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Explanation of Data Fields Excluded from the Sections:

Catalogue Information, Remarks, Illustrate Structure, Pitch Set, Notes on Transcription, Consulted Concordances

CMO Ref No. in header (Example: CMO1-I/1.1) 

Each piece has a CMO Reference Number, which is represented in the header of the critical report. In the CMO Editions and Source Catalogue (https://corpus-musicae-ottomanicae.de/content/index.xml?lang=en) , selecting "Editions" (https://corpus-musicae-ottomanicae.de/content/edition/browse.xml)  allows for viewing the editions of manuscripts written in Hamparsum notation, designated as Part 1. 

The number 1 next to the CMO abbreviation indicates this part. The number 2 represents sources in Western notation (Part 2). Therefore, if the piece in question is from a source written in Western notation, the code would be 2. The Roman numeral following the hyphen denotes Series I, which corresponds to manuscripts in the Rare Works Library at Istanbul University [İstanbul Üniversitesi Nadir Eserler Kütüphanesi].This information is available in the CMO Editions and Source Catalogue. For example, Series II represents the Arel Library at the Institute of Turkic Studies [İstanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü Arel Kütüphanesi] at Istanbul University, Series III the Atatürk Library [İstanbul Büyükşehir Belediyesi Atatürk Kitaplığı], Series IV the National Library of Ankara [Milli Kütüphane, Ankara], among others.

The volume number of the listed codices follows the slash, and the number after the period specifies the piece’s number within that codex or manuscript.

Heading

In the Heading section of the template, the heading entered corresponds to the title of the piece within the codex. These headings are represented according to transliteration rules, based on the alphabet used in the codex (e.g., Turkish written in Armenian letters (TAL) or Ottoman Turkish).

Incipit

The incipit is a crucial element in vocal works, representing the first line or verse of the piece. This section captures the opening words as they appear in different sources, with a focus on maintaining the original poetic meter. 

For example:

sīnede bir laḥẓa ārām eyle gel cānım gibi (as it appears in an Ottoman Turkish source)

Sinēdē bir lâhza aram ēylē gēl canım gibi (as it appears in a TAL source)

Note on the Exclusion of Fill-in Words:

-The incipit should omit fill-in words such as ‘ah’ or ‘aman efendim’. These are often added for emotional or dramatic effect but do not belong to the core poetry. Therefore, if the line starts ‘ah’ and does not belong to the poetry, it should be excluded from the Incipit. For example, if a piece begins like ‘Ah rahi aşkʿında idüb kʿaddimi güda gönül aman ēfēndim’, the incipit of the piece should be ‘rahi aşkʿında idüb kʿaddimi güda gönül’. ‘Ah’ and ‘aman ēfēndim’ do not belong to the hemistich.