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Program Notes Format Guide

This document provides guidelines for student recitals at Berea College Music Program. It outlines 13 points including formatting of headings, program order, inclusion of composer names and dates, titles, languages, catalog numbers, and sample program layout. Students must submit their program in Word format to the coordinator two weeks prior to their recital for approval.

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0% found this document useful (0 votes)
45 views2 pages

Program Notes Format Guide

This document provides guidelines for student recitals at Berea College Music Program. It outlines 13 points including formatting of headings, program order, inclusion of composer names and dates, titles, languages, catalog numbers, and sample program layout. Students must submit their program in Word format to the coordinator two weeks prior to their recital for approval.

Uploaded by

M. Lorenzo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Berea College Music Program

Program Format Guidelines for Student Recitals and Concerts

1. Headings/Footers: Above your program listing, give your name and the names of your collaborator and other
musicians performing with you, if any, along with instruments played. Follow this with the day, date, place and
time of the recital.

2. Program Order: Submit programs in the order of the actual performance.

3. Composers: GIVE FULL NAMES OF COMPOSERS INCLUDING ANY SPECIAL ACCENT MARKS.
GIVE DATES FOR ALL COMPOSERS. For living composers indicate the year of Birth. In the case of
obscure composers give as much information as possible. For spelling and dates refer to the New Grove
Dictionary or the Oxford Dictionary Online, you can find this information on the web site Berea.edu/library.
Dates for compositions are welcome, especially for recent works, but are not required.

4. Title Content: List titles in standard format for the piece as defined in the New Groves Dictionary. Generic
titles such as "Sonata" and "Concerto" should only include descriptive terminology such as "for violin and
piano" when specifically indicated by the composer (not an editor).

5. Language: Write all generic titles in English. Keys, where applicable, should be listed in English. Give non-
generic titles in the language of the composer; alternatively in the generally accepted language. In the case of
languages that do not use the Roman alphabet, use an English translation. Always follow the standard rules for
capitalization of the language being used. Do NOT simply copy the title from your edition of the music until
you have confirmed the appropriate language. Always include any special foreign-language characters, such as
accent marks or umlauts.

6. Nicknames: Accepted and commonly used nicknames for specific works may be included in parentheses after
the generic title:
Sonata in B-flat Major, Op. 106 ("Hammerklavier") not "Hammerklavier" sonata
String Quartet in B Major, Op.76, No. 4 ("Sunrise") not "Sunrise" quartet.

7. Catalogue Numbers: Include Opus numbers, numbers within an Opus (Op. 56, No. l) or other identifying
commonly used catalog numbers (K. /BWV/D.). Numbers such as Sonata No. 3 or Concerto No. 5 are not to be
included unless specified in the title by the composer (not an editor). The abbreviations Op. and No' should be
capitalized. In the case of songs, include the opus number (if there is one) for larger entities such as a song
cycle, but individual songs need not include opus numbers. A group of songs by Brahms and Faure, for
example, need not list the different opus numbers for each song.

8. Key Designations: Indicate Major and Minor keys by the appropriate capital letter followed by "Major" and
"Minor" CAPITALIZED.

9. Movements: List all movements by the appropriate tempo indication or the title in the language used by the
composer.

10. Excerpted works: When performing a single song or movement from a larger work, always specify the name
of the larger work!! See Gounod example on reverse side

11. Transcriptions and arrangements: The transcriber or arranger, if any, should generally be listed under the
original composer. This may vary according to specific situations.

12. Typeface/Formatting: Please use TABS to separate all content (pieces and composer names, movements and
composer dates). All italics, underlining and quotation marks will be formatted according to standards
developed by CCM's office of Public Information in conjunction with the Scheduling Office.

13. Please see the other side for a sample program format.
JOSEPH P. SMITH, baritone

Sara Jones, piano

Tuesday, April 5, 2012


Gray Auditorium/ Presser Hall/ Berea College
3:00 p.m. / 8:00 p.m.

PROGRAM

FROM Various Settings of Alphonse Marie Louis de Lamartine Charles Gounod 15:00
[tab] I. [tab] Au rossignol [tab] (1818-1893)
II. Le Soir
IV. Seule!

French Suite in G Major, BWV 816 Johann Sebastian Bach 17:30


Allemande (b. 1960)
Courante
Sarabande
Gavotte
Bourrée
Loure
Gigue

Ballade in G Minor, Op. 23, No. 1 Frederic Chopin 9:00


(1810-1849)
arr. Joseph Schmo
(b. 1983)

Total length: 41:30

Submit two versions no less than two weeks prior to your recital date.

1. Word document emailed to [email protected]


Save as Recital.Date LastName.doc (10.5 Smith.doc)
2. Teacher signed copy turned into the music office

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