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Revision as of 20:43, 3 April 2010
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The Work and Opus Identification Framework
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Most classical composers have their works contained either within opuses or catalogues. The Work and Opus Identification section of a CSG for Works title identifies a particular work and the catalogue or opus identifier to which the work belongs.
Basic framework
The basic framework includes the work type, the instrumentation, the key, the scale, and the catalogue or opus identification.
Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number | |
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Opus Number |
In all framework descriptions, new elements inserted into the framework by the current section are indicated with bolded text and a violet background.
'Connecting' words
'For' and 'in' should use their linguistic equivalents; e.g., French CSG for Works would use 'pour', German CSG for Works would use 'für', etc.
Work Form
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This is the form, or type, of the overall composition, such as 'Symphony'.
- The form should normally be capitalized using sentence case, e.g., 'Incidental music'.
- The form should almost always use the correct linguistic equivalent for whichever version of CSG for Works is being used. For example, if English CSG for Works is being used, 'Symphonie' would be incorrect, while 'Symphony' would be correct.
- Note: This should not be understood to mean that Artist Intent is overidden. If the composer invented a new name for the composition's form, then that name should be used untranslated. 'Symphonie fantastique' would be correct in English CSG for Works, whereas 'Fantastic symphony' would not.
A list of common (and uncommon) work forms is available on the CSGv2 resource page.
Instrumentation and/or voice type(s)
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This is a listing of the instruments and/or vocal types found in the overall composition.
- Instruments and vocal types should always be lowercased, unless the instrument's name itself contains a proper name.
- For multiple instruments or voices, the quantities should be indicated using Arabic numerals, not spelled out.
- For listings of three or more instruments and/or voices, use a serial comma.
- When listing more than 2 instruments and/or vocal types, spell out 'and' (or its linguistic equivalent). Do not use an ampersand.
- For a case which the count is singular (1 of something), do not indicate singular counts.
- No particular ordering is more correct. However, if an instrument is featured in the composition, it should be listed first.
Incorrect Correct Piano piano Two flutes 2 flutes piano, 2 organs and cello piano, 2 organs, and cello 3 pianos, 2 organs, 4 tenors, & soprano 3 pianos, 2 organs, 4 tenors, and soprano 1 viola and 2 cellos viola and 2 cellos Concerto for orchestra and piano Concerto for piano and orchestra
A list of all vocal types can be found on the CSGv2 resource page.
Key and Scale
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This is the key and scale in which overall composition is composed.[1]
- The key and scale should always stay consistent with the language being used for the title, e.g., do not use the French 'La dièse majeur' in a German CSG for Works title.
- Keys should always be uppercased, unless it is more musicologically correct within the particular language that minor keys be lowercased. e.g. 'si minore'.
- Scales should always be lowercased, unless it is more musicologically correct within the particular language that minor keys be uppercased. e.g. 'His-Dur'.
- When keys are written in English, "sharp" and "flat" must always be lowercased and linked to the key with a hyphen ('E-flat'). For other languages, use whatever hyphenation and/or spacing is most musicologically correct.
For English, French, German, Italian, Russian, and Spanish CSG for Works titles, the keys and scales reference list on the CSGv2 resource page is the definitive listing with regards to capitalization, spelling, spacing, and hyphenation.
Catalogue Identifier, Catalogue Number, and Opus Number
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Some classical composers, especially the more well known ones, have had their works catalogued by another person.[2] These catalogues often have quite long names, and thus standard abbreviations are used for them, e.g., 'BWV' or 'KV'. The catalogue abbreviation should be used[3], with the catalogue's number for the work then following.
- Examples
- BWV 954
- HWV 295
Alternately, some composers catalogue themselves using opus numbers. An opus can contain only a single composition, or many, each also individually numbered.
- Opus should always be abbreviated 'Op.' (including the period).[4]
- Example
- The opus contains only one composition: Op. 88
- The opus contains multiple compositions: Op. 116 No. 1
- Some rare movements have two catalogue numbers from within the same catalogue; one for the movement, and one for the overall composition. The catalogue number which should be used for this part of the CSG for Works framework is the one assigned to the overall composition.
- Some composers have had multiple catalogues made of their works. Such catalogues, if they are considered definitive (and are not musicologically unimportant) may each be listed in the work title, each catalogue identifier separated by ' / '.
Application
Applied, the basic framework then looks like this:
Work form | for | instrumentation and/or voice type(s) | in | Key | scale | , | Catalogue Identifier and Number |
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Canon | for | 3 voices in 1 | in | C | major | , | K. 553 |
Concerto | for | bassoon | in | B-flat | major | , | K. 186e / KV 191 |
Work form | for | instrumentation and/or voice type(s) | in | Key | scale | , | Opus Number |
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Trio | for | violin, viola, and cello | in | E-flat | major | , | Op. 3 |
Advanced structure
The basic framework defines the Work and Opus identification for most cases. However, there are special cases which add some complexity.
The advanced cases described below insert modifications into the basic framework. These modifications should be combined as needed.
Numbered works
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Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number |
Work and Opus Identification | ||||||||||
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Work Type | No. (1 & 4) | Instrumentation | No. (2) | Key | Scale | Catalogue / Opus Number | No. (3 & 4) |
Many composers, in addition to opuses or catalogs, have had their works numbered. The number can identify fall in one of several places, however, depending on just what is being counted.
- The number may be counting a particular work type, irregardless of instrumentation, in which case it would be inserted between the Work Type and the Instrumentation:
- Symphony No. 5 for Orchestra in B-flat major, K. 22
- The number may be counting a particular work type paired with a particular instrumentation, in which case it would be inserted between the Instrumentation and the Key:
- Concerto for Piano No. 1 in F major, K. 37
- The number may be counting which work within an opus is being identified, in which case the work number would be added directly after the Catalogue or Opus identification:
- Sonata for Piano in F minor, Op. 2 No. 1
- 12 German Dances for Orchestra in C major, K. 567 No. 12
- Normally there will be only one number to a work, though it is possible that you could have a situation such as the 3rd numbered Sonata which also happens to be the first work within an opus:
- Sonata No. 3 for Piano in F minor, Op. 2 No. 1
Abbreviating 'number'
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Named works
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Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number | " | (Common) Name | " |
A composition may be named. This may be an official name given by the composer, e.g.,
For works with a common name, the common name should be placed after the catalog or opus number. If there is a opus work number present, the common name is placed after that as well. The common name ought to be surrounded by quotation marks of the type correct for the CSG language style being used. If there is more than one common name, within the quotes use a standard ASCII forward slash with a single standard ASCII space on each side ( / ) to separate the names. The common name ought to be capitalized according to the appropriate CapitalizationStandard for that name's language.
- Symphony No. 41 for Orchestra in C major, K. 551 "Jupiter"
- Missa brevis No. 9 for Soloists, Chorus & Orchestra in C major, K. 196b / KV 220 "Spatzenmesse"
- Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit / Actus tragicus"
Variations based on other works
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Variations insert one entire CSG for Works title entirely into another. The work upon which the variations are based is referred to here as the basis work.
Framework
If the composer who wrote the basis work is the same composer as the variations, then use:
Work Type on Basis work for Instrumentation and/or voice type(s) in Key Scale , Catalogue/Opus
If it is not the same composer, then use:
Work Type on Composer of basis work : Basis work for Instrumentation and/or voice type(s) in Key Scale , Catalogue/Opus
Applied
Same composer:
Work form | on | Basis work | for | instrumentation/vocals | in | Key | scale | , | Catalogue/Opus |
Symphony | on | Serenade No. 7 for Orchestra in D major, K. 249 "Haffner" | for | Orchestra | in | D | major | , | K. *248b / KV *250 NMA IV/11/7 No. 2 |
Different composers:
Work form | on | Composer of basis work | : | Basis work | for | instrumentation/vocals | in | Key | scale | , | Catalogue/Opus |
Canon | on | Antonio Salieri | : | La fiera di Venezia: "Mio caro Adone" | for | 3 Voices in 1 | in | C | major | , | K. 553 |
Concerto | on | Dutch Traditional | : | "Wilhelmus van Nassau" | for | Bassoon | in | B-flat | major | , | K. 186e / KV 191 |
Trio | on | André Ernest Modeste Grétry | : | Les mariages samnites: March "Dieu d'amour" | for | Violin, Viola, and Cello | in | E-flat | major | , | Op. 3 |
Unusual catalog numbers: Anhuang, Appendix, deest, WwO
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Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number |
Movements with multiple identifier numbers
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Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number |
'Super' opuses
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Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number |
Non-standard Modes
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Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | Mode (some) | , | Catalogue Identifier and Number |
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Mode (some) | Scale | , | Catalogue Identifier and Number |
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Mode (some) | , | Catalogue Identifier and Number |
Work Type | for | Instrumentation and/or voice type(s) | in | Mode (some) | , | Catalogue Identifier and Number |
Works are assumed, by default, to use the seven note diatonic scale. This is the scale most frequently used in Western music, especially any music composed since the 15th century.
However, in some cases, an alternate mode may be indicated. These can include the augmented, chromatic, whole tone, aeolian, pentatonic, octatonic, and diminished modes, to name only the more common ones. When needed, the key and scale should be modified to include the mode. Typically the mode will go after the scale, but in some cases (chromatic and whole tone), it is more grammatically and musicologically correct that it either precede or replace the scale.
- Examples
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- B major diminished
- C/C-sharp chromatic
Non-half tone keys
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Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number |
Non-European Scales
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Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | , | Catalogue Identifier and Number |
Modulating Keys, Modes, and/or Scales
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Framework
Work Type | for | Instrumentation and/or voice type(s) | in | Key | to | Modulated Key | Scale | , | Catalogue Identifier and Number |
Work Type | for | Instrumentation and/or voice type(s) | in | Key | Scale | to | Modulated Scale | , | Catalogue Identifier and Number |
Some rare works use modulating keys, modes, or scales. In such cases, list both keys, modes, and/or scales. The linguistic equivalent of 'to' should then be used to connect the two.
- Example
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- Modulating Prelude for Piano in F major to E minor, K. deest NMA IX/27/2 No. 2
Mess below here
What about Non-Standard or Non-European Keys, Modes, or Scales?
- For works using non-diatonic scales, such as Persian or Yaman, insert the scale indication before the Key. ("...in Yaman A major")
- For works using diatonic scale modifications such as harmonic or melodic, insert the scale modification indication before the Key (and after the non-diatonic scale name, if needed). ("...in Yaman harmonic A major")
- For works using Scales other than major or minor, use them as needed. They ought to be properly capitalized or lowercase, depending upon the name of the scale and the rules within the language being used.
- For works using Keys other than the European half-tone keys, use them as needed. ("...A𝄳 major") Please spell out "double flat", "double sharp", "triple flat", "triple sharp", etc.
- ↑ Some work forms, such as a symphony, can change key and/or scale within or between movements. For such works, use the initial key and scale of the first movement, unless there is good reason to use a different key and scale. However, always stay consistent; do not use the key of the first movement but the scale of the third movement. For the special case of modulating keys, modes, and/or scales, see the applicable advanced structure.
- ↑ Cataloguer Relationship Type can be used to link these cataloguers with the artist whom they catalogued.
- ↑ This overrides Abbreviation Style; catalogue identifiers should be abbreviated.
- ↑ This overrides Abbreviation Style; Opus should be abbreviated.
- ↑ U+00BA: Windows: Alt+0186 Linux: Ctrl+Shift+U 00BA Mac: [See Apple's support
- ↑ U+2116: Windows: Alt+2116 Linux: Ctrl+Shift+U 2116 Mac: [See Apple's support