Classical Style Guidelines

DO NOT USE THIS. DO NOT USE THIS. DO NOT USE THIS.

THIS IS TOTALLY UNOFFICIAL AND MEANINGLESS. THIS IS NOT THE CLASSICAL STYLE GUIDELINES PAGE.

You want this page instead: ClassicalStyleGuide

What is CSG?

The "Classical Style Guidelines" (CSG) describe a structural framework which allows us to order the disparate data relating to a classical work into a structure which is consistant, logical, and comprehensible. Classical works are performed by many groups world-wide, yet often these works have no definitive title. CSG is intended to allow releases containing these works to be stored within the database and named in a clear and consistant manner.

Except where specifically excluded, "Classical" ought to be taken here to also include such closely related genres as opera.

What is CSG not?

CSG is not intended to provide titles where they already exist.
- If a classical composer has already provided distinct titles for some or all of his works (eg: Steve Reich, Jóhann Jóhannsson, Benjamin Britten), ArtistIntent always is superior to the guidelines of CSG.

CSG is not intended to cause track titles to lose their meaning where forcing any particular language into the CSG structure would cause track titles in that language to lose comprehension.
CSG is not intended to create a title where changing a particular title used on a release would cause us to lose contextual meaning (example).

Who is considered a “classical” composer?

For the purposes of CSG, “classical” is not the same as “orchestral” or “instrumental”, as these latter types of music tend to already have distinct titles. Therefore, CSG for release or work titles does not normally affect soundtrack and score composers (eg: John Williams, Ennio Morricone), trailer music composers (eg: Jeffrey Fayman, Yoav Goren), etc. However, should any of these composers create works which are considered "classical music" and not "orchestral" or "other instrumental" music (example), CSG release and work titles would likely apply.

CSG 'composer as artist' style would, however, apply in these cases, even when CSG is not directing the titles of the release or tracks.

An incomplete list of classical composers may be found at http://wiki.musicbrainz.org/CSGStandard .

So is there one particular CSG?

CSG is a framework, but no one language is required by it; listings can use German CSG, French CSG, English CSG, etc.

Where a standardized works list for a given composer is not yet complete, any language may be used to enter releases for that composer, so long as the CSG framework is used.

However, standardized works lists for classical composers are in development. Where a standardized works list has been completed, we ask that you use the appropriate titles from these lists, without translation or alteration other than that described within How should these titles be applied to tracks?

CSG

What constitutes a distinct classical release?
- What about box sets?

Who is the artist for a classical work?
How to title a classical release?
What is the structure for a CSG titles?
- Work and Opus
- Movement
- Ornamentation
- Special CSG structures for...

- What about punctuation within CSG titles?
- How should these titles be applied to tracks?

In what circumstances ought CSG to not be used?

What constitutes a distinct classical release?

What about box sets?

Who is the artist for a classical work?

The artist for the release and the tracks should always be set to the composer(s), not the performers or the conductor. If a classical release contains works by multiple composers, the release artist ought to be set to “Various Artists”, not “composer1 & composer 2& composer 3...”.

How to title a classical release?

What is the structure for CSG titles?

A CSG title has three distinct sections: the work and opus / catalog identification, the movement identification, and the identification of ornamentation used within the movement.

Classical Work
			▌
Work and Opus	Movement	Ornamentation

Work and Opus Identification

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

Basic structure

The basic structure of the work and opus section of a CSG title includes the work type, the instrumentation, the key, the scale, and the catalog or opus number.

Work and Opus Identification
					▌
Work Type	Instrumentation	Key	Scale	Catalog / Opus Number

The framework which is to be used is either of the following:

[ Work Type ] for [Instrumentation ] in [ Key ] [ Scale ], [ Opus Number ]
[ Work Type ] for [Instrumentation ] in [ Key ] [ Scale ], [ Catalog Identifier and Catalog Number ]

This, then, looks like this:

Canon for 3 Voices in 1 in C major, K. 553
Symphony No. 5 for Orchestra in B-flat major, K. 22
Trio for Violin, Viola, and Cello in E-flat major, Op. 3

Note that, for multiple instruments or voices, the quantities should be indicated using arabic numerals and not spelled out. Serial comma style ought to be used for listings of three or more instruments and/or voices.

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. 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 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 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 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 Note, however, that "No." is always to be used, and never "Nr.", "#", "Number", "N°", etc. 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 "double quotes". 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"

- Need to find an example of a work with multiple common names **

~+What about Variations (as separate 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 ], [ Opus Number ] [ No. ]
[ Work Type ] on [ Basis Work Composer ]: [ Basis Work ] for [Instrumentation ] in [ Key ] [ Scale ], [ Catalog ID and Catalog # ] [ No. ]

and looks like this:

6 Variations on Antonio Salieri: La fiera di Venezia: "Mio caro Adone" for Piano in G major, K. 173c / KV 180 No. 3
7 Variations on Dutch Traditional: "Wilhelmus van Nassau" for Piano in D major, K. 25 No. 2
8 Variations on André Ernest Modeste Grétry: Les mariages samnites: March "Dieu d'amour" for Piano in F major, K. 374c / KV 352

~+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 modiciation indication after the Scale. ("...in A major diminished")
For works using Scales other than major or minor, use them as needed. They ought to always be lowercased. ("...A heptatonic
For works using Keys other than the European half-tone keys, use them as needed. ("...A𝄳 major")

Movement

Ornamentation

What is the special structure under CSG for Da capos and Dal segnos?

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 ( File:dalsegno.png ) come in two common variations:

Dal segno al Coda

Repeat from the segno sign ( ) to the coda sign ( File:coda.png ), then play the coda.

Dal segno al Fine

Repeat from the segno sign ( ) 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? **

Special Structure under CSG for Opera

Special Structure 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/284 "Dürnitz": III. Tema. Andante & Variations I - X & Variation XI. Adagio cantabile & Variation XII. Allegro

What about punctuation within CSG titles?

How should these titles be applied to tracks?

You will find one of three cases.

Each movement (or work, for single-movement works) has its own track: Use the movement or work title as the track title. Example:
- Canon for 3 Voices in 1 in F major, K. 507: Canon. "Heiterkeit und leichtes Blut"

A track includes two or more movements (or single-movement works): Use a standard ASCII forward slash with a single standard ASCII space on each side ( / ) to separate the works. Where each movement is from the same overall work, the work identification ought to be omitted where it would be redundant. If the works are by different composers, TracksWithMultipleArtists would apply as normal. Examples:
- Canon for 3 Voices in 1 in F major, K. 507: Canon. "Heiterkeit und leichtes Blut" / Canon for 3 Voices in 1 in F major, K. 508: Canon. "Auf das Wohl aller Freunde"
- Symphony No. 41 in C major, K. 551 "Jupiter": I. Allegro vivace / II. Andante cantable
- Symphony No. 38 in D major, K. 504 "Prague": II. Andante / Johann Sebastian Bach - Suite für Violoncello solo No. 6 D-Dur, BWV 1012: Courante

A single movement (or single-movement work) is split across two or more tracks: List the movement in each track as if it were the entire movement. In the movement identification area of each track, append a hyphen and lowercase Roman numeral to indicate which part of the split teach track is. If the movement is a single-movement work without a movement indication, omit the hyphen. Examples:
- A split single-movement work:
  1. Canon for 3 Voices in 1 in F major, K. 507: i. Canon. "Heiterkeit und leichtes Blut"
  2. Canon for 3 Voices in 1 in F major, K. 507: ii. Canon. "Heiterkeit und leichtes Blut"

- Multi-movement work with a split movement:
  1. Symphony No. 9 in D minor, Op. 125 "Choral": IV-i. Recitative. Presto - allegro ma non troppo - vivace - adagio cantabile
  2. Symphony No. 9 in D minor, Op. 125 "Choral": IV-ii. Allegro assai - presto "O Freunde" - allegro assai "Freude, schöner Götterfunken"
  3. Symphony No. 9 in D minor, Op. 125 "Choral": IV-iii. Alla marcia - allegro assai vivace "Froh, wie seine Sonnen"
  4. Symphony No. 9 in D minor, Op. 125 "Choral": IV-iv. Andante maestoso "Seid umschlungen, Millionen!"
  5. Symphony No. 9 in D minor, Op. 125 "Choral": IV-v. Adagio ma non troppo, ma divoto "Ihr, stürzt nieder"
  6. Symphony No. 9 in D minor, Op. 125 "Choral": IV-v. Allegro energico, sempre ben marcato "Freude, schöner Götterfunken"
  7. Symphony No. 9 in D minor, Op. 125 "Choral": IV-vi. "Seid umschlungen, Millionen!"
  8. Symphony No. 9 in D minor, Op. 125 "Choral": IV-vii. Allegro ma non tanto "Freude, Tochter aus Elysium!"
  9. Symphony No. 9 in D minor, Op. 125 "Choral": IV-viii. Prestissimo "Seid umschlungen, Millionen!"

- Multi-movement work with a split sub-movement:
  1. Requiem in D minor, K. 626 (Süßmayr completion): IIIe-i. Sequenz: "Confutatis"
  2. Requiem in D minor, K. 626 (Süßmayr completion): IIIe-ii. Sequenz: "Confutatis"
  3. Requiem in D minor, K. 626 (Süßmayr completion): IIIe-iii. Sequenz: "Confutatis"

What is the release language for a classical release?

What Advanced Relationships (ARs) ought to always be set for a classical release?

At the release level or at the track level?

In what circumstances ought CSG to not be used?

The History of CSG

The CSG artist guidelines began in a discussion on the mb-users mailing list in January of 2004. The CSG release title and track title styles began as suggestions within that discussion. CSG continued to develop through December of 2006, when the basic guidelines were locked down as official. Throughout 2007, various discussions on more obscure areas of CSG took place in all possible discussion areas of MusicBrainz. In early 2008, CSG was revamped and rewritten by mb-style with the intent of making it both easier to understand and more comprehensive in its guidance.

User:BrianFreud/sandbox

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