65TH

GRAMMY
AWARDS
®

RULES AND GUIDELINES

Contents © 2022 Recording Academy | May not be reproduced in whole or in part without express permission.
INTRODUCTION

THESE ARE THE OFFICIAL RULES FOR THE GRAMMY AWARDS®.

All GRAMMY Awards ballots are cast by Recording Academy Voting Members and are subject
to classification and qualifications under rules or regulations approved by the Board of Trustees.
From time to time, the Board may vote to amend the qualification criteria for consideration for a
GRAMMY® Award or other award.

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GRAMMY AWARDS YEAR CALENDAR

GRAMMY AWARDS YEAR CALENDAR

2021-2022
Oct. 1, 2021 - Sept. 30, 2022 Release Eligibility Period
July 11, 2022, 9 A.M. PT Media Company Registration begins
Aug. 24, 2022, 6 P.M. PT Media Company Registration ends
July 18, 2022, 9 A.M PT Online Entry Process (OEP) Access Period begins
Aug. 31, 2022, 6 P.M. PT Online Entry Process (OEP) Access Period ends
Oct. 13, 2022 First Round Voting begins
Oct. 23, 2022 First Round Voting ends
Nov. 15, 2022 Nominations announced
Dec. 14, 2022 Final Round Voting begins
14 days after the announcement of nominations Deadline for errors and omissions to the nominations
Jan. 4, 2023 Final Round Voting ends

2023
Feb. 5, 2023 65th GRAMMY Awards Premiere Ceremony ®
Feb. 5, 2023 65th GRAMMY Awards

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TABLE OF CONTENTS

2 INTRODUCTION

3 65th GRAMMY AWARDS YEAR CALENDAR

7 RULE UPDATES

10 GENERAL ELIGIBILITY GUIDELINES

10 New Recordings
10 General Distribution
10 Eligibility Period
10 Limited-Edition Releases
11 Digital Recordings
11 Authorized Recordings
11 Singles and Tracks
11 Albums
12 Featured Artists
12 Multiple Mixes and Remixes
12 Sampled and Interpolated Material
13 Voices Used as “Instruments”
13 Recording Academy or GRAMMY® Telecast Recordings
13 Student Recordings
13 Playback Systems
13 Recordings Made of Playback Systems Using Previously Recorded Performances
13 Translations

14 CATEGORY ELIGIBILITY GUIDELINES

14 Category Screening

15 SUBMITTING ENTRIES FOR GRAMMY CONSIDERATION

15 Academy Rights and Regulations
16 How to Make Entries, Who May Enter and When
16 Registration Fees
16 Entry Fees
16 Entry Limits
16 Number of Nominations
17 Entry List — Type/Font Treatments
17 Streaming Requirements for GRAMMY Entries

18 NOMINATING PROCESS
18 Craft Nominating Committee Guidelines
19 Songwriter Of The Year Nominating Committees
20 Deadline for Claiming a Nomination Before Telecast
20 Challenges to GRAMMY Award Entitlement
21 Number of Nominations Any Nominee May Receive
22 Number of Nominations by Category
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23 VOTING AND SOLICITATION GUIDELINES
23 Preserving the Integrity of the GRAMMY Awards
23 Voter Code of Conduct
23 Bloc Voting
23 Final Voting to Select GRAMMY Winners
24 Rescindment of GRAMMY
24 For Your Consideration (FYC) Policies
24 FYC Communications and Advertisements
25 Billboard Issue For Members
25 Hosting FYC Events
25 Attending FYC Events
25 Gifting Show Tickets
25 Academy Office Mailings
25 Telephone Lobbying
26 Third-Party Solicitation by Independent Contractors
26 Recording Academy FYC Website Feature
26 Recording Academy-Hosted Activities
26 FYC Information Contact

27 AWARDS, CERTIFICATES AND GRAMMY TICKETS

32 Accepting the Award
32 GRAMMY Statuettes
32 Large Group Pins/Certificates/Ticketing
33 Album Of The Year Ticketing

33 AWARDS & NOMINATIONS PROPOSALS

33 PRODUCER & ENGINEER ELIGIBILITY GUIDELINES

33 Producer
35 Engineer
38 Music Supervisor

38 GRAMMY AWARDS CATEGORY RULES

38 Record Of The Year
38 Album Of The Year
38 Song Of The Year
39 Best New Artist
40 Pop Field
41 Dance/Electronic Music Field
41 Contemporary Instrumental Music Field
42 Rock Field
42 Alternative Field
43 R&B Field
44 Rap Field
45 Country Field
46 New Age, Ambient Or Chant Field
46 Jazz Field
48 Gospel/Contemporary Christian Music Field
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49 Latin Field
50 American Roots Music Field
52 Reggae Field
52 Global Music Field
53 Children’s Field
53 Spoken Word Field
54 Comedy Field
54 Musical Theater Field
55 Music For Visual Media Field
57 Composing/Arranging Field
58 Package, Notes And Historical Field
60 Songwriting Field
61 Production Field
63 Classical Field
65 Music Video/Film Field

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RULE UPDATES FOR 65TH GRAMMY AWARDS

The Board of Trustees ratifies all changes to the GRAMMY process each spring. The following chart
shows the rule changes for the current year.

GENERAL & Genre Field

Field Category 64th GRAMMY Rule 65th GRAMMY Rule
No performance Category
to embrace a variety of New Category:
Alternative Music
Alternative subgenres or any hybrids of Alternative Music Performance
Performance
performances that do not fit
into other genre Categories
Songwriting Songwriter Of The Year, No Field or Category to New Field Name:
Non-Classical recognize the written Songwriting Field
excellence, profession
and art of songwriting for
non-performing/ producing New Category Name:
songwriters
Songwriter Of The Year, Non-
Classical
Spoken Word Spoken Word Poetry Spoken Word Album New Category Name:
Album (Includes Poetry, Audiobooks Best Spoken Word Poetry Album
And Storytelling)
Spoken Word Audio Book, Narration Spoken Word Album New Category Name:
And Storytelling (Includes Poetry, Audiobooks Audio Book, Narration And
Recording And Storytelling) Storytelling Recording
Music For Visual Media Compilation Some language in the Restored criteria:
Soundtrack For Visual criteria to recognize Award to Principal Artist(s)
Media Principal Artist(s) and in- with significant contributing
studio Producer(s) for Best performances, and/or in-studio
Compilation Soundtrack had Producer(s) of a majority of
been removed. the tracks on the album. In
the absence of those, award
to the individual(s) proactively
responsible for the concept
and musical direction of the
album and for the selection of
artists, songs and producers, as
applicable.
Music For Visual Media Score Soundtrack Score Soundtrack For New Category Name:
For Video Games And Visual Media (Includes Film, Score Soundtrack For Video
Other Interactive Media Television, Video Games, And Games And Other Interactive
Other Visual Media) Media
Music For Visual Media Score Soundtrack For Score Soundtrack For New Category Name:
Visual Media Album Visual Media (Includes Film, Score Soundtrack For Visual
(Includes Film And Television, Video Games, And Media (Includes Film And
Television) Other Visual Media) Television)
American Roots Music Americana No performance Category to New Category:
Performance acknowledge the popularity Americana Performance
of Americana music
New Age, Ambient Or New Age Field New Field Name:
Chant New Age, Ambient Or Chant
New Age, Ambient Or New Age, Ambient Or New Age Album New Category name:
Chant Chant Album Evolved the New Age Album
name to acknowledge the
accurate names of music made in
this Category

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 Recognizes album Added:
Producer(s), Lyricist (s) & Recognizes album Producer(s),
Composer(s), if they have Lyricist(s) & Composer(s), if they
written and/or composed a have written and/or composed
new score that comprises a score that comprises greater
greater than 50 percent than 50 percent playing time
playing time of the album; of the album and has not
Engineer(s)/Mixer(s) of been previously nominated;
greater than 50 percent Engineer(s)/Mixer(s) of greater
Musical Theater Musical Theater Album
playing time on the album; up than 50 percent playing time on
to four Principal Vocalist(s) the album; up to four Principal
with significant contributing Vocalist(s) with significant
performance(s), defined contributing performance(s),
as a lead performance defined as a lead performance by
by a featured vocalist. a featured vocalist.
(Certificates are issued for (Certificates are issued for
Vocalists in “ensemble-driven Vocalists in “ensemble-driven
pieces”). pieces”).
Added:
Conductor, Principal Soloists,
Conductor, Principal Composer(s) & Librettist if each
Soloists, Producer & wrote 100 percent of the music
Classical Opera Recording Album Engineer, if other than Artist, and libretto of the opera (For
of greater than 50 percent new recordings of the entire
playing time on the album opera); Producer & Engineer, if
other than Artist, of greater than
50 percent playing time on the
album.
Classical Classical Compendium Artist(s) & Producer(s) of over Added:
50 percent playing time; Artist(s) & Producer(s) of greater
Recording Engineer(s) and/ than 50 percent playing time.
or Mixer(s) of greater than 50 Composer(s) with 100 percent
percent playing time playing time, and only the sole
Librettist/Lyricists, if any,
whose lyrics comprise greater
than 50 percent of the playing
time for new works; Recording
Engineer(s) and/or Mixer(s).
Classical Producer Of The Year, No uniformity in the Craft Added:
Classical Categories for Classical Three Craft committees
Engineered Album, Producers, Engineers &
Composers At least 25 percent of each
Classical committee must turnover from
Contemporary Classical the previous year’s committee.
Composition Recommendations for populating
the Craft committees include
Craft Committee Chair(s) in
addition to the President/CEO,
and National Chair and Chief
Awards Officer.
Production Remixed Recording This Category recognizes Clarified the definition of
excellence in remixed “remixes” and the eligibility
recordings (“remixes”) of a remixed recording. The
where the remixer takes Category is not for “covers,” re-
previously recorded and recordings, remastered releases
released material and of previously issued recordings,
creatively adds to, alters or edits. Also, the addition of a
vocal performance by a featured
or transforms it in such a artist without substantive
way as to create a new and change to the original music
unique performance. recording is not eligible as a
remix.

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ELIGIBILITY
64th GRAMMY Rule 65th GRAMMY Rule
Album Eligibility An album must contain greater An album must contain greater
than 50 percent playing time of than 75 percent playing time of
newly recorded music. newly recorded music.

ONLINE ENTRY PROCESS

64th GRAMMY Rule 65th GRAMMY Rule
Entry Fees Academy members pay no Academy members pay per entry
additional fees to make entries. fees after five (5) courtesy entries
every year. See fee schedule.
Entry Fees Media Companies pay no Media Companies pay per entry
additional fees to make entries. fees. See fee schedule.
SPECIAL MERIT AWARD
64th GRAMMY Rule 65th GRAMMY Rule
Best Song For Social Change No award to recognize music New award:
creators who promote a positive Best Song For Social Change will
narrative in their work and recognize creators of message-
advance the Academy’s efforts driven music that responds to the
for positive social change. social issues of our time and has
the potential for positive global
impact.
This award will be given by the
Academy Trustees as a Special
Merit Award and is not part of
the competitive GRAMMY Award
process.
VOTING PLATFORM
64th GRAMMY Rule 65th GRAMMY Rule
Selects Bin The current voting system is There will be a system in place
overwhelming if you reach your for voters to first assess and
maximum voting limit. There is evaluate all eligible nominees in
no way to review selections and any category, and “select” as many
make revisions before voting. boxes as needed – thus, creating
a “Selects Bin” for that particular
voting category.

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GENERAL ELIGIBILITY GUIDELINES

The 65th GRAMMY Awards eligibility period is Oct. 1, 2021 to Sept. 30, 2022.

The GRAMMY Awards are open to new recordings released during the eligibility period. These
recordings must be commercially released, nationally distributed and available from any date within
the eligibility period through at least the date of the current year’s Final Ballot voting deadline.

NEW RECORDINGS
“New recordings” is defined as material that has been recorded within five years of the release date
and not previously released.

Recordings that are not newly recorded are only eligible in Best Historical Album, Best Compilation
Soundtrack Album, Best Immersive Audio Album (if the multichannel mix is new), Best Remixed
Recording (if the remix is new), Best Recording Package, Best Special Package (if the package
is new), Best Album Notes (if notes are new), and certain multidisc sets in the Classical Field.
These classical multidisc releases are eligible even if greater than 50 percent of the playing time
was recorded more than five years before the release, provided the album contains 100 percent
previously unreleased material, employs a single artist or ensemble only, and contains the work of a
single composer only.

GENERAL DISTRIBUTION
“General distribution” is defined as the broad release of a recording, available nationwide via brick-
and-mortar stores, third-party online retailers and/or streaming services. (Imports are not eligible.)

“Streaming services” is defined as paid subscription, full catalog, on-demand streaming/limited

download services that have existed as such within the United States for at least one full year as of
the entry deadline. Spoken word albums are not typically available for streaming, so the exception of
SoundCloud and various e-reader site links will be allowed for those entries. All recordings entered
must have an assigned International Standard Recording Code ISRC.

ELIGIBILITY PERIOD
Recordings must be available to the public as stand-alone, audio-only purchases or streams,
(exceptions: opera, immersive audio album and music video/music film) beginning on any date within
the eligibility year to be GRAMMY-eligible.

LIMITED-EDITION RELEASES
Limited-edition releases do not meet the distribution requirement for eligibility. Distribution
eligibility is based on an artist’s typical shipment policies. The Academy may inquire with the
manufacturer as to the number of recordings normally shipped, and if the shipment varies or is
substantially less than normal for a particular artist, the Academy reserves the right to determine
whether the release is eligible.

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DIGITAL RECORDINGS
The original digital file and the product sent to the Academy must have quality comparable to at
least 16 bit 44.1 kHz and 44 kHz/16 bit audio for both Best Engineered Album, Non-Classical and
Best Engineered Album, Classical. A copy of label credits (producers, mixers, songwriters, etc.) must
be included in the required metadata file. Any requested documentation (including a list of retailers/
streaming services) must be provided if requested by the Academy in order to verify crediting or
release date.

AUTHORIZED RECORDINGS
Recordings must be non-infringing, original works of authorship. To the extent a recording
embodies in whole or in part the copyrighted work of a third party, appropriate authorization to
use and incorporate such copyrighted work must have been obtained. If allegations are made
that a recording is unauthorized and does not meet these criteria, the Academy will consider the
allegations and determine, in its sole discretion, the eligibility of such recording.

SINGLES AND TRACKS

A single is a song or instrumental recording that is released separately from an album, while a
track is an individual song or instrumental recording released as part of an album. A single will
often appear as a track on a subsequent album release and a track from a released album can be
issued as a single. The GRAMMY rules describe eligibility for tracks and singles in terms of different
release structures but the two are judged identically in the Categories in which they are both
eligible.

A track or single from a previous year’s album is eligible in the General, Pop, Dance/Electronic
Music, Gospel/CCM, Rock, R&B, Rap, Country, and American Roots Music Fields, provided the
recording was not entered as a track or single the previous year and provided the album did not win
a GRAMMY in a performance Category. (Best New Artist is not a performance Category; therefore,
singles from the previous year’s album are eligible in cases where an artist received the Best New
Artist award for that album.)

A track from an album released in the current eligibility year is eligible provided the track was not
entered as a single the previous year.

A single or track is eligible in one specialized Genre Field. However, a track or single may be
screened into one Genre Field, while the album on which the track appears may be screened into a
different Genre Field.

If a single is released one year and the music video is released in a different eligibility year, both are
eligible in their respective years, even if the music video was nominated or won a GRAMMY Award.

ALBUMS
An album is a collection of audio recordings issued for sale, download or streaming as a unit. To
qualify as an album, a release must contain at least five tracks (different songs, not different mixes)
and have a total playing time of at least 15 minutes or it may have any number of tracks if the total
playing time is at least 30 minutes. Updated, revised or expanded versions of previously submitted
albums will not be eligible.

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For the 65th GRAMMYs®, albums must contain greater than 75 percent playing time of newly
recorded (within five years of release date), previously unreleased recordings. To be eligible in a
specific Genre Field, an album must contain greater than 50 percent playing time of the genre
specified by the Field. A recording may not be in more than one specialized Genre Field. However,
an album may be in one Genre Field while one or more tracks from the album may be in a different
Genre Field.

If an album is released one year and an associated music film is commercially released in a different
year, both are eligible in their respective years, even if the music film was nominated or won a
GRAMMY Award.

FEATURED ARTISTS
To be recognized as a GRAMMY nominee, a featured artist must be credited as a featured artist;
and make a significant and artistic contribution beyond accompaniment.

Featured artists are GRAMMY-eligible in Album Of The Year; they are eligible in the genre album
Categories if they perform greater than 50 percent of playing time; and are eligible in performance
Categories if they are credited as a featured artist on the track/single.

If an album is credited to one artist but has many tracks featuring guest artists, it may have to be
considered a “Various Artists” album. That determination will be made on a case-by-case basis by
the Academy.

MULTIPLE MIXES AND REMIXES

Only one version/mix of a recording is eligible in the GRAMMY process in any year. In cases where
different versions of a recording (with featured artists, for example) are released in the same
eligibility year, the decision as to which mix of a recording to enter will be made by the label releasing
the original artist’s version (provided that the chosen mix is otherwise eligible to be entered in the
GRAMMY process).

In the Best Song Written For Visual Media Category, the film/soundtrack version of a song can be
entered, even if it is different from the version entered in other Categories.

Otherwise, any current remixes, alternate mixes and any new mixes of recordings released in a
previous awards year are only eligible in Best Remixed Recording.

SAMPLED AND INTERPOLATED MATERIAL

A sample is defined as an element of a previously released recording incorporated into a new
recording. Samples can be entire parts of earlier recordings or isolated sections of earlier recordings
including, but not limited to, tracks with vocals removed, hooks, riffs, basslines, or background
vocals.

Recordings that feature samples and/or any interpolations of previously released material are
eligible in all performance Categories only if the performance up for GRAMMY consideration is
newly recorded per the Academy definition.

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Recordings featuring samples are eligible in songwriting Categories; however, the writers of the
sampled or interpolated material are not considered to be nominees or GRAMMY recipients.

VOICES USED AS “INSTRUMENTS”

Vocal performances are never eligible as instrumental performances, regardless of the method
of vocal production (e.g., scatting, beatboxing, throat singing, or vocally mimicking the sound of a
particular instrument or ensemble of instruments).

RECORDING ACADEMY OR GRAMMY TELECAST RECORDINGS

Recordings released by the Recording Academy or affiliate-produced releases, including releases of
performances from GRAMMY Awards telecasts, are not eligible in the awards process.

STUDENT RECORDINGS
Student recordings are eligible if they meet all other eligibility requirements.

PLAYBACK SYSTEMS
If a specialized piece of equipment is needed to play a recording (other than a common consumer
device such as a CD player, MP3 player, turntable, etc.), the recording is not eligible. For example,
Pianocorder cassettes are not eligible because they only play back on a Pianocorder Reproducing
System retrofit onto a piano.

RECORDINGS MADE OF PLAYBACK SYSTEMS USING PREVIOUSLY RECORDED

PERFORMANCES
A new recording that records a device playing a previously “recorded” performance (e.g., piano
rolls, player piano systems, Zenph players, Welte-Mignon systems, etc.), is not eligible in the Best
Historical Album Category. (A piano roll, etc. is not eligible as a “recording” on its own). These types
of playback-system recordings are only eligible in Best Engineered Album, where the new recording
of the playback would be considered.

TRANSLATIONS
For song lyrics or album notes originally written in one language and translated or adapted into
another for release, the original writer is always the eligible writer.

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CATEGORY ELIGIBILITY GUIDELINES

Screening for eligibility and Category placement occurs from the time entries are first received until
the first ballot is finalized.

CATEGORY SCREENING
Entries in most Categories are screened by committees of genre experts to determine appropriate
Category and Field placement. If a genre Screening Committee determines that a recording should
be moved to another genre, the recording is forwarded and screened by that genre committee.

The Screening Committee is expected to consider the artist’s intent as part of the decision-making
process. In cases where a Screening Committee is unsure whether to move the recording to another
genre, artist’s intent (as indicated by the Category in which the recording was initially entered)
should be considered as the deciding factor in the appropriate Category placement.

The Screening Meeting process brings together experts in all the various Fields, including
individuals from Chapters in all parts of the country, to listen to recordings and make Category
determinations. In addition to a National Screening Committee, which decides Best New Artist
eligibility and makes final decisions on screening issues that cannot be resolved by the genre
Screening Committees, there are separate Screening Committees for:

• Alternative Music
• American Roots
• Blues
• Children’s Music
• Classical
• Contemporary Instrumental
• Country
• Dance/Electronic Music
• Global Music
• Gospel/CCM
• Jazz
• Latin
• Musical Theater
• Music For Visual Media
• New Age/Ambient/Chant
• Pop
• Rap/R&B
• Reggae
• Regional Roots
• Rock
• Traditional Pop

Entries in other Categories such as Comedy and Spoken Word are screened by staff and, if
necessary, by consultation with experts in the genre.
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SUBMITTING ENTRIES FOR GRAMMY CONSIDERATION

ACADEMY RIGHTS AND REGULATIONS

The Recording Academy reserves these rights regarding entries:
• To disqualify the affected entry without liability if information is incorrect or incomplete.
• To disqualify the affected entry without liability if the signer fails to send the required product for
entries by the due dates.
• To place any selection into the Category it deems appropriate; to pass on the eligibility of any
selection.
• To designate the classification of achievement (such as performing, songwriting, producing, etc.)
to be recognized in the Categories.
• To make the final determination of the persons entitled to awards recognition.
• It is the Academy’s policy that the GRAMMY be awarded to the person who, at the Academy’s
sole discretion, is properly entitled to it.
• To determine what constitutes a single and what constitutes an album for purposes of entering.
• To replace track entries by an entry for the entire album if several tracks by the same artist,
totaling greater than 50 percent of the album’s playing time, are accepted in the same Category.
• To withdraw any Category in any one year if the Academy determines that there is an insufficient
number of entries in that Category, and, at the Academy’s discretion, to place the affected
entries in one or more other Categories.
• To disqualify without liability what the Academy considers excessive entries.
• To take whatever measures it deems necessary to protect the integrity of the GRAMMY Awards
from outside influence, bloc voting or any other factors that could jeopardize this process.
• If a recording is entered inappropriately, and if the error in entering is not discovered by the
Recording Academy before the First Ballot mailing, the entry will be disqualified from the
process without any liability for further action from the Recording Academy.
• The Recording Academy assumes no liability with respect to Craft entries if the required judging
copies for Nominating Committees fail to reach the Academy by the due date.
• An ineligible entry (incorrect release date) that is processed during an awards year will be
disqualified the following awards year.
• User agrees to review Artist/Category List of Entry Submissions prior to final-submitting in the
online process.
• To disqualify an entry if the Recording Academy finds any violation of the Voting And Solicitation
Guidelines or violation of the Recording Academy member website’s For Your Consideration
guidelines.
• Participation in the Online Entry Process of the Recording Academy does not guarantee a
GRAMMY nomination or GRAMMY Award.

HOW TO MAKE ENTRIES, WHO MAY ENTER AND WHEN

Recordings are submitted for consideration through the GRAMMY Online Entry Process (OEP). 15
All Voting and Professional Recording Academy Members may make GRAMMY entries. Also,
registered media companies that release, during the eligibility period, recordings that meet
GRAMMY eligibility requirements may make entries.

In advance of the entry period, media companies receive their Online User IDs and passwords to
access the GRAMMY Online Entry Process. Voting and Professional Members use their GRAMMY
member site user ID and password to access OEP online.

For the 65th GRAMMYs, the Entry Access is open to media companies and Academy members from
July 18 through Aug. 31.

REGISTRATION FEES
Media companies pay an annual fee to register with the Academy that shall be 20 percent more
than the annual fee paid by individuals for membership. This fee is $120 for the 65th GRAMMY
Awards.

ENTRY FEES
The per-entry fee structure encourages entrants to consider the value of each entry and make
mindful decisions to put forward work that they truly believe is GRAMMY-worthy. All Professional
and Voting Members of the Recording Academy will receive five (5) courtesy entries every year. Any
member who would be burdened by the entry fees can request the fees be waived by reaching out to
the Awards Department at awards@[Link]
The per-entry fee schedule is below:

PER-ENTRY FEE SCHEDULE

Early Bird Pricing Standard Pricing Final Deadline Pricing
July 18 - July 31 Aug. 1 - Aug. 21 Aug. 22 - August 31

Members $40 (after 5 courtesy $75 (after 5 courtesy entries) $125 (after 5 courtesy entries)
entries)
Media Companies $65 $95 $125

ENTRY LIMITS
The Online Entry Process is programmed such that it 1) limits entries in genre (excluding General
and Craft Fields) Categories to one per recording for albums; and 2) limits track/single entries to one
for performance Categories, and one for song/composition Categories.

NUMBER OF NOMINATIONS
The number of nominations in the General Field Categories (Record Of The Year, Song Of The Year,
Album Of The Year, and Best New Artist) is 10. The other Categories will have five nominations.
In the event of a tie in the nominations, there shall be no more than six and no less than three
nominations in these Categories.

Each Category shall have at least 40 distinct artist entries. If a Category receives between 25 and 16
39 entries, only three recordings will receive nominations in that year.

Should there be fewer than 25 entries in a Category, that Category will immediately go on hiatus
for the current year — no award given — and entries will be screened into the next most logical
Category.

If a Category received fewer than 25 entries for three consecutive years, the Category will be
discontinued, and submissions will be entered in the next most appropriate Category.

ENTRY LIST — TYPE/FONT TREATMENTS

Entrants are allowed the use of special characters and unusual typographical treatments in artist
names and titles that appear on our ballot entry lists, so long as the characters used may be found
on a computer keyboard or through standard diacritical markings.

STREAMING REQUIREMENTS FOR GRAMMY ENTRIES

Academy members and media companies are required to provide several eligible streaming links
for each entry they make with the exception of a few in Craft: Immersive Audio Album, Recording
Package, Boxed/Special Limited Edition, Album Notes, and Historical Album. The Academy does not
monitor how Voting Members listen to music in their home while voting in both the first and second
rounds. Providing a variety of streaming links is recommended for the listening function within the
voting ballot system.

If required streaming link or retail-ready product is not received by the deadline, the entry or entries
may be disqualified. If the recordings for a Craft entry are not received in the quantity required, the
Academy may disqualify the affected entry without liability.

Entries in certain Categories are judged by special committees and require additional product
as below:

ALBUM NOTES: One (1) copy

IMMERSIVE AUDIO ALBUM: Three (3) copies (DVD-Audio, DVD-Video, SACD, Blu-ray, flash drive,
or burned download)
RECORDING PACKAGE: Five (5) copies
HISTORICAL ALBUM: Three (3) copies
PRODUCER OF THE YEAR, NON-CLASSICAL: Four (4) copies
ENGINEERED ALBUM, NON-CLASSICAL: Two (2) copies

If an entry is made for the same recording in more than one of the Craft Categories, the entrant
must send the additional number of copies required per additional Category.

A packing list is generated upon completion of online entries. Entrants are advised that a copy of
the packing list and product should be sent immediately to the Recording Academy.

NOMINATING PROCESS
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Nominations are determined by Voting Members through the first round ballot or Craft Nominating
Committee processes. All Voting Members are encouraged to vote in the four Categories of the
General Field. Additionally, voters may vote in up to 10 other Categories — based on areas in which
the voter is actively engaged as a peer — on both ballots. The 10 additional Categories must be
within no more than three Fields (thus, the name for this voting change: 10/3).

CRAFT NOMINATING COMMITTEE GUIDELINES

Craft Categories recognize excellence in highly specialized crafts. Craft Committee members
must be Voting Members of the Academy in the membership class which corresponds to the Craft
they are being submitted to judge. Each must fill out a Documentation Form listing six tracks or
albums for which they have the nomination-eligible credit corresponding to the Craft they are being
submitted to judge. The credits must be for recordings released in the previous five years. The form
remains on file at the National Office of the Recording Academy and is valid for five years.

Populating the Craft Committees. Each Chapter’s Executive Director works in concert with the
Chapter Nominating Committee and Chapter President to develop a slate of recommendations.
These recommendations can be supplemented, if necessary, by the President/CEO and National
Chair in consultation with the Chief Awards Officer and the Craft Committee Chair(s) for DEI
and balance considerations. The final slate is submitted to the National Board of Trustees for
ratification. Furthermore, Craft Committee members are solicited for their recommendations of
appropriate committee members, and no person would serve for more than five consecutive years
without a break. If deemed necessary to the process, a committee member selected to chair may
serve up to an additional three consecutive years.

1. Committee members may serve a maximum of eight consecutive years, if they served on the
committee first and were then elected to be chair. Two years off would still apply in these cases.

2. At least 25 percent of each committee must turnover from the previous year’s committee. The
Classical Committee may add up to five engineers and/or producers who are able to address the
technical aspects of the Classical Engineering and Producer Categories.

Nominations in Craft Categories are determined by National, Regional or Chapter Craft Committees
as described below.

Historical Album and Remixed Recording Categories are voted on by National Craft Nominating
Committees. Each committee of 25 Voting Members meets to judge all the entries made in the
Category to select the five nominations.

For Instrumental Composition; Arrangement, Instrumental Or A Cappella; Arrangement,

Instruments And Vocals; and Producer Of The Year, Non-Classical The first round of voting is
in the hands of the General Voting Membership via the first ballot. The second round of voting,
however, takes place in Regional Craft Nominating Committees. The top 30 selections from the
General Voting Membership in each Category (in Producer Of The Year, the top 30 Producers’
entered work — which is usually up to 90 titles) appear on the ballot for the Regional Craft
Nominating Committees to vote by confidential ballot to select the five nominations.
Each of these three regional committees — Eastern, Western and Southern — has 15 Voting
Members from Chapters in their regions.
18
For Producer of the Year, Classical; Engineered Album, Classical; and Contemporary Classical
Composition Categories in the first round of voting is in the hands of the General Voting
Membership via the first ballot. The second round of voting, however, takes place in National Craft
Nominating Committees. The top 50 selections from the General Voting Membership in each
Category appear on the ballot for the National Craft Nominating Committees to vote by confidential
ballot to select the five nominations. The National Committee would be for all three committees,
comprised of 40-50 members. The Classical Producers committee includes Engineers and the
Engineering committee includes Producers.

1. Each Craft Committee receives a list of no less than 50 titles from the first round of voting by the
membership, or possibly more to account for ties.

2. Committee Members serve five years on and one year off; Committee Chairs serve three years
on and two years off. 25 percent turnover each year by the fourth year.

3. Committees are populated the same way current Craft Committees are, with names proposed
from Chapters, etc. The new Songwriters & Composers Wing™ can compile names for the
Composition committee, and the Producers & Engineers Wing ® for Producer & Engineering
committee members.

Recording Package and Boxed/Special/Limited-Edition Package meet in Regional Craft

Nominating Committees to view and judge all the entries made in the Categories and vote by
confidential ballot to select the five nominations. This is similar to what is immediately above, but
does not involve the General Voting Membership first ballot.

Best Album Notes is voted by a single National Craft Nominating Committee. However, this
committee does not meet in person or via telecommunications. Rather, the group of 30-50 Voting
Members access a password-protected section of the Academy website to view all Notes entries.
They vote via a return envelope sent directly to the independent auditing firm, and their votes
determine the five nominations.

Immersive Audio Album Nominations in the Best Immersive Audio Album Category are selected
by a committee of Voting Members. To be eligible to serve on this committee, one must be a Voting
Member of the Academy, in good dues standing, and must meet certain qualifications in the
Engineering or Producing Fields and be approved by the Trustees. The committee consists of 20–25
members. They review all Immersive Audio Album entries in their meeting and vote for the final five
nominees in the Category.

SONGWRITER OF THE YEAR NOMINATING COMMITTEE GUIDELINES

Functioning in the same way as a Craft Committee, the regional Songwriter Of The Year Nominating
Committees will be comprised of diverse and “highly relevant” songwriters across all genres and
areas of the craft. The committees will be assembled by the Recording Academy. Suggestions
for nominating committee candidates will come from the Chapters and be vetted by the Awards
Department in consultation with the CEO and Recording Academy Chair. The final population
of these committees will be done by the CEO and Recording Academy Chair. The Nominating
Committees will meet once. They will be given a list of the voters’ top 30 choices from the first
round voting in alphabetical order.
19
The Nominating Committees will be provided the submitted material, both audio and lyrics, from
the songwriters on this list, to listen to and review, and then discuss it amongst themselves. At the
end of the Nominating Committee meeting each committee member will submit in secret a weighted
ballot of their top five selections. These ballots will then be tallied to determine the final nominees.
Nominating Committees will be chaired by a Voting Member in conjunction with an Academy Staff
member. Each of the three regional committee chair recommendations for the following year will
be recommended by their committee at the end of the meeting by secret ballot in accordance with
Academy policy. No committee member can serve for more than five consecutive years without a
one-year break. (If deemed necessary to the process, a committee member who is selected to serve
as Chair may serve up to an additional three years before taking two years off the committee.)
The Chair’s job will be to guide the committee through the process. Although the Chair shall be
impartial on the decisions taken by the committee, they will be a Voting Member of the committee.

DEADLINE FOR CLAIMING A NOMINATION BEFORE TELECAST

A deadline has been established for those not credited appropriately in liner notes or metadata files
to claim status as a nominee: two weeks after the announcement of the nominations.

The process for corrections to be made to nominations is to have the potential recipient inform the
Awards Department of the correction, specifically detailing what was inaccurately submitted or
omitted, an explanation as to why the error took place, and what steps are being taken to correct
the mistake. The Academy may also in its due diligence require further documentation regarding the
inquiry as it sees fit to substantiate its authenticity. Once the information is reviewed and approved
by the head of Awards, the correction is then made and the nomination corrected.

Any individual not included in the Final Nominations List who claims a nomination after the deadline
will be informed by staff that all official changes to be made will be done after the awards telecast.

CHALLENGES TO GRAMMY AWARD ENTITLEMENT

Decisions regarding GRAMMY Award entitlement are made by the Awards Department of the
Recording Academy.

Any challenge to a final entitlement decision by the Awards Department shall be made in writing
and addressed to the Executive Committee of the Recording Academy. The Executive Committee
is empowered to investigate, consider and decide the challenge, and shall have the authority to act
with the power of the Board of Trustees for that purpose. The Executive Committee’s decision shall
be communicated to the challenger in writing and shall be final.

20
NUMBER OF NOMINATIONS ANY NOMINEE MAY RECEIVE

RULE A: 1 nomination only.

RULE B: No limit on number of nominations.

RULE C: 1 nomination to the Artist — with the following exceptions:

2 nominations to the Artist if the 2nd is with a co-nominee.
OR
2 nominations to the Artist if each are with a different co-nominee.

RULE D: 1 nomination per music video or music film.

RULE E: 1 nomination — with the following exception:

2 nominations if the Artist is different.

FOR CLASSICAL:
1 nomination — with the following exception:
2 nominations if the orchestra or co-nominee is different.
2 nominations (for choral conductor) if chorus is different.

RULE F: 2 nominations as follows:

1 individual nomination and 1 co-nomination.
2 individual nominations.
2 co-nominations.

21
NUMBER OF NOMINATIONS BY CATEGORY
GENERAL AMERICAN ROOTS MUSIC
Record Of The Year (C) American Roots Performance (A)
Album Of The Year (C) Americana Performance (A)
Song Of The Year (B) American Roots Song (A)
Best New Artist (A) Americana Album (C)(B)*
Bluegrass Album (C)(B)*
POP Traditional Blues Album (Bluegrass Album) (C)(B)*
Pop Solo Performance (A) Traditional Blues Album (C)(B)*
Pop Duo Or Group Performance (A) Contemporary Blues Album (C)(B)*
Traditional Pop Vocal Album (C)(B)* Folk Album (C)(B)*
Pop Vocal Album (C)(B)* Regional Roots Music Album (C)(B)*
DANCE/ELECTRONIC MUSIC REGGAE
Dance/Electronic Recording (C) Reggae Album (C)(B)*
Dance/Electronic Music Album (C)(B)*
GLOBAL MUSIC
CONTEMPORARY INSTRUMENTAL MUSIC Global Music Performance (A)
Contemporary Instrumental Album (C)(B)* Global Music Album (C)(B)*
ROCK CHILDREN’S
Rock Performance (A) Children’s Music Album (C)(B)*
Metal Performance (A)
Rock Song (B) SPOKEN WORD
Rock Album (C)(B)* Audio Book, Narration And Storytelling Recording (C)(B)*
Spoken Word Poetry Album (C)(B)*
ALTERNATIVE
Alternative Music Performance (A) COMEDY
Alternative Music Album (C)(B)* Comedy Album (C)(B)*
R&B MUSICAL THEATER
R&B Performance (A) Musical Theater Album (B)
Traditional R&B Performance (C)
R&B Song (B) MUSIC FOR VISUAL MEDIA
Progressive R&B Album (C)(B)* Compilation Soundtrack For Visual Media (B)
R&B Album (C)(B)* Score Soundtrack For Visual Media (B)
Score Soundtrack For Video Games And Other
RAP Interactive Media (B)
Rap Performance (A) Song For Visual Media (B)
Melodic Rap Performance (C)
Rap Song (B) COMPOSING/ARRANGING
Rap Album (C)(B)* Instrumental Composition (B)
Arrangement, Instrumental Or A Cappella (E)
COUNTRY Arrangement, Instruments And Vocals (E)
Country Solo Performance (A)
Country Duo Or Group Performance (C) PACKAGE, NOTES AND HISTORICAL
Country Song (B) Recording Package (B)
Country Album (C)(B)* Boxed/Special/Limited Edition (B)
Album Notes (B)
NEW AGE, AMBIENT OR CHANT Historical Album (B)
New Age, Ambient Or Chant Album (C)(B)*
SONGWRITING
JAZZ Songwriter Of The Year (A)
Improvised Jazz Solo (A)
Jazz Vocal Album (C)(B)* PRODUCTION
Jazz Instrumental Album (C)(B)* Engineered Album, Non-Classical (B)
Large Ensemble Album (A) Producer Of The Year, Non-Classical (A)
Latin Jazz Album (C)(B)* Remixed Recording (A)
Immersive Audio Album (B)
GOSPEL/CONTEMPORARY CHRISTIAN MUSIC Engineered Album, Classical (F)
Gospel Performance/Song (C) Producer Of The Year, Classical (A)
CCM Performance/Song (C)
Gospel Album (C)(B)* CLASSICAL
Contemporary Christian Music Album (C)(B)* Orchestral Performance (A)(E)*
Roots Gospel Album (A) Opera Recording (A)(E)*
Choral Performance (A)(E)*
LATIN Chamber Music/Small Ensemble Performance (A)(E)*
Latin Pop Album (C)(B)* Classical Instrumental Solo (A)(E)*
Música Urbana Album (C)(B)* Classical Solo Vocal Album (A)(E)*
Latin Rock Or Alternative Album (C)(B)* Classical Compendium (A)(E)*
Regional Mexican Music Album (C)(B)* Contemporary Classical Composition (A)(E)*
Tropical Latin Album (C)(B)*
MUSIC VIDEO/FILM
Music Video (D)
* Rule C if Artist is nominee; *Rule B if Producer is nominee; Music Film (D) 22
* Rule A if Artist is nominee; *Rule E if Conductor is nominee
and orchestra is different.
VOTING AND SOLICITATION GUIDELINES

PRESERVING THE INTEGRITY OF THE GRAMMY AWARDS

It is the goal of the Recording Academy to ensure the GRAMMY Awards process is led in a fair
and ethical manner and that Voting Members make their choices based solely on the artistic and
technical merits of the eligible recordings. In an effort to maintain a high degree of integrity and
transparency, it is crucial that the following guidelines be understood and followed by all
Voting Members.

If any activity is determined to work in opposition to the Recording Academy’s guidelines, the
Academy may take any corrective actions, including disqualification of entries. Furthermore, any
member who has authorized, executed or otherwise enabled a voting solicitation activity that is
deemed to have undermined the letter or spirit of the Academy’s regulations may be subject to
suspension or termination of Recording Academy membership.

VOTER CODE OF CONDUCT

Voters shall not allow their choices to be suggested, directed or influenced by anything other than
their own analysis of merit, including, but not limited to: personal friendships, company loyalties,
regional preferences, or sales volume/popularity.

Voters shall not accept money or anything of value in exchange for votes, access to other members
(member lists and contact information are confidential), submission of materials for GRAMMY
consideration, or any other privilege of Recording Academy membership.

Voters shall not enter into any agreements or understandings on how to vote. This includes
without limitation:
• “Voting Blocs,” or groups of voters who agree to vote together. Such groups may include but are
not limited to: voters affiliated with a particular record label or management company, or voters
linked through social media.
• “Vote Trading,” or offering to vote in any manner in exchange for another’s vote.

BLOC VOTING
The Academy reserves the right to establish guidelines for its independent accountants to take
confidential corrective action on behalf of the Academy as they may deem appropriate.

FINAL VOTING TO SELECT GRAMMY WINNERS

After the announcement of nominations, the final ballot is made available to all current Voting
Members to select GRAMMY winners. All ballots, including those from special committees, are
tabulated confidentially by an independent accounting firm.

Results of the final voting are not known until the day of the GRAMMY Awards, when Deloitte
delivers sealed envelopes with names of the winners.

23
RESCINDMENT OF GRAMMY
The GRAMMY process does not produce a ranked result with a winner and ordered runners-up.
In any situation where a GRAMMY Award is withdrawn following the presentation, no award is given
in that Category for that year.

FOR YOUR CONSIDERATION (FYC) POLICIES

While FYC-type events, screenings, advertisements, and formal communications are not prohibited
outside of the Recording Academy, the numbers specific to an official awards Category, Field and/
or balloting, entry lists, and finals lists are proprietary information belonging to the Recording
Academy; such information may not be used, disclosed, published, or otherwise distributed in
connection with any event, advertisement or for any other purpose.

FYC COMMUNICATIONS AND ADVERTISEMENTS

For Your Consideration (FYC) marketing communications (“communications”) include, but are not
limited to: emails, mailings, invitations, social media, websites, and print ads. Such communications
are prohibited unless they include an opt-out option. Members or their designated publicists are
restricted to promoting only their own recordings. There shall be no lobbying on behalf of other
members. Also, be advised that the Recording Academy does not release the contact information
of its members, therefore you should exercise caution if doing business with any vendor claiming
that the vendor has accurate contact lists of Academy members (see Third-Party Solicitation by
Independent Contractors below).

FYC communications can include:

• Artwork related to product under consideration
• Brief, unembellished descriptions of the recording or creators
• Copies or links to product
• Links to websites that promote eligible recordings
• Link to Recording Academy website where Voting and Solicitation Guidelines are posted
• Lists of the creators who worked on the recording
• Reference to nominations, once nominations are announced. List Category(s) by full name
• Reference to the GRAMMY Award with proper registered marks. Reference can be made by
name only. Use of logo is prohibited, see below:
- GRAMMY®
- GRAMMY® Award
- GRAMMY Awards® (Only the plural GRAMMY Awards gets the ® on Awards.)
- GRAMMYs®

FYC communications cannot:

• Cast a negative or derogatory light on a competing recording. Any tactic that singles out the
“competition” by name or title is not allowed
• Exaggerate or overstate the merits of the music, an achievement or an individual
• Include any Recording Academy trademarks, logos or any other protected information: www.
[Link]/legal. Logo use is reserved for paid Recording Academy sponsors or partners 24
 • Include entry list numbers or Category numbers
• Include chart numbers, number of streams, sales figures, or RIAA awards
• Include personal signatures, personal regards or personal pleas to listen to the eligible recordings
• Misrepresent honors or awards, past or present, received by either the recording or those
involved with production
• Reference the year or the telecast number (i.e., 2022 or 65th GRAMMY Awards)

BILLBOARD ISSUE FOR MEMBERS

Recording Academy members receive a complimentary copy of the Billboard GRAMMY Issue unless
they choose to opt out. Featured subjects and content are determined independent of the Recording
Academy. The Billboard GRAMMY mailing is handled by an independent third-party mailing house
who has signed a non-disclosure agreement — the Recording Academy does not disclose the
contact information of its members to Billboard. To opt out, sign into your [Link]
member account and visit subscriptions.

Any member can take out an advertisement. Advertising restrictions listed above apply.
Special rates exist for independent creators. For more information on ad rates, email membership@
[Link]

HOSTING FYC EVENTS

Independent FYC events, programs or activities may be hosted if they adhere to the guidelines
set forth in this document. FYC activities may not include any complimentary meals, alcoholic
beverages, gifts, or any other hospitality that could be inferred as a value in exchange for
vote consideration. Anything considered by the Recording Academy, in its sole discretion, as
unreasonable promotion or gifting is prohibited.

ATTENDING FYC EVENTS

If members are invited to a ticketed FYC event or program, they must purchase tickets at full price
(no comps or discounts).

GIFTING SHOW TICKETS

As a normal course of business, talent can provide, and members can accept, individual ticket
access and meet-and-greet opportunities through their own personal affiliations. However,
widespread gifting of show tickets to members as part of an explicit or implicit FYC/vote solicitation
campaign is not allowed. Without limiting the preceding sentence, Recording Academy Chapters
may not be used as a conduit for gifting to their members, Governors and/or Trustees. Tickets that
are not acquired by members through their own personal affiliations must be purchased at full price
(no comps or discounts) — this includes tickets to films and musical theater productions.

ACADEMY OFFICE MAILINGS

Any mailing of FYC product or marketing materials to any of the Recording Academy offices is
prohibited, and will not be distributed to members, Governors or Trustees. Such mailings will be
disposed of or returned to sender, in the Recording Academy’s sole discretion.

25
TELEPHONE LOBBYING
Contacting Academy members by phone to promote a GRAMMY-eligible product or achievement is
prohibited, even if such contact is in the guise of checking to make sure a sample product or other
product was received.

THIRD-PARTY SOLICITATION BY INDEPENDENT CONTRACTORS

There are several marketing companies that claim to have authorized access to Recording Academy
member lists and/or Recording Academy staff. There are no such businesses. If a vendor has
obtained, through wrongful conduct, an accurate member list, we will disqualify any entry that used
the vendor’s services.

RECORDING ACADEMY FYC WEBSITE FEATURE

For Your Consideration promotional listings are available on [Link] free of cost.
These listings are intended to provide a fair and equal platform for members to showcase their
releases that have been accepted as official entries in the GRAMMY Awards balloting process as
specified in the Entry List. The duration for the feature is the first round voting period. This feature
is not available for the final round voting period.

Members whose releases have been accepted as official entries, or members who made entries on
behalf of others, as specified in the Entry List, are permitted to post a link or upload their entries.
These entries may only be posted once in each of the approved FYC Categories, as specified in
the Entry List. If a release has been accepted in multiple Categories as specified by the Entry
List, posting the release once in each of the accepted Categories is permitted. Duplicate posts of
the same entry in a FYC Category, entries posted in the wrong Category (aka “miscategorized”)
and promoting entries outside of the For Your Consideration groups are considered violations of
these guidelines. Content will be removed, and members are subject to additional penalties should
violations continue.

RECORDING ACADEMY MEMBERSHIP-HOSTED ACTIVITIES

GRAMMY-submitted product cannot be the topic of any Recording Academy Voting Member
activity or promotion. Anyone who has submitted product for awards consideration during the then-
current voting cycle will not be featured by the Recording Academy at Voting Member events, in
social media, in recorded/streaming content, or in any other context where it may be perceived the
Recording Academy is promoting an eligible product to Voting Members.

Talent not submitting product for awards consideration during the then-current voting cycle are
eligible to participate in all Recording Academy activities, including membership events and digital
or social content. Once your product has been submitted for awards consideration, FYC product
distribution at Recording Academy-hosted events is prohibited. Anyone who violates this will be
asked to leave the event and is subject to additional penalties should violations continue.

FYC INFORMATION CONTACT

For further information about these guidelines and regulations, please contact us: 877.637.6816
/ awards@[Link]. It should not be assumed that any tactics or activities not
specifically prohibited by these regulations are acceptable. The Recording Academy is willing to
review any materials or answer any questions that arise in advance.

We encourage our community to help us avoid and remedy violations of these guidelines and ask
that you report any findings to: 877.637.6816 / awards@[Link]. 26
AWARDS, CERTIFICATES AND GRAMMY TICKETS

The following indicates which roles are recognized with a GRAMMY Award statuette and which roles
are recognized with a Winners Certificate for all the Categories in the GRAMMY Awards process.

GENRE CATEGORY STATUETTE CERTIFICATE

General 1. Record Of Artist & Producer, Engineer/Mixer, Arranger, Songwriter, Musicians &
The Year Mastering Engineer, if other than Artist. Background Singers, if applicable.
(Songwriter of new material only)
General 2. Album Of Artist(s) including Featured Artist(s), Arranger(s) & Sampled/Interpolated
The Year Songwriter(s) of new material, Producer(s), Songwriter(s).
Recording Engineer(s), Mixer(s) & Mastering
Engineer(s).
General 3. Song Of Songwriter Publisher & Songwriter of sampled or
The Year interpolated material, if applicable.
General 4. Best New Artist Artist No certificates issued.
Pop 5. Pop Solo Artist Producer, Engineer & Songwriter.
Performance
Pop 6. Pop Duo/Group Artist Producer, Vocal Arranger, if not a
Performance performer, Engineer & Songwriter.
Pop 7. Traditional Pop Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Vocal Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Pop 8. Pop Vocal Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Dance/Electronic 9. Dance/Electronic Artist & Producer, Mixer. Engineer & Songwriter.
Recording
Dance/Electronic 10. Dance/ Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Electronic Music than Artist, of greater than 50 percent 50 percent playing time; Mastering
Album playing time on the album. Engineer, if other than Artist.
Contemporary 11. Contemporary Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Instrumental Instrumental Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Rock 12. Rock Artist Producer, Engineer & Songwriter.
Performance
Rock 13. Metal Artist Producer, Engineer & Songwriter.
Performance
Rock 14. Rock Song Songwriter Publisher & Songwriter of sampled or
interpolated material, if applicable.
Rock 15. Rock Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Alternative 16. Alternative Artist Producer, Engineer & Songwriter.
Music Performance
Alternative 17. Alternative Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Music Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
R&B 18. R&B Artist Producer, Engineer & Songwriter.
Performance
R&B 19. Traditional R&B Artist Producer, Engineer & Songwriter.
Performance
R&B 20. R&B Song Songwriter Publisher & Songwriter of sampled or
interpolated material, if applicable.
R&B 21. Progressive Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
R&B Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
R&B 22. R&B Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.

27
GENRE CATEGORY STATUETTE CERTIFICATE
Rap 23. Rap Artist Producer, Engineer & Songwriter
Performance
Rap 24. Melodic Rap Artist Producer, Engineer & Songwriter.
Performance
Rap 25. Rap Song Songwriter of new material only. Publisher & Songwriter of sampled or
interpolated material, if applicable.

Rap 26. Rap Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Country 27. Country Solo Artist Producer, Engineer & Songwriter.
Performance
Country 28. Country Artist Producer, Vocal Arranger, if not
Duo/Group performer, Engineer & Songwriter.
Performance
Country 29. Country Song Songwriter Publisher & Songwriter of sampled or
interpolated material, if applicable.
Country 30. Country Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
New Age, Ambient Or 31. New Age, Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Chant Ambient Or Chant than Artist, of greater than 50 percent 50 percent playing time; Mastering
Album playing time on the album. Engineer, if other than Artist.
Jazz 32. Improvised Jazz Artist Producer & Engineer.
Solo
Jazz 33. Jazz Vocal Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Jazz 34. Jazz Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Instrumental Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Jazz 35. Large Jazz Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Ensemble Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Jazz 36. Latin Jazz Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Gospel/CCM 37. Gospel Artist & Songwriter (for new song). Producer, Engineer & Songwriter (for
Performance/Song old song).
Gospel/CCM 38. CCM Artist & Songwriter (for new song). Producer, Engineer & Songwriter (for
Performance/Song old song).
Gospel/CCM 39. Gospel Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Gospel/CCM 40. Contemporary Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Christian Music than Artist, of greater than 50 percent 50 percent playing time; Mastering
Album playing time on the album. Engineer, if other than Artist.
Gospel/CCM 41. Roots Gospel Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Latin 42. Latin Pop Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Latin 43. Música Urbana Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Latin 44. Latin Rock Or Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Alternative Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.

28
GENRE CATEGORY STATUETTE CERTIFICATE
Latin 45. Regional Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Mexican Music than Artist, of greater than 50 percent 50 percent playing time; Mastering
Album (Including playing time on the album. Engineer, if other than Artist.
Tejano)
Latin 46. Tropical Latin Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
American Roots 47. American Roots Artist Producer, Engineer & Songwriter if
Music Performance song is new.
American Roots 48. Americana Artist Producer, Engineer & Songwriter if
Music Performance song is new.
American Roots [Link] Roots Songwriter Publisher & Songwriter of sampled or
Music Song interpolated material, if applicable.
American Roots 50. Americana Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Music Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
American 51. Bluegrass Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
Roots Music
playing time on the album. Engineer, if other than Artist.
American 52. Traditional Blues Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
Roots Music
playing time on the album. Engineer, if other than Artist.
American 53. Contemporary Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Blues Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
Roots Music
playing time on the album. Engineer, if other than Artist.
American 54. Folk Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
Roots Music
playing time on the album. Engineer, if other than Artist.
American 55. Regional Roots Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Music Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
Roots Music
playing time on the album. Engineer, if other than Artist.
Reggae 56. Reggae Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Global Music 57. Global Music Artist Producer, Engineer & Songwriter, if
Performance song is new.
Global Music 58. Global Music Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Children’s 59. Children’s Music Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Spoken Word 60. Audio Book, Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Narration And than Artist, of greater than 50 percent 50 percent playing time; Mastering
Storytelling playing time on the album. Engineer, if other than Artist.
Recording
Spoken Word 61. Spoken Word Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
Poetry Album than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.
Comedy 62. Comedy Album Artist & Producer, Engineer/Mixer, if other Producer & Engineer with less than
than Artist, of greater than 50 percent 50 percent playing time; Mastering
playing time on the album. Engineer, if other than Artist.

29
GENRE CATEGORY STATUETTE CERTIFICATE
Musical Theater 63. Musical Theater Lyricist(s) & Composer(s), if they have Lyricist(s) & Composer(s) of previously
Album written and/or composed a score that nominated material or less than 50
comprises greater than 50 percent percent of new score; all Vocalists
playing time of the album and has not on the recording of an “ensemble-
been previously nominated; Engineer(s)/ driven piece,” defined as one in which
mixer(s) of greater than 50 percent performers have comparable musical
playing time on the album; up to four and dramatic participation in the
Principal Vocalist(s) with significant recording (in contrast to a musical
contributing performance(s), defined as a theater work with principals and a
lead performance by a featured vocalist. chorus); Mastering Engineer, if other
(Certificates are issued for Vocalists in than Artist. (Publisher’s Certificate for
“ensemble-driven pieces.”) new material)
Music For Visual 64. Compilation Principal Artist(s) with significant Producer & Engineer with less than 50
Media Soundtrack For contributing performances, and/or in-studio percent playing time of newly recorded
Visual Media Producer(s) of a majority of the tracks on material; Mastering Engineer, if other
the album. In the absence of those, award than Artist.
to the individual(s) proactively responsible
for the concept and musical direction of the
album and for the selection of artists, songs
and producers, as applicable.
For albums consisting largely of pre-
existing masters, up to two album
Producers and up to two Music
Supervisors, per criteria. For albums
consisting largely of new recordings,
awards to the Principal Artist(s) with
significant contributing performance(s)
(Ensemble-Driven Casts in which
performers have comparable musical and
dramatic participation in the recording
are not eligible); up to three Producer(s)
(in extraordinary circumstances an appeal
for a possible fourth will be considered);
and up to two Music Supervisors, per
criteria. Engineer/Mixer(s) of greater than
50 percent playing time of newly recorded
material.
Music For Visual 65. Score Composer, Producer & Engineer/Mixer, of Publisher, Producer & Engineer with
Media Soundtrack For greater than 50 percent playing time on the less than 50 percent playing time of
Visual Media album. newly recorded material; Mastering
(Includes Film And Engineer, if other than Artist.
Television)
Music For Visual 66. Score Composer, Music Producer & Engineer/ Publisher, Producer & Engineer with
Media Soundtrack For Mixer. In cases where more than one less than 50 percent playing time of
Video Games And composer is listed, a minimum of 33 newly recorded material; Mastering
Other Interactive percent playing time will be required. If a Engineer, if other than Artist. In cases
Media composer has a separate production team, where the 33 percent is applied to
then the 33 percent playing time will apply composers and the production teams,
to the Music Producer(s) and Engineer(s)/ certificates to Composer, Producer &
Mixer(s). Engineer of less than 33 percent, if
other than artist.
Music For Visual 67. Song Written Songwriter Publisher
Media For Visual Media
Composing/ 68. Instrumental Composer Publisher
Composition
Arranging
Composing/ 69. Arrangement, Arranger No Certificates Issued.
Arranging Instrumental Or A
Cappella
Composing/ 70. Arrangement, Arranger No Certificates Issued.
Arranging Instruments And
Vocals
Package, Notes And 71. Recording Art Director Designer, Illustrator & Photographer, if
Historical Package applicable.
Package, Notes And 72. Boxed Or Art Director Designer, Illustrator & Photographer, if
Historical Special Limited- applicable.
Edition Package

30
Package, Notes And 73. Album Notes Album Notes Writer No Certificates Issued.
Historical
Package, Notes And 74. Historical Compilation Producer, Restoration Engineer Producer & Engineer of greater than 50
Historical Album & Mastering Engineer. percent of original recordings.
Songwriting 75. Songwriter Songwriter(s) with a minimum of five newly No Certificates Issued.
Of The Year, Non- written songs in which they are listed as a
Classical non-performing, non-producing songwriter
or co-writer.
Production 76. Engineered Engineers (see P&E list for eligible credits) No Certificates issued.
Album, & Mastering Engineer.
Non-Classical
Production 77. Producer Of Producer(s) No Certificates Issued.
The Year,
Non-Classical
Production 78. Remixed Remixer(s) No Certificates Issued.
Recording
Production 79. Immersive IA Engineer, IA Producer & IA Mastering Producer & Engineer of greater than 50
Audio Album Engineer, if applicable (if album is released percent of original recordings.
only in multichannel format, the Producer(s)
and Engineer(s) receive an award).
Production 80. Engineered Engineers (see P&E list for eligible credits) No Certificates Issued.
Album, Classical & Mastering Engineer.
Production 81. Producer Producer(s) No Certificates Issued.
Of The Year,
Classical
Classical 82. Orchestral Conductor, Orchestra/Large Ensemble; Producer & Engineer with less than
Performance Producer & Engineer, if other than Artist, 50 percent playing time; Mastering
of greater than 50 percent playing on the Engineer, if other than Artist.
album.
Classical 83. Opera Conductor, Principal Soloists; Composer(s) Producer & Engineer with less than
Recording & Librettist if each wrote 100 percent of 50 percent playing time; Orchestra,
the music and libretto of the opera (for new Choral Ensembles, Chorus Master
recordings of the entire opera). & Secondary Soloists; Mastering
Engineer, if other than Artist.
Classical 84. Choral Conductor, Choral Director & Chorus Producer & Engineer with less than
Performance Master, Choral Ensemble; Producer & 50 percent playing time; Vocalist
Engineer, if other than Artist, of greater performing major solo; Orchestral &
than 50 percent playing time on the album. Choral Ensemble; Mastering Engineer,
if other than Artist.
Classical 85. Chamber Conductor & Ensemble; Producer & Producer & Engineer with less than
Music/Small Engineer, if other than the Artist, of greater 50 percent playing time; Mastering
Ensemble than 50 percent playing time on the album. Engineer, if other than Artist; Artists
Performance with less than 50 percent playing time.
Classical 86. Classical Instrumental Soloist & Conductor; Producer Producer & Engineer with less than
Instrumental Solo & Engineer, if other than Artist, of greater 50 percent playing time & Orchestra;
than 50 percent playing time on the album. Mastering Engineer, if other than Artist;
Accompanist when there is significant
accompaniment.
Classical 87. Classical Solo Vocal Soloist; Collaborative Artists, Producer & Engineer with less than
Vocal Album Producer & Engineer, if other than Artist, 50 percent playing time; Mastering
of greater than 50 percent playing time on Engineer, if other than Artist.
the album.
Classical 88. Classical Artist(s) & Producer(s) of greater than 50 Producer & Engineer with less than
Compendium percent playing time. Composer(s) with 50 percent playing time; Mastering
50 percent playing time, and only the sole Engineer, if other than Artist.
Librettist/Lyricists, if any, whose lyrics
comprise greater than 50 percent of the
playing time for new works; Recording
Engineer(s) and/or Mixer(s).
Classical 89. Composer & Librettist Publisher
Contemporary
Classical
Composition
Music Video/Film 90. Music Video Artist, Video Director & Video Producer. Audio Producer, Audio Mixer & Video
Editor.
Music Video/Film 91. Music Film Artist, Video Director & Video Producer. of Audio Producer, Audio Mixer & Video
over 51 percent of the total playing time of Editor, Artist, Video Director & Video
music video. Producer with less than 51 percent
playing time of music video.
31
ACCEPTING THE AWARD
Acceptance of any award bestowed by the Recording Academy shall be deemed to constitute
acceptance by the recipient and their successors and assigns, of all terms and conditions of the
Recording Academy under which such award was given, including rules or regulations approved by
the Board of Trustees. In order to protect and maintain the integrity and prestige of the GRAMMY
Awards and to ensure that all GRAMMY statuettes are used solely for the intended purpose of
honoring creative contributions, the Recording Academy requires all recipients to acknowledge and
agree to certain terms. Such terms and conditions shall accord with policies adopted by the Board
of Trustees, and shall include a policy regarding recipients furnishing the Recording Academy with
written acceptance of such terms and conditions.

Award recipients acknowledge and agree that possession of the GRAMMY statuette(s) is granted
upon the express condition that the recipient will not use the statuette(s) other than for their
own personal, non-commercial purposes. Without limiting the foregoing, any sale, auction, public
exhibition, reproduction, or other public or commercial exploitation of the statuette by the recipient
or any third party, without the express prior written consent of the Recording Academy, is strictly
prohibited. Any such actions will be null and void, will not serve to grant to any third party any right,
title or interest in the statuette, and will result in the immediate right of the Recording Academy to
repossess the statuette, which right the Recording Academy may exercise at any time in its sole
discretion. In the event that the statuette is transferred by the recipient, including by operation of
law, the transferee shall be subject to and bound by all of the terms set forth as if such transferee
were the original recipient of the statuette.

Such rules, regulations or policies may provide that particular awards or Categories of awards
bestowed by the Recording Academy (a) shall be the property of, and all rights therein (except
the right of possession as may be set forth in such rules, regulations or policies) are reserved by
the Recording Academy, and (b) shall not be sold, transferred or assigned by the recipient or the
recipient’s authorized successors without the express written consent of the Recording Academy.

GRAMMY STATUETTES
Individuals and eligible members of groups of nine or fewer who are GRAMMY nominees on a
winning project receive a GRAMMY Award statuette.

Groups of 10 or more members will receive one statuette for the entire group/ensemble. The
individual group members are not GRAMMY winners, only the group itself is the winner.

LARGE GROUP PINS/CERTIFICATES/TICKETING

For large groups between 10 and 20 members, the Academy provides a special certificate and
pin to each member of the group. The certificates indicate members are part of a large group on a
nominated recording.

For these groups of 10 to 20 members, GRAMMY tickets, are made available to the group members
even though they are not nominees.

For large groups/ensembles/orchestras with more than 20 members, only the group leader is
designated as a nominee and no pins, certificates, tickets, or statuettes are available to the
group members.

32
ALBUM OF THE YEAR TICKETING
For Album Of The Year nominees, the telecast, GRAMMY Awards Premiere Ceremony, GRAMMY
Celebration ®, and GRAMMY ® Nominees Reception tickets go to Artist(s) and to Featured Artist(s),
Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s), and Mastering
Engineer(s) credited with at least 33 percent playing time of the album, if other than the Artist.

AWARDS & NOMINATIONS PROPOSALS

The Recording Academy accepts proposals for changes to the rules, guidelines, definitions, etc. of
the GRAMMY Awards. Members of the Academy may submit proposals year-round (the cutoff for
proposals to be considered for the following year is March 1). All proposals need to be submitted to
the head of the Awards Department and/or the Co-Chairs of the Awards & Nominations Committee.

Any proposal to create a new Category requires a special submission form. Please contact the
Awards Department to receive one. Also note that any proposals to create a new Category requires
a two-thirds supermajority vote of both the Awards & Nominations Committee and the Board of
Trustees to pass.

Proposals are debated and voted on by the Awards & Nominations Committee and those that pass
go to the Board of Trustees. Proposals that are ratified by the Trustees go into effect immediately
for the next GRAMMY Awards.

Proposals rejected by the Awards & Nominations Committee will not be considered again in the next
consecutive year. Exception: proposals that must be viewed in a different light due to changes in the
industry or technology. Any proposal author wishing to resubmit under these circumstances may
do so, at which point the Awards & Nominations Committee Co-Chairs, National Chair, President/
CEO, and Head of Awards will convene to discuss. If at least four of these agree, the proposal will be
reviewed again in the consecutive year.

PRODUCER & ENGINEER ELIGIBILITY GUIDELINES

Working with the Awards Department, the Producers & Engineers Wing maintains and submits to
the Awards & Nominations Committee and Trustees a list of credits and definitions to be used in
determining eligibility for producers and engineers to receive GRAMMY Awards.

Producers and engineers receive GRAMMY statuettes in any Category where they are eligible to
be nominated. Additionally, per the rules of the genre album Categories (Best Country Album, Best
Reggae Album, etc.), eligibly-credited producers and engineers who have worked on greater than 50
percent of the playing time of a winning album receive a GRAMMY statuette. In these Categories,
the producers and engineers are not nominees and are compiled and audited after the telecast.

PRODUCER

The producer of a recording is responsible for working together with the artist to assign credits. The
producer is also responsible for supplying accurate credit information to the content owner for the
purpose of compiling printed or metadata album credits. The producer should also review finished
33
liner notes to ensure that the information remains correct through that point.
ELIGIBLE PRODUCER CREDITS

Producer
The producer is the primary person(s) contracted by and accountable to the content owner for the
task of delivering the recording as a finished product. The producer directs and has overall creative
and technical oversight during the recording project, including the individual recording sessions that
are a part of the project. Duties of the producer(s) can include:

1. Oversees the recording sessions of a project to realize the goals of both the artist and
content owner.
2. Makes creative, technical and aesthetic decisions in the creation of the musical content for a
project that realize the goals of both the artist and the content owner.
3. Oversees performances and chooses the final takes or versions used in the final product.
4. Participates in song selection.
5. Works with and oversees the selection of musicians, engineers, singers, arrangers, studios,
etc., in collaboration with the artist; assigns credits to performers and technical personnel; and
is responsible for supplying accurate crediting information to the record label, media company
or content owner as official documentation.
6. Oversees other staffing needs, keeps budgets and schedules, adheres to deadlines, and
supervises mixing, mastering and overall quality control.

Co-Producer
This person generally shares some or all of the above responsibilities with a producer or another
co-producer, and is assigned a co-producer credit by the artist and/or content owner. A co-producer
makes significant and consequential contributions to the outcome of the production to realize the
goals of both the artist and content owner.

Vocal Production/Vocals Produced By; “Featured Artist” Produced By

This person has overall creative and technical control of the vocal recording on a project and the
individual recording sessions that are a part of that project. They are present in the recording studio
or at the location recording and work directly with the vocalist(s) and engineer. The vocal producer
makes creative and aesthetic decisions that realize the goals of both the artist and the label in the
creation of the vocals.

Compilation Producer
(This credit is eligible in Best Compilation Soundtrack For Visual Media and Best Historical
Album Categories only)
This person is the principal producer responsible for supervising and/or exercising control over the
work assigned to other producers, engineers and others on the project. The compilation producer
has the primary creative responsibility for the selection of music tracks and other components on a
compilation soundtrack or historical album.
Immersive Audio Producer
Same as producer, but for an immersive audio recording.

34
NON-ELIGIBLE PRODUCER CREDITS

Executive Producer
Often a label representative or a person who secures funding for a project. May be responsible for
the overall concept. They may monitor the project from time to time to ensure that the producer and
artist are on track.

Assistant Producer, Associate Producer, Additional Production

This person is delegated some area of responsibility on a project, but reports to the producer
or co-producer(s).

Strings (or Any Other Instrument) Produced By

This person works with the individual instruments/elements of the recording and not the
overall production.

Produced on Behalf of (the Content Owner)

Someone who is appointed by the content owner, whose job relates more to that of an executive
producer and/or A&R. They may give overall feedback to the project, but are not directly involved in
the day-to-day tasks of delivering the recording to the content owner.

ENGINEER

ELIGIBLE ENGINEER CREDITS

Engineer
The engineer is the primary person or persons actively responsible for the creative process of
recording and/or mixing a project as well as technical issues and decisions. This person operates (or
oversees the operation of) the equipment during the recording process, making creative, technical
and aesthetic choices in collaboration with the artist and producer in order to realize the sounds and
concepts envisioned for the project.

Recording Engineer/Recorded By
Same as engineer, except this person is not involved in final mixing.

Mixed By/Mixer/Mix Engineer

This person works directly with the artist, producer and/or content owner, making creative decisions
to achieve the creative goals of the mix, taking previously recorded tracks and creating a mix-down
that can then be mastered and distributed.

Remix Engineer/Remixer (Best Remixed Recording Category Only)

Vocals Recorded/Engineered By, “Featured Artist” Recorded/Engineered By

This person is an engineer with all of the same responsibilities as in the engineer description above,
and is responsible for the process of recording vocals, including those designated a “Featured
Artist’s” vocals on a project.
35
Balance Engineer (Classical)
This person is an engineer with all of the same responsibilities as in the engineer description above.
This credit is most often used in classical music.

Mastering Engineer (Best Historical Album; Best Immersive Audio Album; Record Of The Year;
Best Engineered Album, Classical; Best Engineered Album, Non-Classical; and Album Of The
Year Only)
This person is an engineer who is the last creative bridge between the mix process and the
distribution process. They generally work with a final mix of a project and make final adjustments to
the sound before distribution while maintaining the vision of the artist, producer and label.

Tonmeister (Classical)
This person does the same work as an engineer or balance engineer, but for this name to be
correctly applied, they must be a graduate of an official Tonmeister program that includes score
reading and electronics training as well as education in recording, mixing and editing techniques.

Restoration Engineer (Best Historical Album Only)

It is the responsibility of the restoration engineer to transfer and repair the original flat source tapes
and discs. The restoration engineer removes or reduces anomalies, unwanted noise or any sound
that is obstructing the desirable audio content. Their goal is to take the audio from a flawed or
compromised recording to one that is suitable for the mastering engineer to complete.

Immersive Audio Engineer

Same as engineer, but for a recording created in an immersive audio format; or, in the case of a new
immersive audio mix of previously recorded material, the engineer who creates the new immersive
audio mix(es).

NON-ELIGIBLE ENGINEER CREDITS

Pro Tools Engineer (or Digital Audio Workstation (DAW) Engineer) / Pro Tools Operator
This person is responsible for operation of a Pro Tools or other Digital Audio Workstation during
recording and mix sessions, including the archiving and maintenance of the recorded material (data
files). This person is not generally called upon to make major aesthetic judgments.

Pro Tools Editor (or DAW Editor)

This person is responsible for the operation of a Pro Tools (or other) Digital Audio Workstation during
post recording work on musical performances. This person is also responsible for the archiving and
maintenance of the recorded material (data files). This person is not generally called upon to make
aesthetic judgments.

Additional Pro Tools (or DAW) Engineer

This person has the same responsibilities as a Pro Tools (or other) digital audio workstation engineer.
They are often given the title of “Additional” to signify that they have worked on a much smaller
percentage of a project.

36
Engineer for Mix
This person organizes and sets up the mix and assists the mix engineer. Their creative contribution
to the mix would not be considered sufficient to receive a mix engineer credit.

Assistant Engineer/Second Engineer

This person is responsible for assisting the engineer(s). They often keep all logs of sessions and
materials and operate equipment. They should also have enough engineering skills that they can
step in for an engineer in case of an absence.

Additional Engineer
This person has the same responsibilities as an engineer. They are often given the title of
“Additional” to signify that they have worked on a much smaller percentage of a track or project.

Assistant Mix Engineer/Mix Assistant

This is the same as the assistant engineer except that they only work during the mixing process.

Mix Programming
This person programs musical sequencers, samplers and synthesizers in a remix situation, where an
already finished project is retooled with new musical parts to appeal to a specific market.

Mastering Engineer
This person is an engineer who is the last creative bridge between the mix process and the
distribution process. They generally work with a final mix of a project and makes final adjustments to
the sound before distribution while maintaining the vision of the artist, producer and label.

Mastering engineers are not eligible for a GRAMMY statuette except in the Categories of Best
Historical Album; Best Immersive Audio Album; Best Engineered Album, Classical; Best Engineered
Album, Non-Classical; Record Of The Year; and Album Of The Year. (Mastering engineers are eligible
to receive a Winner’s Certificate for all winning genre albums.)

Digital Editing
This person is responsible for operating equipment for editing (generally a digital audio workstation).
They can, from time to time, be called on to make aesthetic choices.

Digital Engineering/Programming
Generally a person responsible for the functioning and maintenance of digital recorders and digital
audio workstations.

DSD Recording (or DSD Engineer, DSD Mixer, etc.)

This is generally a person responsible for the functioning and maintenance of digital recordings
using Direct Stream Digital format equipment.

37
MUSIC SUPERVISOR

Music Supervisor
• Identify, secure and supervise any and all music-related talent, which includes composers,
songwriters, recording artists, on-camera performers, musicians, orchestrators, arrangers,
copyists, contractors, music producers, engineers, etc.; liaise and negotiate with talent
representation, including legal, label, talent management, agency, business management, etc.
• Possess an accurate knowledge of all costs associated with delivery of music elements.
Determine and advise on financial needs of project and generate realistic budget with respect
to all music-related costs. Deliver all required music elements within the established budgetary
parameters.
• Advise on feasibility of schedule based on release, broadcast, campaign, or product delivery.
Deliver all music elements consistent with specific technical requirements.
• Manage and/or secure legal rights of new and existing recordings, clearances of Synchronization
and Master use licenses of preexisting music, credits, cue sheets, etc. within scheduling
parameters.
• Determine the viability of, creation of and securing exposure or distribution of any music-related
ancillary product, i.e., soundtrack, single, video, internet downloads, etc. for the purpose of
promotion or additional revenue streams.

GRAMMY AWARDS CATEGORY RULES

General Field

RECORD OF THE YEAR

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA Recordings entered for consideration in this Category should represent
the best overall achievement. The elements to be considered are the performance, production and
engineering; secondary elements for consideration are songwriting/composition, arranging and
performance of the backup vocalists and musicians, as applicable.

ALBUM OF THE YEAR

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA Albums entered for consideration in this Category should represent
the best overall achievement by the performer(s), album producer(s), engineer(s)/mixer(s), and
songwriter(s). Other elements to be considered are arranging and musicianship.

SONG OF THE YEAR

A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA Songs entered for consideration in this Category should represent the best
achievement in songwriting. Songs that contain samples or interpolations are eligible.

38
A song must comprise melody and lyrics to be eligible in a songwriting Category and must have
been released on a recording for the first time, or achieved prominence for the first time, during the
current eligibility year.

BEST NEW ARTIST

FOR ALBUMS, SINGLES OR TRACKS
SCREENING CRITERIA This Category recognizes an artist whose eligibility-year release(s)
achieved a breakthrough into the public consciousness and notably impacted the musical
landscape.

In adjudicating this Category, the primary element to consider is the artist’s performance. If the
artist wrote most or all of the songs, this may be a secondary consideration. Production elements of
the recording should not be considered.
• Minimum releases to meet eligibility: five singles/tracks or one album.
• While there will be no specified maximum number of releases, the Screening Committees will be
charged with determining whether the artist had attained a breakthrough or prominence prior to
the eligibility year. Such a determination would result in disqualification.
An artist may not enter into this Category more than three times, including as a performing member
of an established group.

ELIGIBLE
• Solo artists and established duos and groups.
• Solo artists formerly with duos/groups, provided the duo/group had not attained prominence.
• New established duos/groups consisting of former solo artists or former group members,
provided that none of the previous solo artists nor the duo/group had attained prominence.
• New recording artists who previously achieved recognition in a different discipline, such as
songwriters, politicians, actors, astronauts, etc.
NOT ELIGIBLE
• Any artist who had achieved a breakthrough in a prior eligibility year.
• Any artist with a previous GRAMMY nomination as a performer, including a nomination as an
established member of a nominated group.
Exception: If an artist is nominated (but does not win) for the release of a single or as a featured
artist or collaborator on a compilation or another artist’s album before the artist has released at
least five singles or an entire album (and becomes eligible in this Category for the first time), the
artist may enter this Category in the eligibility year during which the artist’s fifth single/track or
first album is released.
• An artist with a previous songwriting GRAMMY nomination, if the nominated song had gained its
prominence through a performance by the songwriter as the primary artist.
Exception: If an artist received the nomination (but does not win) for writing a song that had
gained its prominence through a performance by the songwriter as the primary artist before the
artist has released at least five singles or an entire album (and becomes eligible in this Category
for the first time), the artist may enter this Category in the eligibility year during which the artist’s
fifth single/track or first album is released.
• Collaborations involving two or more individuals who are not an established group.
39
 • Artists who have been credited only as featured artists.
• Choirs, choruses and large band ensembles (16 or more members).
• Non-music-performing video performers (e.g., dancers, actors).
• Musical craftspeople (songwriters, engineers, producers, art directors, remixers, notes writers,
etc.).
• Any person active in public life whose entered recording was not intended to be the subject of a
commercial release.
• A group carrying on the name and tradition of a previous group that would be ineligible due to
number of recordings or prior breakthrough, even if the personnel changes.
• A group that would be ineligible due to number of recordings or prior breakthrough, even if they
change their name.
* NOTE: The word “artist” is used inclusively to signify performing solo artists as well as
established performing duos and groups.

Pop Field

BEST POP SOLO PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in a solo vocal or instrumental
pop performance with or without accompaniment.

BEST POP DUO/GROUP PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in a duo, group or
collaborative vocal or instrumental pop performance. Recordings on which a group receives
artist billing are eligible here, even when the vocal features only one member of the group. The
entire group or collaborative performance, rather than the presence of a lead vocal performance,
determines Category eligibility.

BEST TRADITIONAL POP VOCAL ALBUM

FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category is for performances of a type and style of song that
cannot properly be intermingled with present forms of pop music. This includes older forms of
traditional pop such as the Great American Songbook, created by the Broadway, Hollywood and
Tin Pan Alley songwriters of the period between the 1920s and the end of World War II, as well
as cabaret/musical theater-style songs and previous forms of contemporary pop. This would also
include contemporary pop songs performed in traditional pop style — the term “traditional” being a
reference, equally, to the style of the composition, vocal styling and the instrumental arrangement,
without regard to the age of the material.

40
BEST POP VOCAL ALBUM
FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes artistic excellence in pop vocal albums.

Dance/Electronic Music Field

BEST DANCE/ELECTRONIC RECORDING

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category is intended for recordings with significant electronic-based
instrumentation generally based around a rhythmic dance beat. The screening process should
include established dance and electronic recording genres as well as related emerging genres,
in order to accurately reflect the current trends in dance and/or electronic music. The Category is
open to recordings specifically and originally targeted to the dance and/or electronic market.

Dance remixes are eligible in the Best Remixed Recording Category only and may not be entered
in Best Dance/Electronic Recording. Note: Recording MUST contain greater than 50 percent new
material. If the vocals or any significant part of the music have not been recorded within the last five
years, or were released prior to this year’s eligibility period, it can only be entered in Best Remixed
Recording.

BEST DANCE/ELECTRONIC MUSIC ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in dance/electronic music albums
with significant electronic-based instrumentation and a rhythmic dance beat. The Category includes
both emerging and established dance/electronic recording genres in order to accurately reflect the
current trends in dance/electronic music.

Albums of remixes are not eligible; however, remixes may be entered in Best Remixed Recording.

Contemporary Instrumental Music Field

BEST CONTEMPORARY INSTRUMENTAL ALBUM

FOR ALBUMS
INSTRUMENTAL ONLY
SCREENING CRITERIA Contemporary instrumental music embraces a variety of musical genres.
The album concept and production should emphasize instrumental performance, arrangement and/
or melodic content. This music should contain contemporary stylistic elements, setting it apart from
well-established instrumental styles.

41
Rock Field

BEST ROCK PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in a rock performance by a
solo artist, collaborating artists, established duo, or established group.

BEST METAL PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in a metal performance by a
solo artist, collaborating artists, established duo, or established group.

BEST ROCK SONG

A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA Songs entered for consideration in this Category should represent the best
achievement in songwriting across the spectrum of rock music, including metal. Only the merits
of the song itself are to be considered. Songs that contain samples or interpolations are eligible.
A song must comprise melody and lyrics to be eligible in a songwriting Category and must have
been released on a recording for the first time, or achieved prominence for the first time, during the
current eligibility year.

BEST ROCK ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in albums across the
spectrum of rock music.

Alternative Field

BEST ALTERNATIVE MUSIC PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in an alternative performance
by a solo artist, collaborating artists, established duo, or established group that embraces attributes
of progression and innovation in both the music and attitudes associated with it. It is often a less
intense version of rock or a more intense version of pop and is typically regarded as more original,
eclectic or musically challenging. It may embrace a variety of subgenres or any hybrids thereof
and may include performances that do not fit into other genre Categories. Performances on which
a group receives artist billing are eligible here, even when the vocal features only one member of
the group. The entire group or collaborative performance, rather than the presence of a lead vocal
performance, determines Category eligibility.

42
BEST ALTERNATIVE MUSIC ALBUM
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in alternative music albums.
Alternative music may be defined as a genre of music that embraces attributes of progression and
innovation in both the music and attitudes associated with it. It is often a less intense version of
rock or a more intense version of pop and is typically regarded as more original, eclectic or musically
challenging. It may embrace a variety of subgenres or any hybrids thereof and may include recordings
that do not fit into other genre Categories.

R&B Field

BEST R&B PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in a performance by an R&B solo artist,
collaborating artists, established duos, or groups.

BEST TRADITIONAL R&B PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in traditional R&B performance and is
intended for recordings that may incorporate additional elements associated with blues, gospel and
jazz. Traditional R&B may include such styles as soul, funk, neo-soul, and smooth jazz.

BEST R&B SONG

A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA This Category recognizes excellence in R&B songwriting that utilizes a
stylistic intention, song structure, lyrical content, and/or musical presentation to create a sensibility
that reflects the broad spectrum of R&B music style and culture. Songs that contain samples or
interpolations are eligible.

A song must comprise melody and lyrics to be eligible in a songwriting Category and must have been
released on a recording for the first time, or achieved prominence for the first time, during the current
eligibility year.

BEST PROGRESSIVE R&B ALBUM

FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in albums of progressive vocal tracks
derivative of R&B. This Category is intended for artists whose music includes the more progressive
elements of R&B and may include samples and elements of hip-hop, rap, dance, and electronic
music. It may also incorporate production elements found in pop, Euro-pop, country, rock, folk, and
alternative.

43
BEST R&B ALBUM
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes artistic excellence in albums of R&B music.

Rap Field

BEST RAP PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in a performance by a solo rap artist,
collaborating rap artists, established rap duos, or established rap groups.

BEST MELODIC RAP PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in performances that use the delivery
of rap and melody over modern production. This performance requires a strong and clear presence
of melody combined with rap cadence, and is inclusive of dialects, lyrics or performance elements
from non-rap genres, including R&B, rock, country, electronic, or more. The production may include
traditional elements of rap or elements characteristic of the aforementioned non-rap genres. Both
the song and melody should be considered to fit these criteria to be accepted in this Category.

BEST RAP SONG

A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA This Category recognizes excellence in rap music songwriting that
utilizes a stylistic intention, song structure, lyrical content, and/or musical presentation to create
a sensibility that reflects the broad spectrum of rap music style and culture. Songs that contain
samples or interpolations are eligible.

A song must comprise melody and lyrics to be eligible in a songwriting Category and must have
been released on a recording for the first time, or achieved prominence for the first time, during the
current eligibility year.

BEST RAP ALBUM

FOR ALBUMS
VOCAL PERFORMANCES ONLY
SCREENING CRITERIA This Category recognizes artistic excellence in albums of rap music.

44
Country Field

This Field recognizes excellence in country music recordings that utilize a stylistic intention, song
structure, lyrical content, and/or musical presentation to create a sensibility that reflects the
broad spectrum of country music style and culture. The intent is to recognize country music that
remains reminiscent of its culture’s legacy while also engaging contemporary forms that “push the
boundaries” but still are relevant in the collective country music culture.

The Field includes recordings and songs that are country in content as opposed to those that may
have a “country flavor,” but are aimed at the contemporary or pop audience.

BEST COUNTRY SOLO PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SOLO ARTISTS ONLY (WITH OR WITHOUT BAND ACCOMPANIMENT)
SCREENING CRITERIA This Category recognizes excellence in recordings of country music
performances by solo artists.

BEST COUNTRY DUO/GROUP PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
DUO OR GROUP OR COLLABORATION
SCREENING CRITERIA This Category recognizes excellence in recordings of country music
performance by established duos or groups, or collaborations (with significant performance by both/
all collaborative artist(s) beyond accompaniment).

Recordings on which a group receives artist billing are eligible here, even when the vocal features
only one member of the group. The entire group or collaborative performance, rather than the
presence of a lead vocal performance, determines Category eligibility.

BEST COUNTRY SONG

A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA This Category recognizes excellence in country music songwriting. Songs
which contain samples or interpolations are eligible.

A song must comprise melody and lyrics to be eligible in a songwriting Category and must have
been released on a recording for the first time, or achieved prominence for the first time, during the
current eligibility year.

BEST COUNTRY ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence for albums across the country
music spectrum.
45
New Age, Ambient Or Chant Field

BEST NEW AGE, AMBIENT OR CHANT ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category may incorporate elements and influences from diverse
musical genres to serve common artistic intentions and functional uses which may include a)
creating a textural-focused atmospheric musical journey, b) forming soundscapes for relaxation,
meditation, introspection, or focus, c) fostering wellness or inner/spiritual awakening, or d) making
devotional offerings. Recordings may include sacred as well as secular components; recordings of
a spiritual nature may originate or be adapted from global sacred traditions or come from an intent
that is universal in nature.

The music may be improvisational and exploratory, emphasize texture and space, or be structurally
composed including melody, rhythm, repetition, and themes. Music may be consonant or dissonant
and may be contemplative and gentle, dynamic or avant-garde. Vocal music is welcomed as well as
solo or multi-instrumentals. Recordings may incorporate acoustic, synthesized or environmental
sounds. The category includes environmental recordings (where the recordist would be considered
the artist).

Jazz Field

BEST IMPROVISED JAZZ SOLO

FOR SINGLES OR TRACKS WITH AN IMPROVISED JAZZ SOLO
VOCAL OR INSTRUMENTAL WITH OR WITHOUT ACCOMPANIMENT
SCREENING CRITERIA This Category recognizes improvised jazz solos (including vocal jazz
solos) of substantive content. It is not for embellishments or fills, written-out solos or solos that
demonstrate some jazz flavoring but that belong in the Pop or R&B Fields. Intent and content are
the overriding criteria in determining eligibility of an improved jazz solo.

The improvised jazz solo performances may be taken from an instrumental or vocal single or track.
The track must be from an album released in the current eligibility year but may be from an album in
another Genre Field. The soloist need not be the group leader or top-billed artist on the track. Two
performers on one recording who solo equally or near-equally may be eligible as one entry at the
discretion of the Academy.

Entries in this Category are limited to two per artist and may only be made by the soloist or the
soloist’s representative (management or soloist’s primary record label).

BEST JAZZ VOCAL ALBUM

FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in albums of vocal jazz performance.
Jazz elements may include inflection, phrasing, arrangements, repertoire, and/or improvisatory
variations. The vocal performances, vocal styling and interpretation must be jazz in content (and

46
not merely performances with some jazz flavoring or those that may use jazz musicians for backup).
Pop, R&B or other genre styles of vocal performance, even those by well-established jazz artists,
are not eligible.

The vocal performance may be by a solo performer, duo, group (including large jazz vocal
ensembles), or collaboration and may be in any language (including Portuguese and Spanish).

If a vocalist(s) and an instrumentalist(s) are billed equally, both (or all) may be eligible for a GRAMMY.
This determination, as with cases in which the co-billing involves a band as a whole, will be at the
discretion of the Academy.

An entire album entered in the Jazz Vocal Category may not be entered again in a Jazz Instrumental
Category, even if the artist is shifted. If the vocalist(s) and instrumentalist(s) are billed equally,
the Academy will determine the appropriate Category based on number of vocal tracks versus
instrumental tracks; or, if the number of tracks is equal, the total playing time of the vocal versus
instrumental tracks.

BEST JAZZ INSTRUMENTAL ALBUM

FOR ALBUMS
INSTRUMENTAL ONLY
SCREENING CRITERIA This Category recognizes excellence in albums by individuals or groups
generally thought of as “small jazz groups,” typically from one to eight musicians performing jazz
music, including straight-ahead jazz and contemporary jazz.

This Category may also include albums with larger back-up ensembles that provide coloring and
background to what is essentially a small group performance. The extent of interaction between the
soloist(s) and the large ensemble employed in the arrangements is the deciding factor for eligibility
in those cases. The size of the ensemble is not determinative as much as the instrumental makeup
and how the music is scored.

BEST LARGE JAZZ ENSEMBLE ALBUM

FOR ALBUMS
INSTRUMENTAL OR INSTRUMENTAL WITH VOCALS
SCREENING CRITERIA This Category recognizes excellence on albums of large jazz ensemble
performance, primarily recordings with a “big band sound.” Other large ensemble or orchestral jazz
recordings where a number of musicians come together, most commonly to play arrangements
featuring the orchestrational possibilities of a large ensemble of musicians are eligible. In some
instances, arrangements may be less structured (so-called “head arrangements”) that nonetheless
demonstrate the orchestration possibilities of a large ensemble setting.

Generally, these ensembles must contain nine or more members to be eligible in this Category
(excluding the conductor or bandleader). The ensembles may be billed as ensembles or under the
name of a solo artist who is the featured band or orchestra leader.

Recordings that use synthesizers to imitate the sound of a large jazz ensemble are not eligible in
the Category. Large jazz vocal ensemble albums must be entered in Best Jazz Vocal Album.
47
BEST LATIN JAZZ ALBUM
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in Latin jazz albums by ensembles
of any size that represent the blending of jazz with Latin and Iberian-American, Brazilian and
Argentinian tango music.

Gospel/Contemporary Christian Music Field

This Field is distinguished from all the other Genre Fields by the nature of its lyrical content, which
explicitly embraces the Christian worldview.

BEST GOSPEL PERFORMANCE/SONG

FOR ARTISTS AND SONGWRITERS (OF NEW SONGS)
FOR SINGLES OR TRACKS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in a solo, duo, group, or collaborative
vocal performance and in songwriting (if the song is new) of a traditional Christian, roots gospel or
contemporary gospel recording.

BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG

FOR ARTISTS AND SONGWRITERS (OF NEW SONGS)
FOR SINGLES OR TRACKS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in a solo, duo, group, or collaborative
vocal performance and in songwriting (if the song is new) of a contemporary Christian pop, rap/hip-
hop, Latin, or rock music recording.

BEST GOSPEL ALBUM

FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in a solo, duo, group, or collaborative
performance of traditional or contemporary/R&B gospel music recordings. Recordings of sermons
are eligible in Best Audio Book, Narration And Storytelling Recording.

For choir or chorus albums, the recognition goes to the choir director or choral director at the
discretion of the Academy.

BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM

FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in a solo, duo, group, or collaborative
performance of Contemporary Christian Music, including pop, rap/hip-hop, Latin, and rock.
Recordings of sermons are eligible in Best Audio Book, Narration And Storytelling Recording.

48
BEST ROOTS GOSPEL ALBUM
FOR ALBUMS
VOCAL ONLY
SCREENING CRITERIA This Category recognizes excellence in a solo, duo, group, or collaborative
performance of traditional/roots gospel music, including country, Southern gospel, bluegrass,
and Americana. Recordings of sermons are eligible in Best Audio Book, Narration And Storytelling
Recording.

Latin Field

BEST LATIN POP ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in Latin music recordings that utilize a
stylistic intention, song structure, lyrical content, and/or musical presentation to create a sensibility
that reflects the broad spectrum of Latin pop and urban music styles and culture. The Category
includes recordings from balladeers and commercial Latin music and is not limited to any one region. It
is inclusive of music known as international sound and romantic ballad.

Albums with lyrics that are greater than 50 percent in Spanish or albums with music content that is
primarily of a Latin genre in style (excluding Brazilian music) are eligible.

BEST MÚSICA URBANA ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA Best Música Urbana encompasses music greater than 50 percent or more
Spanish lyrics, originating in reggaeton and other Latin urban styles, including rap, house, R&B, trap,
and others.

BEST LATIN ROCK OR ALTERNATIVE ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in Latin rock or alternative music
recordings that utilize a stylistic intention, song structure, lyrical content, and/or musical presentation
to create a sensibility that reflects the broad spectrum of the Latin music style and culture.

Albums with lyrics that are greater than 50 percent in Spanish or albums with music content that is
primarily of a Latin genre in style (excluding Brazilian music) are eligible.

BEST REGIONAL MEXICAN MUSIC ALBUM (INCLUDING TEJANO)

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in recordings of the regional music of
Mexico, including banda, norteño, corridos, gruperos, mariachi, rancheros, and huapango, as well as
Tejano music. Eligible albums utilize a stylistic intention, song structure, lyrical content, and/or musical
presentation to create a sensibility that reflects the broad spectrum of regional Mexican and Tejano
music styles and cultures. 49
Albums with lyrics that are greater than 50 percent in Spanish or albums with music content that is
primarily of a traditional Mexican music genre in style are eligible. The musical style is determinative
not the ethnicity of the performer(s).

BEST TROPICAL LATIN ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in tropical Latin music recordings,
including traditional and contemporary tropical styles like salsa, merengue, vallenato, cumbia, and
bachata. Albums that utilize a stylistic intention, song structure, lyrical content, and/or musical
presentation to create a sensibility that reflects the broad spectrum of tropical Latin music style
and culture are eligible. This Category houses all tropical genres, not just idioms rooted in history,
heritage or tradition.

Albums with lyrics that are greater than 50 percent in Spanish or albums with music content that is
primarily of a Latin genre in style (excluding Brazilian music) are eligible.

American Roots Music Field

BEST AMERICAN ROOTS PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in American Roots Music
performance. The Category encompasses all of the subgenres of the American Roots Field
(bluegrass, blues, folk, and regional roots music).

BEST AMERICANA PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in performances of Americana music:
contemporary music that incorporates elements of various American roots music and vocal styles,
including country, roots-rock, folk, bluegrass, R&B, and blues, resulting in a distinctive roots-
oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw.

While acoustic instruments are often present and vital, Americana often uses a full electric band.
BEST AMERICAN ROOTS SONG
A SONGWRITER’S AWARD
VOCAL
SCREENING CRITERIA This Category recognizes excellence in songwriting in any of the subgenres
encompassed in the American Roots Music Field, including Americana, bluegrass, blues, folk, or
regional roots music. Instrumentals are not eligible in this Category. Song must contain lyrics.

50
BEST AMERICANA ALBUM
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in albums of Americana music:
contemporary music that incorporates elements of various American roots music and vocal styles,
including country, roots-rock, folk, bluegrass, R&B, and blues, resulting in a distinctive roots-
oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw.
While acoustic instruments are often present and vital, Americana often uses a full electric band.

BEST BLUEGRASS ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in bluegrass recordings performed
in vocal or instrumental styles that utilize bluegrass acoustic instrumentation (variations of fiddle,
banjo, guitar, mandolin, bass, and Dobro) and singing style, with production and sensibilities
distinctly different from a pop approach.

BEST TRADITIONAL BLUES ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in albums of traditional blues
recordings. Traditional blues includes blues recordings with traditional blues song structures,
harmonic structures and rhythms, including traditional blues instruments such as acoustic and
electric guitar, piano, organ, harmonica, horns, acoustic and electric bass, and drums. It also
includes subgenres such as Delta blues, Piedmont blues, jump/swing blues, Chicago blues, and
classic/Southern soul.

BEST CONTEMPORARY BLUES ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in contemporary blues recordings.
It includes blues recordings that vary from traditional blues song and harmonic structures. May
employ non-traditional blues rhythms such as funk, hip-hop, reggae, and rock. May include
traditional blues instruments and non-traditional blues instruments, as well as contemporary
production techniques.

BEST FOLK ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in folk recordings in modern and/or
traditional vocal and instrumental styles, as well as original material by artists who utilize traditional
and/or modern folk elements, sounds and instrumental techniques as the basis for their recordings.
Folk music is primarily but not exclusively acoustic, with production and sensibilities distinctly
different from a pop approach.

51
BEST REGIONAL ROOTS MUSIC ALBUM
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes recordings of regional roots styles of music,
including Cajun, Hawaiian, Native American, Second Line brass band, polka, zydeco, go-go, swamp
pop, and others, with production and sensibilities distinctly different from a pop approach. Native
American music is defined as recordings that contain traditional and contemporary Native American
music elements within composition and arrangement. On Hawaiian music recordings, the Hawaiian
language must be used in greater than 50 percent or more of the vocal tracks on the album and
eligibility will be determined by the Screening Committee.

Reggae Field

BEST REGGAE ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in albums of reggae music, including
roots reggae, dancehall and ska music.

Global Music Field

BEST GLOBAL MUSIC PERFORMANCE

FOR SINGLES OR TRACKS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category is intended for vocal and instrumental performances with
strong elements of global cultural significance that blend music forms and techniques found in pop,
R&B, dance, rap, and folk with unique music forms, local expressions and techniques found among
the global diaspora originating outside the United States. The combination gives a unique sense of
melody, rhythm, harmony, and lyric that is of global appeal.

BEST GLOBAL MUSIC ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in albums of global music. This
specifies music that incorporates global music elements uniquely found beyond traditional U.S.
conventions or styles, including music that utilizes unique local expressions from across the globe.
Given its inclusive nature, this Category focuses on the excellence and quality of the recordings and
performances themselves, independent of a particular genre or style (despite its popularity at any
given moment in time).

Albums of reggae, Latin or European pop music are not eligible in this Category and should be
entered in other Categories as appropriate.

52
Children’s Field

BEST CHILDREN’S MUSIC ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in children’s music recordings that
utilize a stylistic intention, song structure, lyrical content, and/or musical presentation to create a
sensibility that reflects the broad spectrum of children’s music. These albums must be created and
intended specifically for children.

All children’s music recordings belong in this Category, even those with a musical style rooted in
Latin music, gospel, rock, rap, etc. The word “children” is used broadly, with no specific age range
defined.

Children’s spoken word albums are eligible in Best Audio Book, Narration, And Storytelling
Recording. Soundtrack albums of children’s movies are eligible in Best Compilation Soundtrack For
Visual Media.

Spoken Word Field

BEST AUDIO BOOK, NARRATION AND STORYTELLING RECORDING

FOR ALBUMS
SCREENING CRITERIA This Category recognizes excellence in spoken work albums (not including
Spoken Word Poetry). Albums of audio books, storytelling, non-musical drama, sermons, narrations
with or without music collaboration or accompaniment, and instructional recordings are eligible.
(If the recording has musical accompaniment but is primarily a spoken work, the narrator would
be eligible while the musical accompanist(s) may be identified in parentheses.) Recordings that
accompany children’s picture books are eligible if the recorded content is non-repetitive and
otherwise meets the requirements for an album entry. Recordings that feature song lyrics that are
spoken or rapped are eligible in the appropriate genre Categories. Incidental talk or conversation in
a studio used as an accent to a musical recording does not constitute a spoken work performance.
Compilations or excerpts of previously broadcast radio or television shows, albums of sound effects,
and albums of environmental recordings are not eligible in this Category.

BEST SPOKEN WORD POETRY ALBUM

FOR ALBUMS
SCREENING CRITERIA This Category recognizes excellence in spoken work poetry albums.
Spoken Word or Spoken Word Poetry is an oral poetic performance art that refers to the poem
as well as the performers’ aesthetic qualities such as intonation, vocal inflections, rhythmic
cadence, and musicality. Albums of spoken word poetry with or without music collaboration or
accompaniment are eligible. (If the recording has musical accompaniment but is primarily spoken
word, the spoken word artist would be eligible while the musical accompanist(s) may be identified in
parentheses.)

Recordings that feature song lyrics that are spoken or rapped are eligible in the appropriate genre
Categories.
53
Incidental talk or conversation in a studio used as an accent to a musical recording does not
constitute a spoken word poetry performance. Compilations or excerpts of previously broadcast
radio or television shows, albums of sound effects, and albums of environmental recordings are not
eligible in this Category. Television shows, albums of sound effects and albums of environmental
recordings are not eligible in this Category.

Comedy Field

BEST COMEDY ALBUM

FOR ALBUMS
SCREENING CRITERIA This Category recognizes excellence in comedy recordings, including
spoken word stand-up comedy and musical/novelty recordings. New comedy performance albums,
whether recorded in a studio or live, and whether recorded in an audio only format or as part of a
video project are eligible. Recordings that are compilations/excerpts from a current year radio or
television program, or new recordings of comedy performance first aired on television within five
years of the release date, are also eligible.

Recordings that are compilations/excerpts from non-current year broadcast radio or television
programs, audio books (even if considered humorous), albums of sound effects, and albums of
environmental recordings are not eligible in Best Comedy Album and may be entered in other
Categories as appropriate.

Musical Theater Field

BEST MUSICAL THEATER ALBUM

FOR ALBUMS
SCREENING CRITERIA This Category is for recordings of the score of a musical theater work
created to support an underlying dramatic intention or theme. This award honors excellence in the
performance(s) in and production of musical theater recordings. Elements of the corresponding
stage production should not be considered in evaluating the recording.

Recordings of revues that reflect a dramatic theme, including those consisting of songs from the
score of a specific musical theater work and those with scores comprised of preexisting material
repurposed for said revue are also eligible.

Eligible entries must be recordings of work created to support an underlying dramatic intention or
theme. (Elements of the corresponding stage production should not be considered in evaluating
the recording.)

Benefit/tribute concerts featuring performances of various musical show songs by a specific

songwriter and recordings of concert tours are not eligible. Non-musical theater performance
albums are likewise not eligible in this Category.

54
Music For Visual Media Field

BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA (INCLUDES FILM, TELEVISION,

VIDEO GAMES, AND OTHER VISUAL MEDIA)
FOR ALBUMS
SCREENING CRITERIA This Category recognizes excellence in soundtrack compilation albums
comprised of predominantly song or non-original instrumental compositions, created specifically
for or as a companion to, a current legitimate motion picture, television show or series, video game,
or other visual media production. Albums in this Category must be greater than 50 percent song
compilation and may include previously released (not newly recorded) material.

At least two-thirds of the musical tracks on the album must have been used in the motion picture,
television show or series, video game, or other visual media production.

An eligible soundtrack album for a documentary, biopic or a work that combines the two forms, must
contain 50 percent or more of newly recorded music. Category placement will be determined by the
predominant nature of the newly recorded music — song or score — featured in the visual medium,
and the visual medium must also predominantly feature new recordings.

Greater than 50 percent of the playing time on an otherwise eligible television soundtrack must be
derived from new episodes or new programming that airs during the GRAMMY eligibility year for
which it is entered.

Configurations which do not meet the general eligibility guidelines (DVDs or video games that
contain music but are not available as stand-alone audio streams/releases) are not eligible.

Live concert films, live or filmed stage shows, musical/variety television shows, musical
documentaries in which the primary focus is live performance or which are primarily “making of”
works, and soundtrack albums that are greatest hits/career retrospective are not eligible.

Albums and songs that are released during the current eligibility period but belong to a visual media
that will be released during the next eligibility period and after the deadline for the First Round of
GRAMMY voting will have two options:

1. Enter them during the current year in Categories other than the ones in the Music For Visual
Media Field. They will not be eligible the following year in the Music For Visual Media Field if this
option is chosen.

2. Enter them the following year as long as they do not get entered in any Category during the
current year. Albums will only be eligible in their respective Category: Compilation or Score. Songs
will be eligible in Song Written For Visual Media. They will also be eligible in other song Categories
as long as they fulfill the “track from a previous year is eligible” rule.

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BEST SCORE SOUNDTRACK FOR VISUAL MEDIA (INCLUDES FILM AND TELEVISION)
FOR ALBUMS
SCREENING CRITERIA This category recognizes excellence in score soundtrack albums. These are
albums comprised predominantly of original score and created specifically for, or as a companion to,
a current legitimate motion picture, television show or series or other visual media.

At least two-thirds of the musical tracks on the album must have been used in the motion picture,
television show or series. Greater than 50 percent of the music on an otherwise eligible television
soundtrack must be derived from new episodes or new programming that airs during the GRAMMY
eligibility year for which it is entered.

Eligible orchestrations may include vocal coloring (not songs) when used in the overall texture of the
orchestra, such as choral groups or solo voices with or without words or syllables.

Soundtracks of live concert films, live or filmed stage shows, musical/variety television shows, and
musical documentaries in which the primary focus is live music performance are not eligible.

Albums and songs that are released during the current eligibility period but belong to a visual media
that will be released during the next eligibility period and after the deadline for the First Round of
GRAMMY voting will have two options:

1. Enter them during the current year in Categories other than the ones in the Music For Visual
Media Field. They will not be eligible the following year in the Music For Visual Media Field if this
option is chosen.

2. Enter them the following year as long as they do not get entered in any Category during the
current year. Albums will only be eligible in their respective Category: Compilation or Score. Songs
will be eligible in Song Written For Visual Media. They will also be eligible in other song Categories
as long as they fulfill the “track from a previous year is eligible” rule.

BEST SCORE SOUNDTRACK FOR VIDEO GAMES AND OTHER INTERACTIVE MEDIA
FOR ALBUMS
SCREENING CRITERIA This Category recognizes excellence in score soundtrack albums
comprised predominantly of original scores and created specifically for, or as a companion to, a
current video game, or other interactive media (AR/VR/portable devices, etc.), released within the
qualification period. At least two-thirds of the musical tracks for the album must have been used in
the shipped game product, as either in-game, live action play or Cinematics within the video game
or interactive media product. Album releases will adhere to the same timing guidelines delineated
in the Music For Visual Media Field whereby the media product and the soundtrack album often
are not in the same eligibility year. The Academy recognizes these timing discrepancies, evaluates
them and adjusts accordingly. Eligible scores may include vocal coloring (not songs) when used in
the overall texture of the composition, such as choral groups or solo voices with or without words or
syllables.

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Albums and songs that are released during the current eligibility period but belong to a visual media
that will be released during the next eligibility period and after the deadline for the First Round of
GRAMMY voting will have two options:
1. Enter them during the current year in Categories other than the ones in the Music For Visual
Media Field. They will not be eligible the following year in the Music For Visual Media Field if this
option is chosen.

2. Enter them the following year as long as they do not get entered in any Category during the
current year. Albums will only be eligible in their respective Category: Compilation or Score. Songs
will be eligible in Song Written For Visual Media. They will also be eligible in other song Categories
as long as they fulfill the “track from a previous year is eligible” rule.

BEST SONG WRITTEN FOR VISUAL MEDIA (INCLUDES FILM, TELEVISION, VIDEO GAMES,
AND OTHER VISUAL MEDIA)
A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA This Category recognizes excellence in songwriting for songs with melody
and lyrics written specifically for and used in a motion picture, television show or series, video game,
or other visual media.

In Best Song Written For Visual Media, the film version of the song may be entered, even if it is
different from the version entered in other Categories.

Albums and songs that are released during the current eligibility period but belong to a visual media
that will be released during the next eligibility period and after the deadline for the First Round of
GRAMMY voting will have two options:

1. Enter them during the current year in Categories other than the ones in the Music For Visual
Media Field. They will not be eligible the following year in the Music For Visual Media Field if this
option is chosen.

2. Enter them the following year as long as they do not get entered in any Category during the
current year. Albums will only be eligible in their respective Category: Compilation or Score. Songs
will be eligible in Song Written For Visual Media. They will also be eligible in other song Categories
as long as they fulfill the “track from a previous year is eligible” rule.

Composing/Arranging Field

BEST INSTRUMENTAL COMPOSITION

A COMPOSER’S AWARD
FOR SINGLES OR TRACKS
INSTRUMENTAL ONLY
SCREENING CRITERIA This Category recognizes excellence in instrumental composition. The
Category is open to any original non-classical composition without lyrics first released on a

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recording during the eligibility year, including original instrumental themes or main titles written for
motion pictures or television, jazz compositions and new composition backing spoken word entries.
Instrumental compositions with “vocal coloring” are eligible.

BEST ARRANGEMENT, INSTRUMENTAL OR A CAPPELLA

AN ARRANGER’S AWARD
FOR SINGLES OR TRACKS
INSTRUMENTAL OR A CAPPELLA ONLY
SCREENING CRITERIA This Category recognizes excellence in instrumental arrangements on
instrumental recordings or a cappella arrangements on vocal a cappella recordings. The Category is
open to singles or tracks from albums released during the current eligibility year only. (Compositions
that are extended suites across several tracks are eligible as long as they are clearly conceived and
released as such.)

An arrangement is the organization of structure, rhythm, melodies, and harmonies for instruments
and/or voices into a cohesive performance piece or recording. An arrangement can be a
development, enhanced adaptation or a considerable reworking of an original composition and may
include the use of dynamics, modulations, tempo variations, improvisation, and various textures.
An instrumental recording with “vocal coloring” is eligible. A vocal arrangement with “instrumental
coloring” is eligible.

No arranger may be entered more than twice in the same arranging Category, whether for
instrumental or vocal arrangement, for arranging entries accompanying the same artist.

BEST ARRANGEMENT, INSTRUMENTS AND VOCALS

AN ARRANGER’S AWARD
FOR SINGLES OR TRACKS
VOCAL PERFORMANCES ONLY
SCREENING CRITERIA This Category recognizes excellence in arrangements that feature
instrumental and vocal performance in any combination. The Category is open to singles or tracks
from albums released during the current eligibility year only. (Compositions that are extended suites
across several tracks are eligible so long as they are clearly conceived and released as such.) An
arrangement is the organization of structure, rhythm, melodies, and harmonies for instruments and/
or voices into a cohesive performance piece or recording. An arrangement can be a development,
enhanced adaptation or a considerable reworking of an original composition and may include the
use of dynamics, modulations, tempo variations, improvisation, and various textures. No arranger
may be entered more than twice in the same arranging Category, whether for instrumental or vocal
arrangement, for arranging entries accompanying the same artist.

Package, Notes And Historical Field

BEST RECORDING PACKAGE

AN ART DIRECTOR’S AWARD
FOR ALBUMS OR SINGLES
SCREENING CRITERIA This Category recognizes excellence in the Field of art and packaging for
albums or singles released in a standard format. Physical product in any configuration, of any genre
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of music, released for the first time during the eligibility year (even if recordings were previously
released) is eligible provided the packaging is predominantly new. The elements judged in this
Category include the package design, photography and/or graphic art of the entire package as well
as any materials included.
If the album art/packaging has been previously released, or is being reissued with only minimal new
design elements, it is not eligible.

BEST BOXED OR SPECIAL OR LIMITED-EDITION PACKAGE

AN ART DIRECTOR’S AWARD
FOR BOXED SET, SPECIAL PACKAGE OR LIMITED-EDITION RELEASES
SCREENING CRITERIA This Category recognizes excellence in the Field of art and packaging for
new special-edition, or limited-edition, or boxed-set packages in any configuration, of any genre
of music, released for the first time during the eligibility year (even if recordings were previously
released). The elements judged in this Category include the package design, photography and/or
graphic art of the entire package as well as any materials included.

The packaging must be predominantly new: If the album art/packaging has been previously
released, or the recording is being reissued with only minimal new design elements, is not eligible

Limited edition and special package releases must still meet the general distribution requirements
to be eligible.

BEST ALBUM NOTES

A NOTES WRITER’S AWARD
FOR ALBUMS ONLY
SCREENING CRITERIA This Category recognizes excellence in album notes writing. Entries must
be one piece of original writing written for a specific album (in any genre) and released as part of
that album for the first time during the eligibility year. (In the event of a collaboration where more
than one writer has signed the same piece of work, a determination of eligibility will be left to the
discretion of the Academy.)

Eligible notes must be of literary excellence, originality and communicativeness and provide relevant
exposition of recorded content. Each entry in the Category must be predominantly original writing.

Books or booklets written for an album that are simultaneously released separately do qualify.

Notes taken from previously issued books, articles or reviews are not eligible. Nor are album notes
eligible that are simply testimonials, transcripts of prior interviews not specifically created for the
current release, brief letters of praise, or congratulations.

BEST HISTORICAL ALBUM

FOR ALBUMS ONLY
VOCAL OR INSTRUMENTAL

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ALL GENRES
SCREENING CRITERIA This Category recognizes excellence in newly created albums in any
genre that feature historically significant material with new annotation and new packaging that
provide important contributions to a fresh historical perspective on the circumstances of the
recording in areas of program content and technology and, where relevant, quality remastering
and/or audio restoration.

Eligible entries may include previously released recordings, alternate takes and/or previously
unreleased recordings in any combination as well as old motion picture soundtracks, cast show
albums and radio broadcasts.

Straight reissues of previously released albums that have no quality restoration or remastering
and no changes in their sequence of tracks or packages are not eligible. Variant forms of previously
GRAMMY-entered material are not eligible.

This Category is not for new recordings of a historic nature or albums that are newly recorded re-
creations of historic material, sessions or events. Those albums should be entered in the appropriate
genre Categories. Up to three compilation producers can be entered for each entered album.

Songwriting Field

SONGWRITER OF THE YEAR, NON- CLASSICAL

A SONGWRITER’S AWARD
FOR SINGLES OR TRACKS
SCREENING CRITERIA This Category recognizes the written excellence, profession and art of
songwriting for non-performing and non-producing songwriters.

This Category is for songwriters whose body of work released for the first time during the current
eligibility year represents artistic excellence in the area of songwriting.

Songwriters must have written a minimum of five songs in which they are credited “solely” as a
songwriter or co-writer. Songs in which the songwriter was also credited as a Primary or Featured
Artist, Producer or any other supporting role do not qualify to achieve a minimum song threshold for
consideration.

Songwriters may supplement their core five song submission with up to four more songs in which
the songwriter has songwriting credits as well as additional credits such as Primary or Featured
Artist, Producer or any other supporting role.

The maximum number of songs cannot exceed nine entries, which is comparable to the number of
submissions allowed for consideration in the Producer Of The Year, Non-Classical Category.

60
Songs from albums released in a previous year are not eligible, even if released as a single or added
to a new album released during the current eligibility year. Rereleased, covered, remixed, reissued,
and historical recordings of songs are not eligible.

Production Field

BEST ENGINEERED ALBUM, NON-CLASSICAL

AN ENGINEER’S AWARD
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in engineering. All the eligibly credited
recording engineers, mixers/mixing engineers and mastering engineers on a newly recorded non-
classical album released for the first time during the current eligibility year are eligible.

The basic criterion for judging should be the finished product; that is, the commercially released
recording itself. In addition, the overall mix, any unique techniques, the quality of sound, and the
trueness of its reproduction are considered. Other factors, such as overdubbing or the number of
tracks used or the site or mode of the recordings, become secondary.

PRODUCER OF THE YEAR, NON-CLASSICAL

A PRODUCER’S AWARD
FOR ALBUMS, TRACKS OR SINGLES
SCREENING CRITERIA This Category recognizes excellence in production of non-classical audio
recordings. This Category is for a producer whose body of work released for the first time during the
eligibility year represents consistently outstanding creativity in the area of recording production.
One album OR six tracks or singles constitute the minimum for a producer to be eligible in the
Category. The body of work will be up to nine projects. If the number of entries submitted exceeds
the maximum of nine, the selection of which nine entries to be included will be made by the producer.
Minimum qualifications may be satisfied by combining a producer’s solo production credits with
those as part of a team of producers.

Each producer must provide at least one eligible single or track entry producing an artist other than
themselves to be eligible in the Category.

While an individual may enter recordings that are either solo production efforts or co-production
efforts, a production team must enter only projects they have worked on as a team during the
eligibility year. An individual cannot appear on the ballot as both an individual and a member of a
producer team.

Only recordings released in the current eligibility year are eligible in this Category. Tracks from
albums released in a previous year are not eligible, even if released as a single in the current year.
Rereleased, reissued and historical recordings are not eligible.

BEST REMIXED RECORDING

A REMIXER’S AWARD
FOR SINGLES OR TRACKS

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SCREENING CRITERIA This Category recognizes excellence in remixed recordings (“remixes”)
where the remixer takes previously recorded and released material and creatively adds to, alters
or transforms it in such a way as to create a new and unique performance. The Category is not for
“covers,” re-recordings, remastered releases of previously issued recordings, or edits which are only
a shortened version of a master recording for marketing or broadcast purposes. Also, the addition
of a vocal performance by a featured artist without substantive change to the original music
recording is not eligible as a remix. Singles or tracks do not have to be commercially released for
sale or streaming if they have been released to clubs or radio in the U.S. for the first time during the
eligibility year. Both the remixed version and the original version of the recording must be available
to the Academy for judging purposes.

BEST IMMERSIVE AUDIO ALBUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
ALL GENRES
SCREENING CRITERIA This Category recognizes excellence in multichannel immersive audio
recordings. Eligible recordings must be commercially released for sale or streaming on a consumer
format/configuration (DVD-Video, DVD-Audio, SACD, Blu-ray, Atmos, Auro-3D, immersive
download, etc.) that provides an original immersive mix (not electronically repurposed) of four or
more channels.

On releases that include multiple distinct mixes, entrants will be prompted to choose which
immersive mix they are entering for GRAMMY consideration. Only one mix per album will be eligible.

BEST ENGINEERED ALBUM, CLASSICAL

AN ENGINEER’S AWARD
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in engineering. All the eligibly
credited engineers on a newly recorded classical album released for the first time during the current
eligibility year are eligible in the Category.

The basic criterion for judging should be the finished product; that is, the commercially released
recording itself. In addition, the overall mix, any unique techniques, the quality of sound, and the
trueness of its reproduction are considered. Other factors, such as overdubbing or the number of
tracks used or the site or mode of the recordings, become secondary. Any appraisal of a recording
should be made on the basis of the total album itself.

PRODUCER OF THE YEAR, CLASSICAL

A PRODUCER’S AWARD
FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in production of classical audio
recordings. This Category is for a producer whose body of work released for the first time during the
eligibility year represents consistently outstanding creativity in the area of recording production.

One album is required to qualify for entry in the Category. A multi-album set of a single work is
62
considered one recording. The body of work will be up to nine projects. If the number of entries
submitted exceeds the maximum of nine, the selection of which nine entries to be included will be
made by the producer. Minimum qualifications may be satisfied by combining a producer’s solo
production credits with those as part of a team of producers.
While an individual may enter recordings that are either solo production efforts or co-production
efforts, a producer team must enter only projects they have worked on as a team during the
eligibility year. An individual cannot appear on the ballot as both an individual and a member of a
producer team.

Only recordings released in the current eligibility year are eligible in this Category. Tracks from
albums released in a previous year are not eligible, even if released as a single in the current year.
Rereleased, reissued and historical recordings are not eligible.

Classical Field

Several Categories in the Classical Field accept albums and tracks. In classical Categories where
both albums and tracks are eligible, if the entire album qualifies as an entry, then tracks from that
album are not also eligible in the Category.

Classical tracks (newly recorded) are allowed entry as separate entities regardless of the
percentage of playing time of the album and/or other recorded material on the album that may be of
a non-classical genre.

BEST ORCHESTRAL PERFORMANCE

FOR ALBUMS, TRACKS OR SINGLES
SCREENING CRITERIA This Category recognizes excellence in recordings of classical orchestral
performance. Recordings that are predominantly orchestral in performance and intent by large
ensembles of 25 or more, regardless of instrumentation, are eligible. The recordings may include
incidental vocal elements.

If one or more orchestral works are coupled with a solo or chamber recording, only the orchestral
portion is eligible in this Category.

Concertos with solo instrumental performances are eligible in Best Classical Instrumental Solo only.

The orchestral organization is not considered a nominee, only a statuette winner.

BEST OPERA RECORDING

FOR ALBUMS
SCREENING CRITERIA This Category recognizes excellence in albums of complete opera
recordings. (Opera highlights albums, recordings of opera arias, recital repertoire, and albums of
vocal solos or choral numbers extracted from complete operas are not eligible.)

Both audio-only and audio-video (DVD) entries are eligible; but in the latter case, only the audio
portion is considered.

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BEST CHORAL PERFORMANCE
FOR ALBUMS, TRACKS OR SINGLES
SCREENING CRITERIA This Category recognizes excellence in recordings of classical choral
performance. Choral ensembles comprised of 16 or more vocalists, whether unaccompanied or
accompanied by any number of instrumentalists, with or without conductor, singing in unison or
multiple parts are eligible in this Category. Choral numbers, operatic or otherwise, qualify only if
they have been recorded as separate productions and are not extracted from a complete work.

Choral performances extracted from opera or symphonic recordings are not eligible.

The choral organization is not considered a nominee, only a statuette winner.

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

FOR ALBUMS, TRACKS OR SINGLES
SCREENING CRITERIA This Category recognizes excellence in classical chamber music and small
ensemble performance recordings. Instrumental, vocal or mixed instrumental/vocal groups, with or
without conductor, are eligible as long as the number of instrumental, vocal or mixed instrumental/
vocal group participants does not exceed 24, not including the conductor.

Choral ensembles comprised of 16 or more vocalists, whether unaccompanied or accompanied by

any number of instrumentalists, with or without conductor are eligible in Best Choral Performance
only.

BEST CLASSICAL COMPENDIUM

FOR ALBUMS
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes albums of classical music recordings developed
and united by an artist, composer, tribute, thematic idea, musical, or other unifying concept,
including crossover albums that contain greater than 50 percent classical material.

Albums may include historic, spoken and/or documentary material, as long as these are in service
of the album concept and do not exceed 50 percent of the total playing time. Albums entered in
Classical Compendium may not be entered in other classical Categories; however, individual tracks
from Compendium entries may be eligible in other classical Categories.

BEST CONTEMPORARY CLASSICAL COMPOSITION

A COMPOSER’S AWARD
FOR ALBUMS, TRACKS OR SINGLES
VOCAL OR INSTRUMENTAL
SCREENING CRITERIA This Category recognizes excellence in contemporary classical
composition. It is open to original classical compositions, including newly composed operas,
composed within the last 25 years and released on a recording for the first time during the eligibility
year. Eligible compositions must be individual works and world premiere recordings. Classical
motion picture and television compositions are eligible here. Audio-video (DVD) of new operas are
eligible, but only the audio portion is considered.

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New versions, arrangements, suites, transcriptions, reorchestrations, remixes, and/or any other types of
variants of preexisting compositions are not eligible.

The full-length score on PDF must be submitted with each entry for this Category.
BEST CLASSICAL INSTRUMENTAL SOLO
FOR ALBUMS, TRACKS OR SINGLES
FOR SOLO INSTRUMENTAL PERFORMANCES (WITH OR WITHOUT ACCOMPANIMENT)
SCREENING CRITERIA This Category recognizes excellence in classical instrumental solo recordings,
including concertos and concerto-style works (including multi-instrumental concertos).

BEST CLASSICAL SOLO VOCAL ALBUM

FOR ALBUMS ONLY
FOR SOLO VOCAL PERFORMANCES
SCREENING CRITERIA This Category recognizes excellence in albums of classical solo vocal
recordings. Eligible albums may contain song literature, operatic arias, vocal cycles (i.e., multi-movement
works), and/or other types of vocal music, with one or more collaborating artists such as accompanists,
chamber ensembles, choruses, and orchestras, with or without conductor. Multiple soloists are eligible in
this Category.

Arias, operatic or otherwise, qualify only if they are recorded as separate productions and not extracted
from a complete work.

Music Video/Film Field

BEST MUSIC VIDEO

FOR MUSIC VIDEOS
VOCAL OR INSTRUMENTAL
ANY GENRE
SCREENING CRITERIA This Category recognizes excellence in music videos. Music videos released online
during the current eligibility year, and that are synchronous or predominantly synchronous to a commercially
released recording are eligible as long as they are recognized by the artist and /or the record label as the
official video for an individual track.

Entrant must provide a streaming link via YouTube or Vimeo to the music video. The link must remain active
through the final voting period.

Fan videos or re-edits that are not recognized by the artist and/or the record label as the official video are not
eligible. Multitrack videos or visual albums (such works are eligible in Best Music Film) are not eligible either.
Individual videos taken from video album packages that were eligible in a previous year are not eligible.

A GRAMMY nomination in a performance Category does not affect the eligibility of an eligibly released music
video of the same recording in the following year(s).

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BEST MUSIC FILM
FOR MUSIC FILMS
VOCAL OR INSTRUMENTAL
ANY GENRE
SCREENING CRITERIA This Category recognizes excellence in concert/performance films or music
documentaries released for sale to the public for the first time or first appearing on television or online during
the current eligibility year. This Category includes music-related documentaries with a minimum of greater
than 50 percent of performance-based material and individual music videos that together create a visual
album (if videos are packaged and entered together as one cohesive film). While dramatic feature films and
biopics are not eligible, films with fictional elements are eligible.

Episodes from television/online series, award shows, music competition shows, fictional music films, and
musical biopics are not eligible as music films. Nor are re-edited or repackaged old (more than five years from
release date) programs, concert films in which the concert was recorded more than five years ago (older
concert footage may be used in music documentaries), compilations of music videos by various artists, or
any video films or promotional clips that were eligible in a previous eligibility year or compilations of such. The
addition of bonus material to an otherwise ineligible music film does not make the release eligible.

Entrants must provide an active streaming link on web platform or movie files on data disc, flash drive, DVD,
or DVD-R. (Digital master file is a [Link] codec. HD Apple Pro Res 422 QuickTime file preferred.
Native frame rate (usually 23.98 or 29.97 fps) and at a dimension of 1920x1080 or 1280x720.)

A GRAMMY nomination does not affect the eligibility of an eligibly released music film of the same recording
in the following year(s).

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