|Status: This page describes an active style guideline proposal and is not official.|
Trac ticket # 4426
- CSG for Works:
|Status: Everything below this point is in need of cleanup for CSGv2|
In all framework descriptions, new elements inserted into the framework by the current section are indicated with bolded text and a violet background:
Work form Work form number for Instrumentation/vocals in Key Scale , Catalogue/Opus
CSG for Works is intended to provide a framework for titling classical compositions which lack clearly defined titles; it is not intended to be used as a reason to retitle a composition which already has a functional Artist Intent title.
If a work already has been given a specific title by the composer, such as "Part 1: IBM 1401 Processing Unit", then Artist Intent is the superior style principle, and thus the work would not be retitled using CSG for Works. This applies even if the composition title provided by the composer seems generic, e.g., "Music for 18 Musicians: Section XI", so long as Artist Intent for the composition's title is indicated, rather than generic description of the composition, e.g., "Symphony in D".
Combined Artist Intent and CSG for Works
Artist Intent titles and CSG for Works may also be combined, if needed. Steve Reich's 'Music for 18 Musicians' already provides sufficient ordering information in the movement titles such that CSG for Works is unneeded. Comparatively, Hector Berlioz' 'Symphonie fantastique' does provide a title for the overall composition ('Episode de la vie d'un artiste... en cinq partes'), a special form name ('Symphonie fantastique'), as well as titles for the movements ('Rêveries - Passions', 'Scène aux champs', etc.). However, a work title would provide insufficient information to determine that movement's (or composition's) place within the overall composition (or opus). Therefore, the correct CSGv2 title would be a combination of Artist Intent title and CSG for Works title.
- Incorrect: Artist Intent title
- Episode de la vie d'un artiste... en cinq partes: Symphonie fantastique: Scène aux champs
- Incorrect: CSG for Works title
- Symphony for orchestra in C major and minor, Op. 14 "Episode de la vie d'un artiste... en cinq partes", III. Scène aux champs
- Correct: True and CSG for Works combined title
- Symphonie fantastique in C major and minor, Op. 14 "Episode de la vie d'un artiste... en cinq partes": III. Scène aux champs
If it is questionable as to whether a composition really does have an Artist Intent title, then the CSG for Works title should be given preference. In the above case, 'Symphony for orchestra' would be rather redundant to 'Symphonie fantastique', as well as counter to Artist Intent for this unique special work form name.
Comparatively, Britten's 'Sinfonia da Requiem' provides only generic composition type identification, e.g., a requiem symphony, and thus the CSG for Works title, and not a mixed title, should be used.
The primary concern of CSGv2 is consistency. If a significant majority of a composer's œuvre is generically titled, and thus has CSG for Works titles, then it may be preferable that even works with Artist Intent titles be assigned CSG for Works titles (or combined Artist Intent and CSG for Works titles) rather than only using Artist Intent titles for those works.
For example, the vast majority of Wolfgang Amadeus Mozart's compositions are generically titled. However, some few songs have distinct titles. In such cases, using only the Artist Intent title would make those songs have titles inconsistent with the remainder of Mozart's œuvre, and the CSG for Works title would be more preferable for the songs
- Inconsistent title
- Liebes Manndel, wo ist's Bandel?
- Combined Artist Intent and CSG for Works title
- Song for 3 Voices, 2 Violins, Viola and Bass in G major, K. 441: Andante sostenuto. (Soprano, Tenor, Bass) "Liebes Manndel, wo ist's Bandel?"
The higher the percentage of an artist's works which are generically titled, the stronger the argument for this type of CSG for Works titling consistency.
The CSG for Works title framework has three distinct sections:
Together, these three sections define the title of a specific work.
- If the work describes a composition with only one movement, the Work and opus framework may be all that is needed.
- If the work is part of a composition with multiple movements, is part of an opus containing multiple compositions, or is part of a composition with only a single movement but requiring additional detail, then the Movement identification framework is also needed.
- If cadenzas, eingängen, or other ornamentation are also needed, then also use the Ornamentation identification framework.
Untouched old stuff
The Ornamentation Framework
|Work and Opus||Movement||Ornamentation|
Ornamentation presents a difficult problem. These are works specifically intended to be inserted into other works. Therefore, listing them by simply using a / to separate the works would unintentionally present the appearance that there are two separate and distinct works present, not a single work which contains the second work.
Therefore, when Ornamentation, or its sub-types, Cadences, Cadenzas, and Eingänge  appear, the following form is to used:
- ([ Type ]: [ Composer ], [ Catalog or Opus Number ] [ Work Number within the Opus or Catalog Number ], [ Version ])
- (Cadenza: Wolfgang Amadeus Mozart, K. 626aI/31 / KV 624/9, Version A)
- (Cadence: Ludwig van Beethoven, WoO 58 No. 2)
- (Eingänge: Wolfgang Amadeus Mozart, K. 626aI/55)
- (Ornamentation Cadenza: Wolfgang Amadeus Mozart, K. 293e / KV deest)
- (Trumpet and Drum Ornamentation: Wolfgang Amadeus Mozart, K. 370a / KV deest)
Note that, as ornamentation is by definition interchangeable, only the ornamentation framework will be listed within works lists.
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
Punctuation Within CSG Titles
Standard ASCII punctuation should always be used for the space , the full-colon :, the semi-colon ;, the hyphen-minus -, single quotation marks ' ', double quotation marks " ", parenthesis ( ), square braces [ ], commas ,, periods ., and all other punctuation.
Additional punctuation guidelines of the applicable Capitalization Standard (e.g. French and Vietnamese spacing) are not overridden by CSG for Works.
- What is 'classical'?
- What is CSG for Works not?
- Note that Artist Intent for a specific title must be demonstrated and voters must agree that it is present. It is not sufficient to merely claim Artist Intent without evidence.
- See Wikipedia's style guidelines regarding 'true' classical work titles versus 'generic' classical work titles for more on this distinction.
- Eingänge, also "Eingang" is a term used primarily by Wolfgang Amadeus Mozart and Ludwig van Beethoven to describe a shorter fermata embellishment versus a normal Cadenza. While cadenzas traditionally contain modulation and are placed over a tonic six-four chord, Eingänge avoid modulation and are indicated by a fermata over a dominant seventh chord. While cadenzas typically fall within a Form, eingänge typically are used to lead from one Form into a new Form. Eingänge will specifically be named as such a form by the composer. The term "Lead-in" may also be used to describe an Eingänge.