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Disambiguation of work pages
If one or more works by the same composer have the same title they will need to be distinguished. Consider whether this can be best accomplished by
- Catalogue number: O salutaris (Charles Gounod)
- Number or type of voices: Tu es Petrus (Giovanni Pierluigi da Palestrina); Adoramus te, Christe (Giovanni Pierluigi da Palestrina)
- Key: Dostoino est (Piotr Ilych Tchaikovsky)
- Publication date: Parce mihi Domine (1582) (Orlando di Lasso)
- Order within a particular print or manuscript: In manus tuas (John Sheppard)
- or other systems:
- Alternatim use: Magnificat secundi toni a 4, impares (Giovanni Pierluigi da Palestrina); Magnificat Secundi Toni (odd verses) (Tomás Luis de Victoria)
- Liturgical assignments: Tu es Petrus (Heinrich Isaac); Gaudeamus omnes
- Characteristic texture: Aus tieffer Noth (homophonic) (Hans Leo Hassler)
Problems and suggestions
- Some cases seem to require combining the above: Salve Regina (Orlando di Lasso)
- Some titles are abbreviations and can be easily resolved by using elipses: Ave Maria (Josquin des Prez). It is not acceptable to rely on punctuation marks, and best to follow the usage in chant book indices of omitting them when possible: Amen dico vobis is a disambiguation of texts page illustrating some pitfalls.
- Context usually shows whether pari and impari mean "even" and "odd", or "unmixed voices" (égales) and "mixed voices". Magnificat quarti toni a 4 voces pares (Giovanni Pierluigi da Palestrina) is in fact an alternatim setting of even numbered verses, but 4 voces pares refers to the use of SSAA boys voices.
- Magnificat primi toni better conforms to Style conventions on capitalization than Magnificat Primi Toni, and both are less anglo-centric than "mode 1". However, Magnificat i toni is even more accessible to international readers.
See further examples at Category:Disambiguation of works