Prepared by the Composition, History, Theory Division
For students in the School of Music
University of North Carolina at Greensboro
August 2005
CONTENTS
REFERENCES AND SOURCES
2.1 Print Sources
2.2 Databases at UNC Greensboro
2.3 World Wide Web Sources
2.4 CD-ROM Sources
2.5 A Checklist of Types of Sources
DOCUMENTATION OF MATERIAL
3.1 Formats
3.2 Footnotes or Endnotes/Bibliography
3.3 Parenthetical References/Reference List
3.4 New Grove Articles
3.5 Citations from Secondary Sources
4.1 Published Music Scores
4.2 Unpublished Music Scores
4.3 Sound Recordings
4.4 Video Recordings
4.5 Record and CD Notes
4.6 Program Notes
4.7 Photographed Materials
4.8 Performances
5.1 WWW Sites
5.2 Online Reference Sources
5.3 Electronic Journals
5.4 CD-ROMs
PREPARATION OF THE PAPER
6.1 Numbering
6.2 Captions for Examples
6.3 Citations of Music Scores
6.4 Music Fonts
6.5 Music Examples
6.5.1 Music Notation Software
6.5.2 Exporting the Example
6.5.3 Editing the Example
6.5.4 Importing the Example into Word
6.5.5 Photocopied and Scanned Examples
6.5.6 Printing the Document
6.6 Placement of Examples Within the Text
6.7 Figures Within the Text
7.1 Titles
7.2 Genre Titles
7.3 Descriptive Titles
7.4 Titles with Abbreviations
8.1 Dates of Materials in the Bibliography
8.2 Pagination
8.3 Subheadings
8.4 Quotations
8.5 Numbers
8.6 Letters as Key Names and Pitch Classes
8.7 Pitches
8.8 Analysis Symbols
8.9 Foreign Terms
8.10 Writing Style
8.11 Words of Wisdom
REFERENCES AND SOURCES
1. STANDARD REFERENCES FOR WRITING MUSIC PAPERS
Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations. 6th ed. Revised by John Grossman and Alice Bennett. Chicago: The University of Chicago Press, 1996.
The Manual gives basic guidelines for documenting sources, writing, and preparing a manuscript. It is the main style guide used in CHT courses. Basic formats are available online: http://library.uncg.edu/depts/ref/handouts/turabian.asp
The Chicago Manual of Style. 14th ed. Chicago: The University of Chicago Press, 1993.
The Chicago Manual is a standard reference for writers and addresses more complex problems than Turabian, but it does not conflict with it. The Reference Table in the Music Library and the Reference Room at Jackson Library contain copies. Materials in this CHT Guide are derived primarily from the Chicago Manual and Turabian.
Walker, Janice R., and Todd Taylor The Columbia Guide to Online Style. New York: Columbia University Press, 1998.
In addition to providing guidelines for online citation, the Columbia Guide also gives complete guidelines for formatting documents for online publication and for electronically preparing texts for print publication. Basic formats are available online: http://www.columbia.edu/cu/cup/cgos/basic.html
Strunk, William, Jr., and E. B. White. The Elements of Style. 3d ed. New York: Macmillan, 1979.
The small book is a classic for matters pertaining to style. For an online version, see http://www.bartleby.com/141
Holoman, D. Kern. Writing About Music: A Style Sheet from the Editors of 19th Century Music. Berkeley: University of California Press, 1988.
This style sheet treats problems specific to writing papers, articles, and books about music, such as proper format for titles of complete work or movements.
Thesis and Dissertation Manual Greensboro, NC: The Graduate School of The University of North Carolina at Greensboro, January 2005.
The Graduate School requires students preparing theses and dissertations to use this guide in order to maintain a consistency of appearance in those UNCG documents. Thesis and Dissertation Manual (link to PDF version).
Merriam-Webster’s Collegiate Dictionary. Springfield, MA: Merriam-Webster, c. 1998.
This, or any standard dictionary, is essential to research as are foreign language dictionaries. The Reference Table in the Music Library contains such books.
Music resources at UNC Greensboro are housed primarily in the Music Library. General material and microforms are in Jackson Library as is the Interlibrary Loan Office.
2.1 Print Sources
Encyclopedias
· New Grove Dictionaries (General [also online], Instruments, Opera, American, Jazz, Women). The New Grove Dictionary of Music and Musicians is the premiere reference of musicological knowledge in the English language. Begin your searches with New Grove.
· Die Musik in Geschichte und Gegenwart (MGG): Sachteil (Articles) is complete; Personenteil (Biography) is still in progress.
· Garland Encyclopedia of World Music. Bruno Nettl and Ruth M. Stone, founding editors, 1998-
Periodical Indices
· RILM (also online)
· Music Index (also online)
· Music Article Guide
· Arts and Humanities Citation Index (AHCI) (available online as Arts and Humanities Search)
Biography
· Who’s Who
· CMS Directory
· ASCAP register
Dissertations
· Dissertation Abstracts: Index of doctoral dissertations, 1861-; abstracts since 1980 (also online)
2.2 Databases at UNC Greensboro
JACLIN, Jackson Library’s catalog, lists Databases on the initial screen along with other items. The databases to which UNCG subscribes may be selected from the alphabetical listing of all databases. Databases of particular interest to musicians are categorized under the area Music. The following online sources will be of particular interest to music students (the items in bold contain music exclusively):
Union Catalog
· World Cat: Union catalog of materials held in libraries throughout the world
Encyclopedias
· Grove Music Online: The online version of New Grove is updated frequently and includes articles from The New Grove Dictionary of Music and Musicians, The New Grove Dictionary of Opera, and The New Grove Dictionary of Jazz.
· Britannica Online: Full text of 73,000 articles, some with audio, video, or animation; a dictionary, some Internet links
Music Literature
· RILM Abstracts: Abstracts of international music literature (all scholarly writings of music), 1969-
Periodicals
· IIMP Full Text: Index and abstracts of music periodicals, 1874-; some full text articles, 1996-
· Music Index: Index of book reviews, record reviews, first performances, and obituaries from about 640 international music periodicals
· Arts and Humanities Search: Index of major journals in arts and humanities, especially good for citations, 1980-
· ERIC: Index of over 750 journals in the field of education, 1966-
· Academic Search Elite: Index and abstracts for journals, some with full text, 1984-
· InfoTrac Expanded Academic Index: Indices and abstracts for general periodicals and journals, 1980-
· MasterFILE Premier: Full text, topics from more than 3100 general periodicals, 1984-
· JSTOR: Full-text of over 150 journals, including over 30 music journals
Biography
· Biography and Genealogy Master Index: Index to more than 12.7 million biographical sketches in more than 3400 reference books
Dissertations
· Dissertation Abstracts: Index of doctoral dissertations, 1861-; abstracts since 1980
Music Business
· Musical America: News and information on the music industry including contact information for symphonies, opera companies, competitions, and music schools world-wide
History
· America: History of Life: Index of journals, books, and dissertations relating to North American history and culture, 1964-
· Historical Abstracts: Index of journals, books, and dissertations on modern history from 1450, not North America, 1973-
Psychology
· PsycINFO: Index of Journals in psychology and related disciplines, 1967-
2.3 World Wide Web Sources
Our music librarians collect web sites of interest to musicians. Check the homepage of our Music Library: http://library.uncg.edu/depts/mlc/staff/sarah/music.html
Information about copyright law and guidelines for fair use can be obtained at http://fairuse.stanford.edu
2.4 CD-ROM Sources
CD-ROMs that may be of interest to music students are available in both Jackson Library and the Music Library:
· Various Voyager and Warner CD-ROM products such as A German Requiem or Material World
· Sheet music on CD: Public domain scores of works by major composers. To locate music for Brahms, for example, make a keyword search in the online catalog for “sheet music and Brahms.” The search locates a CD-ROM of Brahms’ orchestral music.
2.5 A Checklist of Types of Sources
|
Dictionaries and encyclopedias |
Music criticism |
|
Bibliographies |
Newspapers (indices online) |
|
Biographies and histories |
Music scores and editions |
|
Essays, congress reports, and Festschriften |
Audio and video recordings |
|
Analyses |
Discographies |
|
Thematic catalogues |
Performance practice sources |
|
Collections of source readings |
Specialized sources for a particular field |
DOCUMENTATION OF MATERIAL
3. DOCUMENTATION OF PRINT SOURCES
The rationale for documenting sources is for authority and retrievability. The basic contents of a citation include the author, title, and publication information. The exact contents and form of the citation will vary according to the use of the citation (footnote or bibliography) and the type of source (book, article in a periodical, article in a reference book, etc.) Material that amplifies the text but does not have direct bearing on it may be treated as a content note.
3.1 Formats
Footnotes or endnotes are standard for music history papers; parenthetical citations may be used for some types of papers. Consult your professor about the style appropriate to your project.
3.2 Footnotes or Endnotes/Bibliography
Students may place notes at the bottom of each page as described in Turabian, chapter 8. Use a shortened citation after the first one (8.88-141, especially 8.91). Number the notes consecutively throughout the paper. A bibliography of sources is placed at the end of the paper. See Turabian, chapter 9. The easiest way to format footnote and bibliography entries is to follow the examples in chapter 11 under N and B.
Alternatively students may place notes at the end of the paper following the format and procedure outlined for footnotes above.
3.3 Parenthetical References/Reference List
The Author-Date system for notes is described in Turabian (10.2-19). When parenthetical references are used, the bibliography is set up as a “Reference List” following the format in Turabian (10.20-32). Examples for parenthetical references and the reference list are cited in chapter 11 under PR and RL.
3.4 New Grove Articles
Unlike many other reference books, The New Grove Dictionary of Music and Musicians consists of lengthy articles signed by their authors. Therefore, an article from New Grove should be cited like a chapter in a book rather than an entry in an encyclopedia or dictionary (for these see Turabian 8.112).
Print edition:
Footnote:
Author, “Title of Article,” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), vol.: pp.
Claude Palisca, “Baroque,” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), 2:753.
Bibliography:
Palisca, Claude. “Baroque.” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie and John Tyrrell, 2:749-756. London: Macmillan, 2001.
Online edition:
Footnote:
Author, “Title of Article,” Grove Music Online, ed. Laura Macy, http://www.grovemusic.com (accessed [date of access]).
Daniel Heartz, “Empfindsamkeit,” Grove Music Online, ed. Laura Macy, http://www.grovemusic.com (accessed [date of access]).
Bibliography:
Heartz, Daniel. “Empfindsamkeit.” Grove Music Online, ed. Laura Macy. http://www.grovemusic.com (accessed [date of access]).
If the article you are citing is designated “opera” or “jazz,” that designation should appear in your citation because New Grove Online may have two entirely different articles on the same topic, possibly by the same author.
(Footnote)
Richard Wang and Barry Kernfeld, “Brubeck, Dave [David Warren],” Grove Music Online (Jazz), ed. Laura Macy, http://www.grovemusic.com (accessed [date of access]).
Stephen Banfield and Michael Hurd, “Smyth, Dame Ethel (Mary),” Grove Music Online (Opera), ed. Laura Macy, http://www.grovemusic.com (accessed [date of access]).
(Bibliography from The New Grove Dictionary of Music and Musicians-General)
Fuller, Sophie. “Smyth, Dame Ethel (Mary).” Grove Music Online, ed. Laura Macy. http://www.grovemusic.com (accessed [date of access]).
3.6 Citations from Secondary Sources
References taken from another source must cite both works. If that source is an older work, the publisher may be omitted.
¹John Playford, An Introduction to the Skill of Musick, 16th ed. (London, 1713), 132, quoted in William S. Newman, The Sonata in the Baroque Era (New York: W. W. Norton, 1983), 40.
If the purpose of the reference is to emphasize the secondary author’s quoting of the original work, the following style should be used:
²William S. Newman, The Sonata in the Baroque Era (New York; W. W. Norton, 1983), 40, quoting John Playford, An Introduction to the Skill of Musick, 16th ed. (London, 1713), 132.
In the bibliography entry, the first-mentioned work is cited in the usual style with elements separated by periods. If the work is a book, the page reference immediately follows the title, separated from it by a comma. The second mentioned source is treated as a unit, with the elements separated by commas.
Playford, John. An Introduction to the Skill of Musick, 132. 16th ed. London, 1713. Quoted in William S. Newman, The Sonata in the Baroque Era (New York: W. W. Norton, 1983), 40.
Newman, William S. The Sonata in the Baroque Era. New York: W. W. Norton, 1983. Quoting John Playford, An Introduction of the Skill of Musick, 16th ed. London, 1713.
4. DOCUMENTATION OF SOURCES IN OTHER FORMATS
The examples given below are for the bibliography format.
4.1 Published Music Scores
Mozart, Wolfgang Amadeus. Sonatas and Fantasies for the Piano. Prepared
from the autographs and earliest printed sources by Nathan Broder. Rev. ed. Bryn Mawr, PA: Theodore Presser, 1960.
Schönberg, Arnold. “Friede auf Erden” (Conrad Ferdinand Meyer), op. 13. In
Sämtliche Werke, Part V: Chorwerke, series A, vol. 18. Edited by Tadeusz Okuljar, 7-35. Mainz: B. Schott’s Söhne, 1980.
Schubert, Franz. “Das Wandern (Wandering),” Die schöne Müllerin, (The Maid
of the Mill). In First Vocal Album (for high voice). New York: G. Schirmer, 1895. [Words and titles are printed in both German and English.]
Schütz, Heinrich. “Blessed are the Faithful.” Edited by Robert Shaw and Klaus
Speer. New York: G. Schirmer, 1952.
Verdi, Giuseppe. Rigoletto. Melodramma in Three Acts by Francesco Maria
Piave. Edited by Martin Chusid. The Works of Giuseppe Verdi. Ser. 1: Operas. Chicago: University of Chicago Press, 1982.
See Turabian 8.142, 11.59.
4.2 Unpublished Music Scores
See Turabian 11.58.
4.3 Sound Recordings
Records, cassettes, compact disks, and other forms of recorded sound are listed under the name of the composer. The title of the work as it appears on the label follows. Collections and anonymous works are listed by title. The title of a record, cassette, disk, or album is italicized. Following the title are listed the name of the performer, the company, the number of the record or disk, and the date of recording:
Bach, Johann Sebastian. Concerto I in F, BWV 1046. On Six Brandenburg
Concerti. The Smithsonian Collection. Performed and recorded on original instruments by Aston Magna. Albert Fuller, artistic director. Smithsonian P3 14834, 1978.
See Turabian 8.144, 11.60.
4.4 Video Recordings
In citing video recordings, state the name of the producer or director, when available and when relevant. The title follows and is italicized. Any material needed to locate the item is next in an order that follows other citations.
Mihalyi, Louis J. Landscapes of Zambia, Central Africa. Santa Barbara, CA:
Visual Education, 1975. Slides.
Kubik, Gerhard, ed. African Guitar: Solo Fingerstyle Guitar Music, Composers, and
Performers of Congo/Zaire, Uganda, Central African Republic, Malawi, Namibia, and Zambia: Audio-Visual Field Recordings, 1966-1993. Cambridge, MA: Vestapol Productions 13017, 1994. Distributed by Rounder Records, 1995. VCR tape.
4.5 Record and CD Notes
The names of music genres such as the symphony, sonata, and mass, which are usually not italicized, are italicized when part of the title of the recording.
Zaslaw, Neil. Notes for Wolfgang Amadeus Mozart’s Symphony no. 40 in G
Minor, K.550. Performed by the Academy of Ancient Music. Directed by Christopher Hogwood. L’Oiseau-Lyre D173D3, 1982.
4.6 Program Notes
Vivès, Vincent. “The Fairies’ Gifts.” Program Notes for Les Mamelles de
Tirésias by Francis Poulenc. Performed by Tanglewood Music Center Orchestra and TMC Soloists, Seiji Ozawa, conductor. Lenox, MA. 17 July 1997.
4.7 Photographed Materials
Marpurg, Friedrich Wilhelm, ed. Raccolta delle più nuove composizioni di
clavicembalo di differenti maestri ed autori. Leipzig: J. G. I. Breitkopf, 175-57. Microfilm of a copy in the Bibliothèque du Conservatoire Royal de Musique, Brussels, Catalog no. 6307.
4.8 Performances
Much variety may be expected in the citation of performances. Start with the most relevant name: director, conductor, or performer, for example. The title of the performance follows in italics, then the theater and city where the performance occurred. The date is the last item cited.
See Turabian 8.146.
Solti, Georg, conductor. Brandenburg Concerto no. 1 by Johann Sebastian Bach,
BWV 1046. Chicago Symphony Orchestra concert, Chicago. 2 June 1985.
5. DOCUMENTATION OF ELECTRONIC SOURCES
Electronic sources are of two main types: (1) on-line sources such as Websites, listservs, e-mail and (2) physical entities such as CD-ROMs. Because Web sources are frequently unreliable, students need to evaluate them before using them. See the standards for evaluation set up by librarians at Jackson Library: http://library.uncg.edu/depts/ref/tutorial/websites/guideprint.htm
Basic principles of authority and retrievability apply to these sources just as they do to print sources. Web sources are changeable and sometimes short-lived; hence, the date of access must be included in a citation. If a date of publication, writing, or revision is available, that should also be included in the citation.
Insofar as it is possible, follow the same general format as for printed materials. The following formats are based on The Columbia Guide to Online Style by Janice R. Walker and Todd Taylor (New York: Columbia University Press, 1998), as listed in the Standard References above.
5.1 World Wide Web Sites
Newble, Jane, Marie Jensen, and Aryeh Oron. “List of Bach Cantatas According to the Lutheran Church Year.” 2002. http://www.bach-cantatas.com/
Lutheran.htm (accessed 14 September 2002).
5.2 Online Reference Sources
Cooke, Deryck V. “Mahler, Gustav.” Britannica Online (accessed 29 June 2002).
“Fine Arts.” Dictionary of Cultural Literacy. 2d ed. Ed. E. D. Hirsch, Jr., Joseph F. Kett, and James Trefil. Boston: Houghton Mifflin, 2003. INSO Corp. America Online. Reference Desk/Dictionaries/Dictionary of Cultural Literacy (accessed 20 May 2003).
5.3 Electronic Journals
Silbiger, Alexander. “Passacaglia and Ciaccona: Genre Pairing and Ambiguity
from Frescobaldi to Couperin.” Journal of the Society for Seventeenth Century Music 2/1. 1996. http://www.sscm-jscm.org/jscm/v2no1.html
(accessed 28 July 2002).
5.4 CD-ROMs
Oxford English Dictionary, 2d ed., s.v. “Celtic Folklore” [CD-ROM]. Oxford
University Press, 1992.
PREPARATION OF THE PAPER
In music literature “example” refers to music in staff notation. All other pictorial illustrations are considered “figures.”
6.1 Numbering
Examples and figures are numbered independently of one another. Refer to them in the text by number.
6.2 Captions for Examples
Give each example a caption providing appropriate information as shown below:
a. More than one composer discussed in the paper:
Example 1: Brahms, Intermezzo in A Major, op. 118, no. 2, mm. 1-6
b. Only one composer, but several works discussed:
Example 1: Intermezzo in A Major, op. 118, no. 2, mm. 1-6
c. Only one work, but several movements or sections:
Example 1: “Wohin,” mm. 1-16
d. Only one movement or piece:
Example 1: mm. 15-18
6.3 Citations of Music Scores
Use a footnote (or endnote) to show the source of the example when copying music directly from a score. The superscript number for the note should be placed at the end of your caption for the example.
6.4 Music Fonts
Authors should use special fonts for typing notational symbols (such as pitch accidentals) or analysis symbols (such as figured-bass numerals and careted scale-degree numbers) into the body text of a paper. These fonts can also be used in musical examples created with notation software. The Chord Symbol and CS Times fonts are provided as outline fonts on all workstations in the Computer Lab. To use either font, first select it from your application’s Font menu. Then consult the keyboard maps (posted on the bulletin board near the instructor’s workstation in the Computer Lab) to determine how to create the desired symbol(s).
6.5 Music Examples
6.5.1 Music Notation Software
Finale 2004b is available on both Macintosh and Windows computers in the School of Music Computer Lab. Finale utilizes MIDI (Musical Instrument Digital Interface) technology to play musical notation displayed on the video monitor and to record music played on the keyboard synthesizer. Finale can be used to create musical examples in which symbols are used in a more or less conventional manner. It can also be used to create analyses in which symbols are used in a less conventional manner, such as Schenkerian graphs.
6.5.2 Exporting the Example
First, create your example and save it in Finale’s native file format. Then select the Graphics Tool from the Tool palette. (In Windows, open the Tools menu, select Advanced Tools, then select Graphics.) If you wish to export one or more entire pages, open the Graphics menu and select Export Pages… . If you wish to export only a portion of your score, double-click and drag over that portion, then choose Export Selection . . . from the Graphics menu. When a dialog window opens select a file type from the Type pull-down menu. On a Macintosh, select the PICT or TIFF file format; in Windows select the TIFF or EPS format. If you select EPS, you’ll need to specify additional Postscript options in the lower portion of the dialog window. It is advisable that you click the Include TIFF Preview radio button and the Include Fonts checkbox. If you select PICT or TIFF as the file format, specify the resolution by using the pull-down menu in the bottom section of the dialog window. If your example is intended for a document that will be printed on a laser printer, select a value that corresponds to that printer’s best resolution (1200 for the laser printer in the Computer Lab). Type an appropriate file name in the text-entry box taking care not to delete the extension provided. Click the Save In button to select a folder or directory, then click the OK button to export the page or excerpt.
6.5.3 Editing the Example
If you wish to add graphic symbols and/or stylized text to your example, import your exported file into a graphics-editing program, edit it, then save the result to another file. Macromedia Fireworks is the recommended application for performing this task in the Computer Lab. Other suitable applications include Macromedia Freehand, Adobe Illustrator, or Adobe Photoshop. To open a TIFF, or EPS file in Fireworks, select Open from the File menu, navigate to the appropriate folder or directory, select the file, and click the Open button. Once you have imported the excerpt, you may need to adjust the dimensions of the canvas (or background). Before adding text or graphics, create a new layer so that you can add content without disturbing the original excerpt. When you have finished, save the result in that application’s native format (PNG for Fireworks) then export it in a graphics file format appropriate for your final document. To obtain help in choosing an appropriate format, open Fireworks’ File menu and select Export Wizard….
6.5.4 Importing the Example into Word
To import an EPS, PICT, TIFF, or PNG file into a Microsoft Word document, open Word’s Insert menu, and select Picture, then select From File… from the submenu. Navigate to the folder that contains your file, select that file, then click the Insert button. When the image is imported, Word may change to the Page Layout view. If you wish to crop or resize the example, click on it to make the Picture formatting palette appear. Use various tools on this palette to adjust the size, format, and appearance of your example.
6.5.5 Photocopied and Scanned Examples
If a musical excerpt is photocopied from a score, make sure that it includes clefs and instrument indications (including keys of instruments that change transpositions). If your photocopied excerpt does not include these essential symbols, you should add them. It may necessary to reduce the excerpt during the copying process so that it will fit into the space available.
It is often more advisable to scan an excerpt, then edit the resulting file with a graphics application such as Fireworks. You can alter and enhance the score notation by adding brackets, arrows, circles, or labels to illustrate your point(s). In many cases, a diagram, graph, or reduction of a musical passage will often be more instructive than an actual score excerpt.
6.6 Placement of Examples Within the Text
Place examples in the text as close to the discussions as practical, not in an appendix at the end. If space permits, insert the example at the end of the paragraph that mentions it. If not, continue with the text to the end of the page, then place the example at the top of the next page. Always mention the example before inserting it. Measure examples carefully so that they fit within the margins.
6.7 Figures Within the Text
All figures—tables, charts, diagrams, or pictures—must have numbers and captions just like examples. Likewise, each must include a citation of its source if it is not original material. This may be done through the use of footnotes/endnotes. Alternatively, the source may be cited under the table or chart. Use the footnote format.
Source: James R. Anthony, French Baroque Music (New York: W. W. Norton,
1997), 134.
If the source has already been cited, a shortened form may be used.
6.8 Printing the Document
Before printing your document, use Word’s Print Preview command to preview its formatting. Pay careful atttention to the location of page breaks. Make sure that captions appear on the same page as the table, figure, or example they identify and that headers, footers, page numbers, and foonotes will print corrrectly. If you followed the procedures outline above, you should be able to print your entire document (text, table, musical examples, footnotes, bibliography, etc. with one commmand.
7. TITLES OF COMPOSITIONS WITHIN THE TEXT
7.1 Titles
Italicize titles of long musical compositions such as operas, oratorios, and tone poems (like books). Place in quotes titles of songs, short compositions, and sections of long composition (like articles). Nicknames are placed in quotes.
Harold in Italy Die schöne Müllerin
Don Giovanni “Wohin” (a section in Die schöne Müllerin)
Death and Transfiguration “Ode to Billie Joe”
7.2 Genre Titles
If a musical composition is identified by the name of a musical genre along with a number or a key (or both), the genre and key should be capitalized but not italicized. When used as the title of a work, the name of the genre and the key are capitalized. If the key is modified by the term flat, sharp, or natural, the modifying term is in lower case and the key phrase is hyphenated:
Fantasy in C Minor Sonata in E-flat Major
7.3 Descriptive Titles
A descriptive title given to a work is italicized if the work is long, and placed in quotes if it is short. Or, alternatively, all additional titles may be treated as “nicknames” and placed in quotes.
Bach’s Prelude and Fugue in E-flat Major (“St. Anne”), BWV 552
Air with Variations (“The Harmonious Blacksmith”) from Handel’s Suite no. 5
Piano Sonata no. 2 (Concord, Massachusetts, 1840-60); the Concord Sonata by
Charles Ives
Piano Concerto no. 5 (Emperor); the Emperor Concerto by Beethoven
String Quartet in D Minor (Death and the Maiden); Death and the
Maiden Quartet (and the song: “Death and the Maiden”)
Symphony no. 41 (Jupiter); the Jupiter Symphony
7.4 Titles with Abbreviations
The abbreviations op. (opus; pl. opp.) and no. (number; pl. nos.) are usually in lower case, but both are sometimes capitalized. Use either style, but be consistent. An abbreviation designating a catalog of a particular composer’s works is always capitalized (e.g., BWV [Bach Werke Verzeichnis] for Bach; D. [Deutsch] for Schubert; K. [Köchel] for Mozart.
Sonata op. 31, no. 3 <or> Sonata Op. 31, No. 3
Fantasy in C Minor, K. 475
8.1 Dates of Materials in the Bibliography
Students should always be aware of the publication date of materials in the bibliography. If you wish to use a book or article published before 1950, check with your professor.
8.2 Pagination
Number the pages of your paper from the beginning to the end including pages containing endnotes and bibliography.
8.3 Subheadings
For longer papers consider using subject headings to separate the parts of the paper—like sections in a long chapter of a book. For the various levels of headings, see Turabian 1.37.
8.4 Quotations
Quotations should be used sparingly. In general, paraphrase material, reserving quotations only for that which is particularly important or striking. To avoid “naked quotes,” introduce the quote in some manner. For example, wording that attributes the quote to an author may be used, such as this:
Longyear notes, “…..” <or> As Slonimsky points out, “….”
Be careful, however, to vary your method of introducing quotations. See Turabian, chapter 5.
Long quotations of two or more sentences that extend to eight or more lines of text in a paper should be treated as a block quote. The text is single spaced and indented four spaces from the left margin, and the paragraph indentation is eight spaces from the left margin. No quotation marks are employed.
8.5 Numbers
Numbers through one hundred and numbers followed by words like hundred or thousand are usually spelled out. All other numbers are placed in Arabic numerals. If there is a mixture of numbers above and below 100, Arabic numerals should be used for all. In papers that employ many numbers, especially theoretical papers, spelling out all numbers under 100 is cumbersome; hence, Arabic numerals should be used throughout. Measure numbers should be indicated as follows: m. 5, mm. 6-8.
8.6 Letters as Key Names and Pitch Classes
Letters standing for key names and pitch classes are usually capitalized, but letters that stand for specific pitches have various conventions (see 8.7 below):
middle C A 440
the key of G major the key of F-sharp minor
the D-major triad an E string
In analytical or theoretical papers, the letter name and mode of the key should be given: C major, or D minor. The key name should always be capitalized when the mode is specified (D minor, not d minor). The practice of using lower-case letters to indicate minor keys (e.g., c for C minor) should be restricted to harmonic analyses where space is limited. Where possible, use the CSTimes font to create sharp and flat symbols.
8.7 Pitches
Authors utilize different methods for citing pitches. In music literature papers the Helmholz method is often employed: C2, C1, C, c, c1 (middle C), c2, c3, etc. Pitches may also be designated as c' (middle C), c'', c''', etc. Music theorists often prefer the Acoustical Society of America method: C4 (middle C), C5, C6, etc. Check to see if your professor has a preference. Where possible, use the CSTimes font to create sharp, flat and natural symbols.
8.8 Analysis Symbols
Analysis symbols, such as Roman numerals, figured-bass numerals, and careted scale degree numbers, should be created using the CSTimes font, which is available on all computers in the Computer Lab. Consult the font maps on tbe bulletin board for instructions on how to enter these symbols into your text.
8.9 Foreign Terms
When a foreign word—such as legato, largo, louré, or Lied—has entered the common vocabulary of the English language, it is no longer italicized and generally follows English rules for capitalization (‘lied,” rather than “Lied”) and making plurals (“concertos” rather than “concerti”). To verity correct usage, check a reliable music encyclopedia (New Grove) or a textbook (e.g., Grout-Palisca).
8.10 Writing Style
Use active voice whenever possible.
Try to make your references as clear and specific as possible. Always follow an article, such as “this” or “that,” with a noun or noun phrase. For example: “This fact is worth noting,” or “That passage is quite dissonant.”
Avoid colloquialisms, contractions, excessive use of “there is” / “there are,” and overused words (e.g., very, quite). Strings of facts not interpreted might cause a reader to respond with “so what?” Therefore, interpret your facts.
Use commas, semicolons, and colons with particular care. See Turabian for a discussion of usage. Likewise, Strunk-White, listed among the references in Section 1, gives excellent tips for strong writing.
8.11 Words of Wisdom
Neither a style guide nor a professor can give all the answers; the student must make some decisions. In making decisions, think through the problem, and then make a decision that seems logical. Once you’ve decided upon a certain term or format, use it consistently throughout your paper. It may be necessary to go back and change some instances that appear earlier in your paper. Also remember that strong writing is a product of much revision and re-writing.
Last revised on 16 August 2005.
For comments about this Guide, please send email to Eleanor McCrickard at emccrickard@uncg.edu or Kent Williams at jkwillia@uncg.edu