I don’t understand the definitions of Collection and Movement, especially Movement:
This would apply to just about every multi-part work, wouldn’t it?
Determining when to use (and not to use) Act and Number would be less trouble since these are usually already included in the work title.
Probably does apply to just about every one. At least symphonies, concertos, etc. I think “movement” will be by far the most common one.
@reosarevok BTW, in your list of options, which would use use for Wagner’s Ring? It’s odd to call the four operas “movements”, but that seems match the definition given. I suppose we can continue to use the generic part/part of for things that don’t fit?
I would expect to just use “part of” for everything which isn’t really anything of the others, yes (and I’d expect it to be used quite often). More options can always be added in the future if we see a need.
I added the attributes I listed in my first message today (without link phrases for now, because orderable rels ignore them at the moment anyway):
Of course, it seems that broke something again, since I can’t load every relationship editor for works now. But I have @yvanzo on the case.
@MetaTunes: see Sylvia : Acte I for an example of how it looks now (I’ve also asked @yvanzo to change the ws to have an XML attribute with the ID of the relationship attribute like we have for relationship types right now)
Looks good. Next week I’ll take a look at incorporating an option into Picard “Classical Extras” plugin to take advantage of this. The new version of the plugin will also cater for multiple parents, partial recordings, medleys and arrangements, as well as reading saved file tags and allowing saved options to be used when re-tagging.
Scenes and numbers are completely different things. Scenes might change several times during a single number. For ballet we might consider having a scene attribute. For opera we typically shouldn’t even have scene works (as explained on the guidelines).
I agree that “scene” doesn’t work, but I’m not sure what to make of “number” either. Movement and collection add information, but I don’t see what would be the difference between “number” and an un-typed part-of relationship.
Not all parts of a work with numbers are numbers, too. See the Mozart Singspiel I shared earlier where the sung sections are numbers but the others aren’t.
Hmm. Leaving aside that an oratorio is not a stage work, wouldn’t it be better to use work type to say if a work was an opera etc.? “Number” is not an accepted term for musical parts of an opera or oratorio AFAIK. Typically such parts might be preludes, overtures, arias, recitatives, choruses, finales or just plain (instrumental) movements. For a “musical”, “number” might have a specific meaning (similar to aria) and my understanding is that it is this usage that has been borrowed for the new scheme for classical works. In other words, only arias etc. would be “numbers”, not recitatives or spoken sections. Given the potential for confusion, I think some style guidelines would be needed for this. Also, should the part types I have listed above be applied in some way - but as work type or relationship attribute?
Finally, oratorios tend to have Parts rather than Acts, so perhaps that should be a specific relationship attribute?
Ok, I take the point that “number” can have a specific meaning in a classical context as well as in musicals, but (perhaps mistakenly) I had inferred that it was being used in a more general sense. Either way, I think some clarification/guidance on its use would be helpful.