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

This is the form, or type, of the overall composition, such as 'symphony'.^[1]

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.

Instrumentation and/or vocal type(s)

This is a listing of the instruments and/or vocal types^[2] 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 vocal types, the quantities should be indicated using Arabic numerals, not spelled out.
For listings of three or more instruments and/or vocal types, 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.
Certain work types imply an instrument, e.g. a 'concerto' is defined as a composition for solo instrument and orchestra. Thus, any concerto should always have 'orchestra', listed last, in the instruments list.

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
Concerto for violin	Concerto for violin and orchestra

Key and Scale

This is the key and scale in which overall composition is composed.^[3]

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.

Examples of correct capitalization and punctuation for keys and scales in various languages may be found on the CSG resource page.

Catalogue Identifier, Catalogue Number, and Opus Number

Some classical composers, especially the more well known ones, have had their works catalogued by another person.^[4] 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^[5], with the catalogue's number for the work then following.

Examples: BWV 954; HWV 295; K. 509 No. 1

Alternately, some composers catalogue themselves using opus numbers.

Example: The opus contains only one composition: Op. 88; The opus contains multiple compositions: Op. 116 No. 1; Note: Opus should always be abbreviated 'Op.' (including the period)^[6].

A catalogue or opus number can refer to only a single composition, or to many, each individually numbered within the catalogue or opus number.
- Reference Abbreviating 'number' for more information on how the word "number" should be indicated.
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 ' / ' (space forward-slash space).
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 at this point is the one assigned to the overall composition.

Application

Applied, the basic framework then looks like this:

Work form	for	instrumentation and/or vocal type(s)	in	Key	scale	,	Catalogue Identifier and Number
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 vocal type(s)	in	Key	scale	,	Opus Number
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

Numbered work form

Numbered work form for
instrument(s) and/or vocal(s)

Numbered composition within
a catalogue number or opus

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.

Framework

Case 1

Work form

Work form number

for

Instrumentation/vocals

in

Key

Scale

,

Catalogue/Opus

Case 2

Work form

for

Instrumentation/vocals

Work form for instrumentation number

in

Key

Scale

,

Catalogue/Opus

Case 3

Work form

for

Instrumentation/vocals

in

Key

Scale

,

Catalogue/Opus

Number within Catalogue number or Opus

Possible cases resulting in numbered works:

The number may be counting a particular work type, regardless of instrumentation or vocal types, in which case it would be inserted between the Work Type and the Instrumentation.
The number may be counting a particular work type paired with a particular instrumentation or vocal type(s), in which case it would be inserted between the Instrumentation and the Key.
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. (Also reference Catalogue and Opus identification.)

Applied

	Work form	Work number (case 1)	for	Instrumentation/vocals	Work for instrumentation number (case 2)	in	Key	Scale	,	Catalogue/Opus	Number within Catalogue/Opus (case 3)
Case 1
	Symphony	No. 5	for	orchestra		in	B-flat	major	,	K. 22
Case 2
	Concerto		for	piano	No. 1	in	F	major	,	K. 37
Case 3
	Sonata		for	piano		in	F	minor	,	Op. 2	No. 1
	12 German Dances		for	orchestra		in	C	major	,	K. 567	No. 12
Cases 1 and 3 simultaneously
	Sonata	No. 3	for	piano		in	F	minor	,	Op. 2	No. 1

Abbreviating 'number'

Each language abbreviates the linguistic equivalent of 'number' differently. The correct abbreviation should be used, depending on whichever language version of CSG for Works is being used. '#', 'Number', and 'Num' should never be used.

Do not mistake the character "º" (masculine ordinal^[7]) with "°" (degree). The masculine ordinal character should always be used; the degree character should never be used.

Note that Italian and Russian use '№' (numero sign^[8]), not 'N' plus the masculine ordinal.

English: No.
French: Nº
German: Nr.

Italian: №
Portugese: Nº

Russian: № (This is also correct for any other cyrillic-using language.)
Spanish: Nº

Named works

Name

Framework

Work Type

for

Instrumentation and/or vocal 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., "Tristan und Isolde", "The Seasons", or "A London Symphony", or a name by which the work has come to be known (a 'common' name), e.g., the "Jupiter" symphony.

For works with a name, the name should be placed after the catalog or opus number.
If there is a opus work number present, the name is placed after that as well.
The 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 name for a composition, within the quotes use ' / ' (space forward-slash space) to separate the names.
The name should be capitalized according to the appropriate Capitalization Standard for that name's language.

Examples: 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"

Please note that this section is dealing with an entire composition with a name, and not with a named movement within a composition. Please reference the Common Identification section of the Movement framework if you are dealing with a named movement rather than a named composition.

Variations based on other works

(Composer of basis work)

Basis work

Variations insert one 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 vocal 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 vocal 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: Anh, Anhang, Appendix, deest, desunt, vel, and WoO

Within a catalog number, when dealing with more obscure or fragmentary works, the terms 'Anh', 'Anhang', 'Appendix', 'deest', 'desunt', 'vel', and 'WoO' will be sometimes be encountered.

Anh or Anhang

German for 'Appendix'

Appendix

The appendix to a classical composer's works list. This may contain such items as variant versions and/or arrangements of a composition numbered in the main listing, compositions of doubtful attribution, compositions which only exist in fragmentary or sketch form, spurious works, etc.

deest

Latin for 'not present'. These works are typically ones discovered after a composer's catalog is published. In some cases, where later editions of a composer's catalog are published, these works are deest for the initial catalog(s), but have assigned catalog numbers in the later edition(s). Occasionally, if it is decided that the work is perhaps spurious, then later editions may also remove a work from the catalog, such that the work originally had a catalog number, but later became deest.

desunt

Plural form of 'deest'.

vel

Latin for 'if you prefer'. This will be found between two work forms or catalog numbers.

Between two work forms, this indicates that, for the specific composition, the two forms were considered equivalent:

Between two catalog numbers, this indicates that the two compositions were assigned different catalog numbers, but are almost, but not, the same. The "vel ..." section is sometimes omitted, but if it is present, the most correct catalog number includes it.

WoO: An abbreviation for 'Werk ohne Opuszahl' (German), which translates to 'Work without Opus number'. Like deest, this indicates works which are not otherwise cataloged.

Works with an Anhung number should use the abbreviation 'Anh' (without a period).^[9]
None of these terms should be translated. If the catalog number includes "Appendix", then German CSG should use "Appendix". If the catalog number includes "Anhung", then English CSG should use "Anh".
Note the spelling and capitalization for WoO. The abbreviated term is the German one, not the English translation. "WOO", "WwO", "Wwo", "Woo", etc. are not correct.

Examples

Wolfgang Amadeus Mozart - Canonical Study, K. 73x/K2 Anh 109d
Wolfgang Amadeus Mozart - Psalm in C major, K. 166h/KV Anh 23 / Fr 1774a (fragment): "In te Domine speravi"
Johann Sebastian Bach - Partita, BWV Anh 78, "Wenn wir in höchsten Nöten sein"
Sanctus for 4 Voices in E-flat major, K. 296c/K3 296b(discussion)/KV deest

This composition was not listed in the original or second edition Köchel catalogs. The third edition of the Köchel catalog listed in the discussion section of K3 296b, but did not assign it its own catalog number. Then the sixth edition of Köchel finally decided it was likely composed by Mozart, and assigned it K. 296c.

Matthias Weckmann - Toccata vel praeludium in D minor

As Weckmann described it, when this work was composed, he considered a 'toccata' to essentially have become the same work form as a 'praeludium', thus the work could be considered to be of either work form.

Johann Sebastian Bach - Cantata for 2 voices, mixed chorus, and orchestra, BWV 197a/7 vel 398 "Ehre sei Gott in der Höhe"
Johann Sebastian Bach - Cantata for 2 voices, mixed chorus, and orchestra, BWV 398 "O Gott, du frommer Gott"

BWV 197a/7 vel 398 has a passage in the bass line which is lower by an octave than the version in BWV 197a/7, but otherwise the two compositions are identical.

Johannes Brahms - Hungarian Dance for Four Hands in G minor, WoO 1 No. 1: Allegro molto

Non-standard Modes

Mode

Framework

Work Type

for

Instrumentation and/or vocal type(s)

in

Key

Scale

Mode

,

Catalogue Identifier and Number

Work Type

for

Instrumentation and/or vocal type(s)

in

Key

Mode

Scale

,

Catalogue Identifier and Number

Work Type

for

Instrumentation and/or vocal type(s)

in

Key

Mode

,

Catalogue Identifier and Number

Work Type

for

Instrumentation and/or vocal type(s)

in

Mode

,

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.^[10]

However, in some cases, an alternate mode^[11] may be indicated.^[12] 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

B major diminished
C/C-sharp chromatic

Microtones and non-diatonic full/half tone keys

When dealing with alternate temperments^[13] or microtones^[14], especially in enharmonic compositions or compositions from non-Western sources^[15], quarter-, three-quarter, and other unusual keys may be encountered.

For works using keys other than the standard diatonic full and half-tone ('flat' or 'sharp') keys, use them as needed. Just as with 'flat' and 'sharp', the key should be spelled out and linked to the scale using the same standard method as the more common half-tones.^[16]

*Microtones, standard keys, and* some of the uncommon keys
Incorrect	Correct						What is it?
	English	French	German	Italian	Russian	Spanish
-	A	A	A	A	A	A	full tone
A♯	A-sharp	La dièse	Ais	La diesis	Ля диез	La sostenido	half tone sharp
A *	A-semi-sharp	La dièse barré	-	La semi-diesis	Ля полу-диез	La semisostenido	quarter tone sharp
A	A-double sharp	La double dièse	Aisis	La doppio diesis	Ля дубль-диез	La doble sostenido	two chromatic tones sharp
A *	A-sesqui-sharp	La trois-demi de dièse	-	La diesis e mezzo	Ля полтора диеза	La sostenido y medio	three-quarter tone sharp
A♭	A-flat	La bémol	As	La bemolle	Ля бемоль	La bemol	half tone flat
A *	A-semi-flat	La demi bémol	-	La semi-bemolle	Ля полу-бемоль	La semibemol	quarter tone flat
A	A-double flat	La double bémol	Asas	La doppio bemolle	Ля дубль-бемоль	La doble bemol	two chromatic tones flat
A *	A-sesqui-flat	La trois-demi de bémol	-	La bemolle e mezzo	Ля полтора бемоля	La bemol y medio	three-quarter tone flat

* Note that there is not yet any standardized term for quarter-tone accidentals in German, though there is a standardized term in for each of the four accidentals in Arabic, English, French, Italian, Norwegian, Portugese, Russian, and Spanish. It is suggested that any work which would require mention of a quarter-tone accidental be limited to CSG in a language which can adequately describe the correct key for the work.

Non-standard scales

Framework

Work Type

for

Instrumentation and/or vocal type(s)

in

Non-diatonic scale

Key

Scale

,

Catalogue Identifier and Number

Work Type

for

Instrumentation and/or vocal type(s)

in

Diatonic scale modification

Key

Scale

,

Catalogue Identifier and Number

Work Type

for

Instrumentation and/or vocal type(s)

in

Non-diatonic scale

Diatonic scale modification

Key

Scale

,

Catalogue Identifier and Number

For works using scales other than major or minor, use them as needed.

The scale ought to be correctly capitalized, depending upon the name of the scale and the rules within the language being used.
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 (if applicable) after the non-diatonic scale name: "...in Yaman harmonic A major".

Modulating Keys, Modes, and/or Scales

Mode