History:CSGv2/Work/Title/Special Cases Proposal

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

Frameworks for Special Cases

Classical Work {{hanging cell color1 = BBBBBB cell1 = Work and Opus​ }}{{hanging cell color1 = BBBBBB color2 = BBBBBB color3 = BBBBBB color4 = DDEE33 cell1 = Work and Opus cell2 = Movement cell3 = Ornamentation cell4 = Special Cases }}

Official Documentation > Style Guidelines > The Classical Style Guidelines CSG for Releases and Release Groups:  Artist | Title | Language and Script CSG for Tracks and Recordings:  Artist | Title CSG for Works: Artist Title: Work and Opus | Movement | Ornamentation | Special Cases Resources: Work forms | Keys and scales | Roman numerals | Vocal Classifications

Special Framework under CSG for Operas

Operas are handled a bit differently than other works. Were they to be formatted using the standard structure, a large amount of redundant information would be added to the title, making it appear cluttered rather than structured.

In a title for an opera, the Movement and Ornamentation frameworks follow the standard structure described above. However, the Work and Opus framework is restructured.

Opera Work and Opus Identification
				▌
Opera Name	Catalog / Opus Number	No. (3)

Note that this is almost the same as the standard Movement framework, except that most of that framework's structure is unused. The sole structural difference between the Opera Work and Opus framework and the standard Work and Opus framework is that instead of:

• , K. 492 "Le nozze di Figaro"
• , Op. 8 Our Hunting Fathers

this special structure instead creates:

• Le nozze di Figaro, K. 492
• Our Hunting Fathers, Op. 8

Note as well that in the Opera special framework, the opera's name is not enclosed within quotation marks.

It is also worth mentioning again that in the Dramatic Position section of the Movement framework, though "Act" and "Scene" should be translated into the correct word for the CSG language style being used, "No." should not be translated.

Ballet Music

Ballet music normally falls well within the normal CSG structure. However, in some rare cases, it can present difficulties. At one time, short ballets were performed between the acts of operas and other similar musical theater presentations. While most of these have not survived, some rare ones have, and continue to be performed and recorded today.

When such a work is encountered, should the normal CSG structure fail to well fit the work, the special Opera style described above may be used in conjunction with the special style for Variations of Other Works, prefixing the music with "Ballet Music for" in the CSG language style being used for the work.

Example:

• The listing for the opera would be: * Idomeneo, rè di Creta, K. 366 The listing for the ballet music composed for that opera thus would be: * Ballet Music for Idomeneo, rè di Creta, K. 366, in B-flat major, K. 367: III. Passepied

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Special Framework under CSG for Variations within Movements

Variations can potentially lead to needlessly long titles. Rather than include each and every variation, where variations do not have tempo changes, link them with a hyphen ( - ). Example:

• 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

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Work Condition or Version Information

Well-known works will rarely need much, if any additional information to be provided. Some more obscure works, however, may need such information - identifications such as "Appendix", "fragment", "sketch", "original version", "spurious", "doubtful", completion-related information, etc.

Such information may be located in one of two places.

The first has already been described, in the Dramatic Position section, and indicates that a movement of a theatrical work is part of the appendix, not part the normal running of the theatrical work.

Work and Opus Identification
									▌
Work Type	No. (1 & 4)	Instrumentation	No. (2)	Key	Scale	Catalog / Opus Number	No. (3 & 4)	(Work Condition / Version Note)	"Common Name"

The second is not included directly as part of any one framework, as such version or work condition information may apply to an entire work, or it may apply only to a single movement within a work. It may be that the entire work is considered spurious, or it may be that one movement from a work has only survived as a fragment. Whichever is the case, when such information needs to be included, we ask that you keep it as short as possible, include it within parenthesis, and place it between the Numbered work of a Work Catalog / Opus Number section and the Common Name section within the Work and Opus Framework.

Except where names are involved, all such note information should be lowercased.

Examples:

• Concerto for Violin and Orchestra in D major, K. 271i / K2 271a / KV K2271a (doubtful): I. Allegro maestoso
• Sonata for Keyboard with 4 Hands in G major, K. 497a/KV 357/1 (Julius André completion): Allegro
• Suite for Piano in C major, K. 385i / 399 Fr 1782i (5.5 measure fragment): IV. Sarabande
• Symphony No. 3 for Orchestra in E-flat major, K. Anh A 51 / K3 Anh 109i / KV 18 (spurious): I. Molto allegro