prepared by the
Composition, History, Theory Division
Eleanor F. McCrickard, Chair
prepared by the
Composition, History, Theory Division
Eleanor F. McCrickard, Chair
for students in the
School of Music
University of North Carolina at Greensboro
March 2001
2. A Checklist of Sources for
Music Papers
2.1 Book Sources
2.2 Sources Available Online
at UNC-Greensboro
2.3 Other Online Sources
2.4 CD-ROM sources
3. Documentation of Material
3.1 Footnotes/Bibliography
3.2 Endnotes/Bibliography
3.3 Parenthetical References/Reference
List
3.4 Formats
3.5 New Grove Articles
3.6 Citations from Secondary
Sources
4. Supplementary Bibliography
for Music Materials
4.1 Published Music Scores
4.2 Unpublished Music Scores
4.3 Sound Recordings
4.4 Videorecordings
4.5 Record and CD Notes
4.6 Program Notes
4.6 Photographed Materials
4.7 Performances
5. Citation of Electronic Media
5.1 WWW Sites
5.2 Online Reference Sources
5.3 Electronic Journals
5.4 CD-ROM
5.5 Listserv Messages
5.6 E-Mail Messages
6. Examples Within the Text
6.1 Numbering
6.2 Captions
6.3 Citation of the Music
Source
6.4 Music Examples
6.5 Placement of Examples
Within the Text
6.6 Non-Music Materials
Within the Text
7. Titles of Compositions Within
the Text
7.1 Titles
7.2 Genre Titles
7.3 Descriptive Titles
7.4 Titles with Abbreviations
8. Miscellaneous Matters
8.1 Dates of Materials in
the Bibliography
8.2 Pagination
8.3 Subheadings
8.4 Quotations
8.5 Numbers
8.6 Letters as Notes
8.7 Pitches
8.8 Foreign Terms
8.9 Writing Style
8.10 Words of Wisdom
| 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 approach taken by Turabian-Grossman-Bennett is particularly
good for students writing history and theory papers. Several options
are offered, thus allowing some individuality in approach. The Manual
also addresses such topics as layout, abbreviations, numbers, spelling,
punctuation, capitalization, underlining/italics, tables, illustrations,
and quotations. Basic information is available online for citation
of written sources. |
|
| The Chicago Manual of Style. 14th ed. Chicago: The University of Chicago Press, 1993. | |
| Since Turabian is a condensed version of the Chicago Manual,
students may refer to the Chicago Manual for more complex bibliographic
problems than are addressed in the smaller book without the risk of encountering
conflicting material. A copy is available in the office of the Reference
Room at Jackson Library. Materials in this UNCG guide are derived
primarily from the Chicago Manual and Turabian. Basic information
is available on-line for citation of written
sources. |
|
| The Columbia Guide to Online Style. Janice R. Walker and Todd Taylor. New York: Columbia University Press, 1998. | |
| Walker and Taylor have expanded the original
Walker/ACW Style Sheet into a comprehensive yet user-friendly guide.
In addition to providing rules for online citation, they also give complete guidelines for formatting documents for online publication and for electronically preparing
texts for print publication. Basic information
is available on-line for citation of online
sources. |
|
| 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.
Click here for an
on-line version. |
|
| Holoman, D. Kern. Writing About Music: A Style Sheet from the Editors of 19th-Century Music. Berkeley: University of California Press, 1988. | |
| Treated in this manual are problems dealing with writing about
music: music terminology, narrative text, citations, musical examples,
tables and illustrations, the printed program, and the preparation of copy
to be submitted electronically. |
|
| Guide for the Preparation of Theses and Dissertations. Greensboro, NC: The Graduate School of The University of North Carolina at Greensboro, August 2000. | |
| D.M.A. students may acquire a copy of the style guide online at: http://www.uncg.edu/grs/assets/applets/T&DGUIDE.PDF |
|
| Return to Contents. | |
|
|
|
|
2. A CHECKLIST OF SOURCES FOR MUSIC PAPERS |
|
|
The music resources at UNC-Greensboro are housed in two locations.
Reference materials, books, periodicals, newspapers, and CD-ROM sources
are housed in Jackson Library, primarily on the first floor in the reference
department and in the serials-reserve room, and on the third floor of the
old building. Scores, recordings, and a limited number of standard
reference materials are housed in the Music Listening Center in Brown Music
Building. |
|
| 2.1 Book Sources | |
|
|
| 2.2 Sources Available Online at UNC-Greensboro | |
| Jackson Library's catalog at UNCG lists databases under Electronic Databases on the initial screen. On this page the databases may be selected from the alphabetical listing of all databases. The following online sources will be of particular interest to music students (the items in bold contain music exclusively): | |
|
|
| Music students may find several other databases tto be particularly valuable. For example: | |
|
|
| 2.3 Other Online Sources | |
| The music librarian and several faculty members within the CHT division have created web pages that cater to their particular interests and include numerous online sources. For example, see these web sites: | |
|
|
| 2.4 CD-ROM Sources | |
| Some CD-ROMs are available only in the Reference Department of Jackson Library. Music students may be interested in these: | |
|
|
| Return to Contents. | |
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|
|
|
3. DOCUMENTATION OF MATERIAL |
|
|
The source of material that is not common knowledge should be cited in
a note, either a footnote, endnote, or parenthetical reference. Likewise,
interesting material that amplifies the text but does not have direct bearing
on it may be treated as a content note. These notes should
be presented as footnotes or endnotes, not parenthetical references, as
the length of the note may interrupt the text. |
|
| 3.1 Footnotes/Bibliography | |
|
Students may place notes at the bottom of each page as described in Turabian,
chapter 8. Use of a shortened format for notes after the first is
encouraged (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; the format is explained in Turabian, chapter 9.
Examples of both footnote and bibliography entries are cited in chapter
11 under N and B. |
|
| 3.2 Endnotes/Bibliography | |
|
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).
Even when parenthetical references are used, lengthy notes, including content
notes, should be placed at the bottom of the page or at the end of the
paper. 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 Formats | |
|
The easiest and quickest way to find formats for the various forms is by
examining chapter 11 of Turabian. Basic formats may be found online by
clicking here. |
|
| 3.5 New Grove II Articles | |
|
For New Grove articles citation of the author is absolutely essential.
If the bibliography contains three or four articles from New Grove,
undergraduates may use an abbreviated form of citation, not the
s.v. format as stated in Turabian. Place a main entry for the set
in the bibliography, then give an entry for each article by author.
For example, a listing of three articles and the set would appear alphabetized
in a bibliography in the following manner: |
|
| Arnold, Denis. "Monteverdi." New Grove,
2d ed., 17:29-60.
Heartz, Daniel and Bruce Alan Brown. "Empfindsamkeit." New Grove, 2d ed., 8:190-192. The New Grove Dictionary of Music and Musicians, 2d ed.. Edited by Stanley
Sadie and John Tyrrell Palisca, Claude. "Baroque." New Grove, 2d ed., 2:749-756. |
|
| If only one or two articles are cited, however, follow the format in the example below. All graduate students should follow this format. | |
| Heartz,
Daniel. "Empfindsamkeit." In The New Grove Dictionary of Music and Musicians,
2d ed., ed. Stanley Sadie and John Tyrrell, 8:190-192. 28 vols. London: Macmillan, 2000. [See
Turabian 11.26.] |
|
| Footnotes for New Grove articles are treated in the following manner: | |
| Daniel Heartz and Bruce Alan Brown, “Empfindsamkeit,” New Grove,
2d ed., 8:190. [First note] Heartz and Brown, 8:190. [Subsequent notes] |
|
|
In the reference list the format is the same except that the date is inserted after the author's name and capitalization is adjusted. In the citation for the set place the date after the name of the set. Parenthetical references for New Grove articles may be treated in the following manner: |
|
| (Heartz and Brown 2000, 8:190) |
|
| Other music encyclopedias may also follow the formats above. In
a paper that employs parenthetical references/reference list, the date
should be inserted after the name of the dictionary in the main entry. |
|
| 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, 1972), 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, 1972), 10, 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 men-tioned 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. Newman, William S. The Sonata in the Baroque Era. New York: W. W.
Norton, 1983. |
|
| Return to Contents. | |
|
|
|
|
4. SUPPLEMENTARY BIBLIOGRAPHY FOR MUSIC MATERIALS |
|
|
The examples given below are for the bibliography format; for the reference
list take the date from the end and insert it after the composer's name.
A period follows the date, and the comma following the publisher is changed
to a period. Capitalization is adjusted to that only the first word
and proper nouns are capitalized. |
|
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. Melodrama 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 8.144, 11.60.
Mihalyi, Louis J. Landscapes
of Zambia, Central Africa. Santa Barbara, Calif.: 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.
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.
Solti,
Georg, conductor. Brandenburg Concerto no.1 by Johann Sebastian Bach, BWV
1046.
Chicago Symphony Orchestra concert, Chicago. 2 June 1985.
Electronic media are of two main types: (1) on-line sources such as computer services, listservs, e-mail and (2) physical entities such as CD-ROMS. The first type tends to change rapidly, thus making it important to note the exact date of access; the second type is relatively fixed except for updating occasionally.
Because the field is new and because much changes rapidly in electronic media, methods for citations are not as fixed as for book and article sources. A person making citations must keep in mind that the person reading the citation must be able to retrieve the item. In so far as it is possible, follow the same general format as for printed materials. These formats are based on The Columbia Guide to Online Style by Janice R. Walker and Todd Taylor (new York: Columbia University Press, 1998). For more information see http://www.columbia.edu/cu/cup/cgos/basic.html.
The following examples are offered as possibilities.
Cooke, Deryck V. "Mahler, Gustav." Encyclopedia Britannica Online (29 June 1999).
"Fine Arts." Dictionary
of Cultural Literacy. 2nd ed. Ed. E. D. Hirsch, Jr., Joseph F. Kett,
and James Trefil. Boston: Houghton Mifflin, 1993. INSO Corp. America
Online.
Reference Desk/Dictionaries/Dictionary of Cultural Literacy (20 May 1996).
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.harvard.edu/jscm/v2no1.html
(28 Feb. 2001).
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
If a music example is photocopied from a score, make sure it includes
clefs and instrument indications (including keys of instruments that change
transpositions). Add them if it does not. Make the examples
show what you are writing about by the use of brackets, arrows, circles,
or labels within the example. For longer examples it may be appropriate
to give selected measure numbers within the example. Often a diagram,
graph, or reduction of a passage will be more instructive than the actual
score excerpt.
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.
Longyear notes, ". . . ." <or> As Slonimsky points out, ". . . ."
Be careful, however, to vary your manner 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.
No quotation marks are employed.
middle C A 440
the key of G major the key of F-sharp minor
the D-major triad an E string
(Chicago Manual 6.84)
In papers of a theoretical nature where many keys are discussed or are stated in an analysis, it is common practice to use capital letters for major keys and lowercase for minor. If this practice is followed, the words major and minor are omitted:
the key of G
the e triad: E--G-natural--B
The second movement of Beethoven's Sonata in c (op. 13) is in the key of
A-flat.
(Chicago Manual 6.87)
Avoid colloquialisms (e.g., "feel" used as a noun), contractions, excessive use of "there is"/"there are," and overused words (e.g., very, quite). Strings of uninterpreted facts might cause a reader to respond with "so what?" Therefore, interpret facts.
Particular care should be taken in the use of a dash. Notice that
there are no spaces between the text and the dash. See Turabian 3.91-95
for a discussion of usage. Strunk-White,
listed in the bibliography, gives particularly good tips for strong writing.
Return to Contents.
Return to Dr. McCrickard's Home Page.
Last revised on February 28, 2001.
For comments about this Guide, please contact Eleanor
McCrickard.