History:CSGv2/Work/Title/Work and opus identification Proposal

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

The Work and Opus Identification Framework

Classical Work
Work and Opus
Work Type Instrumentation Key Scale Catalog and Opus Number

Most classical composers have their works contained either within opuses or catalogs. The Work and Opus Identification section of a CSG for Works title identifies a particular work and the catalog or opus identifier to which the work belongs.

In all framework descriptions, new elements inserted into the framework by the current section are indicated with bolded text and a violet background.

Basic framework

The basic framework includes the work type, the instrumentation, the key, the scale, and the catalog or opus number.

Theory

Work Type for Instrumentation and/or voice type(s) in Key Scale , Catalog Identifier and Catalog Number
Work Type for Instrumentation and/or voice type(s) in Key Scale , Opus Number


'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

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'.


A list of common (and uncommon) work forms is available on the CSGv2 resource page.


Instrumentation and/or voice type(s)

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 and not written out.
  • Serial comma style should to be used for listings of three or more instruments and/or voices.
  • 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), such as "Concerto for 1 Bassoon" or "Trio for 1 Viola and 2 Cellos", do not indicate that singularity. Thus, "Concerto for Bassoon" or "Trio for Viola and 2 Cellos" would be correct.

Examples:

  • piano
  • 2 flutes
  • piano, 2 organs, and cello
  • 3 pianos, 2 organs, 4 tenors, and soprano


A list of vocal types can be found on the CSGv2 resource page.


Key

This is the key in which overall composition is composed.

Scale

This is the scale in which overall composition is composed.

  • Some work forms, such as a symphony, can change key and/or scale within and/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.
  • The key and scale should always stay consistent with the language being used for the title; do not use the French 'La dièse majeur' in a German CSG for Works title.
  • Keys and scales should always be uppercased, unless it is more musicologically correct within the particular language that minor keys be lowercased. e.g. 'si minore'.
  • When keys are written in English, "sharp" and "flat" must always be lowercase 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.


Catalog Identifier and Catalog Number


Opus Number


Application

Applied, the basic framework then looks like this:

Work Type for Instrumentation and/or voice type(s) in Key Scale , Catalog Identifier and Catalog Number
Canon for 3 voices in 1 in C major , K. 553
Concerto for bassoon in B-flat major , K. 186e / KV 191


Work Type for Instrumentation and/or voice type(s) in Key Scale , Opus Number
Trio for violin, viola, and cello in E-flat major , Op. 3

Advanced structure

What about numbered works?
Work and Opus Identification
Work Type No. (1 & 4) Instrumentation No. (2) Key Scale Catalog / 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.

  1. 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
  1. 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
  1. 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 Catalog 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
  1. 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

"No." should be language-correct ("No." for English, "Nr." for German, "N°" for French, etc). "#", "Number", etc. should not be used. The numbers used should always be indicated using Arabic numerals and not spelled out.


 
What about named works?
Work and Opus Identification
Work Type No. (1 & 4) Instrumentation No. (2) Key Scale Catalog / Opus Number No. (3 & 4) "Common Name"
  • 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"

 
What about Variations of other works?
Work and Opus Identification
Work Type No. (1 & 4) Basis Work Composer Basis Work Instrumentation No. (2) Key Scale Catalog / Opus Number No. (3 & 4) "Common Name"

Variations can be rather confusing. You're essentially inserting one entire CSG work title into another. Immediately following the Work Type, insert the name of the composer of the work the variation is based upon, then the full CSG title of that work. Note that in addition to the "No." fields which normally can appear, you may also have "No." fields appearing within the basis work, providing for potentially as many as 4 "No."s to appear within the work title.

The structure looks like this:

Work Type on Basis Work Composer : Basis Work for Instrumentation in Key Scale , Catalog Identifier and Catalog Number
Work Type on Basis Work Composer : Basis Work for Instrumentation in Key Scale , Opus Number

and looks like this:

Work Type on Basis Work Composer : Basis Work for Instrumentation in Key Scale , Catalog Identifier and Catalog Number
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

If the work being imported was composed by the same composer, the [ Basis Work Composer ]: section ought to be omitted, giving:

Work Type on Basis Work for Instrumentation in Key Scale , Catalog Identifier and Catalog Number
Work Type on Basis Work for Instrumentation in Key Scale , Opus Number

and thus:

Work Type on Basis Work for Instrumentation in Key Scale , Catalog Identifier and Catalog Number
Divertimento on Le Baiser de la fée for Orchestra in ( ? ) ( ? ) , ( ? )
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

 
What about Modulating Keys, Modes, or Scales?

Some rare works use modulating keys, modes, or scales. In such a case, list both keys, modes, or scales, and use the equivalent translation within the CSG language style being used for the word "to" to connect them. Examples:

  • Modulating Prelude for Piano in F major to E minor, K. deest NMA IX/27/2 No. 2

 
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 harmonic mode modifications (augmentation or diminishment), add the modification indication after the Scale. ("...in A major diminished")
  • 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.