hard rock
Here power ballads.
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Here all forms of metal.
Here grunge.
Yxnef
Symphonic rock
Here rock music consisting of long suites.
Yxneg
Experimental rock
Here art rock.
Yxneh
Punk
Here punk pop, oi music and hardcore.
Yxnei
Electronic rock
Here synth pop, synth rock, ambient music, industrial rock, body music and all
forms of techno.
Experimental rock -> Yxneg.
Disco -> Yxfe.
Yxng
Folk rock
Here rock music with influences from Western folk music.
Here also Western folk music influenced by rock music.
If necessary, double classification on Yu.
Non-Western rock/pop music -> Yxnv.
Yxnh
Country rock
Here North American rock music with influences from country & western.
Here also cajun rock and Tex-Mex rock.
Cajun -> Yxgc.
Tex-Mex -> Yxgd.
Yxni
Singers/songwriters
Yxnv
Non-Western rock/pop music
Here rock/pop music with considerable influences from outside the European or
Anglo-American cultures which cannot be classified in any of the following
subsections.
Yxnv is always double classified on Yv.
Mixtures of different ethnic music styles -> Yu/Yv.
(Yxnva Afrorock is omitted)
Yxnvb
Calypso
Here modern calypso and soca.
Here also zouk.
Traditional calypso -> Yv-qchba.
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(Yxnvc Zydeco -> Yxff)
Yxnvd
Reggae
Here ska, bluebeat and rocksteady.
Rock/pop with reggae beat -> Yxne.
British ska -> Yxne.
Yxnve
Salsa
Traditional salsa -> Yv.
Colombian cumbia -> Yv-qda.
Son -> Yv-qchaa.
Our response:
Thank you very much for your review of our proposed changes in 780 Music. Your observations
are very helpful to us.
On your general question, the fact that you were seeing only a portion of the 780 schedules was
probably misleading. The citation order throughout the 780s first recognizes the corresponding
"executant" (e.g., instrument, instrumental ensemble, vocal ensemble). This citation order is
implemented in the 780s through a class-with-the-last policy (see note at 780); that is, if the
subject of a work has multiple aspects, the appropriate base Dewey number is the one which
comes last in the scheme; other aspects of the subject can often be expressed through number
building. The numbers in 781.6 Traditions of music are then the comprehensive numbers for
those traditions; they should (only) be used, whether for literature, recordings, or scores, when
the subject matter covers both vocal and instrumental music. If the subject matter is vocal music,
a number in 782-783 would be appropriate; if the subject matter is instrumental music, a number
in 784-788 would be appropriate. Add tables in 782-788 permit the addition of notation from 781
to identify style.
For example, a biography of the jazz saxophonist, John Coltrane, would be classed in
788.7165092 (built with 788.7 Saxophones, plus notation 165 from 781.65 Jazz, following the
instructions at 784-788, plus notation T1--092 Persons [a standard subdivision from Table 1]). A
biography of Sarah Vaughan, a jazz singer, would be classed in 782.4216509 (built
with 782.42 Songs, plus notation 165 from 781.65 Jazz, following the instructions at 782.1782.4, plus notation T1--092 Persons [a standard subdivision from Table 1]). A collected
biography of jazz musicians would be classed in 781.650922 (built with 781.65 Jazz, plus
notation T1--0922 Collected persons treatment [a standard subdivision from Table 1]).
We plan to keep the subdivisions under 781.65 Jazz. We have chosen not to pursue a similar
development under 781.66 Rock because of the fast-changing nature of rock styles and the
imprecise boundaries between them.
38
Thank you for the clarification on our SAB/Dewey mapping. Your English is MUCH better than
our Swedish! Also, your point about R&B has helped push us away from following the lead of
the Library of Congress on this style of music.
Again, we express our appreciation for your review of these proposed changes. We hope to post
a revised version of these materials for general comment within another week or so, which will
be available through the Dewey blog, available at http://ddc.typepad.com/025431/.
Rebecca
Rebecca Green
Assistant Editor
Dewey Decimal Classification
Further comments [from NLS] on Dewey music 780, EPC Exhibit
It still seems to us like Dewey 780 Music is less suitable for classification of recordings, where
genre is more important than medium of performance.
Your examples of classification of jazz biographies was clarifying, but it would be very
interesting to learn how one should classify recordings of jazz, e.g. one by Coltrane, one by
Sarah Vaughan and one collection of different jazz artists. Would the recordings be classed in
exactly the same way as the biographies, or differently?
It seems to us that they should be classed in 781.65.
We are glad that you plan to keep the subdivisions under 781.65 Jazz, and we can understand
why you have chosen not to pursue a similar development under 781.66 Rock. Rock styles are
indeed fast-changing, and boundaries between them can be imprecise.
But since rock music is over 50 years old, there are some styles/genres that are established and
seem to be somewhat steady, we suggest that you reconsider a subdivision of rock music and
offer a proposal, based on the Swedish SAB system:
Rock/pop music
Here rock/pop music which cannot be classified in any of the following subsections.
Here also compilations which are intended to give a picture of the development of
rock/pop music.
Compilations which cover a certain genre ->suitable section
Early rock music
Here rock ‘n’ roll and rockabilly.
Rock/pop of the 60s
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Here rock/pop music which cannot be classified in any of the following subsections.
Rock/pop of the 70s and onwards
Here rock/pop music which cannot be classified in any of the following subsections.
Hard rock and metal
Here all forms of metal.
Here grunge.
Symphonic rock
Here rock music consisting of long suites.
Experimental rock
Here art rock.
Punk and hardcore
Here punk pop, oi music and hardcore.
Folk rock
Here rock music with influences from Western folk music.
Country rock
Here North American rock music with influences from country & western.
Here also cajun rock and Tex-Mex rock.
Cajun and Tex-Mex -> Country music
Singers/songwriters
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2. The University of the West Indies
Overview
I appreciate the overall attempts by the team to make provisions for a wider cross section of
music primarily through the redefinition of the of the concepts “folk and popular” music.
These are some of my observations:
1.
“Our general policy would be to place a musical style on one or the other side of the line
based on its having originated in an ethnic or national group and the strength of its
association with that ethnic or national group at the time that we first include it explicitly
in the DDC.” p. 3
It seems to me that most music styles originate from an ethnic/ national group before it moves
into mainstream which will therefore take most of the styles to be classified on the 781.62 divide.
I am presuming that the “strength of its association” is referring to whether the style has become
a globally marketed genre and as such would be placed with popular music versus its
ethnic/national origin. Based on the definition you have above, reggae music will be
incongruously placed. Reggae originated from Jamaica, yet it is at 781.646. This will be one of
the more obvious examples to challenge the definition
Although it is not explicitly stated there seemed to be an inherent definition that music
originating from the US will be classed in 781.64, despite the ethnic/national divide which would
have placed jazz and blues on the 781.62 side. Maybe you may want to indicate that styles which
have already been provided with a notation in the scheme will not be shifted. It will help to
explain some of the ambiguity as well as the reggae placement.
2
A Manual note for 781.63–781.66, instructing the classifier to use allmusic.com or a
similar online source to determine the style of western popular music, is proposed below.
P. 3
The Allmusic.com hierarchy places the music of the Caribbean under World music, but
interestingly the group of music on the website is labeled Reggae/Caribbean.. Do you want to
include a footnote to indicate that music from the Caribbean should be classed at 781.62, to
prevent any misunderstanding that the reggae notation 781.646 can be used for this?
3
Calypso (Music)
Soca
781.629 697 29
781.629 697 29
Specificity versus Shorter notation: The advantage of the shift to the national/ethnic divide is that
the Caribbean music will not be lost in the 781.64 area with other world music. However, the
length of the new notation is my primary concern. Under DDC 22, the current number for
calypso from Trinidad and Tobago is 781.640 972 983 but with the proposed change, the new
41
number will be 781.629 6972 909 728 3, an addition of five digits. This concern will also be the
same for calypso and other national music generated from other countries. I am still
contemplating this point and will also like to collate responses from my other colleagues in
Trinidad and Tobago on their preferences.
On another point, the shifting of calypso over to the ethnic/national divide raises the issues of
national space (which is an ongoing discourse on defining Caribbean) Calypso has been widely
accepted as originating from Trinidad and Tobago, but the built number leaves it at the wider
Caribbean. In an effort to prevent the addition of two more digits to the notation, I am sure the
classifiers will be willing to sacrifice some sovereignty in this case.
Lorraine Nero
Librarian II
West Indiana and Special Collections
The University of the West Indies
St. Augustine, Trinidad and Tobago
Ph:(868)-662-2002 EXT 3599
Fax: (868)-662-9238
Our response:
Thank you very much for your careful review of our proposed changes in 780 Music. Your
observations are very helpful to us.
Your observation #1 is well taken. The discussion paper had indicated that once a style was
situated in the schedule, it would not cross back over the divide between 781.62 and 781.63781.66; obviously we need to make that statement more visible. In particular, the styles already
in 781.64-781.66 will not be relocated, even if, as is the case with reggae, they not only
originated with a specific ethnic or national group, but are still associated with that ethnic or
national group. Because reggae meets the 781.62 criteria, but is not to be relocated there, we
have added the following note at 781.62: Class a specific style of music provided for in 781.64–
781.66 with the style, e.g., reggae 781.646, Afro-Cuban jazz 781.6572687291. This also
addresses your observation #2.
On your observation #3: We have been using Grove Music Online as our official guide on
music. It indicates that, while calypso originated in Trinidad and Tobago (no argument from
anyone on that point), its locus has diffused, so that it is now appropriately considered music of
the Caribbean (or at least the southern and eastern Caribbean). This accounts for why the
notation we suggested is shorter / the ethnic/national scope indicated more general than what you
had anticipated. Do you feel Grove is incorrect in characterizing calypso and soca as music now
associated with a wider scope than Trinidad and Tobago?
42
We recognize that many of the numbers generated by these principles are on the long side. (Of
course, the longish numbers under 781.62 are no longer than before--it's just that more is now
being recognized as belonging there.) In addition to using Dewey numbers for shelf location, we
are concerned with their use for information retrieval purposes; the number components that
form part of a built number will make access possible under additional circumstances.
In addition to your concern about notation length, you also raised the issue of national space. If
you have the chance to provide further feedback from your colleagues on these issues, it would
be very useful to us.
Again, we express our appreciation for your careful review of these proposed changes. We hope
to post a revised version of these materials for general comment within another week or so,
which will be available through the Dewey blog, available at http://ddc.typepad.com/025431/.
Rebecca
Rebecca Green
Assistant Editor
Dewey Decimal Classification
43
3. National Library of South Africa, University of South Africa
Dear Welna:
Rebecca has drafted a blog entry to accompany a discussion paper on our proposed changes to
the 780 Music schedule. We would like to use kwaito to illustrate the new provisions. At
Meeting 130, you agreed that kwaito belonged at 781.62+, but we did not have an explicit
discussion with you about the appropriate notation to represent the ethnic or national group
associated with kwaito. Our research points to use of T5-968 as the appropriate notation; we
have not found any mention of kwaito originating in and associated with a specific ethnic group
within South Aftrica beyond South African Black urban youth. Can you please review the
following excerpt from our blog entry, and also verify our choice of notation with the national
library? (The full blog entry and proposed discussion paper are attached for reference.)
Kwaito originated within South Africa and is currently associated with South Africans; it thus
accords with the scope note at 781.62. This means kwaito would be classed in 781.62968 South
African folk music (built with 781.62 Folk music, plus T5-96 African, following instructions in
the add table under 781.621-781.629, plus notation 8, from T2-68 South Africa, following
instructions at T5-966-968).
We would be most grateful to hear back from you by Friday if possible. Many thanks in advance
for your assistance!
All the best,
Joan
Dear Joan I do not think Kwaito can be associated with a specific ethnic group in South Africa. I reasoned
that Kwaito belonged at 781.62968 because of the new scope note proposed for 781.62 and the
Manual note instructing to use 781.62 for folk music or popular music that originates within and
is associated with an ethnic or national group.
I regarded Kwaito as "Music originating within and associated with . [a] national group"and
interpreted "national" as being "National groups in South Africa." Although Kwaito originated
with South African Black urban youth, it is not associated with a specific ethnic group and is
currently written and performed by all groups in South Africa, e.g. Zulu, Sotho and tsotsitaal
(township slang) find a place in Kwaito.
I had an in depth discussion with our two music catalogers this morning:
·
To decide between 781.62 and 781.63 (not only for Kwaito, but in general) remains a
problem because of the fact that folk music might also be described as a kind of popular music
based on traditional music
44
·
Kwaito is widely regarded as an indigenous form of hip hop (and in the CD below many
artists use English lyrics)
·
Kwaito is also regarded by some as being influenced by American hip-hop:
http://www.southafrica.info/what_happening/news/features/kwaitomental.htm
Art imitates life
Summarising the state of the kwaito industry is like trying to condense the history of American
hip hop music into a few pages.
Like hip hop in the United States, kwaito is not just music. It is an expression and a validation of
a way of life - the way South Africans dress, talk and dance. It is a street style as lifestyle, where
the music reflects life in the townships, much the same way hip hop mimics life in the American
ghetto.
Just as many of the influences on hip hop come from the streets of New York and California,
kwaito is known as the musical voice of young, black, urban South Africa.
Rage <http://www.rage.co.za> , a South African lifestyles magazine, describes the sound of
kwaito as "a mixture of all that 1990's South African youth grew up on: South African disco
music, hip hop, R&B, Ragga, and a heavy, heavy dose of American and British house music."
·
781.62 "Class a specific style of music ..with the style" Thus: Kwaito = Hip hop?
The question is whether Kwaito should be regarded as South African hip hop or folk music? I
think I have been convinced that Kwaito belongs with 781.649(0968)
(The LCSH Rap (Music) includes a 450 for Hip-hop music. Could provision be made in DDC
for Hip hop music? And could there be a Manual note re 781.63 vs 781.64?)
I verified the above comments with Susan Battison of the National Library of South Africa. Her
reply:
"I've taken a look at all the documentation. As I indicated to you we are not particularly skilled in
classification of music, but reading Joan's documentation and your reply makes sense to put
Kwaito in with Rap music at 781.649."
Regards
Welna
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Thank you, Welna, for your prompt and considered response to our query on the classification of
kwaito. You have raised some additional and highly relevant issues regarding its classification,
which I would like to address. In doing so, I will be presenting my thinking as to why kwaito
might still be best classed in 781.62968.
The first issue--a vexing one--is how to distinguish reliably between 781.62 Folk music and
781.63-781.66 Popular music. Our intention has been to give two criteria for 781.62: Music [1]
originating within and [2] associated with an ethnic or national group. Our understanding from
your response is that kwaito meets these criteria by being characterizable as music originating
within and associated with South Africans. The criteria are meant to be not only necessary--a
musical style should not be classed in 781.62 if (a) it originated within an ethnic or national
group, but is not longer associated with them or (b) it is associated with an ethnic or national
group, but did not originate within them--but also sufficient; that is, if the two criteria are met,
the musical style should class in 781.62 (but see the exception in the paragraph below). The
sufficiency of the criteria is meant to be communicated by notes at 781.63 ("Class popular music
originating within and associated with an ethnic or national group in 781.62") and 781.64 ("Class
western popular music originating within and associated with an ethnic or national group in
781.62"). We recognize that adhering to these criteria may result at times in classing a style
under 781.62 for which "popular music" is a better label than "folk music."
The second issue is whether kwaito meets the exception given at 781.62: "Class a specific style
of music provided for in 781.64-781.66 with the style, e.g., reggae 781.646, Afro-Cuban jazz
781.6572687291." This is a trickier question, because it is more subjective. What does it mean
to be a specific style of jazz/hip-hop/house? Our intent has been to include in "specific style of
X" only those styles that are considered "a kind of X" (rather than being considered, say, a blend
of X and Y). The sources I originally looked at characterized kwaito as a kind of house; I now
see that others characterize it as a kind of hip-hop. That confusion alone suggests to me that
kwaito is not simply a kind of house or a kind of hip-hop. This morning I found a research paper
on the question "Is Kwaito South African Hip Hop?"
(http://www.theyouthinstitute.org/pubs/Is%20Kwaito%20South%20African%20Hip%20Hop.pdf
<http://www.theyouthinstitute.org/pubs/Is Kwaito South African Hip Hop.pdf> ; here's some
info on the author: http://www.hsrc.ac.za/Staff-1724.phtml <http://www.hsrc.ac.za/Staff1724.phtml> ). The author's bottom line is that kwaito is an indigenous style. If it is seen as a
kind of something-American, it robs the (especially black) youth of South Africa of a music that
is their very own. I came away from the paper with a clearer picture of kwaito as music
originating within and associated with South Africans.
Could we ask again for your reactions to this line of reasoning for classing kwaito in 781.62968?
It would be most helpful if you could respond by the end of the day Monday, so we can get the
discussion paper posted and then put up the blog entry--people obviously will need some time to
think about the issues. (Also, would it be helpful to include the reasoning above in the blog
entry?)
Again, many, many thanks for your help.
Rebecca
46
Hi Susan –
I have discussed Rebecca’s comments ([above]) with our music cataloguers and we have
decided: ok – 781.62968 (as long as we have a number for Kwaito?!) But I think especially
because of:
“… bottom line is that kwaito is an indigenous style. If it is seen as a kind of somethingAmerican, it robs the (especially black) youth of South Africa of a music that is their very own”
Please let me know if you agree.
Thanks
Welna
From: Susan Battison [mailto:Susan.Battison@nlsa.ac.za]
Sent: 11 March 2009 04:29 PM
To: Van Eeden, Welna
Subject: Re: FW: Treatment of Kwaito
Hi Welna
Music is so complex. Rebecca's reasoning is thoughtful and to bring out the indigenous aspect
781.62968 seems also to be appropriate. I would go along with this number too. I don't feel very
strongly about either number but hope that there will be enough guidance to the correct number
to ensure consistency.
Regards
Susan
47