• Asset quality

• Artist accuracy and formatting

• Localizations and phonetics

• Clean or explicit classification

The following kinds of content may be rejected:

• Public domain content

• Misleading content (sound-alike artists or performers)

• Content with legal or rights issues

1.1. Use of Apple Inc. Copyrighted Terms. Content that is not produced by Apple Inc. must not use Apple trademarks (including the Apple logo, Apple Inc., or Apple product names, such as iPhone, Apple Music, or iTunes) in the cover art or metadata in a manner that makes the content appear to be Apple-branded.

1.2. Advertising. Metadata, audio, and cover art must not contain advertising. For example, metadata must not contain references to competitors of Apple Music or iTunes, nor to any URLs, logos, or dates for future product releases. Search terms and keywords must not be included in metadata or cover art.

1.3. Editorial Corrections. Apple Music and iTunes reserve the right to correct any errors in grammar, spelling, and punctuation.

1.4. Complete Albums and Tracks. All tracks that exist on the physical version must be delivered and the track count must match. For example, if the physical version of an album has ten tracks, and the version provided contains eight tracks, the album is incomplete. The album will be marked Partial and the Buy Album button will not be displayed on iTunes.

1.5. Track Count Limit. An album must not have more than 500 tracks.

• 1.6. Metadata Language. To ensure that accents and capitalizations appear correctly on Apple Music and iTunes, the appropriate language must be set in the metadata at the album level. Language codes must match the language of the metadata, not the audio.

• 1.7. Track Audio Language. The appropriate audio language must be set in the metadata at the track level. Language code(s) must match the language spoken or sung in the audio. Nonlinguistic content must be flagged ‘zxx’.

• 1.8. Localizations. Localizations enhance the discoverability of your content. Provide Artist and Title metadata in the primary language you’ve chosen for your content. Accurate localizations should be provided for all languages you have available, unless you want the metadata to appear in the primary language in all territories.

Here are two examples of localized metadata for Hebrew- and Arabic-language albums:

1.9. Side-by-Side Translations. Do not use side-by-side translations in metadata. Use only one language in each entry or localization.

1.10. Emoji. Do not use emoji in titles, artist names, lyrics, or other metadata.

• 1.11. Curated Artist. Content will be hidden using the reason Curated Artist when Apple Music has curated an artist’s page and decided there are sufficient instances of a song or catalog available. If delivering public domain content, send only a version created from the best available source.

• 1.12. Repeated Submissions. Content will be hidden using the reason Repeated Submissions if multiple copies of the same content and/or audio files are submitted with a slightly different title and/or artist. Do not send duplicate versions of the same content (such as the same album with a rearranged track list, near-identical greatest hits albums, or compilation or holiday albums with similar or identical track lists).

• 1.13. Misleading. Content will be hidden using the reason Misleading if designed to mislead customers by mimicking popular content, or use of search terms or additional, inaccurate information. This includes but is not limited to trademarked artist names, album titles, or song titles that are similar or identical to popular culture brands or franchises, such as movies, theater, books, podcasts, social media, studios, and TV shows, titles, or characters. This also applies to trademarked imagery, logos, and fonts associated with those pop culture franchises. This also includes deceptive information in the title, such as "Royalty Free" or "Public Domain."

  Sound-alikes, cover versions, or tribute songs that sound very similar to the original, aren't accepted. Recordings that include a similar name, title, or image of a popular artist in the content title or cover art may be hidden for editorial reasons. This content may not violate copyright law, but it can cause customer confusion.

• 1.14. Cultural Sensitivities. Content will be hidden using the reason Sensitive Material. It is your responsibility to be knowledgable about local regulations and cultural sensitivities. Content must be legal and appropriate for the country or region where cleared.

• 1.15. Nazi Propaganda. Content will be hidden using the reason Refusal. Content must not depict Nazi symbolism as restricted by the Strafgesetzbuch section 86a if the content is cleared for sale in Germany (DE), Austria (AT), Switzerland (CH), or any other country or region that restricts Nazi propaganda.

  If content violating this rule is submitted, your entire catalog may be subject to suspension in Germany, Austria, Switzerland, and any other applicable country or region.

• 1.16. Snippets and Repetitious Tracks. Content will be hidden using the reason Refusal if snippets or repetitious tracks are used repeatedly across singles or albums.

• 1.17. Other Content Not Permitted. Content that falls in any of the below categories of music will be hidden:

  • Subliminal content

  • Karaoke music videos and ringtones

  • Karaoke tracks with lead vocals or vocal versions

  • Ringtones delivered as tracks on music albums

  • DJ Mix albums delivered as a single audio file

  • Advertisement tracks

  • Live Albums, Alternate Takes, Rare Recordings, Early Recordings, Radio Broadcasts, Interviews, and other albums commonly referred to as “Bootlegs

  1.18. Apple Music and iTunes Terms and Conditions. All music submitted to Apple Music and iTunes is bound by the Apple Media Services Terms and Conditions. The Apple Music and iTunes Service may offer interactive features that allow you to submit materials (including links to third-party content) on areas of the Apple Music and iTunes Service accessible and viewable by the public. You agree that any use by you of such features, including any materials submitted by you, shall be your sole responsibility, and shall not infringe upon or violate the rights of any other party. You also agree that these materials will not violate any laws, contribute to or encourage infringing or otherwise unlawful conduct, or otherwise be obscene, objectionable, or in poor taste.

To ensure consistency, refer to Recommended Contributor Roles in iTunes Package Music Specifications. If an instrument or role is not listed, you can still deliver it.

For standard credits consult the Library of Congress Medium of Performance Thesaurus for Music PDF Files and the American Library Association RDA Toolkit.

2.1. Accuracy. Full, standard name spellings must be used for all artists and other credits on all content. The spelling of names must be correct and remain consistent across the entire recording and all content for that artist. Artist and other names must not include any additional information, such as role, date, instrument, former band, website, and so on.

Artist name format: First name, Last name. For example, Fred Smith.

Examples:

2.2. Generic Genres and Names. Generic names, such as White Noise, Yoga, Workout, Meditation, Baby, Christmas, Top Hits, Chorus, Orchestra, or Singer are not accepted. Additionally, generic genre names, such as Rock, Hip Hop, or Smooth Jazz for example, will not be accepted.

2.3. Compound Artist. Each artist field must only contain one artist name.

2.4. Reverse Compound Artist. Artists who are generally listed together as a band are not considered compound artists and must be listed together.

Examples:

• Simon & Garfunkel

• Anderson Bruford Wakeman Howe

• Brooks & Dunn

• Katrina & The Waves

• Dizzy Gillespie & His Fab Five

2.5. Studio Musicians. Production house, label name, or studio can be used as the artist name for content, such as video game soundtracks, or contracted musician-style content, such as generic holiday or elevator music.

Examples:

• MGM Studio Orchestra

• Hollywood Studio Symphony

• EA Games Studio Orchestra

• The Muscle Shoals Rhythm Section

For artists using “Meets” or “vs.,” all artists involved must be listed at the track level and identified as Primary. The terms “Meets” and “vs.” must only appear in the album or track title.

A performing presenting artist must be credited at the track level and identified as Primary.

When artists are performing in the role of a character, the “Character” name can be used as the Primary artist. Do not use Primary role for both the Character and Performer.

2.7. Various Artists. If there are five or more Primary artists listed on the album, the album-level Primary artist must be Various Artists. Various Artists must not be a track-level artist. Various Artists must be the only Primary artist when it's used. "Various Artists" and "John Smith" are not acceptable together. If crediting a one-track single, all primary artists must be credited at the album level.

Variations or abbreviations of "Various Artists" (for example, “V/A,” “V.A.,” “Various,” “Various Artist,” or “Varios”) must not be used. Translated versions of "Various Artists" are acceptable as long as they are consistent with the content’s language.

Scores and Musicals from stage, screen, or TV must not use Various Artists. Album-level Primary artists must be the composer and lyricist. Principal performers can be listed as primary artists at the album-level. Do not list more than four artists as Primary at the album level.

2.8. DJ Mixes. Albums that are a collection of different tracks mixed together or separate tracks compiled by a DJ or artist must list the DJ or artist at album level and identify them as primary. Tracks that appear on DJ mixes must list the original artists as primary.

2.9. Remixes. Remix tracks, including sped up, slowed down, and lo-fi versions of tracks must list the original artist as Primary with the remixer assigned the remixer role.

2.10. Scores. Albums that contain instrumental tracks that are originally scored for film must credit film score composers at the album and track level as Primary artists and the Composer role. If there are additional performers (for example, orchestra, soloist, band), then list those performers as primary at the album and track level.

Example: Star Wars: A New Hope (Original Motion Picture Score) [Album Level]

Example: Star Wars: A New Hope - “Main Title” [Track Level]

2.11. Musicals. The composer and lyricist (or Music Director) must be listed with the Primary artist role at the album level as the first artist. The composer and lyricist must be credited with the composer and lyricist roles at the track level. Vocalists must be credited as Primary Artists at the track level.

Example: Frozen (Original Motion Picture Soundtrack) [Album Level]

Example: Frozen - “For the First Time in Forever” [Track Level]

Example: Frozen - “Let It Go (Single Version)” [Track Level]

Example: Frozen - “Epilogue” [Track Level]

2.12. Karaoke, Tribute, Japanese Orgel, Parody, Cover Albums, and Ringtones. For these, the name of the original artist must not be displayed in any artist field on the track level or the album level.

Examples:

• The Billy Joel Tribute Band is not an acceptable artist name.

• Karaoke must not be used as the artist name unless it is part of the legal entity name, such as The Karaoke Kangaroos or All Star Karaoke.

Formatting of "feat." and "with" in titles must be lowercase, in English, not localized, and in parentheses or brackets. Do not use any other spelling (for example, “featuring,” “Featuring,” “Feat,” “w/,” and so on).

Note: If Featuring or With artist roles are used in the initial delivery, the featured artist name will automatically be added by Apple Music or iTunes to the album or track title.

2.14. Performers. Performing artists, as well as individual ensemble or other performance contributors, must be credited accurately at the track level with their specific instruments and/or roles. These artists must not be given the Primary or Featured/With roles at either the album or track level unless they are also Primary or Featured/With artists on the recording.

If a track includes a sample of previously released work by an artist, credit that artist with the Sampled Artist role. Do not credit sampled artists as a Primary or Featured artist unless obligated by the rights holder.

Non-performing presenting artists must only be named in the title and not marked as Primary artists. Credit these artists as Presenting artists.

Example: The Beatles - Rubber Soul [Album Level]

Example: The Beatles - “In My Life” [Track Level]

Example: Johnny Aloha - Lavapalooza (Richard Cheese Presents Johnny Aloha)

2.15. Composition and Lyrics. Roles related to the underlying composition or lyrical content of a recording must have the appropriate roles listed at the track level. If a single artist has written all words or lyrics for all recordings on an album, the appropriate roles must be listed at both the album and track levels. If an artist is also a composer, credit them with the Composer role as well.

If the album contains selections of unknown authorship, such as a folk song or Gregorian chant, use Anonymous or Traditional as the composer. Any delivery found using this role erroneously will be hidden.

2.16. Production and Engineering. Roles such as Producer, Recording Engineer, or Graphic Designer must be credited at the album level if consistent throughout the album. Otherwise, note these contributors at the track level. These artists must not be marked as the Primary artist at either the album or track level.

2.17. Administrative. Contributions to a recording from label, management, and related personnel for example, Product Manager, A&R (Artist and Repertoire), Artist Manager, or Publisher should be delivered if available.

3.2. Additional Information. The standard, original version of an album, track, or music video must not include any additional information in the title unless it is needed to identify the content.

For example, titles must not include Exclusive, Limited Edition, Album Version, Original Mix, Tone, Alert Tone, Text Tone, Ringtone, Ringtone Version, E-Release, Digital Only, Digital Download, Digital Single, E-Album, 2 CD Set, With Lyrics, Clips from, Official Music Video, Full Song Video, Full Version, Atmos, Dolby Atmos, lossless, high-resolution audio, high resolution, spatial audio, 24-bit, 192 kHz, 128 kHz, or 96 kHz.

Do not submit any title version information that is already addressed with Apple Music or iTunes badges. Apple Music or iTunes display a badge or blurb for the following, so titles must not include:

• Clean Version

• Explicit Version

• Apple Digital Masters

• Dolby Atmos

• Lossless

3.3. Singles. An album must be identified as a single if it contains one to three songs that are less than 10 minutes each. “- Single” must appear at the end of the title. If “- Single” is not included in the title, we will add it automatically.

Note: Videos are not counted as songs.

3.4. EPs. An album must be identified as an EP if it has:

• One to three songs with one song at least 10 minutes long and a total running time of 30 minutes or less

• Four to six songs with a total running time of 30 minutes or less

“- EP” must appear at the end of the title. If “- EP” is not included in the title, we will add it automatically.

Note: Videos are not counted as songs.

If an album offers more content than the standard version of the album (for example, extra tracks or a bonus video), indicate the difference in the title. If an audio-only version of a CD+DVD is delivered to Apple Music or iTunes, the album title must include the term “Audio Version.” An album containing only music videos needs to be labeled "Video Album" in the Album title version.

3.6. Multiple Version References. Content that requires multiple explanatory references in the title (for example, live EPs, soundtracks, live albums, and so on), must have the first explanatory reference enclosed in parentheses (”( )”) with any additional references enclosed in brackets (”[ ]”). Note that by delivering content using the title version field, parentheses and brackets will be applied by Apple automatically.

3.7. Multiple Albums and Medley Tracks. Multiple album or track titles in the title field must be separated by a slash. Note that you must place a space before and after the slash.

3.8. Formatting. Title formatting in a series should be consistent. Descriptors like Part and Volume should be abbreviated with “Pt.” and “Vol.” Titles should be formatted as “Title, Vol. x” and “Title, Pt. x,” where x is a number.

3.9. Track Version Information. All track titles performed by the same artist on an album must be unique, except for different versions of the same track that are differentiated by Parental Advisory tags. To differentiate multiple versions of the same track title, use terms in parentheses or brackets such as:

• Alternate Take (for example, 1, 2, and so on)

• Live

• Instrumental

• Single Version

• Radio Edit

• Special Format Mix (for example, 12“ Mix)

• Extended

• Session Date Version (for example, 1947 Version)

• Incomplete

• Rehearsal

• Breakdown

• Male Version

• TikTok Version

• Sped Up

• Slowed Down

• Lo-Fi

For Music Videos:

• Visualizer

• Live Audio

• Vertical

• Lyric Video

Standard spellings with no abbreviations should be used for track title version information.

3.10. Rerecorded Versions. If a track is rerecorded, the track title must include “Rerecorded.” A rerecorded track may be hidden for editorial reasons if the original “hit” version is live in Apple Music or iTunes.

3.11. Remastered Versions and New Mixes of Previously Released Recordings. The year of remastering should be included in the title version to properly indicate the version of the master. For example, 2017 Remastered Version. Albums or tracks that are designated as Remastered in the title version must be delivered with the first-known release date of the original version of the recording.

In cases where an entirely new mix has been created for a previously released album, the album must also be delivered with the first-known release date of the original version of the album. The year of the new mix should also be noted. For example, 2013 Mix.

3.12. Soundtrack Version Information. Soundtracks and scores must include version information in the album title, enclosed in parentheses or brackets.

O.S.T. abbreviation should not be used as an album or song title version for scores, movies, TV, musicals, or video games.

If the tracks are compiled from different soundtracks, each track title must indicate the soundtrack (From “Soundtrack Name”).

Singles from the soundtrack should have the same album and track title in the format Track Title (From “Movie Name”).

Soundtrack remixes must not include the movie title if the track is not from the original soundtrack.

Musicals must reference the year and location of the performance or release. Do not use the word “Original” if the performance is not the initial staging or release of the production.

Music videos taken from musical films must contain a title version that refers to the film such as (From “Name of Film”).

• Main Title (From Game of Thrones: Season 7)

• Main Title (From The Wizard of Oz Soundtrack)

• Flying Theme (From "E.T. the Extra-Terrestrial”)

• Luke and Leia (From "Return of the Jedi”)

For Chinese language content, see Other Asia-Pacific Countries and Regions.

3.13. DJ Mixes Version Information. DJ Mix albums must include a title version of "DJ Mix" in the album-level version information. Mixed tracks appearing on a DJ Mix must include the title version [Mixed] after all other version information.

3.14. Remixes Collections Version Information. Albums that are a collection of remixes of the same track must indicate this in the album title. To avoid identical track titles, the titles must include enough information about the remixes to differentiate them.

If an artist is featured on the original song, the remix should be formatted as “Title (feat. Artist) [Remix].” If an artist is not featured on the original song, the remix should be formatted as “Title (Remix) [feat. Artist].”

3.15. Live Recording Version Information. If the audio is from a live recording, the title version must be indicated as “Live.” Territory-specific versions (”Ao Vivo” in Portuguese, and “En Vivo” or “En Directo” in Spanish) should be used. Do not use “Live” for Standup Comedy albums.

If the version includes time and venue, it should be formatted as Live at Place, Year/Date. For example:

• One More Saturday Night (Live at Palladium, New York, 1977)

• One More Saturday Night (Live at Red Rocks Amphitheater, Morrison, CO, 7/8/1978)

For music videos to be considered Live, audio and video must match and be from the same performance. Prerecorded audio set to different performance footage is not considered Live.

3.16. Karaoke, Tribute, Japanese Orgel, Parody, and Ringtones. The album title must not begin with the original artist name.

For example, “Kelly Clarkson: The Bluegrass Tribute” is not an acceptable album title. Instead, format the title as “The Bluegrass Tribute to Kelly Clarkson.”

Track or ringtone titles for cover, orgel, parody songs, or tributes must not make reference to the original artist. Do not use phrases such as “Originally Performed By,” “In the Style of,” “Tribute to,” or “Cover of.”

Karaoke track titles can make reference to the original artist. You must use clarifying language to ensure that consumers will not think those artists are performing. You should use phrases such as “Originally Performed By... (original artist name).”

Titles of karaoke albums and tracks must indicate that they are an instrumental or karaoke version.

3.17. Silent, Hidden, and Ghost Tracks. Silent, hidden, and ghost tracks must be clearly labeled in the track title.

3.18. Performance, Backing, and Split Tracks. If a track is a performance track, backing track, or split track, that information must be included in the title.

3.19. Booklet Title. Digital Booklet title should follow the format: Digital Booklet - Album title.

3.21. English Title Casing. English titles should be in title case format and follow the casing conventions as outlined below. In addition, for English, words before and after a dash (-), slash (/), or colon (:) must be capitalized.

This section applies to titles in English only. For general cases not addressed in this guide, refer to The Chicago Manual of Style.

The following words must be in lowercase, with a few exceptions:

• a, an, and, as, but, for, from, nor, of, or, so, the, to, and yet.

• Prepositions of four letters or fewer (at, by, for, from, in, into, of, off, on, onto, out, over, to, up, and with), except when the word is part of a verb phrase or is used as another part of speech (such as an adverb, adjective, noun, or verb).

Examples:

• In the Still of the Night

• (You Make Me Feel Like A) Natural Woman

• To Be, or Not to Be

• The One and Only

• God Willing & the Creek Don't Rise

• Some Kind of Trouble

• Love: And a Million Other Things

• Journey: Greatest Hits

• I Need a Doctor

• Just the Way You Are

• Waiting for the End

• The Ballad of Mona Lisa

• Lost in a Pair of Eyes

• I Got The - Single

• The Love I’m Searching For

3.22. Accents and Characters. Supported languages must include all accents. For a list of supported languages, see Language Codes in the iTunes Package Music Specification.

Examples:

• Hôtel d’Angleterre

• Révérence

• Kärlek är ett brev skickat tusen gånger

• Max Gazzè

• L’uomo più furbo

• Les plus belles chansons françaises

• Un monstre à Paris ! (du film « Un monstre à Paris »)

• Vài Lần Đón Đưa

For German names and titles, all characters common in German orthography must be used (for example, Ä ä, Ö ö, Ü ü, ß). Do not use digraphs.

The art must not be misleading. For example, prominently depicting or referencing an artist even though the artist does not perform on the album.

7.2. Quality. Images must not be low quality, pixelated, misaligned, rotated, or have other quality issues.

7.3. Additional Information. Art must not contain website addresses, logos, QR codes, or references to competitors of Apple Music and the iTunes Store.

Art must not contain references to the audio file format, such as Atmos, Dolby Atmos, spatial audio, lossless, high-resolution audio, high resolution, 24-bit, or 192 kHz.

The art must not upsell to another product and must not include references to pricing, such as “Reduced Price,” “Low Price,” “Available for $9.99,” or “For Promo Use.”

7.4. References to Physical Packaging, Digital Products, or Retailers. Art must not include references to the physical packaging, such as CD or vinyl, digital product, or any retailers.

7.5. Pornography. Art must not contain pornography or a URL for a website that contains or links to pornography.

7.6. Cultural Sensitivities. Art must not promote hatred based on race, religion, gender, sexual orientation, national/ethnic origin, or other identities.

7.8. Motion Graphics. The motion art must be motion graphics, no still frames or video footage.

7.9. Parental Advisory. Artwork must not contain parental advisory logos.

7.10. Typography. Text/title are required in the safe area.

7.11. Looping Motion Artwork. Full animation sequence must be in a seamless loop.

7.12. Key Element Placement. The key art element/artist placement is required in the safe area.

7.13. Start Frame. The start frame must begin on the album cover.

7.14. Drop Frame. Motion art must not have a drop frame or hold frame.

7.15. Frame Edge. Motion cover art must not have a frame.

7.16. Frenetic Flashing. Motion cover art must not show frenetic flashing or flickering motion.

7.17. Aspect Ratio. Pixel aspect ratio must be 1:1 (square pixels).

7.18. Multiple Edits. Album motion must not have multiple edits.

7.19. Fade to Color. Fades are not allowed as a looping technique.

For more information, visit our Apple Music Album Motion Partner Guidelines.

In addition, words after a dash ( - ) or slash ( / ) should be capitalized. Words after a ( : ) should be lowercase, except for series and medleys.

Examples:

• Luz da Tua Voz (Ao Vivo)

• Popurrí: Guitarras de media noche / Ya no me quieres / Paloma querida (En directo)

• Sevillanas: La vuelta del camino

• Adiós querida mía: que te vaya bien

The following Spanish words should always be in lowercase (if title casing is used, these are also the only words that should be lowercase):

The following Portuguese words should always be in lowercase (if title casing is used, these are also the only words that should be lowercase):

9.2. Swedish, French, Italian, and Scandinavian Sentence Casing. Titles should follow the casing conventions of the language it is in. Common language locales that should be in sentence-case format are Swedish, French, Italian, and Scandinavian languages.

Note: A space before and after punctuation marks made up of two parts is required for French content.

9.3. German Casing. German titles should use sentence case, and the first letter of every noun should be capitalized:

9.4. Hörspiel Formatting. Hörspiel (a German dramatized performance or reading) titles must be formatted as follows:

Note: The language for all parts or chapters must be “Teil” or “Kapitel.”

Hörspiel that are not part of a series but may be based on a movie or TV show must be formatted as follows:

9.6. Cyrillic Casing. Titles in Cyrillic alphabet should be submitted in sentence case format.

For Indian Classical albums, music directors must be listed with the Composer role on tracks. If the album contains selections of unknown authorship, such as folk songs, chants, or devotionals, use Anonymous or Traditional as the composer.

9.8. Lyricists for Indian Musicals. Lyricists must be credited with both the Lyricist and Primary roles at the album level. At the track level, lyricists must be listed with the Lyricist role and can be listed with the Primary role.

9.9. Actors. Actors must be listed in the Actor role and must not be credited as Primary on soundtrack albums. For more information, see Naming Conventions and Rules.

9.10. Classical Artist Roles. For classical albums, the main performers must be listed as Primary at the album and track level. Artist listings include all relevant artists and contributors to a given song or album. For Jugalbandi albums, all the artists must be listed as Primary at the album and track level. Composers must be in the Composer role only.

9.11. Formatting of Classical Track Titles. Track titles for Indian classical music must include the lyrics, raga, tala, and Indian classical genre information (Thumri, Khayal, Tarana, and so on). Variations or abbreviations of Raga and Taal (such as, raaga, raag, rag, tal, and so on) not be used in the album or track title. Generic titles like Bhajan, Dhun, Ragam, or Tanam are not acceptable.

Indian Classical Vocal Album

Indian Classical Instrumental Album

Indian Classical Jugalbandi Instrumental Album

The table below lists all accepted abbreviations for catalogs of classical works on Apple Music and the iTunes Store.

11.1. Primary Artists at the Album Level. The main artists for Western classical music must be marked as Primary at the album level. Do not use the roles Featuring or With. For example, for a recording of:

• Beethoven symphonies performed by a single orchestra and conductor, mark both the orchestra and conductor as Primary.

• Beethoven symphonies performed by several orchestras but with the same conductor, mark only the conductor as Primary.

• Beethoven symphonies performed by several orchestras and several conductors, mark Various Artists as Primary.

• Concertos performed by the same orchestra and conductor but featuring several soloists, mark the orchestra and the conductor as Primary.

• A collection of Schubert Art Songs (Lieder) performed by several vocalists and pianists, mark Various Artists as Primary.

• A complete opera, mark the conductor, orchestra, and principal vocal soloists, including all those listed on the cover art, as Primary.

11.2. Primary Artists at the Track Level. All artists performing on a track must be marked as Primary. Do not enter Various Artists as an artist name at the track level. Do not use the roles Featuring or With. For example, if a track features:

• A violin sonata with piano accompaniment, mark both the violinist and the pianist as Primary.

• A concerto, mark the soloists, the orchestra, and the conductor all as Primary.

• An orchestra but a prominent solo appears during the track, mark the orchestra, the soloists, and the conductor all as Primary.

• A choir accompanied by piano or orchestra, mark the choir, the accompanists or orchestra, and the conductor all as Primary.

• An artist whose complete information isn’t available, as may occur with vintage recordings, provide as much artist information as possible.

• An ensemble, do not mark individual members as Primary.

Only use Unknown Artist at the track level and with the Performer role. Do not mark Unknown Artist as Primary.

For an opera, mark all artists present on that track as Primary.

11.4. Composer as Primary. Composers may never be marked as Primary unless they are also performing as the Soloist, Accompanist, or Conductor.

11.5. Composer Name Formatting. Composer names must be accurate and formatted as: First Name Last Name. For example, Wolfgang Amadeus Mozart.

11.6. Composer for Ringtones. Ringtones of classical music must include the composer in the title. Standard nicknames for classical pieces are accepted.

Examples:

• Beethoven: Symphony No. 1

• Beethoven: Moonlight Sonata

Follow these guidelines for composer name formatting for album titles only:

• Last name only. Use this format when there is only one famous composer with a surname that is immediately recognizable. For example, Beethoven, Zemlinsky, or Ligeti.

• First name initial(s) and last name. Use this format when multiple famous composers share the same last name. For example, members of the Bach family, including J. S. Bach, C. P. E. Bach, and W. F. Bach.

• First name(s) and last name(s). Use this format when multiple famous composers share the same initials and the same last name. For example, Paul Viardot and Pauline Viardot. Felix Mendelssohn and Fanny Mendelssohn.

Examples:

• Monteverdi: Vespro della Beata Vergine, SV 206

• J. S. Bach: Jesu, meine Freude, BWV 227 – Vivaldi: Gloria in D Major, RV 589

• Haydn: Complete Symphonies, Vol. 1

• W. A. Mozart: Requiem in D Minor, K. 626

• Beethoven: Violin Concerto in D Major, Op. 61 – Brahms: Symphony No. 1, Op. 68

• Schubert & R. Schumann: Piano Sonatas

• Chopin: Preludes & Nocturnes

• Tchaikovsky: The Nutcracker & Swan Lake (Highlights)

• Stravinsky: Le sacre du printemps

• Britten: Choral Works

If an album is composed and performed entirely by the same artist, the composer does not need to be included in the album title.

Do not use side-by-side translations in metadata. Use only one language in each entry or localization. If an album has an exact release title, such as The Most Beloved Classical Masterworks, that title may be used.

11.8. Key Information. A work must be described in the key it was composed in. Formatting should look like: C-Sharp Major.

11.9. Classical Abbreviations. For accepted abbreviations of catalogs of classical works, see Standard Classical Abbreviations.

11.10. Track Formatting. Track titles must be complete, correctly formatted, and consistent.

If a track features a movement or selection from a larger work like a symphony or concerto, begin the track title with the name of the larger work. This applies even if a track contains a portion of a movement, selection, or excerpt. In this case, “Selection” or “Excerpt” must be stated between parentheses at the end of the work title.

If a work has an assigned catalog number, include the catalog number in the title. Catalog numbers can be found through the International Music Score Library Project.

For works comprising movements, such as Symphonies, Concertos, and Sonatas, use Roman numerals. For example, I. Allegro, and II. Adagio. For works comprising numbers, such as Songs and Oratorios, and numbered sets of pieces, such as 6 Lieder or 3 Morceaux, use Arabic numbers. For example, No. 1, Wiegenlied and No. 2, In der Campagna.

Example: Movement Formatting

Example: Extended Movement Formatting

Example: Song Cycle Formatting

Example: Set Formatting

Example: Accommodating Multiple Numbering Systems

Where works are numbered chronologically and by individual Opus groups, they should be formatted as follows:

• Nocturne No. 17 in B Major, Op. 62 No. 1. Andante

The example above shows the first of Chopin’s 2 Nocturnes, Op. 62, which is also listed as Chopin’s Nocturne No. 17.

Example: Multi-level works

Examples:

• Keyboard Concerto No. 5 in F Minor, BWV 1056: III. Presto

• Serenade in G Major, K. 525 “Eine kleine Nachtmusik”: I. Allegro (Excerpt)

• Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio

• Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 “Moonlight”: I. Adagio sostenuto

• Die Winterreise, D. 911: No. 24, Der Leiermann

• 1812 Overture, Op. 49 (Excerpt: Finale)

• Three Lyric Pieces, Op. 47: No. 1, Summer Song

• L'isle joyeuse, L. 106

Use hyphen ( - ) to indicate multiple sections or movements within one track, for example:

• String Quartet No. 1 in G Major, K. 80: III. Minuet - Trio

• Pictures at an Exhibition: Promenade - The Gnome

Use colon ( : ) to separate the title of a work from the title of a movement or selection, for example:

• Cello Suite No. 1 in G Major, BWV 1007: I. Prelude

• Requiem, Op. 48: In paradisum

Use full stop ( . ) to separate the name of a movement from its tempo indication, for example:

• Symphony No. 2 in D Major, Op. 36: III. Scherzo. Allegro

• Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai

Use quotation marks ( " " ) to indicate the common nickname of a work, such as:

• Variations on an Original Theme, Op. 36 “Enigma”: Var. IX. Nimrod

The following group of tracks are consistently formatted:

• Piano Concerto in G Major, M. 83: I. Allegramente

• Piano Concerto in G Major, M. 83: II. Adagio

• Piano Concerto in G Major, M. 83: III. Presto

The following group of tracks are not consistently formatted:

• Piano Concerto in G, M. 83: I. Allegramente

• Concerto for Piano and Orchestra in G Major, M. 83: 2. Adagio

• Concerto in G, M. 83: Presto

The following group of tracks are consistently formatted:

• Orchestral Suite No. 1 in C Major, BWV 1066

• Orchestral Suite No. 2 in B Minor, BWV 1067

• Orchestral Suite No. 3 in D Major, BWV 1068

The following group of tracks are not consistently formatted:

• Orchestral Suite No. 1 in C Major, BWV 1066

• Suite for Orchestra in B Minor, BWV 1067

• Suite pour orchestre n°3 en Ré Majeur, bwv 1068

11.11. Opera Formatting. The track title for a selection from an opera must be consistent and start with the name of the opera, followed by a colon, followed by the selection title. For recordings of a complete opera, include act and scene information after the opera title but before the colon and selection title. Exemptions to this rule include operas that have one scene per act, such as Tosca, operas that are divided into scenes but not acts, such as Das Rheingold, or one-act operas that are through-composed, such as Salome. For example:

Opera Selection Titles:

• Don Giovanni, K. 527: Il mio tesoro

• La traviata: Libiamo, libiamo… (“Brindisi”)

• Tosca: Vissi d’arte

Complete Opera Titles:

• Falstaff, Act III Scene 2: Un poco di pausa

• Falstaff, Act III Scene 2: Ogni sorta di gente dozzinale

• Falstaff, Act III Scene 2: Tutto nel mondo è burla

If an album of opera selections includes character information for one title, the information must be included for all other titles. For example:

• La bohème, Act II: Quando m'en vo (Musetta)

• Turandot, Act III: Nessun dorma (Calaf)

• The Magic Flute, K. 620, Act II: O Isis und Osiris (Sarastro und Chor)

• A Midsummer Night's Dream, Op. 64: Now until the Break of Day (Oberon, Tytania, Puck, Fairies)

Example: Opera Formatting

11.12. Classical Crossover Formatting. Track titles for Classical Crossover genre content can start with the selection, movement, or popular title of a work. Major work titles and catalog numbers must still be included but may be presented at the end of the title within parentheses. Only use this relaxed formatting on classical-crossover albums.

Examples:

• Dance of the Sugar Plum Fairy (From “The Nutcracker”, Op. 71)

• Eine kleine Nachtmusik (First movement from Serenade in G Major, K. 525)

• Nessun dorma (From the Opera “Turandot”)

• Flight of the Bumblebee (From the Opera “The Tale of Tsar Saltan”)

• Moonlight Sonata (First Movement from Piano Sonata No. 14, Op. 27 No. 2)

11.13. Works. If grouping songs together as a work, such as a concerto or symphony, at least two songs must be included in the work. Do not group incomplete selections from a larger piece of music together as a work.

11.14. Recording Dates. If the album or track title contains the recording date, use the following format: title, followed by the word “Recorded” and the year recorded in parentheses.

Example:

• Mozart: Die Zauberflöte, K. 620 (Recorded 1954)

11.15. Versions, Arrangements, and Transcriptions. If a work has been altered from the original composition, the instrumentation must be noted and the Arranger credited at the end of the title.

Examples:

Gianni Schicchi: O mio babbino caro (Arr. for Piano by Arthur Smith)

Toccata and Fugue in D Minor, BWV 565 (Transcr. for Orchestra by Leopold Stokowski)

If all movements of a work have been altered to the same instrumentation by the same arranger(s), place the information in the title after the work name before the colon and movement information.

Examples:

Violin Concerto No. 2 in G Minor, Op. 22 (Arr. for Piano by Georges Bizet): I. Andante sostenuto

Violin Concerto No. 2 in G Minor, Op. 22 (Arr. for Piano by Georges Bizet): II. Allegro scherzando

Violin Concerto No. 2 in G Minor, Op. 22 (Arr. for Piano by Georges Bizet): III. Presto

Example: Versions, Arrangements, and Transcriptions Formatting

Example: Versions

Example for revisions:

• Piano Concerto No. 1 in F-Sharp Minor, Op. 1 (1965 Version): III. Allegro scherzando – Maestoso

Example for alternative instrumentation by the original composer:

• Orchestral Suite in D Minor (Version for Piano): IV. Allegro

For transcriptions which are commonly attributed to the transcriber, list the transcriber in the Composer role. This only applies to pieces which are generally attributed to the transcriber in common usage.

For example, most Liszt transcriptions are commonly associated with Liszt rather than the original composer. For these works, Liszt must be credited in the Composer role with original composer listed in the track title.

Examples:

• Lohengrin: Elsas Brautzug zum Münster (After Richard Wagner), S. 445 - credit Franz Liszt as Composer

• Il Trovatore: Miserere (After Giuseppe Verdi), S. 433 - credit Franz Liszt as Composer