387:) characterized by one or more catalogue numbers such identification should be given in the intro. Use the usual abbreviation that indicates the catalogue, preferably linked to a page that explains the abbreviation, and avoid a line break for the ensuing identification value(s). Don't bold such classification identification even when it appears in the article title or exists as an incoming redirect.
480:, quite obviously not having much in terms of the middle part of the description of the music) it remains recommended to loosely follow a chronological approach: this helps future editors, e.g. a new significant recording of a piece will usually be added at the bottom of the article – it doesn't help if the other recordings are described somewhere in the middle of the article.
38:
422:
Usually includes a brief account of the piece in the context of the composer's life (e.g., "The composer had just returned from...") and/or the wider political, social, historical, and musicological context of the piece (e.g., "At the time, the
Napoleonic wars were raging in Europe..."). If relevant,
1173:
However, for works employing particularly large orchestras, complex wind doublings, large percussion sections, offstage instruments, and the like, it may be useful to expand the above format, dividing the instruments into several (possibly bulleted) paragraphs, according to their respective families
491:
In general, subjective personal responses to a work (for example, "the deeply touching, elegiac slow movement") should be avoided. If it is deemed appropriate to include such subjective interpretations, find existing source material in which critics present views of this kind, and quote the critics,
540:
works (and series of works) already covered by
Knowledge. Readers need to be able to find coherent, consistent information about the complete work, not just the excerpt. Disproportionate coverage of one part of a work can lead to misconceptions about the full opus, and lead to readers only finding
448:
A description on the legacy and impact of the piece should follow, e.g. how it perhaps altered genres, begat new styles, or popularized new methods. Other questions that may deserve an answer in this section: did the piece become immediately popular, or was it forgotten for some time? How and when
414:
The body of a
Knowledge article on a composition is often organized more or less chronologically, with the description of the music separating the history of the piece's genesis from that of the piece's reception history (the summary of these topics often also more or less in the same order in the
965:
The consensus format for specifying which instruments or voices a work uses follows the precedents established by professional writers on music, for example in program notes written for concerts. These generally employ a simple paragraph style, listing the instruments in the normal order in which
924:
Some reference works use a space-saving system where the words "major" and "minor" are omitted; a key in upper case refers to a major key, and one in lower case is a minor key. For example, "D" would mean D major, and "d" would mean D minor. Some editors confuse matters by adopting a part of this
1249:
often gets reused in modern culture, thus forming part of its modern history. This reuse can often add to the popularity of the classical work being used, as well as providing further insights into the music being described. When writing about such reuse in articles about classical music, please
166:
at each individual article. However, current consensus among project participants holds that biographical infoboxes are often counterproductive on biographies of classical musicians, including conductors and instrumentalists, because they often oversimplify issues and cause needless debates over
423:
this part of the article answers questions like – Where did the composer get his inspiration for this piece? Was the piece commissioned? Did the composer try to make a difference with previous compositions in the same genre? For vocal works: did the composer collaborate with the text author? ...
504:
In general, it is permitted to make factual observations based on examination of the musical score of a work. Such observations should be limited to those agreed upon by virtually anyone with musical training, for instance "the trio section is in F major" or "the finale is in
573:, which contains international authority files. (These systems allocate canonical unique identifiers to single entities, allowing clear disambiguation between different entities with similar names, while allocating single identifiers for multiple variant names.)
197:
An article's title should be selected to best represent what readers of
Knowledge expect. This means, among other things, that titles should be consistent for each genre. For example, a reader who has already successfully found Mozart's 40th symphony under
603:. Work titles that include opus numbers should use the abbreviation "Op. " (with capital "O" and a space between the period and the number, and be set off by commas). For example: Piano Sonata No. 32 in C minor, Op. 111, by Beethoven. (See also
548:
Separate articles can be justified if the music, being performed in a different context from the complete work or in an alternative arrangement, is notable in its own right. However these cases are rare, so editors are asked to propose
449:
was it premiered? How and when was it published? Are there any particular editions, concert performances, arrangements, recordings, publications (etc.) that had a significant impact on how the piece was perceived? See also below
1288:
section of the article on the artist, or on the work. If the artist's or work's discography is extensive, it can be split out to a separate article. If a recording is exceptional, you can add a description and critical reviews.
1189:
Tables, columns, and long multi-level bulleted lists should be avoided, except in the most extreme cases. It is advisable to consult other editors on the article's Talk page to obtain consensus for such arrangements.
1313:
References, notes and sources are all contained within one main section called 'References', or in separate sections (e.g. "==References==", "==Sources==", "==Further reading==" and/or "==External links==").
1181:
Carefully formatted columnar tables may be appropriate for complex descriptions that include information on the use of various instruments in different movements. A good example of this format is the article
1237:
where the most prominent sources use a different order (vocal soloists; choir voices; brass and timpani; ... ending with Basso continuo whether or not the continuo is performed by a stringed instrument).
330:
453:. A more generic title for this section that is often suitable is "==Reception==". If the intro hasn't done so already, this is the part where it should become clear that the article conforms to
23:
941:
For large works, or large articles, it's usually best to describe the forces used under a separate section header (enclosed in "=="). Current consensus strongly favours titling that section
513:, not observations ("the opening four notes of the Fifth Symphony are echoed by similar passages throughout the four movements") should not be inserted by editors, since they violate the
1214:
Percussion (timpani, then other percussion – if possible specifying both the instruments played and the number of players; pitched percussion (marimba, etc) is generally listed last);
476:
All musical pieces are different; these notes are intended as only a loose and general guideline. Even when some of the recommended sections listed above are necessarily short (e.g.
464:
Finally, the listing of any notable recordings and references is recommended, complete with links, so as to allow the reader to obtain further information if desired. See also below
162:
Infoboxes are neither required nor prohibited for any article. Whether to include an infobox, which infobox to include, and which parts of the infobox to use, is determined through
1297:
Titles of articles on recordings of classical music should include the name of the album (if it has a name), the name of the performer, and the word "recording"; for example,
167:
content; and that they should not be used without first obtaining consensus on the article's talk page. This position is in line with that reached by the participants at the
1079:
This simple format is applicable to most works, even most of those calling for larger orchestras, more percussion, and doubling on auxiliary wind instruments. For example:
1275:
228:, even though doing so would violate the de facto naming convention for serenades. In borderline cases, consult other editors on appropriate talk pages before proceeding.
432:
If the piece is an oratorio or other dramatic work, a plot summary may be written (preferably scene by scene, but not overly detailed), followed by dramatis personæ.
1477:
175:
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in the original language should be preserved when referring to works by their original language title (provided that language uses the Latin alphabet), e.g.
610:
For other composers, the usual reference is through numbers assigned in authoritative catalogs of works prepared by musicologists. Below is a partial guide.
660:
192:
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Judgment calls arise when a work has a famous nickname. For example, it might be more useful to readers to label the famous string serenade by Mozart as
435:
A musical analysis should follow, discussing the work's distinguishing features, such as its dynamics, performance quirks, instrumentation (see below:
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including a citation of the source. Such quotations give readers an idea of how listeners have responded to a work and do not violate the
Knowledge's
246:
322:. (Articles on works with translated titles should also mention the name in the original language, and include redirects based on the original name.)
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812:(B) offers a useful escape from the morass of conflicting opus and work numbers assigned to that composer's music by publishers and others.
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voices (soloists, then chorus; they are often placed between violas and cello/bass in the score, but do not adopt that order in
Knowledge);
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The work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.
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If no more specific (sub)divisions are warranted a good generic section title for this part of the article is for instance "==History=="
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system but still spelling out the words "major" or "minor" – thus, "D major" vs. "d minor". This is inconsistent and is to be avoided.
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Instruments should be listed in the order they appear in the score, from the top down. Conventionally that order is as follows:
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should be consulted to see if there is an established name. For names not listed there (primarily foreign), users should go to
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Current consensus favours dividing instruments into their families in large works, while preserving a paragraph format.
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subheader might get confusing when using separate lists for explanatory footnotes and references that are part of the
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in general and is less helpful in this context. Listing the string instruments separately (i.e. "first and second
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All articles should begin with a sentence that clearly identifies the piece, with the following suggested format:
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work titles, and works well known under an
English name, capitalize the first word and all major words e.g.
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Key should be capitalized, but "major", "minor", "sharp" and "flat" should be in lower case. For example,
770:- TrV (Franz and Florian Trenner, 1999). Earlier AV ( Erich Hermann Mueller von Asow, 1959) is incomplete.
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520:
For borderline cases, first place the proposed revision on the Talk page and get other editors' approval.
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designating footnotes or direct in-line citations (using {{Reflist}} coding below the "Notes" subheading)
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Woodwinds (in order: piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon, contrabassoon);
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Knowledge:Naming conventions (capitalization)#Capitalization of expressions borrowed from other languages
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1301:. Do not include the name of the composer, unless the title would otherwise be ambiguous (for example,
1183:
960:
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780:(Telemann-Werke-Verzeichnis) – use plain TWV also for the works in the range of vocal works (not TVWV)
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In concertos and similar works, the solo voice(s) or instrument(s) are generally listed first.
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A generic section title that would often work for this part of the article is: "==Structure=="
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markup is discouraged because of cluttering the table of contents. On the other hand using a
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Links to the various infobox-related discussions from 2007 to 2013 are provided at
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Topics related to the reception of the piece (by the general public, critics,...)
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specific redirects to main page sections can make excerpt articles unnecessary
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by simply linking each instrument to its dedicated article, leaving us with:
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given immediately above is in fact not a separate article, but a redirect to
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1431:(2003) "Drama and the World of Richard Wagner", Princeton University Press.
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on how to format and present article content within their area of interest.
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to help readers who search under different titles. For example, the link
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Knowledge:WikiProject
Musicians/Article guidelines § Discography section
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Note that bold type for these headings should not be effected with the
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Knowledge:Naming conventions (music) § Compositions (classical music)
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Kennedy, Michael (2006), The Oxford
Dictionary of Music, 985 pages,
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Beethoven
Symphony number 5 (Chicago Symphony Furtwangler recording)
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would usually follow the style used in the most recent editions of
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The names of works, and other terms, should be marked up with the
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Note: The string quartets are normally referred to by opus number.
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Knowledge:Manual of Style/Infoboxes § Using infoboxes in articles
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this page provides some specifics for pages that fall under the
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logic. So it depends on circumstances which system works best.
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For existing precedents regarding article titling, please see:
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will expect that Haydn's 103rd symphony should be found under
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partial information after searching. Moreover, in most cases
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strings (1st violin, 2nd violin, viola, cello, double bass).
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Overall, avoid adding irrelevant or insignificant material.
439:), key, and so forth. Where appropriate, list the movements.
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Knowledge:Manual of Style/Lists of works § Discographies
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they appear in the full score. Thus a concert program (
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Knowledge:WikiProject Classical music/Major discussions
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Although not as commonly referenced as the foregoing,
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Knowledge:WikiProject Classical music/Style guidelines
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Keyboard/miscellaneous (celesta, harp, piano, organ);
738:– "K." is preferred over K and KV as an abbreviation)
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The above does however not apply for, for instance,
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No matter what title you select, be sure to include
1317:If a single section is used, there are a number of
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55:It contains the advice or opinions of one or more
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1458:Richard Wagner — His Life, His Work, His Century
437:#Musical forces: specifying those used in a work
929:Musical forces: specifying those used in a work
605:Knowledge:Manual of Style (music)#Abbreviations
599:The works of many composers are categorized by
647:(abbr. for German "Works Without Opus Number")
271:Knowledge:Naming conventions (capitalization)
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1299:Goldberg Variations (Glenn Gould recording)
1088:is scored for an orchestra consisting of 2
643:– mostly opus numbers; some minor works by
289:New Grove Dictionary of Music and Musicians
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164:discussion and consensus among the editors
1354:";" (semicolon) – for an explanation see
1284:In general, recordings are included in a
1280:Knowledge:WikiProject Discographies/style
565:When choosing a name for an article, the
1250:observe policies and guidelines such as
561:Naming using an authority control system
247:Capitalization: original language titles
1200:Shorthand for orchestra instrumentation
567:Library of Congress name authority file
109:In addition to style guidance found at
14:
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1211:Brass (horn, trumpet, trombone, tuba);
981:specifies the instruments as follows:
653:– WAB (Werkverzeichnis Anton Bruckner)
631:, but avoid this usage in WP articles)
383:When the piece is commonly (see below
714:– JW (Simeone, Tyrrell, and Němcová,
419:Topics related to the piece's genesis
18:Knowledge:WikiProject Classical music
957:denotes the instruments themselves.
706:Category:Symphonies by Michael Haydn
415:opening paragraph or lead section):
313:Fantasia on a Theme of Thomas Tallis
32:
30:
72:thoroughly vetted by the community
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1047:: For orchestral works, the word
872:Prelude a l'apres-midi d'un faune
863:Prélude à l'après-midi d'un faune
385:#Opus numbers and catalog numbers
211:Category:Compositions by composer
1293:Titles of articles on recordings
1051:should be linked to the article
889:template, using the appropriate
577:Opus numbers and catalog numbers
515:policy against original research
494:policy against original research
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1223:offstage instruments or voices;
509:". Statements that are clearly
500:Descriptions based on the score
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115:Knowledge:Manual of Style/Music
1412:, Cambridge University Press.
294:The Oxford Dictionary of Music
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1456:Gregor-Dellin, Martin (1983)
673:(Buxtehude-Werke-Verzeichnis)
325:For titles in their original
284:Capitalization of work titles
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617:– Wq (Wotquenne) or H (Helm)
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182:Articles about compositions
120:WikiProject Classical music
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478:Symphony No. 8 (Sibelius)
396:Missa solemnis in C minor
1495:WikiProject style advice
1479:Guide to online research
1410:Richard Wagner: Parsifal
891:two-letter language code
681:Händel-Werke-Verzeichnis
451:#Uses in popular culture
429:Description of the music
275:§ Foreign language names
237:Serenade No. 13 (Mozart)
225:Serenade No. 13 (Mozart)
204:Symphony No. 103 (Haydn)
200:Symphony No. 40 (Mozart)
1242:Uses in popular culture
732:Wolfgang Amadeus Mozart
555:Classical Music Project
408:Wolfgang Amadeus Mozart
971:San Francisco Symphony
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774:Georg Philipp Telemann
677:George Frideric Handel
637:– Sz (András Szollosy)
241:Eine kleine Nachtmusik
219:Eine kleine Nachtmusik
127:Biographical infoboxes
1420:Parameter error in {{
1408:Beckett, Lucy (1981)
1395:Borchmeyer 2003, p. 9
1136:(usually replaced by
621:Johann Sebastian Bach
459:WP:Notability (music)
375:, Op. 35, written by
319:Ride of the Valkyries
191:Further information:
70:, as it has not been
1398:Kennedy 2006, p. 299
953:of the instruments.
901:Keys: capitalization
794:Carl Maria von Weber
663:(Busoni-Verzeichnis)
641:Ludwig van Beethoven
1392:Becket 1981, p. 171
1342:'''Other sources'''
1334:'''Cited sources'''
1061:, which deals with
1045:**A note on strings
667:Dieterich Buxtehude
487:Evaluative passages
1429:Borchmeyer, Dieter
742:Domenico Scarlatti
736:Köchel-Verzeichnis
629:Wolfgang Schmieder
1252:WP:INDISCRIMINATE
1059:String instrument
806:Jarmil Burghauser
756:Deutsch catalogue
557:before creation.
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687:Joseph Haydn
645:"WoO" number
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550:
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1352:wiki markup
1326:'''Notes'''
1286:Discography
1194:Score order
1134:ophicleides
1102:cor anglais
764:– R (Rubio)
722:Franz Liszt
635:BĂ©la BartĂłk
615:C.P.E. Bach
601:Opus number
507:sonata form
470:#References
466:#Recordings
156:Main page:
45:This is an
1309:References
1270:See also:
1266:Recordings
1260:WP:BALASPS
1198:See also:
1146:snare drum
830:diacritics
368:Caractacus
269:See also:
222:, and not
1256:WP:TRIVIA
1154:bass drum
1130:trombones
1106:clarinets
1026:trombones
1010:clarinets
338:Structure
279:WP:MUSORG
133:Shortcuts
82:Shortcuts
1489:Category
1375:Example:
1358:. Using
1319:optional
1122:trumpets
1114:bassoons
1086:symphony
1022:trumpets
1014:bassoons
993:wikified
975:Schumann
969:) for a
583:Shortcut
534:excerpts
530:separate
524:Excerpts
392:Example:
379:in 1898.
364:Example:
253:Shortcut
148:WP:CMBIO
1166:strings
1150:cymbals
1142:timpani
1126:cornets
1094:piccolo
1067:violins
1049:strings
1034:strings
1030:timpani
919:G major
915:D minor
826:accents
822:letters
691:Hoboken
679:– HWV (
591:WP:OPUS
373:cantata
327:foreign
302:English
261:WP:CAPM
97:WP:CM/G
1278:, and
1164:, and
1090:flutes
1071:violas
1032:, and
1002:flutes
961:Format
945:, and
786:– RV (
734:– K. (
726:Searle
538:famous
455:WP:GNG
277:, and
111:WP:MOS
90:WP:CMG
1387:Notes
1364:Notes
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1158:bells
1138:tubas
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