Relationships in the Dewey Decimal Classification … · Web viewDecimal Classification Editorial Policy Committee Cc: Members of the Decimal Classification Editorial Policy Committee

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 CommitteeKarl E. Debus-López, Chief, U.S. General Division

From: Rebecca Green, Assistant EditorDewey Decimal ClassificationOCLC Online Computer Library Center, Inc.

Via: Joan S. Mitchell, Editor in ChiefDewey Decimal ClassificationOCLC Online Computer Library Center, Inc.

Re: 780 Music

RelocationsFrom To Topic781.284 781.286 Polyphony781.643 781.644 Comprehensive works on rhythm and

blues781.657 781.68 Third stream782.265 782.25 Anthems

ExpansionsFrom To Topic781.64 781.648 Electronica789.4 789.48 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.

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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

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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.

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

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].

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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% 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 class-with-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

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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 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, ando 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 vice-versa). 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.

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Changes in 781.62–781.69 would carry over to (789) Composers and traditions of music.

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 63Zydeco music 781.624 107 63Latin American folk music 781.626 8Latin folk music 781.626 8 Tejano music 781.626 872 076 4Hausa music 781.629 37Highlife (Music) 781.629 66Juju music 781.629 633 3Yoruba music 781.629 633 3Disco music 781.64Alternative country music 781.642Western swing music 781.642Boogie woogie 781.643 Doo-wop 781.643Funk music 781.644Dub 781.646Gangsta rap 781.649Latin jazz 781.657Alternative rock music 781.66New wave music 781.66Psychedelic rock 781.66Rockabilly music 781.6

Other index entries would be moved from their current numbers to the following numbers:Soukous (Music) 781.620 096Latin pop (Music) 781.626 8Cumbia (Music) 781.626 886 1Calypso (Music) 781.629 697 29Soca 781.629 697 29Bikutsi 781.629 671 1Kwaito 781.629 68World beat (Music) 781.63Funk musicians 781.644 092Afrobeat 781.657 296 6Country rock music 781.661 742Jazz-rock (Music) 781.661 75Krautrock (Music) 781.66

References

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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

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(Option C: Class recordings in 789, e.g., recordings of folk music 789.2, recordings of violin folk music 789.2072)

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

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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

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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 1900Add 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 1900–2099Add 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, localitiesDo not use; class in 03–09

01 General principlesAdd 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, localitiesAdd to 0 notation 3–9 from Table 2, e.g., Spanish folk music in New York City 781.626107471

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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 folk-songs 782.421626101592 (not 782.42162610159209)


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______________

> 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, biography0901–0903 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 1900–2099Add 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 othertraditions of music, hybrid styles

11–15 General principlesAdd to 1 the numbers following 781 in 781.1–781.5, e.g., springtime music 15242, melody in springtime music 15242124


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 styles17 Hybrid styles

Fusion of two or more styles from different traditions of music to create a new styleAdd 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 stylesSee also 16 for i nfluence of other traditions of music

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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)


Class comprehensive works in 781.6

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


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

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781.645 †Ragtime

781.646 †Reggae

Class here specific reggae styles

781.648 †Electronica

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


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)

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Including acid, folk, hard, punk, soft rock

Class here specific rock styles


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

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


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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

782.421 649 Rap songs


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


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


Class comprehensive works on rock music in 781.66; class comprehensive works on western popular songs in 782.42164

782.421 68 Art songs


Class here lieder

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784. 19 Instruments

Class here acoustic form of instruments, electric form of instruments

For specific instruments, see 786–788 _________________

> 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

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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 tenor-saxophonist, 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

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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

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http://www.allmusic.com/

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


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:

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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


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.

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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

22

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


782.421 599 National anthems


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.)

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> 784.3–784.9 Other orchestral and band combinations and band

Add to each subdivision identified by † as follows: 01–09 Standard subdivisions


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

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789.21–.29 †Folk music of specific ethnic and national groupsAdd 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 subdivisionsNotation 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 1900Add 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 1900–2099Add 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, localitiesDo not use; class in 03–09

01 General principles; stylistic influences influence of

other traditions of music, musical forms011–015 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

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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

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______________

> 789.3–.9 *‡Other traditions of music

Add to each subdivision identified by * as follows:001–008 Standard subdivisions


009 History, geographic treatment, biography00901–00903 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 1900–2099Add 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 othertraditions of music, hybrid styles, musical forms

011–015 General principlesAdd to 01 the numbers following 781 in 781.1–781.5, e.g., springtime music 015242, melody in springtime music 015242124


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 styles017 Hybrid styles

Fusion of two or more styles from different traditions of music to create a new styleAdd 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 i nfluence 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

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Add to 1 the numbers following 78 in 782–788, e.g., guitar music 1787

Class comprehensive works in 789

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


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

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Class here specific electronica styles

789(.49) †*Rap

Class here specific rap styles

789(.5) †Jazz

789(.57) †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

29

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).

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



789(.4) Western popular music

Including skiffle

Class country and western music in 789.42


Banjos—music—country and western music 787.881 642 Festivals—country and western music 781.642 079 Festivals—country and western music—songs 782.421 642 079Guitars—music—country and western music 787.871 642 Mandolins—music—country and western music 787.841 642 Organs (Musical instruments)—music—country

and western music 786.516 42 Pianos—music—country and western music 786.216 42 Western popular music—country and western music 781.642 Western popular music—country and western music—songs 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 781.642

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Country and western music—songs 782.421 642

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)).

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Appendix A

March 14, 2009Contemporary 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 (781.64-781.66)? (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

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http://www.southafrica.info/what_happening/news/features/kwaitomental.htm

http://ddc.typepad.com/025431/2009/03/contemporary-styles-of-music.html

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–

33

http://allmusic.com/

http://www.oxfordmusiconline.com/subscriber/book/omo_gmo

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 [email protected]. Feedback is requested by April 15, 2009.

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mailto:[email protected]

http://www.oclc.org/dewey/discussion/papers/Contemporary_Styles_of_Music.pdf

Appendix BCorrespondence 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.

GeneralIt 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 RockWe 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 DeweyThe 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 JohanssonBibliographic ExpertNational Library of SwedenAudiovisual DepartmentBox 24124SE-104 51 STOCKHOLM+46 8 783 [email protected]

Anders CatoKatalogiseringschef - Head of CataloguingKungl. biblioteket - National Library of SwedenBox 5039SE-102 41 Stockholm

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[email protected]

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THE REVISED SWEDISH CLASSIFICATION SYSTEMFOR ROCK/POP, JAZZ AND FOLK MUSIC

Y Recorded music

Yu Western folk musicHere 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 culturesHere 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 sweetHere the small ensembles and the big bands of the 1930’s and

1940’s.Western swing -> Yxgb.

Yxcc Modern jazzHere modern jazz from 1945 and onwards.Here also modern jazz which cannot be classified in any of the

following subsections.

37

Yxcca Bebop

Yxccb Cool jazz and hardbop

Yxccc Progressive jazzHere free form, European improvisation music and AACM jazz

(great black music).

Yxccd FusionHere jazz rock, jazz funk and folk jazz.Here also acid jazz.

Yxd New ageHere new age which cannot be classified in any other section.

Yxf BluesHere blues which cannot be classified in any of the following

subsections.Gospels and negro spirituals -> Ysg.

Yxfa Country bluesHere the original blues forms from the Southern states, primarily

solo singingaccompanied by acoustic guitar.

Yxfb Classic bluesHere solo singing accompanied by jazz ensemble.

Yxfc City bluesHere also Chicago blues, urban blues and boogie-woogie.

Yxfd Rhythm & bluesHere also doo-wop and jump.

Yxfe Soul, funk, hip-hop and rapHere 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 ZydecoCajun -> Yxg.

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Tex-Mex -> Yxg.

Yxg North American folk music except bluesHere cajun and Tex-Mex.North American traditional music of Non-Western nature -> Yv-qa.Zydeco -> Yxff.

Yxga Early North American folk musicHere early forms of North American folk music, e.g. bluegrass, old-

time and hillbilly.

Yxgb Country & westernHere western swing.Rockabilly -> Yxna.Country rock -> Yxnh.

Yxn Rock/pop musicHere 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 musicHere rock ‘n’ roll and rockabilly.Doo-wop -> Yxfd.

Yxnd Rock/pop of the 60’sHere 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/popHere British blues and rhythm & blues, Merseybeat, instrumental

guitar pop, psychedelic rock, blues rock and “underground”.

Yxndb American rock/popHere milksap, instrumental guitar pop, surf pop, garage rock,

acid/psychedelic

39

rock, blues rock and “underground”.

Yxne Rock/pop of the 70’s and onwardsHere 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 rockHere power ballads.Here all forms of metal.Here grunge.

Yxnef Symphonic rockHere rock music consisting of long suites.

Yxneg Experimental rockHere art rock.

Yxneh PunkHere punk pop, oi music and hardcore.

Yxnei Electronic rockHere synth pop, synth rock, ambient music, industrial rock, body

music and all forms of techno.Experimental rock -> Yxneg.Disco -> Yxfe.

Yxng Folk rockHere 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 rockHere North American rock music with influences from country &

western.

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Here also cajun rock and Tex-Mex rock.Cajun -> Yxgc.Tex-Mex -> Yxgd.

Yxni Singers/songwriters

Yxnv Non-Western rock/pop musicHere 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 CalypsoHere modern calypso and soca.Here also zouk.Traditional calypso -> Yv-qchba.

(Yxnvc Zydeco -> Yxff)

Yxnvd ReggaeHere ska, bluebeat and rocksteady.Rock/pop with reggae beat -> Yxne.British ska -> Yxne.

Yxnve SalsaTraditional 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

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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 782.1-782.4, 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.

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

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http://ddc.typepad.com/025431/

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 musicHere 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 musicHere rock ‘n’ roll and rockabilly.

Rock/pop of the 60sHere rock/pop music which cannot be classified in any of the following subsections.

Rock/pop of the 70s and onwardsHere rock/pop music which cannot be classified in any of the following subsections.

Hard rock and metalHere all forms of metal.Here grunge.

Symphonic rockHere rock music consisting of long suites.

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Experimental rockHere art rock.

Punk and hardcoreHere punk pop, oi music and hardcore.

Folk rockHere rock music with influences from Western folk music.

Country rockHere 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

OverviewI 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.

2A 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?

3Calypso (Music) 781.629 697 29

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Soca 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 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 NeroLibrarian IIWest Indiana and Special CollectionsThe University of the West IndiesSt. Augustine, Trinidad and TobagoPh:(868)-662-2002 EXT 3599Fax: (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 781.63-781.66; 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

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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? 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

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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:

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· 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

· 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:


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:

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http://www.rage.co.za/



"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

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?"

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(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/Staff-1724.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

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 something-American, 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:[email protected]] Sent: 11 March 2009 04:29 PMTo: Van Eeden, Welna

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http://www.hsrc.ac.za/Staff-1724.phtml



http://www.theyouthinstitute.org/pubs/Is%20Kwaito%20South%20African%20Hip%20Hop.pdf




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

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