Difference between revisions of "History:CSGv2/Work/Title/Movement identification Proposal"

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Revision as of 02:58, 29 December 2010


Status: This page describes an active style guideline proposal and is not official.



Proposal number: RFC-82
Champion: BrianFreud
Current status: Awaiting NGS implementation for final revision and passage.

RFC

Trac ticket # 4426

The Classical Style Guidelines:

CSG for Works: Title

The Movement Framework


Classical Work

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}}

Official Documentation > Style Guidelines > The Classical Style Guidelines
Artist
Title: Work and Opus | Movement | Ornamentation | Special Cases


Whereas the Work and Opus Framework identifies a work, the Movement Framework identifies the particular movement within a work. This applies even if the work consists only of a single movement.



Basic Framework

Unlike the Work and Opus framework, most movements will not require all aspects of the Movement framework. However, the framework is designed such that any aspects required by a given movement are organized in a standard and unified format.

Classical Work
Movement
Position Container Dramatic Position Form Tempo Vocalization Title Libretto Role

Position

Container

Dramatic Position

Form

Tempo

Vocalization

Title

Libretto

Role

Movement Position

Movement Identification
Work Position

This sub-framework defines the particular movement of a multi-movement work.
For single-movement works, this area is left unused (though there can be one exception: see item number 3).

The Work Position is always to be indicated using uppercase Roman numerals, never Arabic numerals. Where a movement is split across several sub-movements within the work, not due to physical demands such as multi-tracking, the lowercase Latin alphabet is used, appending one letter for each sub-movment, beginning with the letter "a". Examples:

  • Sonata for Violin (or Flute) & Piano No. 5 in B-flat major, K. 10: I.
  • Sonata for Violin (or Flute) & Piano No. 5 in B-flat major, K. 10: II.
  • Sonata for Violin (or Flute) & Piano No. 5 in B-flat major, K. 10: III.
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIa.
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIb.
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIc.
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIId.

A reference list of Roman numbers is available below.


 

Movement Container

Movement Identification
Movement Container

The container sub-framework is used most frequently within ecclesiastical works. This area stores the title of the work-within-a-work that identifies the overall movement to which sub-movements belong. Provide the title of the container, followed by a full colon (:). Examples:

  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": Ia. Kyrie:
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": Ib. Kyrie:
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIa. Gloria:
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIb. Gloria:
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIa. Credo:
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIb. Credo:
  • Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIc. Credo:

 

Dramatic Position

Movement Identification
Dramatic Position
Act Scene Song Number

This sub-framework normally is used for operas, though other rarer forms may also have need for these fields. The Dramatic Position section stores the Act, Scene, and/or song number within the overall work. These should always be the Act, Scene, and song number as assigned within the original work. If you have a release which reorders scenes, uses insert arias, or makes other changes to the normal order, do not rename the fields within this section; the original running order indications should be preserved. This also means that, when appendix works are inserted within the work, the Appendix indication should remain.

Act and Scene are always to be indicated using uppercased Roman numerals. The sole exception is for "Scene Ultima".
"Act" and "Scene" should be translated into the correct word for the CSG language style being used.

Song numbers should always be indicated using Arabic numerals. The numbers used should always be indicated using Arabic numerals and not spelled out.
"No." is always to be used, untranslated, and never "Nr.", "#", "Number", "N°", etc.

When multiple Acts or Scenes are spanned within the same (sub)movement, they ought to be indicated using an ASCII hyphen separated by one ASCII space on either side ( - ).

Structure:

  • [ Appendix ]. [ Act # ], [ Scene # ]. No. #

In situations where there is an Act, but there is not a Scene, the period ought to be used, omitting the comma:

  • [ Appendix ]. [ Act # ]. No. #

Examples:

  • Ascanio in Alba, K. 111: Act I, Scene IV
  • Così fan tutte ossia La scuola degli amanti, K. *584: Appendix. Act. I, Scene XI No. 15
  • Die Entführung aus dem Serail, K. 384: Appendix.
  • Il sogno di Scipione, K. 126: Act I. No. 1
  • L'oca del Cairo, K. 422: Scene III. No. 1
  • La finta semplice, K. 46a / KV 51: Act I, Scene I. No. 1
  • Lucio Silla, K. 135: Act III, Scene Ultima

A reference list of Roman numbers is available below.


 

Form and Tempo

Movement Identification
Form and Tempo
Form Tempo Form Title
Tempo Tempo Title

This sub-framework stores the form and tempo of a movement.

The Form ought to always have the first word capitalized, with any remaining words capitalized according to the CapitalizationStandard for the language of the form.

Though traditionally Italian tempos have been used, tempos can be any many languages, including French, German, and English. Tempos ought to always have the first word capitalized with any remaining words in a single tempo indication should be capitalized according to the CapitalizationStandard for the language of the tempo. If there is no composer specified tempo for a work, use "(no tempo indication)" without the quotation marks to indicate this absence.

The most basic structure of this sub-framework is:

  • [ Form ]. [ Tempo ]

Examples:

  • Concerto for Piano No. 13 in C major, K. 387b / KV 415: II. Andante
  • Concerto for Piano No. 13 in C major, K. 387b / KV 415: III. Rondeau. Allegro
  • Concerto for Bassoon in B-flat major, K. 186e / KV 191: III. Rondeau. Tempo di menuetto

However, many movements change tempo in the middle of the movement, sometimes multiple times. To indicate a tempo change, add the additional tempo(s) after the initial tempo, and connect them using an ASCII hyphen separated by one ASCII space on either side ( - ). Additional tempos ought to be lowercased.

Structure:

  • [ Form ]. [ Tempo ] - [ tempo ]

Examples:

  • Fugue for Piano in C major, K. 383a / 394: II. Fugue. Andante maestoso - adagio
  • Recitative for Tenor and Orchestra in C major, K. 33i / KV 36: Allegro maestoso - andante - maestoso - allegro - andante - maestoso - andante

In rare cases, you may also have a form which has a common title. This should be capitalized according to the CapitalizationStandard for the language of the title, and contained within standard quotation marks. Note, this position is only for forms with titles, not movement titles.

Structure:

  • [ Form ]. [ Tempo ] - [ tempo ] "[ Form Title ]"

You may then also have multiple forms within a movement. Add each additional form after the tempo of the prior form and connect them using an ampersand separated by one ASCII space on either side ( & ). The first letter of each additional form should be capitalized, with any additional words within the form capitalized according to the CapitalizationStandard for the language of the form.

Structure:

  • [ Form ]. [ Tempo ] - [ tempo ] "[ Form Title ]" & [ Form ]. [ Tempo ] - [ tempo ] "[ Form Title ]"

Examples:

  • 3 German Dances for Orchestra in C major, K. 605 No. 3: German Dance & Trio "Die Schlittenfahrt" & Coda
  • Sonata for Piano No. 6 in D major, K. 205b / KV 284 "Dürnitz": III. Tema. Andante & Variations I - X & Variation XI. Adagio cantabile & Variation XII. Allegro

In the extreme case that you also have tempos within forms which themselves also have titles, the tempo title should be capitalized according to the CapitalizationStandard for the language of the title, and contained within standard quotation marks. It is to be positioned immediately following that specific tempo, and, if that tempo is followed by another tempo, positioned prior to the connecting hyphen.

Structure:

  • [ Form ]. [ Tempo ] "[ Tempo Title ]" - [ tempo ] "[ Tempo Title ]" "[ Form Title ]" & [ Form ]. [ Tempo ] "[ Tempo Title ]" - [ tempo ] "[ Tempo Title ]" "[ Form Title ]"

Example:

  • Symphony No. 9 in D minor, Op. 125 "Choral": IV. Recitative. Presto - allegro ma non troppo - vivace - adagio cantabile - allegro assai - presto "O Freunde" - allegro assai "Freude, schöner Götterfunken" - alla marcia - allegro assai vivace "Froh, wie seine Sonnen" - andante maestoso "Seid umschlungen, Millionen!" - adagio ma non troppo, ma divoto "Ihr, stürzt nieder" - allegro energico, sempre ben marcato "Freude, schöner Götterfunken" - "Seid umschlungen, Millionen!" - allegro ma non tanto "Freude, Tochter aus Elysium!" - prestissimo "Seid umschlungen, Millionen!"

Note that "Recitative and Aria" and "Minuet and Trio" each indicate two sub-movements, not a single form. They ought not to be combined within a single Movement Identification.

Special note on tempos: Please do not 'shorten' them. "Allegro" and "Allegro moderato" are not exactly the same thing.


 

Vocalization

Movement Identification
Vocalization

This sub-framework identifies which voice parts sing within a vocal work.

Each voice part should be proper cased. Where more than one of a voice part is indicated, Arabic numerals are to be used.

Voice parts should be ordered starting with the highest pitch and moving to the lowest. A reference list is available below.

Structure:

  • ([ voicepart1 ], [ voicepart1 ]... )

Examples:

  • Notturno for 3 Voices and 3 Basset Horns in F major, K. 436: Andante. (2 Sopranos, Bass)
  • Kyrie for 4 Voices & Organ (in Figured Bass) in D minor, K. 90: (no tempo indication). (Soprano, Alto, Tenor, Bass)

 

Common Identification

Movement Identification
Common Identification
Libretto Common Title

This sub-framework is used for one of two purposes. It either stores the libretto or it stores the common title of the movement.

To clarify on the movement common title:

  • It is not the work's common title. Even in a single-movement song, the title of that song is the work title, not the movement title. The correct position for the work title is described in the Work and Opus Framework.
  • It is not the title of only a single form within a multi-form movement. The correct position for such a title is described in the Form and Tempo sub-framework.
  • It is not the title of only a single tempo within a multi-form and/or multi-tempo movement. The correct position for such a title is described in the Form and Tempo sub-framework.
  • Be sure not to confuse the Container title with the movement title. The same text is occasionally both titles.

The libretto title and the movement title are mutually exclusive. Where a work does have a movement title, the libretto title should be omitted.

Structure:

  • "[ libretto/movement common title ]"

Examples:

  • Movement with a libretto only: * Mitridate, rè di Ponto, K. 74a / KV 87: Act I, Scene X. No. 8 Cavata. "Se di lauri il crine adorno" * Canon for 3 Voices in 1 in F major, K. 507: Canon. "Heiterkeit und leichtes Blut" Movement with a libretto only, where the work also has a title: * Song for Solo Voice and Basso continuo in F major, K. 47e / K3 43b / KV 53 "An die Freude": Mäßig. "Freude, Königin der Weisen" * Song for Solo Voice and Piano in D major, K. 125h / KV 148 "Auf die feierliche Johannisloge": Longsam. "O heiliges Band der Freundschaft treuer Brüder" Single-movement work with a libretto and title, libretto omitted due to movement title: * Carol for Female Choir and Piano, EHWV 137 "Christkindleins Wiegenlied": (Sopranos, Altos) "O Jesulein zart"
    • Note: the above example shows an incomplete CSG listing; the key of the work is unknown and unlisted.
    * Kantate, BWV 5 "Wo soll ich fliehen hin": II. Recitativo "Der Sünden Wust hat mich nicht nur befleckt" 
    

    Movement with title, container title, and work title:

    * Requiem in D minor, K. 626 (Süßmayr completion): II. Kyrie: "Kyrie eleison" 
    

    Movement with a title only, Work and Opus framework overridden as there is a composer-assigned work title:

    * Pictures at an Exhibition: IIa. Andante. "The Old Castle" 
    

    Movement with a title and libretto, non-opera Opera special style in effect due to composer-assigned work title, libretto omitted due to movement title:

    * Our Hunting Fathers, Op. 8: IV. "Dance of Death (Hawking for the Partridge)" 
    

 

Role Identification

Movement Identification
Role Identification

This sub-framework identifies which roles perform within a vocal work. Each role name ought to be properly capitalized as a name; non-proper named roles such as Chor, Coro, Choir, Servants, etc ought to be proper cased. Named characters ought to be completely listed before groups (such as "Coro") are listed. Where multiple roles appear, the roles ought to be ordered alphabetically by the first letter of the role name, not the last name: Alice Smith, Fred, Tom Brown, Chorus

Structure:

  • ([ role1, role2, role3... ])

Examples:

  • Così fan tutte ossia La scuola degli amanti, K. 588: Act II, Scene Ultima No. 31 Finale. Allegro molto "Fortunato l'uom che prende" (Despina, Don Alfonso, Dorabella, Fiordiligi, Ferrando, Guglielmo, Chor)
  • Il dissoluto punito, ossia il Don Giovanni, K. 527: Act I, Scene VII. No. 5 Coro "Giovinette, che fate all'amore" (Zerlina, Coro)
  • Le nozze di Figaro, K. 492: Act II, Scene II. Recitativo. "Bravo! che bella voce!" (Cherubino, La Contessa, Susanna)

 
What about Insert Arias and other dual-catalogued works?
Movement Identification
Work Position Movement Container Dramatic Position Form and Tempo Vocalization Common Identification Role Identification Dual catalogued works

In some rare cases, most frequently with insert arias to operas, you will find works which appear within the same catalog twice. These present a sticky problem; if they are listed as the individual catalog listing, they will make the release appear to have an unrelated work inserted within it. In such a case, after the Role Identification sub-framework, append an additional sub-framework for the secondary movement catalog number.

Structure:

Examples:

  • Collaboratively composed opera, only the single movement bears the catalog number: * Der Stein der Weisen: Act II. Duett. "Nun, liebes Weibchen" (Lubanara, Lubano) [K. 592a / KV 625] Insert aria contained both within the appendix to the opera and separately cataloged: * Il dissoluto punito, ossia il Don Giovanni, K. 527: Anhang. Act I, Scene XIV. No. 10a Aria. "Dalla sua pace" (Don Ottavio) [K. 540a]