Style/Specific types of releases/Theatre
s apply to soundtracks for musical theater or films. These are works where songs are performed by the actors as part of the work (but not operas, which are covered by ClassicalStyleGuide and OperaTrackStyle, nor live (non-theatrical) performances by musical groups). See also SoundtrackStyle and SoundtrackTitleStyle (which apply mostly to film and video game soundtracks, but do overlap this).
- The ReleaseArtist should be the composer, not the performer(s).
- The ReleaseTitle is just the title of the musical. The title should exclude secondary information such as "Original Soundtrack", "Music from," etc. except that
- Performance cast (with year) may be used if required to distinguish the release from other versions of the soundtrack, for example Carousel (1956 Film Cast).
- The ReleaseAttribute should be Soundtrack.
In cases where the composer and lyricist collaborated on a number of musicals, and are generally well-known, it would probably make sense to use a collaboration artist (e.g. "Rogers & Hart") rather than the composer alone. @alex
- Agreed. -- JimDeLaHunt 2007-11-25
- Disagree; this would introduce yet a third category of artist attribution - performer-as-artist, composer-as-artist, now composer+lyricist-as-artist, without any clear definition for "well-known" to allow for editors to identify when, and when not, this third class should be used. Were this standard to be used, a similar argument could just as easily be made for Opera (composer + librettist); I don't recall the last time I heard anyone suggesting this there, however. BrianFreud
- Agreed. I think the track title convention should be stated specifically here or in a MusicalTrackStyle article. -- JimDeLaHunt 2007-11-25
- Actually, if I recall the recent history of this proposal, it's the reverse - stemming from the latest few discussions on soundtrack style, it was pretty much decided that yes, there are different types of soundtrack, and yes, each type has its own issues. This page handles specifically the ones for Musicals - there were rough plans for a similar page for Video Games, Scores, etc - not sure if those ever ended up being done. -- BrianSchweitzer 18:37, 06 January 2008 (UTC)
It strikes me as wrong to credit the composer as ReleaseArtist for musicals. For one, composer is a distinct id3 tag. Also musicals, unlike classical music, are rarely attributed to the composer or the lyricist, they are mentioned by their title. Therefore I see it no less proper to create a fictional entity such as Cats to resolve the ReleaseArtist issue. -- sesam 2008-11-22
- I would note several incorrect assumptions in this comment. First, "musicals, unlike classical music, are rarely attributed to the composer or the lyricist" - ever heard of Rogers & Hammerstein, Jonathan Larson, Sondheim, Andrew Lloyd Webber... to name only a few? When did you last see a performance of Cats, to use your example, where any performer got higher billing than Andrew Lloyd Webber? I'd also note that attribution by composer seems an industry standard, as shown by Playbill, IBDb, or IOBDb. Second, why would we ever, here or anywhere, create a "work-as-artist" bogus artist, when there's perfectly good artists who can be used, and can be used without fragmenting a composer's works all across piles of bogus artists? Additionally, this assumes a clear distinction between classical (ala Opera) and musical theater which does not actually exist; see Porgy and Bess for just one example of genre-overlap. BrianFreud
- Possible Exception? The only valid cast artist (ie, one who should not be merged into composer) I've run across so far has been this one: [| Glee Cast]. I think the important distinction here is that there are numerous releases by an ensemble, as if it were a group, even though it's ostensibly a cast release. BrianFreud