History:CSGv2/Work/Title/Special Cases Proposal
Special Framework under CSG for Da capos and Dal segnos
|Da capo||Segno||Dal segno||Coda|
Da capos come in three common variations:
- Da capo
- Repeat the specified section of the work.
- Da capo al fine
- Repeat the entire work.
- Da capo al segno
- Repeat from the beginning through to the segno sign.
Dal segnos come in two common variations:
- Dal segno al Coda
- Repeat from the segno to the coda sign then play the coda.
- Dal segno al Fine
- Repeat from the segno through to the end of the work.
These are commonly found accompanying Minuets, Trios, and at the end of Serenades.
- How do we handle them? ** ** STUFF **
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.
|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 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.
- 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
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
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.
- 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