Difference between revisions of "Open Opus Style Guide"

From Open Opus
Jump to navigation Jump to search
Line 1: Line 1:
 
Perhaps the most important decision on any database is about styling: how to name and categorize the information we collect. That's why Open Opus has, since its creation, a Style Guide. It's based primarily on the [https://musicbiz.org/wp-content/uploads/2016/04/Classical_MetadataStyleGuide_v1.pdf Classical Metadata Style Guide] by the [https://musicbiz.org/ Music Business Association], which is used by most streaming services and online retailers. We also took in consideration many points from the [https://en.wikipedia.org/wiki/Wikipedia:Naming_conventions_(music)#Compositions_(classical_music) Wikipedia naming conventions for classical music].
 
Perhaps the most important decision on any database is about styling: how to name and categorize the information we collect. That's why Open Opus has, since its creation, a Style Guide. It's based primarily on the [https://musicbiz.org/wp-content/uploads/2016/04/Classical_MetadataStyleGuide_v1.pdf Classical Metadata Style Guide] by the [https://musicbiz.org/ Music Business Association], which is used by most streaming services and online retailers. We also took in consideration many points from the [https://en.wikipedia.org/wiki/Wikipedia:Naming_conventions_(music)#Compositions_(classical_music) Wikipedia naming conventions for classical music].
  
== Basic naming conventions ==
+
== Naming conventions ==
  
 
The Open Opus databases has two title fields for compositions: title and subtitle. The title is the main field and should contain all relevant information about the work, such as numbering, catalogue, key and nickname. The subtitle field is optional and is reserved for additional information such as instrumentation, version and edition, only when necessary.
 
The Open Opus databases has two title fields for compositions: title and subtitle. The title is the main field and should contain all relevant information about the work, such as numbering, catalogue, key and nickname. The subtitle field is optional and is reserved for additional information such as instrumentation, version and edition, only when necessary.
  
=== Title order ===
+
=== Title ===
  
 
  '''Name no. # in K major, op. # no. #, C.#, CC.#, “Nickname”'''
 
  '''Name no. # in K major, op. # no. #, C.#, CC.#, “Nickname”'''
Line 23: Line 23:
 
* Sacred music: only masses and requiems should receive key information (e.g. "Mass in C major, op. 86"); more strongly titled works such as "Te Deum", "Stabat Mater" don't need keys in their titles
 
* Sacred music: only masses and requiems should receive key information (e.g. "Mass in C major, op. 86"); more strongly titled works such as "Te Deum", "Stabat Mater" don't need keys in their titles
  
==== Additional notes ====
+
==== Numbers ====
  
 +
* The word "opus" is always written in lowercase and abbreviated: "op."
 +
* There is a space between the word "op." and its numbering (e.g. "op. 101")
 
* There is either a dot or a space between the catalogue abbreviation ("K", "BWV" etc) and its numbering (e.g. "K.551", "BWV 1024")
 
* There is either a dot or a space between the catalogue abbreviation ("K", "BWV" etc) and its numbering (e.g. "K.551", "BWV 1024")
 
* Small pieces sets (etudes, variations, preludes etc) should not begin with a number (e.g. "Preludes, op. 28" and not "24 Preludes, op. 28"). Exception: when the numbering has become part of the piece "trademark" title (e.g. "Four Last Songs", "Five Orchestral Pieces")
 
* Small pieces sets (etudes, variations, preludes etc) should not begin with a number (e.g. "Preludes, op. 28" and not "24 Preludes, op. 28"). Exception: when the numbering has become part of the piece "trademark" title (e.g. "Four Last Songs", "Five Orchestral Pieces")
Line 68: Line 70:
 
* Cantata
 
* Cantata
 
* Mass (and Requiem etc)
 
* Mass (and Requiem etc)
* Song
+
* Song (and song cycle)
  
 
Exceptions:
 
Exceptions:

Revision as of 00:50, 9 November 2019

Perhaps the most important decision on any database is about styling: how to name and categorize the information we collect. That's why Open Opus has, since its creation, a Style Guide. It's based primarily on the Classical Metadata Style Guide by the Music Business Association, which is used by most streaming services and online retailers. We also took in consideration many points from the Wikipedia naming conventions for classical music.

Naming conventions

The Open Opus databases has two title fields for compositions: title and subtitle. The title is the main field and should contain all relevant information about the work, such as numbering, catalogue, key and nickname. The subtitle field is optional and is reserved for additional information such as instrumentation, version and edition, only when necessary.

Title

Name no. # in K major, op. # no. #, C.#, CC.#, “Nickname”

Examples:

Symphony no. 3 in F major, op. 90
Symphony no. 3 in E flat major, op. 55, "Eroica"
Symphony no. 41 in C major, K.551, "Jupiter"
Piano Trio no. 5 in D major, op. 70 no. 1, "Ghost"

Keys

  • "Major" is always explicit (e.g. "Symphony no. 38 in D major" and not "Symphony no. 38 in D"), except when the key has become part of the piece "trademark" title (e.g. Gershwin's "Concerto in F")
  • "Flat" and "sharp" always fully written (e.g. "Piano Concerto No. 2 in B flat major, op. 83" and not "Piano Concerto No. 2 in B♭ major, op. 83")
  • There is no need to include key information in titled works (e.g. "Tragic Overture, op. 81" and not "Tragic Overture in D minor, op. 81")
  • Sacred music: only masses and requiems should receive key information (e.g. "Mass in C major, op. 86"); more strongly titled works such as "Te Deum", "Stabat Mater" don't need keys in their titles

Numbers

  • The word "opus" is always written in lowercase and abbreviated: "op."
  • There is a space between the word "op." and its numbering (e.g. "op. 101")
  • There is either a dot or a space between the catalogue abbreviation ("K", "BWV" etc) and its numbering (e.g. "K.551", "BWV 1024")
  • Small pieces sets (etudes, variations, preludes etc) should not begin with a number (e.g. "Preludes, op. 28" and not "24 Preludes, op. 28"). Exception: when the numbering has become part of the piece "trademark" title (e.g. "Four Last Songs", "Five Orchestral Pieces")

Subtitle

The subtitle is primarily reserved to describe, when needed, instrumentation and genre, in the format:

Genre, for soloist, soloist, chorus and orchestra

Genre

Genre should be always explicit when the work has a title which doesn't disclosure the genre by itself.

Examples of mandatory subtitles:

Siegfried Idyll, WWV 103
Symphonic poem
Le nozze di Figaro, K.492
Opera
Egmont, op. 84
Incidental music

Examples of titled works that don't require subtitles:

Symphonie fantastique, op. 14
Quatuor pour la fin du temps
Academic Festival Overture, op. 80

Instrumentation

Instrumentation should be explicit only when the work is clearly different from the standard. Usually, pieces in these genres don't require explicit instrumentation:

  • Sonata
  • Symphony
  • Symphonic poem
  • Concerto
  • Quartet (and Trio, Quintet etc)
  • Opera
  • 
Oratorio
  • Cantata
  • Mass (and Requiem etc)
  • Song (and song cycle)

Exceptions:

  • Titled chamber works
  • Sinfonias concertantes (or double, triple concertos)
  • Orchestral songs

Examples:

Quatuor pour la fin du temps
For violin, cello, clarinet and piano
Sinfonia concertante in E flat major, K.364
For violin, viola and orchestra
Triple Concerto in C major, op. 56
For violin, cello, piano and orchestra
Four Last Songs, TrV 296
For soprano and orchestra

Versions and arrangements

Versions, editions and arrangements are not considered different works. This kind of information should be part of the recording, not part of the composition. Therefore, it's registered on the player itself (Concertmaster, Concertino), in the following format:

Version for instrument (abbreviated verb by Complete Name)

Version verbs

  • Solo arrangements are “transcriptions”, abbreviated “tr.”
  • Chamber arrangements are “arrangements”, abbreviated “arr.”
  • Orchestral arrangements are “orchestrations”, abbreviated “orch.”

Examples:

Version for piano (tr. Franz Liszt) Version for orchestra (orch. Arnold Schoenberg) Version for nonet (arr. Alan Boustead) Version for 2 pianos (tr. Max Reger)

Notes:

  • Don’t use “piano duo” - it’s ambiguous! Use the more precise “2 pianos” and “piano 4 hands”).
  • Alternative versions by the original composer may omit authorship


Part/Collection from the genre (arr. Complete Name, if not the original composer) Suite from the ballet Overture from the opera Prelude to the 3rd act of the opera Overture from the incidental music Medley from the opera (arr. Robert Russell Bennett)

Part/Collection from the genre, version for formation (arr. Complete Name, if not the original composer) Suite from the play, version for clarinet, violin and piano

Year [first] version (ed. Complete Name)
1874 version (ed. Leopold Nowak) 1905 first version

Version edited by Complete Name Version edited by Gustav Mahler Version edited by Nikolai Rimksy-Korsakov

Original version (if an arrangement by a third party is more famous than the original work)

Version completed by Complete Name Version completed by William Carragan Version completed by Franz Xaver Sussmayr

Translations of operas etc

Language language version of the genre German language version of the opera English language version of the theatre piece

Open Opus Multiedit Syntax

  • +7766>>Double Concerto in A minor, op. 102[Double Concerto, Doppelkonzert]<<For violin, cello and orchestra

7766>>—<<

  • +0>>New work<<