Metadata scope

Each individual work is documented as follows in MEI metadata. (For a technical documentation on how to enter these metadata in MerMEId, see guidelines.)

General metadata

• title (one main, possibly fictitious, title; additional titles for works with several named movements such as responsories and vespers)
• incipits (numbered consecutively)
• identification
  • TumW: number according to this catalogue
  • BalTh: number in the thematic catalogue by Ball (1900)
  • KliCh: number in the thematic catalogue by Klinka (1975)
  • PesMa: number in the thematic catalogue of masses by Peschek (1956)
  • ReiMa: number in the thematic catalogue of masses by Reichert (1935)
  • VogIn: number in the thematic catalogue by Vogg (1951)
• scoring (abbreviations as used in RISM)
• roles (optional; names of the vocal soloists)
• genre: antiphon, canticle, concerto, gradual, hymn, lamentation, litany, Marian antiphon, Marian hymn, mass, motet, offertory, oratorio, partita, pastorella, profane vocal music, psalm, requiem, responsory, rorate, sacred song, sequece, sinfonia, sonata, te deum, vesper
• place and date of composition
• bibliography
• work notes (e.g., why is an attribution spurious?)

Music

This section describes the individual movements of the work.

• one entry for each movement
  • consecutive number (fictitious)
  • title
  • tempo
  • key
  • meter
  • extent in bars
  • scoring
  • roles (optional)
  • text incipit (optional)
  • notes (optional)
  • orchestral incipit, comprising all instruments and voices
  • if applicable, a table describing individual sections (i.e., parts of the movement with distinct key, meter, scoring …)

Sources

This section describes the known sources of the work.

• source type (autograph manuscript, partly autograph manuscript, manuscript copy, print, or lost manuscript)
• classification in six categories:
  • content: main type of content; ‘notated music’ or ‘text’ (e.g., libretti)
  • presentation: the source’s basic mode of production or carrier; ‘manuscript’ or ‘print’
  • authority: ‘autograph’, ‘doubtful autograph’, ‘partly autograph’, or ‘copy’
  • scoring: ‘score’, ‘parts’, ‘vocal score’, or ‘score and parts’
  • state: the source’s place in the process of creation or production ‘draft’, ‘fair copy’, or ‘first edition’
  • completeness:
    • ‘complete’ indicates that this source is complete
    • ‘incomplete’ indicates that one or more parts are missing from a set of parts
    • ‘excerpt’ designates a section of a work, published or copied for stand-alone performance
    • ‘fragment’ indicates that portions of the music are missing, e.g. a fragmentary sketch or a source from which pages are lost
• location(s) (library siglum, shelfmark, link to digitized version or catalogue entry)
• RISM identifier
• publication (publisher, place) and dating
• one or more title pages (each title page is labeled by its position and represents a diplomatic transcription)
• physical description
  • extent (number of parts or pages/folios)
  • approximate size in cm (height x width)
  • number of staves per page, rastral size (if known)
• components and notes
  • individual parts with number of written pages in parentheses
  • miscellaneous notes

Ball, O. (1900). Thematisches Verzeichnis der Werke von Franz Tuma, 1704-1774]. Universität Wien. Retrieved from https://ubdata.univie.ac.at/AC16857005

Klinka, T. M. (1975). The choral music of Franz Ignaz Tuma with a practical edition of selected choral works (PhD thesis). The University of Iowa.

Peschek, A. (1956). Die Messen von Franz Tuma (1704–1744) (PhD thesis). Universität Wien.

Reichert, G. (1935). Zur Geschichte der Wiener Messenkomposition in der ersten Hälfte des 18. Jahrhunderts (PhD thesis). Universität Wien.

Vogg, H. (1951). Franz Tuma (1704–1744) als Instrumentalkomponist nebst Beiträgen zur Wiener Musikgeschichte des 18. Jahrhunderts (PhD thesis). Universität Wien.