Music Program Style Guide
Uploaded by
M. LorenzoMusic Program Style Guide
Uploaded by
M. LorenzoBRIGHA M YOUNG UNIVERSITY
COLLEGE OF FINE ARTS AND COMMUNICATIONS
SCHOOL OF MUSIC
Program Style Guide
Adapted from The Chicago Manual of Style, 16th ed., Chicago: University of Chicago, 2010.
The official source for titles and composers’ names is OxfordMusicOnline.com, regardless of
what is printed on the score. A limited number of free licenses are may be accessed on the
TITLES AND MOVEMENTS
8.157 List titles in the original published language and retain the original punctuation
spelling, and capitalization—regardless of the printed score.
English: First and last words, all nouns, pronouns, adjectives, verbs, adverbs and
subordinating conjunctions (known as headline style 8.167)
Old English: Retain original capitalization
German: First word and all nouns
French, Italian, Spanish: First word and proper nouns
8.189 Use italics for titles of operas, oratorios, motets, tone poems, and long compositions.
When a portion of a long composition has its own distinctive title, set in 10 pt. roman
type without quotes, followed by the source title in italics, set off with punctuation.
Wohin, from Die schöne Müllerin
Largo al factotum, from Il barbiere de Siviglia
6.119 Here’s a Howdy Do!, from The Mikado
Use a descriptive title for a portion of a long composition or a series of short
compositions grouped together, set in roman.
Overture to Don Giovanni
Finale from Faust
Scenes from Gianni Schicchi
List titles of songs and short compositions, as well as vocal pieces cited by their
incipits (that is, their opening words), set in roman type without quotes.
Un bel di vedremo, from Madama Butterfly
14.108 Include a translation of a title or movement when it would be helpful to the audience
following the title, enclosed in parentheses.
La fille aux cheveux de lin (The Girl with the Flaxen Hair)
Jesus bleibet meine Freude (Jesu, Joy of Man's Desiring), from Cantata No. 147
8.190 Many compositions have no distinctive titles but are identified in an hierarchy order of
form, instrument(s), key, and index identifiers.
Form (symphony, concerto, sonata, prelude, nocturne, scherzo, etc.)
Capitalize the form, which may include a No. (Number).
Concerto No. 1 . . .
Instruments/Scoring
Capitalize the instrument(s) following the form. The instrument maybe eliminated if
the instrumentation is understood, as in a piano recital.
Concerto No. 1 for Piano and Orchestra . . .
Suite No. 1 for Solo Violincello
Key
Capitalize the key if key is modified by flat or sharp, the modifier is lowercase and the
key phrase is hyphenated.
Concerto No. 1 for Piano and Orchestra in B-flat Major . . .
8.191 Index Identifiers
Use a publication number or a catalog number to identify a composition, but not both.
Use the abbreviations for the terms op. (opus) and no. (number) in lower case, set off
with a comma.
Concerto No. 1 for Piano and Orchestra in B-flat Major, op. 23
Polonaise for Piano in E-flat Major, op. 26, no. 2
Use the current or most scholarly catalog for a particular composer’s work, using the
standard abbreviation, set in caps followed by a period. No period follows acronyms
for catalogs.
Sonata for Piano in G Major, K. 11
Piano Trio in C Major, Hob. XV:27
Concerto for Three Harpsichords and Strings in C Major, BWV 1064
Concerto for Bassoon and Piano in G Major, RV 477
Include the composition date in parentheses after the title if neither publication numbers nor
catalog number are known.
Suite for Piano (1940)
8.190 Include descriptive titles bestowed by their composers, critics, music historians, or the
public set off in quotes.
String Quartet in D Minor, D. 810, “Death and the Maiden”
List movements in the order they are performed, indented directly under the title in
9 pt. roman type. No numbering system is necessary unless the movements are named
as numerals.
[Allegro] [Tempo understood, but not listed on original score]
Andante con moto
Scherzo: Allegro molto [Title of movement: tempo]
Allegro—Presto—Allegro—Presto [Multiple tempos , separated by em dashes (—)]
COMPOSER CREDIT AND DATES
Place the composer’s full name (use OxfordMusicOnLine.com) flush right. Include
birth and death years separated by an en dash (–) in 10 pt. roman type, under the
composer’s name (parenthesis surrounding dates are not necessary). Academic titles
are not included, but formal titles are.
Spanish Serenade, op. 23 Sir Edward Elgar
1857–1934
For the Uncommon Woman Joan Tower
b. 1938
[ca. is the abbreviation for circa] ca. 1505–1685
[fl. is the abbreviation for flourished] fl. 1160–1215
List the arranger’s name (without dates) in 9 pt. roman under the composer’s dates
flush right.
Joan Tower
b. 1938
arr. Tom Quick
List the transcriber’s name under the title in 9 pt. roman
Suite No. 1 for Solo Violincello in C Minor, BWV 1011 Johann Sebastian Bach
Trans. by John Doe 1685–1750
Include translations or other text in 9 pt. roman.
Hide, hide your golden light!
She sleeps, my lady sleeps!
—Henry Wadsworth Longfellow
List titles without line spaces if they are to be performed without interruption.
Der Schmied Johannes Brahms
Es hing de Rei 1899–1897
Ständchen
A set title may be added in 10 pt. roman bold, flush left, with individual titles indented
Italian Madrigals Old and New
Sfogva con le stelle Claudio Monteverdi
1567–1643
Il giardino de Afrodite Ildebrando Pissetti
1880–1968
PERFORMERS’ CREDITS
Stack the ensemble name listed in bold, centered in 10 pt. roman type, above conductor
and soloist(s) credits with instrument of voice set in italics.
BYU Philharmonic
Kory Katseanes, conductor
Kirk Te Kanawa, soprano
Rosters: List instrumental ensemble members in chair order by score order. List choir
ensemble members in alphabetical order by voice.
Approved by School of Music Executive Committee 16 September 2002
Printed 8 September 2015
