Use also for laudes regiae and similar.

Use also for ayre; for instrumental air prefer "ain" – air, instrumental.

Use also for albumblatt and feuille d'album.

Use also for almain and alman.

Use also for passeggiata.

A cappella form or a vocal-instrumental form of a musical work in the Anglican church.

Use also for Singgedicht.

Use for vocal form of musical work, for instrumental forms prefer "arn" – aria, instrumental.

Use also for baile real, desafio, eskudanza and similar.

Use also for instrumental alba, aube and alborada.

Use for 20th century works so designated; use also for azione lirica and similar.

Mostly Viennese from 17th century; use also for trattenimento sacro.

Use also for badinerie.

Use for social gatherings and professional stage choreographies.

Use for art form lullaby, Wiegenlied etc.

Use for art form from 19th and 20th century; for folk or popular balladry use "fm" – folk music.

Musical work from 14th and 15th century.

Musical work form 19th and 20th century.

Use also for gagaku.

Use also for Moritat.

Musical work from 13th to 15th century.

Use also for three step danses, eg. American valse.

Use for theatrical exhibitions of danse and pantomimic action, ballet de cour and similar.

Use for vocal or instrumental forms of the 16th and 17th century.

Use also for chahut.

Except where an individual code has been assigned to a specific code.

Use for plainchant, Gregorian chant and similar, except where an individual code has been assigned to a specific form.

Use also for canticum.

Use for French songs of heroic deeds from the Middle Ages.

Use also for leise, himnus, organum, psalm and similar.

Use also for ciacona.

Use also for spirù.

Use also for Charakterstück, bozzetto, esquisse, leggenda, pensée, souvenir and similar.

Use also for dit, Spruch.

Use also for chiarentana, chirinitana, giaranzana.

Proper chant of the mass.

Use also for compline, complin, night prayer.

Musical work employing strict imitation throughout; for vocal rounds prefer "rde" – rondeau.

See examples 3, 5.

Use for French polyphonic songs of the late Middle Ages and Renaissance.

Anglican Christmas songs.

Use also for courante.

Lyric compositions set to French words. Use for the works of the French chansonniers or for the 19th-20th century forms. For earlier periods prefer more specific terms; for chanson populaire use "fso" – folk song.

Use also for travestimento spiritual.

Use also for contredance française.

Includes longways and square dance and instrumental round.

Instrumental music so designated.

Use for the works of the Italian songs so defined during the 19th-20th centuries. For earlier periods use more specific terms.

Instrumental works drom the 16th century, except where an individual code has been assigned to a specific form.

Musical works from the 16th to the 19th century.

Except where an individual code has been assigned to a specific form.

Use also for danse macabre (French), danza de la muerte (Spanish), dansa de la mort (Catalan), danza macabra (Italian), dança da morte (Portugese), totentanz (German), dodendans (Dutch).

Use for brindisi, chanson à boire and similar.

Vocal form.

Instrumental form.

Instrumental music so designated; includes divertissements of the 18th century; for serenades and cassations prefer specific codes.

Use also for ductia.

Instrumental music from the 17th century and later so designated; contrapunctal compositions built on a subject which is introduced at the beginning in imitation and recurs throughout interspersed with other contrapunctal materials, from the 17th century and later (see example 1).

Includes cante chico, cante hondo, seguiriya and similar.

Use also for Geisselerlied.

Includes folk songs, ballads etc.; if existing prefer a more specific code.

Includes granadina, rondeña and similar.

Use also for quickstep and slowfox.

Use also for barzelletta, capitolo and similar.

Use also for medley.

Instrumental music so designated; includes fancies, fantasies etc.; and includes nonfugalricercars of the 16th and 17th centuries.

Use also for sink-a-pace and similar.

Use also for Rutscher, Schnell-Polka and similar.

Composition for baroc danse.

Afro American spiritual music which also includes spiritual.

Use also for Ukrainian dance hopak.

Use also for Roma song.

Use for commercial popular songs, canzonetta leggera, Schlager etc.

Use for the musical form in the Catholic church; use also for praise.

Use also for improvviso.

Chiefly associated with instrumental music of the classical period including instrumental music of operatic genre; for introductions including voices use "din" – dramatic introduction.

Stage entertainment.

Dance form.

Use for giustiniana, vinitiana, justiniana etc.

Except where an individual code has been assigned to a specific form.

Use also for cracovienne, flisak, volta polonica and similar.

Use also for dirge.

For the art form use "bcs" – berceuse.

Use also for breakaway, jitterburg and similar.

Use also for epilogue and similar.

Work mainly for solo voice and piano.

Includes works for Austrian, German and Swiss folk dances, for example bayrischer, tyrolienne and similar.

Use also for Officium, devine office etc.

For musical revue prefer "rev" – revue.

Use for monodrama, melologo and similar.

Use for madrigale rappresentativo and similar.

Vocal or instrumental music so designated.

French mid-19th century vocal form.

Use for soundtracks, film, TV programme or video game music.

Except where an individual code has been assigned to a specific part of the mass.

Use also for divertimento carnevalesco, trionfo and similar.

Use for didactic tutors.

Works which include different compositions.

Use also for filastrocca and similar.

Proper chant of the mass.

Use also for castle walk, turkey trot and similar.

Includes melodrama, drame-lyric and similar; use also where an individual code has not been assigned to a specific form.

Use also for comédie mêlée d’ariette.

French late 19th century humourious and satiric form.

Includes drama semiserio and similar.

Includes dramma per musica, melodramma tragico and similar.

Includes dramma giocoso, opéra bouffon, azione comica azione comica.

Includes melodramma sacra, opera spirituale and similar.

Includes Hirtenstück, dramma boschereccio and similar dramatic forms.

Use preferably two individual codes.

Song of plantation workers and slaves.

Except where an individual code has been assigned to a specific form.

Use also for praeambulum, preambulo and similar.

Use for non-liturgical prayers.

Instrumental music so designated; includes all types of ostinato basses, except where an individual code has been assigned to a specific form.

Use for non-dramatic forms.

Includes instrumental rondeau.

Use for medieval vocal forms; use also for rondellus, round and similar.

Use also for Kuhreigen and similar.

Use also for rivista.

Use also for basso ostinato.

Use also for Bayerische Polka and similar.

Nonfugal ricercars of the 16th and 17th centuries are coded as fantasias.

Use also for refrain, reprise and similar.

Instrumental form.

Vocal form.

Italian dance form from the 14th century; for the canon form use "rde" – rondeau.

Italian folk dance.

Use for the works so designated.

Renaissance form; includes mistero, auto sacramental and similar.

Non-liturgical song.

Use also for Gstanzl, låtar and similar.

Use for the works so designated.

Use for small symphony.

Except where an individual code has been assigned to a specific form.

Use for works so designated from the late Renaissance for a variety of performing media, usually instrumental ensembles, commonly part of a larger framework.

Use also for monologue.

Use also for pas de Brabant and similar.

See example 6.

Sonata da chiesa and da camera are classified in view of the number of voice.

Instrumental form, use also for Nachtmuzik, Ständchen and similar.

Vocal form.

Use also for German polka, Ecossaise valzer and similar.

Use also for seven step polka and similar.

Use also for ordre.

Use for an extended and autonomous work for orchestra.

Also symphonie concertante (French).

Use for the works so designated, use also for drame symphonique.

Instrumental music so designated.

Vocal form.

Proper chant of the mass.

Instrumental form.

Use also for contradanza criolla.

Use also for canzone alla napoletana and similar.

Includes division, ground and similar (see example 2).

Proper chant of the mass.

The second proper chant of the mass.

Introductional proper chant of the mass.

Choral chant.

Use also for evening office.