House Style Document 2014

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HOUSE STYLE & CITATION FORMATS

Introduction

When writing an essay, a review, a programme note, a proposal or any other document that you are to

submit toward your degree, you need tostylethat submission according to the formatting and

presentation guidelines outlined in this document. Such House Style conventions are stipulated to ensure

conformity and to aid comprehensibility for your readers.

The conventions fall into the following categories:

Setting your work out on the page

Styling quotes, numbers, dashes and dates

Titles of publications, films and articles

Titles of music

Referencing

Resource Lists

Starter Guide to Citation Formats

Full Guide to Citation Formats

Sample Essays & Resource List

This document is in 4 parts:

Setting your work out, styling quotes etc, titles, referencing, and resource lists: 2-5

Starter Guide to Citation Formats 6-10

Full Guide to Citation Formats 11-28

Sample Essays and Resource List 29-31


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Setting your work out on the page

Your exam number should appear in the header of each page

Each page should have a page number either in the header or the footer

Space the main text and Resource List 2.0 or 1.5 lines (including set-off quotations); footnotes maybe single-spaced, if you are using them

Set the margins at 2.5 cm at least

Use an easily readable font such as Calibri

Set your work in 11 pt or 12 pt type (not smaller)

Indent the first line of new paragraphs, except the first paragraph of an essay or section

Do not include line spaces between paragraphs

It is fine to print on both sides of the paper

Styling quotes, numbers, dashes and dates

Quotation marks should be single; double quotation marks should be used only 'for a "quotation"

within a quotation'. At the end of a quote, the punctuation should normally be outside the

quotation marks, except where the quote concludes with a question mark

If the quote is more than 40 words long, then set it off from the text by putting the quote in a

separate paragraph, indented from the left and right by 2 cm within the main margins and in the

same size type as the main text; do not surround a set-off quote with quotation marks (see the set-off quotations in the examples below)

Use ellipses (three full stops in a row ... with a space on either side) when leaving material out from

within a quote; use four dots if the cut includes a full stop; ellipses are not used at the beginning or

end of quotes, unless they appear in the original

Use square brackets only for editorial interpolations within quoted matter

Spell out numbers from one to ten, except for references to pages, bars, works (e.g. Symphony No.

5), centuries (see below) or for lists of numbers; use numerals from 11 onwards

Use sixteenth century (or sixteenth-century when used as an adjective), rather than 16th century,

16th

century or Sixteenth Century

Put a space on either side of dasheslike this

Dates should be appear as: 23 March 1969, 196070, the 1960s, the fifties

Titles of publications, films and articles

Titles of books, recordings, journals, operas and films should always appear in italics (in text,

footnotes and Resource Lists)

Titles of articles should appear in single quotation marks, not in italics (in text, footnotes and

Resource Lists)


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Titles of music

Music titles appearing in prose can be tricky:

Genericmusic titles appear in roman type (e.g. not italic):

String Quartet in D major, Op. 25

Haydn's Piano Sonata in Ebmajor, Hob. XVI/52

Beethoven's Symphony No. 4 orBeethoven's Fourth Symphony

Distinctivemusic titles appear in italics:

Birtwistle'sThe Mask of Orpheus

Mozart's operaDon Giovanni

Song titlesappear in single quotation marks and roman type:

Queen's 'Bohemian Rhapsody'

Schubert's song, 'Wohin' fromDie schne Mllerin,D. 795 (note that the title of the song cycle, Die

schne Mllerin, appears in italics)

Nicknamesappear in single quotation marks:

Piano Concerto No. 5 in Ebmajor, Op. 73 'Emperor'

Air with Variations ('The Harmonious Blacksmith') from Handel's Suite No. 5 in E major

Referencing

Whenever you use information from a book, article, website, CD liner notes, etc, you must say where it

came from. This is called referencing. You must reference not only exact quotations but paraphrases,

too.

For referencing, you have a choice of using either footnotes/endnotes or the author-date-page (a-d-p)

system (see formats in the Citation Formats section and examples in the Sample Essays section).

Only one referencing system may be used in any piece of work.

Incorporate your reference/footnote indicator into your text, at the end of the sentence if possible, but

in any case after a punctuation mark such as a full stop, comma or semicolon. If you have used a long,

set-off quote then put the reference/footnote indicator at the end after the full stop.

Footnote indicators in the text follow immediately after punctuation (without space between). Only

page numbers relevant to the quote or paraphrase should be shown in footnotes or a-d-p references;

the full page range for an article or essay appears in the Resource List.

In footnotes/endnotes, you may include information beyond a source citation, if it adds supplementalmaterial that you are sure should not appear in the main text.

In footnotes, you may use short forms, since the full citation will appear in the Resource List. Ibid.may

be used to refer to the same citation as in the footnote immediately preceding, but do not use Op. Cit.


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(referring vaguely to a reference cited somewhere earlier).

Sometimes it is useful to reference a quote from a source that is quoting from another source (for

guidance on how to style the reference, see the first reference in the sample essay below).

Resource Lists

At the end of your work, provide a Resource List of all books, scores, recordings, articles, websites and

any other sources you have used in your text.

Citations in your Resource List must follow the formatting styles as shown in the various categories of

examples that are found below (see Citation Formats below; the full documenta is also available on the

Department of Music website at:http://music.york.ac.uk/docs/referencing .) .

The Resource List begins on a new sheet of paper.

The Resource List should be spaced 2.0 or 1.5, in 11 or 12 pt type and use the same margins as for the

main text.

If citations are longer than one line, then any turnover lines should be indented (see examples below).

The Resource List may be divided into sections; possible headings might be Primary Sources, Secondary

Sources, Sound Recordings, Scores, Films, etc.

In each section, the citations should be ordered alphabetically by the first author's surname (see

examples below).

If your Resource List includes more than one item by an author, then under the author's name, order

those entries by date of publication. Rather than repeating the name many times, replace that name

with an underscore-type line seven characters in length (see the Ree citations in the sample Resource

List below).

If you are using the author-date-page system and more than one item by an author is published in the

same year, then distinguish between these resources by adding 'a', 'b', etc. after the year, in the order

in which they appear in the Resource List (see the Ree citations in the sample Resource List below).

If you are using the a-d-p system, then be careful when selecting which date to display in a reference.

For instance, if you are showing a website, such as New Grove Online, display the date of publication

(2001), and then the date on which you viewed the website at the end. Or if you are showing a reprint

edition, be careful to show the date of the original publication, perhaps also showing the reprint date,

rather than implying that it was issued only at the time of the reprint date; e.g. (Mozart, 1994: 41), ismisleading; instead (Mozart, 1786, facs. repr. 1994: 41) is clear.

If there is no author, you may put [n.a.] where the author's name would otherwise go; alternatively, as

examples below show, you may simply omit that part of the citation (e.g. for instance, in the case of

unsigned historical newspaper or magazine articles).

If there is no place of publication given, [n.p.] should appear. Similarly, if there is no year of publication,

and you are unable to trace it through other means (e.g. dates are often added editorially to records in

research library catalogues), then [n.d.] should appear.

If your resource is not covered by the examples given in this Resources guide, consult The Chicago

Manual of Style (in the Library) orThe Oxford Guide to Style,or ask your tutor. If you would like an

example to be added to theResourcesguide, please e-mail Nicky Losseff ([email protected]).
http://music.york.ac.uk/docs/referencinghttp://music.york.ac.uk/docs/referencinghttp://music.york.ac.uk/docs/referencing.pdfhttp://music.york.ac.uk/docs/referencing.pdfhttp://music.york.ac.uk/docs/referencing.pdfhttp://music.york.ac.uk/docs/referencing


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CITATION FORMATS

Citation formats vary for different types of research resources. In order to determine what format you

should use, consider first the kind of resource you wish to cite: a book, or a journal article, an audio

recording or liner notes. Each of these items has its own particular set of citation formats, which present

citations as they would appear in references either a short footnote or the author-date-page (a-d-p)

system within the main textor in the Resource List. There is a rule of thumb: a main itemlike a book or

a CD or a journal, goes in italics; an item within that, like a chapter or an article or a single track, goes in

quotation marks.

Short footnotes only need as much information as is necessary for the reader to locate the item in the

Resource List.

Notice the order in which elements appear, the punctuation, the capitalization and the italicization in

each format: be sure to follow these consistently. In particular, note that citation formats in footnotes

and Resource Lists all end with a full stop.

Notice also that only the name listed as the first author in the Resource List should appear with the

surnamebeforethe first names. That means that all other names in the Resource List should appear in

the usual order (i.e. first names followed by the surname).

The followingStarter Guidelists standard formats for the most common kinds of resources. Then, the

Full Guide to Citation Formats is more comprehensive, listing more types of materials that you may

consult and wish to cite.


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Starter Guide to Citation Formats

See general notes to Citation Formats (above).

BOOKS

basic citation

In the Resource List, the author's name appears first, then the title of the book is given in italics,followed by the publication information: the city first, then the publisher and finally the year of

publication.

The short footnote format consists of the author's surname, a short form of the title (in italics) and the

relevant page(s).

The author-date-page (a-d-p) format, cited within the text, consists of the author's surname, the year of

publication (see note above) and the relevant page(s).

res-list: Taylor, Tim.Global Pop: World Music, World Markets. New York: Routledge, 1997.

short fn: Taylor,Global Pop, 56-7.

a-d-p (Taylor, 1997: 56-7)

Examples of other kinds of book citations ...

ARTICLES

Articles appear in different kinds of resources: in print and online journals, newspapers, dictionaries or

essays in books. An article title is placed within single quotation marks, while the publication in which

the article appears is shown in italics.

in a journal

The title of the journal article is followed by the journal title and the volume/issue numbers. The year of

the issue is given in parentheses, and then the page numbers appear - only the relevant page(s) in a

footnote or a-d-p reference, while the full range (first pagefinal page) appears in the Resource List.

res-list: Erlmann, Veit. 'Migration and Performance: Zulu Migrant Workers' Isicathamiya erformance

in South Africa, 1890-1950'. Ethnomusicology34/2 (Spring-Summer 1990), 199-220.

short fn: Erlmann, 'Migration and Performance', 201-2.

a-d-p (Erlmann, 1990: 201-2)

same journal article as above, accessed online via JSTOR, is no different:

res-list: Erlmann, Veit. 'Migration and Performance: Zulu Migrant Workers' Isicathamiya

Performance in South Africa, 1890-1950'. Ethnomusicology34/2 (Spring-Summer 1990),

199-220.

short fn: Erlmann, 'Migration and Performance', 201-2.

a-d-p (Erlmann, 1990: 201-2).


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in a collection of essays, published as a book

res-list: Kramer, Jonathan D. 'The Nature and Origins of Musical Postmodernism', inPost Modern

Music/Postmodern Thought,ed. Judy Lochhead and Joseph Auner. New York and London:

Routledge, 2002. 13-26.

short fn: Kramer, 'The Nature and Origins of Musical Postmodernism', 20-21.

a-d-p (Kramer, 2002: 20-21)

in a newspaper, accessed online

res-list: Russell, Tony. 'Ray Charles: Musical Giant Who Drew Together Blues, Gospel, Soul and Jazz'

[obituary].The Guardian,12 June 2004. (accessed 15 June 2004).

short fn: Russell, 'Ray Charles',The Guardian(12 June 2004).

a-d-p (Russell, 2004)

Examples of other kinds of article citations ...

GROVE MUSIC ONLINE

It is most common nowadays to access the The New Grove Dictionary of Music and Musicians, 2nd

edition (2001), via its online version, Grove Music Online. Citation formats for these online articles

appear as follows:

res-list: Arnold, Alison. 'India VIII, 1: Film Music, (ii) Style', inThe New Grove Dictionary of Music

and Musicians,2nd ed., ed. Stanley Sadie and John Tyrrell. London: Macmillan, 2001.

Accessed atGrove Music Online, ed. Laura Macy.

(on 6 January 2009).

short fn: Arnold, 'India VIII, 1: Film Music, (ii) Style'.

a-d-p (Arnold, 2001)

Examples of other kinds ofNew Grovecitations ...

WEBSITES

entire website (unsigned)

res-list: Hear Musicwebsite. (accessed 5 June 2005).

short fn: Hear Musicwebsite.

a-d-p (Hear Musicwebsite)
http://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.htmlhttp://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.htmlhttp://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.starbucks.com/hearmusic/%20default.asphttp://www.starbucks.com/hearmusic/%20default.asphttp://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.htmlhttp://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.html


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webpage

res-list: National Indigenous Arts Advocacy Association (NIAAA), Australia. 'Copyright: Questions

and Answers'. (accessed 13 July

2002).

short fn: NIAAA, 'Copyright', online.

a-d-p (NIAAA: [n.d.]: online)

Examples of other kinds of website citations ...

MUSIC EDITIONS

Finding the best way to cite music editions may depend on the way the title appears on the item and

information of which you wish readers to be aware. Essential elements include the composer, the title as

it appears on the item (in italics), and the city, venue and date(s) of publication. Material in parenthesesin the full reslist citation is optional.

published edition

res-list: Norgard, Per. Trio for clarinet, violoncello, and piano, Op. 15. Copenhagen: Wilhelm Hansen,

1958.

short fn: Norgard, Trio for clarinet, cello and piano, 23.

a-d-p (Norgard, 1958: 23)

res-list: Crumb, George.Ancient Voices of Children: a Cycle of Songs on Texts by Gartia Lorca. NewYork: Peters, 1970. (For soprano, boy soprano, oboe, mandolin, harp, electric piano,

percussion.)

short fn: Crumb, Ancient Voices of Children, i.

a-d-p (Crumb, 1970: i) [here, i is a page number]

Examples of other kinds of music edition citations ...

AUDIO RECORDINGS

Is it the recording or the liner notes that you wish to cite? To cite liner notes, see separate section below.

Are you primarily interested in the performer or performing ensemble, in the composer and work, or in

the record producer? Is it the original recording or a reissue?

Essential elements include the recording title (if there is one), the performing artist and/or ensemble,

and any original recording information (for reissues); then the format of the recording you used (LP, CD,

etc.), the recording company and catalogue number, and finally the year of issue. If you have

downloaded a recording, then there is a format for that, too.

Remember, if you are referring to a specific moment in the recording, you must include the timings.
http://www.niaaa.com.au/%e2%80%a8copyright_qa_sheet.htmlhttp://www.niaaa.com.au/%e2%80%a8copyright_qa_sheet.htmlhttp://www.niaaa.com.au/%e2%80%a8copyright_qa_sheet.html


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entire titled recording

res-list: Davis, Miles, trumpet.The Complete Birth of the Cool.Original studio sessions, prod. Pete

Rugulo (1948-50). Reissue prod. Mark Levinson, Phil Schaap and Michael Cusuma. CD,

Capital Jazz (Capital Records), 7243 4 94550 2 3, 1998.

short fn: Davis, The Complete Birth of the Cool(1948-50), CD reissue (1998).

a-d-p (Davis, 1948-50/1998)

untitled recording of specific work

res-list: Faur, Gabriel. Sonata No. 1 in A major for violin and piano, Op. 13. Jacques Thibaud, violin,

Alfred Cortot, piano. Recorded: 23 June 1927, Kingsway Hall, London. CD, EMI, MONO CDH

7630322, 1989.

short fn: Faur, Violin Sonata No. 1, Thibaud/Cortot.

a-d-p (Faur, 1927/1989 at 2 13)

download recording

res-list: Deacon, John. 'I Want to Break Free'. Queen: Freddie Mercury, Brian May, Roger Taylor,

John Deacon. Version released onThe Works,27 February 1984.

short fn: Deacon, 'I Want to Break Free'.

a-d-p (Deacon, 1984)

Examples of other kinds of audio recording citations ...

LINER NOTES

To cite an essay published as the liner or booklet note for a recording, the author and title of the note (in

single quotation marks) appear, if known. The title of the CD is shown in italics, and the ensemble and

director may appear, if useful. Finally the recording company, CD number and date of publication are

given, and page references may follow.

signed and titled notes

res-list: Eisenman, David. 'The Toxic Sounds of Musicircus'. Booklet notes to HPSCHDby John Cage

and Lejaren Hiller. CD, Electronic Music Foundation, EMF CD 038, 2003. 7-8.

short fn: Eisenman, 'The Toxic Sounds of Musicircus', 7.

a-d-p (Eisenman, 2003: 7)

Examples of other kinds of liner note citations ...


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BROADCASTS

There is no standard format for citing broadcasts. Authorship may rest mainly with a speaker (of a radio

talk), a producer (of a documentary) or a presenter. Essential elements include the programme title (in

single quotation marks), the series title (in italics), the network/wavelength, the date of transmission,

and perhaps the time. If your source is a recording of a broadcast, then the recording information also

appears.

broadcast of specific radio programme

res-list: Judith Weir, interview broadcast in 'Judith Weir',Composer of the Week, Donald Macleod,

presenter. BBC Radio 3, 2 June 2004.

short fn: Weir, Composer of the Week.

a-d-p (Weir, radio interview, 2 June 2004)

broadcast of particular composition

res-list: Messiaen, Olivier. 'La colombe', from Preludes for piano. Broadcast by Rolf Hind, piano

(performing live), onIn Tune.BBC Radio 3, 9 April 2006.

short fn: Messiaen, 'La colombe', Hind.

a-d-p (Messiaen, radio broadcast, 9 April 2006)

internet broadcast of particular composition

res-list: Tenney, James.Diapason,internet broadcast onPostclassic Radio, presenter Kyle Gann, 17

June 2005. .

short fn: Tenney,Diapason.

a-d-p (Tenney, 2005)

television documentary

res-list: Bridcut, John, prod.Britten's Children,produced by Mentorn. Broadcast on BBC2, 5 June

2005, 9.15 pm. (Television documentary.)

short fn: Bridcut, prod.,Britten's Children, at 10 15.

a-d-p (Bridcut, 2005, at 10 15)

Examples of other kinds of broadcast citations ...
http://www.live365.com/stations/%20kylegannhttp://www.live365.com/stations/%20kylegann


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11

Full Guide to Citation Formats

See general notes to Citation Formats (above).

Categories of resources include:

Books

Articles

New Grove and Grove Music Online

Unpublished dissertations and conference papers

Programme notes

Websites

Music editions

Unpublished archival materials

Unpublished interviews

Audio recordings

Liner notes

Audio-visual recordings

BroadcastsSample Essays

Essay using the footnote system of referencing

Essay using the author-date-page system of referencing

Sample Resource List

BOOKS

basic citation

In the Resource List, the author's name appears first, then the title of the book is given in

italics, followed by the publication information: the city first, then the publisher and

finally the year of publication.

The short footnote format consists of the author's surname, a short form of the title (in

italics) and the relevant page(s).

The author-date-page (a-d-p) format, cited within the text, consists of the author's

surname, the year of publication (that part can be tricky - see note above) and the

relevant page(s).


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res-list: Taylor, Tim.Global Pop: World Music, World Markets. New York: Routledge,

1997.

short fn: Taylor,Global Pop, 56-7.

a-d-p (Taylor, 1997: 56-7)

with translator

res-list: Bourdieu, Pierre.The Field of Cultural Production, ed. Randal Johnson, trans.

Richard Nice and others. Cambridge: Polity, 1993.

short fn: Bourdieu,The Field of Cultural Production, 105.

a-d-p (Bourdieu, 1993: 105)

later edition(see also the following example)

res-list: Michel, Pierre.Gyrgy Ligeti: compositeur d'aujourd'hui, 2nd ed. Paris:

Minerve, 1995.

short fn: Michel,Gyrgy Ligeti, 200.

a-d-p (Michel, 1995: 200)

separately-titled volume in multi-volume work

res-list: Babbitt, Milton. 'Who Cares if You Listen?' (1958), inSource Readings in

Music History,vol. 7:The Twentieth Century,rev. ed., ed. Robert P. Morgan.

New York and London: Norton, 1998. 35-41.

short fn: Babbitt, 'Who Cares if You Listen?', 36.

a-d-p (Babbitt, 1958/1998: 36)

specified chapter from a book by a single author

res-list: Dibelius, Ulrich. 'Gesprch ber sthetik', inGyrgy Ligeti: eine Monographie

in Essays.Mainz: Schott, 1994. 253-73.

short fn: Dibelius, ' Gesprch ber sthetik', inGyrgy Ligeti,268.

a-d-p (Dibelius, 1994: 268)

collection of essays, listed under the editor(s)

In a footnote (either format), you would normally cite an essay within the volume, rather


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than the entire volume, but you may wish to cite just the volume in the Resource List.

res-list: Clarke, Eric and Nicholas Cook, eds.Empirical Musicology: Aims, Methods,

Prospects.Oxford: Oxford University Press, 2004.

short fn: Clarke and Cook, Empirical Musicology,vi.a-d-p (Clarke and Cook, 2004: vi)

The full texts of out of copyright books are increasingly available online. For books

published before the mid-nineteenth century, the orthography of the title may appear as

on the original title page (this is different from modern titles, for which capitalization,

punctuation, etc. are standardized).

res-list: Bayly, Anselm.A practical treatise on singing and playing with just expression

and real elegance. Being an essay on I. Grammar. II. Pronunciation;... London:

J. Ridley, 1771. Facsimile accessed at Eighteenth Century Collections Online.


short fn: Bayly,A practical treatise,52.

a-d-p (Bayly, 1771: 52)

ARTICLES

in a collection of essays, published as a book

res-list: Kramer, Jonathan D. 'The Nature and Origins of Musical Postmodernism', in

Post Modern Music/Postmodern Thought, ed. Judy Lochhead and Joseph

Auner. New York and London: Routledge, 2002. 13-26.

short fn: Kramer, 'The Nature and Origins of Musical Postmodernism', 20-21.

a-d-p (Kramer, 2002: 20-21)

in a collection that is translated and/or selected by another

res-list: Barthes, Roland. 'NeitherNor Criticism', inMythologies,selected and trans.

Annette Lavers. London: Jonathan Cape, 1972. 81-3.

short fn: Barthes, 'NeitherNor Criticism', 83.

a-d-p (Barthes, 1957/1972: 83)
http://galenet.galegroup.com/servlet/ECCOhttp://galenet.galegroup.com/servlet/ECCOhttp://galenet.galegroup.com/servlet/ECCOhttp://galenet.galegroup.com/servlet/ECCO


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in a journal

The title of a journal article is placed within single quotation marks. The journal title is in

italics, followed by the volume/issue of the journal. The year of the issue is given in

parentheses, and then the page numbers appear - only the relevant page(s) in a footnote

or a-d-p reference, while the full range (e.g. the first page

the final page) appears in the

Resource List.

res-list: Erlmann, Veit. 'The Politics and Aesthetics of Transnational Musics'. The

World of Music35/2 (1993), 3-15.

short fn: Erlmann, 'The Politics and Aesthetics of Transnational Musics', 11-14.

a-d-p (Erlmann, 1993: 11-14)

in a journal with translator

res-list: Adorno, Theodor. 'Richard Strauss: Born June 11, 1864' (1964), trans. Samuel

Weber and Sherry Weber.Perspectives of New Music4/1 (Fall-Winter 1965),

I: 14-32, and 4/2 (1965), II: 113-29.

short fn: Adorno, 'Richard Strauss', I: 28-9.

a-d-p (Adorno, 1964/1965: I: 28-9)

same journal article as above, accessed via JSTOR, is exactly the same.

Citations for full-text articles found on JSTOR must still reference the original journals and

page numbers.

res-list: Adorno, Theodor. 'Richard Strauss: Born June 11, 1864' (1964), trans. Samuel

Weber and Sherry Weber.Perspectives of New Music4/1 (Fall-Winter 1965),

I: 14-32, and 4/2 (1965), II: 113-29.

short fn: Adorno, 'Richard Strauss', I: 28-9.

a-d-p (Adorno, 1964, trans. 1965: I: 28-9)

in a journal, unsigned

For unsigned articles, avoid 'Anonymous', as the author may have been known at the time

(and to scholars now). Place the item alphabetically under the title. (An explanatory

comment in parentheses following the main citation information is recommended.)

res-list: 'The Geneva Festival'.Monthly Musical Record59 (January 1929), 2.

(Unsigned review of the 1929 Festival of the International Society for

Contemporary Music.)


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short fn: 'The Geneva Festival', 2.

a-d-p ('The Geneva Festival', 1929: 2)

in a journal, untitled review

res-list: McClary, Susan.Review ofBetween Montmartre and the Mudd Club: Popular

Music and the Avant-Garde (2002) by Bernard Gendron. Twentieth-Century

Music 1/1 (2004), 139-45.

short fn: McClary,review ofBetween Montmartre and the Mudd Club, 140.

a-d-p (McClary, 2004: 140)

in an online journal

res-list: Beken, Munir Nurettin. 'Aesthetics and Artistic Criticism at the Turkish

Gazino'.Music and Anthropology8 (2003).

(accessed 10 May 2005).

short fn: Beken, 'Aesthetics and Artistic Criticism at the Turkish Gazino'.

a-d-p (Beken, 2003)

in a newspaper, accessed in its print version

If the newspaper is in multiple sections, include the section designation; also include the

column when possible, where A is the 1st column from the left, B is the 2nd, etc.

res-list: Ashkenazy, Vladimir. 'Making Music in the Shadow of Stalin'.New York Times,

16 February 2003. Sec. 2: 32(A-B).

short fn: Ashkenazy, 'Making Music in the Shadow of Stalin'. Sec. 2: 32(B).

a-d-p (Ashkenazy, 2003: Sec. 2: 32(B))

in a newspaper, accessed online

res-list: Russell, Tony. 'Ray Charles: Musical Giant Who Drew Together Blues, Gospel,

Soul and Jazz' [obituary].The Guardian, 12 June 2004. (accessed 15 June 2004).

short fn: Russell, 'Ray Charles',The Guardian(12 June 2004).

a-d-p (Russell, 2004)
http://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.htmlhttp://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.htmlhttp://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.htmlhttp://www.guardian.co.uk/%20obituaries/story/%200,3604,1237006,00.html


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unsigned obituaries

Make sure that the short forms include enough information to distinguish the citation

from other references (e.g. an unsigned obituary that might appear in the LondonTimes

on the same day, appearing in the Resource List with the date 1997a).

res-list: Obituary for Conlon Nancarrow. The Times [Los Angeles], 19 August 1997.

Sec. B: 4(A).

short fn: Obituary for Nancarrow,The Times[LA], Sec. B: 4(A).

a-d-p (Obituary for Nancarrow, 1997b: Sec. B: 4(A))

NEW GROVE ANDGROVE MUSIC ONLINE

You may access theThe New Grove Dictionary of Music and Musicians,2nd edition (2001),

in two ways, either in print or online. The citation format depends on which version you

consult; to cite articles ...

inThe New Grove accessed in its print version

res-list: Griffiths, Paul. 'Ligeti, Gyrgy', inThe New Grove Dictionary of Music and

Musicians,2nd ed., ed. Stanley Sadie and John Tyrrell. London: Macmillan,

2001. 14: 690-96.

short fn: Griffiths, 'Ligeti, Gyrgy', 694.

a-d-p (Griffiths, 2001: 694)

in The New Grove accessed online

res-list: Arnold, Alison. 'India VIII, 1: Film Music, (ii) Style', inThe New Grove

Dictionary of Music and Musicians,2nd ed., ed. Stanley Sadie and John

Tyrrell. London: Macmillan, 2001. Accessed atGrove Music Online, ed. Laura

Macy. (on 6 January 2009).

short fn: Arnold, 'India VIII, 1: Film Music, (ii) Style'.

a-d-p (Arnold, 2001)

res-list: Hume, Robert D. 'Beggar's Opera, The,' inThe New Grove Dictionary of

Opera,ed. Stanley Sadie. London: Macmillan, 1992. Accessed atGrove Music

Online,ed. Laura Macy.


short fn: Hume, 'Beggar's Opera, The.'
http://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.oxfordmusiconline.com/subscriber/article/%20grove/%e2%80%a8music/O002751http://www.oxfordmusiconline.com/subscriber/article/%20grove/%e2%80%a8music/O002751http://www.oxfordmusiconline.com/subscriber/article/%20grove/%e2%80%a8music/O002751http://www.oxfordmusiconline.com/subscriber/article/%20grove/%e2%80%a8music/O002751http://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2http://www.oxfordmusiconline.com/subscriber/%e2%80%a8article/%20grove/music/43272pg15%23S43272.8.1.2


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a-d-p (Hume, 1992)

UNPUBLISHED DISSERTATIONS AND CONFERENCE PAPERS

dissertation or thesis

res-list: Dobbins, Frank. 'The Chanson at Lyons in the Sixteenth Century'. DPhil diss.,

University of Oxford, 1971.

short fn: Dobbins, 'The Chanson at Lyons in the Sixteenth Century', 148.

a-d-p (Dobbins, 1971: 148)

unpublished conference paper

res-list: Wehrmeyer, Andreas. 'Prokofiev's Cantatas for the 20th and 30th

Anniversaries of the October Revolution'. Paper presented at the conference

Prokofiev and Twentieth-Century Culture, Manchester (UK), February 2003.

short fn: Wehrmeyer, 'Prokofiev's Cantatas,16.

a-d-p (Wehrmeyer, 2003: 16)

PROGRAMME NOTES

Finding the best way to cite such materials may depend on the way that the note is

published, e.g. as part of a programme book, in a series prospectus, within a programme

for the series or within a programme for an individual concert. Some notes are unsigned,

others lack titles. Essential elements include the author and title of the note and the

festival title (if present), and the city, venue and date(s) of the festival or concert.

titled in festival programme book(material in parentheses is optional)

res-list: Mark, Christopher. 'Early Britten and the Shadow of Schoenberg', in 55th

Aldeburgh Festival of Music and the Arts. Snape, Suffolk: Aldeburgh

Productions, 2002. 70. (Programme note to Britten & Vienna 2, SnapeMaltings Concert Hall, 10 June 2000.)

short fn: Mark, 'Early Britten and the Shadow of Schoenberg', 70.

a-d-p (Mark, 2002: 70)

titled in festival prospectus

res-list: Threasher, David A. 'Proms Commissions and Premieres', in BBC Proms: 19

July-14 September 2002. London: BBC, 2002. 43-5.


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18

short fn: Threasher, 'Proms Commissions and Premieres', 44.

a-d-p (Threasher, 2002: 44)

untitled in concert programme

res-list: Toop, Richard. Programme note on Ligeti, Piano Concerto. BBC Promenade

Concert, Royal Albert Hall, London, 2 September 1993. 17-18.

short fn: Toop, Programme note on Ligeti, 18.

a-d-p (Toop, 1993: 18)

WEBSITES[see also online examples in the sections for Articles and Broadcasts]

entire website (unsigned)

res-list: Hear Musicwebsite.

(accessed 5 June 2005).

short fn: Hear Musicwebsite.

a-d-p (Hear Musicwebsite)

dated webpage

res-list: Tyner, Ross, and Walter Slany. 'Sink or Swim: Internet Search Tools &

Techniques'. Version 5.0, Spring 2001.

(accessed 16 June 2004).

short fn: Tyner and Slany, 'Sink or Swim' (2001).

a-d-p (Tyner and Slany, 2001)

undated webpage

res-list: National Indigenous Arts Advocacy Association (NIAAA), Australia. 'Copyright:

Questions and Answers'.

http://www.niaaa.com.au/copyright_qa_sheet.html> (accessed 13 July

2002).

short fn: NIAAA, 'Copyright'.

a-d-p (NIAAA: online)
http://www.starbucks.com/hearmusic/%20default.asphttp://www.lboro.ac.uk/library/sink.htmlhttp://www.niaaa.com.au/copyright_qa_sheet.htmlhttp://www.niaaa.com.au/copyright_qa_sheet.htmlhttp://www.lboro.ac.uk/library/sink.htmlhttp://www.starbucks.com/hearmusic/%20default.asp


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MUSIC EDITIONS

Finding the best way to cite music editions may depend on the way the title appears on

the item and information of which you wish readers to be aware. Essential elementsinclude the composer, the title as it appears on the item (in italics), and the city, venue

and date(s) of publication. Material in parentheses is optional.

published edition

res-list: Norgard, Per. Trio for clarinet, violoncello, and piano, Op. 15. Copenhagen:

Wilhelm Hansen, 1958.

short fn: Norgard,Trio for clarinet, cello and piano, 23.

a-d-p (Norgard, 1958: 23)

res-list: Crumb, George.Ancient Voices of Children: a Cycle of Songs on Texts by

Gartia Lorca.New York: Peters, 1970. (For soprano, boy soprano, oboe,

mandolin, harp, electric piano, percussion.)

short fn: Crumb,Ancient Voices of Children, i.

a-d-p (Crumb, 1970: i) [here, i is a page number]

published edition of arrangement

res-list: Schoenberg, Arnold.Klavierstuck, Op. 11 No. 2, concert version arr. Ferruccio

Busoni. Vienna: Universal, 1910.

short fn: Schoenberg,Klavierstuck, Op. 11 No. 2, arr. Busoni, 5.

a-d-p (Schoenberg, arr. Busoni, 1910: 5)

published facsimile of original edition

res-list: Reger, Max. Burleske in E major, No. 6, of Sechs Burlesken, Op. 58 (1901).

Facs. repr. inGreat Works for Piano Four Hands,ed. Ronald Herder. Mineola,

NY: Dover, 1992. 320-28.

short fn: Reger, Burleske in E major, Op. 58, No. 6, 11.

a-d-p (Reger, 1901/1992: 11)

published facsimile of original manuscript

res-list: Stravinsky, Igor.Symphonies dinstruments a vent, first version (1920). Facs.

ed. of short score and full score, ed. and with commentary by Andre


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20

Baltensperger and Felix Meyer. PSB 1008. Basel: Paul Sacher Stiftung, 1991.

short fn: Stravinsky,Symphonies dinstruments a vent,first version (1920), 124.

a-d-p (Stravinsky, 1920/1991: 124)

UNPUBLISHED ARCHIVAL MATERIALS

Finding the best way to cite archival materials depends on how they are stored, organized

and catalogued. Essential elements include a brief description of the item, author, date,

where you accessed it and any cataloguing reference it may have.

NB: Unpublished writings remain the copyright of the author (not the current owner of

the item). When planning to publish quotations from such materials in whole or in part, it

is necessary to ask permission to reproduce it, and it is a courtesy to inform the current

owner of publication plans.

unpublished letter

res-list: Webern, Anton, Vienna. Autograph letter to Kenneth A. Wright, BBC Music

department, 11 January 1936. In Edward Clark Letters, British Library,

Add.ms.52257, fols. 179-80.

short fn: Webern, autograph letter to Wright.

a-d-p (Webern, 11 Jan 1936: fol. 179)

unpublished letter accessed online

res-list: Copland, Aaron, Los Angeles. Autograph letter to Serge Koussevitzky, 6

February 1943. In Aaron Copland Collection, Library of Congress. Facsimile:

(accessed 12 March 2004).

short fn: Copland, autograph letter to Koussevitzky.

a-d-p (Copland, 6 Feb 1943)

unpublished diary

res-list: Reith, John. Diary entry, 17 May 1925. In BBC Written Archives Centre,

S60/5/2: Reith Diaries, vol. ii (May 1923-May 1927).

short fn: Reith, diary entry, 17 May 1925.

a-d-p (Reith, 17 May 1925: diary entry)


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21

unpublished music score

res-list: Birtwistle, Harrison. Secret Theatre. Autograph draft and sketches, 1984.

British Library, Add.ms. 64953-64955.short fn: Birtwistle,Secret Theatre,autograph sketch, fol. 5 recto.

a-d-p (Birtwistle, 1984: fol. 5 recto)

wills

res-list: Clark, James Bowness. Will, died 20 June 1934, probate, Newcastle-upon-

Tyne, 20 September 1934. In Public Record Office, Kew, London.

short fn: Clark, will, probate 20 September 1934.

a-d-p (Clark, 1934: will)

UNPUBLISHED INTERVIEWS

If you interview someone for your research, you may wish to quote from that interview,

and you will need to include the interview in your Resource List. Formatting the citations

depends on the type of the interview material; that is, it may be that you're working from

a transcription, or perhaps you wish to use a recording as the cited resource.

transcribed interview

res-list: Chidyamatamba, Basil. Interview on Zimbabwean music. 25 July 1984,

Commonwealth Institute, London. Tape recording: British Library Sound

Archives, T7080/1BW. Transcript by author.

short fn: Chidyamatamba, interview, 25 July 1984, 5.

a-d-p (Chidyamatamba, 1984, interview transcript: 5)

recorded interview

res-list: Jones, Philip. Interview with Jon Tolansky. 4 September 1995, concert

interval, Lucerne Festival. Recording: Music Preserved collection, Barbican

Music Library, London, A00761.

short fn: Jones, recorded interview, 4 September 1995.

a-d-p (Jones, 1995, recorded interview)

recorded interview, accessed online


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22

NB: since online access constitutes publication, see Audio interview, accessed online.

AUDIO RECORDINGS

Finding the best way to cite materials associated with audio recordings depends on whatelements are most important to your study: is it the recording or the liner notes that you

wish to cite? (To cite liner notes, see separate section below). Are you primarily interested

in the performer or performing ensemble, in the composer and work, or perhaps in the

record producer? Is it the original recording or a reissue?

Essential elements include the recording title (if there is one), the performing artist and/or

ensemble, and any original recording information (for reissues); then the format of the

recording you used (LP, CD, etc.), the recording company and catalogue number, and

finally the year of issue. Since most recordings are now downloaded, there is no difference

in format.

entire titled recording

res-list: Davis, Miles, trumpet. The Complete Birth of the Cool. Original studio

sessions, prod. Pete Rugulo (1948-50). Reissue prod. Mark Levinson, Phil

Schaap and Michael Cusuma. CD, Capital Jazz (Capital Records), 7243 4 94550

2 3, 1998.

short fn: Davis, trumpet,The Complete Birth of the Cool(1948-50/1998).

a-d-p (Davis, 1948-50/1998)

res-list: Futter, Julian and Sara Manasseh, prod.Shbahoth: Iraqi-Jewish Song from the

1920s.CD, Renair, REN 0126, 2003.

short fn: Futter and Manasseh, prod.,Shbahoth,CD (2003).

a-d-p (Futter and Manasseh, 2003)

titled recording of specific work

res-list: Shankar, Ravi, sitar. Raga Shindhi Bhairavi. On The Exotic Sitar and Sarod.

With Ali Akbar Khan, sarod, Alla Rakha, tabla, Nodu Mullick and Ashish

Kumar, tanpura.LP, Capitol International Series SP-10497, [n.d.].

short fn: Shankar, sitar,Raga Shindhi Bhairavi,LP ([n.d.]), track 2.

a-d-p (Shankar, sitar, LP [n.d.]: track 2)

untitled recording of specific work

res-list: Faur, Gabriel. Sonata No. 1 in A major for violin and piano, Op. 13. Jacques


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23

Thibaud, violin, Alfred Cortot, piano. Recorded: 23 June 1927, Kingsway Hall,

London. CD, EMI, MONO CDH 7630322, 1989.

short fn: Faur, Violin Sonata No. 1, Thibaud/Cortot.

a-d-p(Faur, 1927/1989 at 2 13).

download recording

res-list: Deacon, John. 'I Want to Break Free'. Queen: Freddie Mercury, Brian May,

Roger Taylor, John Deacon. Version released on The Works, 27 February

1984.

short fn: Deacon, 'I Want to Break Free'.

a-d-p (Deacon, 1984).

res-list: Mahler, Gustav. Das Lied von der Erde.Kerstin Thorborg, contralto, Charles

Kullmann, tenor, Vienna Philharmonic Orchestra, Bruno Walter, cond.

Recorded (live performance): 24 May 1936, Vienna. 78 rpm, UK Columbia,

ROX.165-171, 1936. Remastering by Andrew Rose, April 2008.

short fn: Mahler,Das Lied von der Erde,Thorborg, Kullmann, Vienna PO, Walter.

a-d-p (Mahler, recorded 1936).

A recording heard on Spotify is no different

NB: This is a broadcast issued as a recording

res-list: Bruce, Jack. 'Clearway'. Jack Bruce Band: Jack Bruce (bass), Art Theman (tenor

sax), John Marshall (drums). BBC Radio 3, 'Jazz in Britain' session, recorded 10

August 1971, broadcast 31 August 1971 and 23 February 1972. Re-issued on

3 CD compilation,Spirit: Live at the BBC, 1971-1978;Polydor, 5305568, 2008;

disc 1, track 11.

short fn: Bruce, 'Clearway', disc 1, track 11.a-d-p (Bruce, 1971).

recording published with book

res-list: Chopin, Frederic. Nocturne in E-flat major, Op. 9 No. 2, arr. Pablo de Sarasate.

Mischa Elman, violin, Percy Kahn, piano. Recorded 1910. Released onMischa

Elman,Biddulph CD LAB 035, [n.d.]. CD reissue published with Mark Katz,

Capturing Sound: How Technology has Changed Music.Berkeley: University

of California Press, 2004. Track 6.


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24

short fn: Chopin, Nocturne, Op. 9 No. 2, arr. Sarasate.

a-d-p (Chopin, recorded 1910, track 6)

private recording

res-list: Kydoniatis, Konstantinos. Sonata No. 2 for clarinet and piano. Yannis

Sambrovalakis, clarinet, Andreas Zafirapoulos, piano. Recorded 15 May 1999,

Patra Music School, Athens (public performance). Personal tape recording in

private archive of Yannis Sambrovalakis.

short fn: Kydoniatis, Clarinet Sonata No. 2, Sambrovalakis, clarinet, Zafirapoulos,

piano, personal recording, 15 May 1999.

a-d-p (Kydoniatis, 15 May 1999, personal recording)

published field recording

res-list: Corsica: Traditional Songs and Music. Music of Man Archive. Recorded:

Wolfgang Laade, 1958 and 1973. CD, Jecklin Musikhaus, JD 650-2 Jecklin-

Disco, 1990.

short fn: Corsica: Traditional Songs,1958 and 1973.

a-d-p (Corsica,1958 and 1973)

unpublished field recording

res-list: Traditional Herati music. Field recordings: John Baily and Veronica

Doubleday, March and April 1974, Afghanistan. In British Library Sound

Archives, 1CDR0012731. (CDs copied from original tape recordings.)

short fn: Traditional Herati music, 1974.

a-d-p (Traditional Herati music, 1974)

audio interview or oral history, accessed online:

NB: online access constitutes publication. For unpublished audio interviews, see

Unpublished Interviews.

res-list: Usill, Harley. Oral history recording, January 1984. Duration: 26' 21". Digitized

recording: British Library Sound Archives, C90/23/03.

short fn: Usill, recorded oral history, January 1984.

a-d-p (Usill, 1995, recorded oral history)


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LINER NOTES

To cite an essay published as the liner or booklet note for a recording, the author and title

of the note (in single quotation marks) appear, if known. The title of the CD is shown initalics, and the ensemble and director may appear, if useful. Finally the recording

company, CD number and date of publication are given, and page references may follow.

signed and titled notes

res-list: Eisenman, David. 'The Toxic Sounds of Musicircus'. Booklet notes to HPSCHD

by John Cage and Lejaren Hiller. CD, Electronic Music Foundation, EMF CD

038, 2003. 7-8.

short fn: Eisenman, 'The Toxic Sounds of Musicircus', 7.

a-d-p (Eisenman, 2003: 7)

signed and untitled notes

res-list: Ligeti, Gyrgy. Liner notes to Gyrgy Ligeti Edition 3: Works for Piano

tudes, Musica Ricercata.Pierre-Laurent Aimard, piano. CD. Sony SK 62308,

1996. 11-12.

short fn: Ligeti, liner notes toGyrgy Ligeti Edition 3, 12.

a-d-p (Ligeti, 1996: 12)

Unsigned and untitled liner notes

res-list: [Unsigned.] Liner notes to Peripheral Visions: British Works for Voice and

Piano Since 1970.CD, Sony, SK 62308, 1996. 3-4.

short fn: Unsigned liner notes toPeripheral Visions, 3.

a-d-p (Unsigned liner notes, 1996: 3)

AUDIO-VISUAL RECORDINGS

There is no standard format for citing films/audiovisual recordings. Essential elements

include the title (in italics), the director, the original date of issue and information relating

to the specific recording you used. You may also include details about the film's music.

film

res-list: Baily, John, dir. and ed. Amir:An Afghan Refugee Musicians Life in Peshawar,

Pakistan. Photography by Wayne Derrick. 52 mins. VHS, RoyalAnthropological Institute, 1986.


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26

short fn: Baily, dir. and ed.,Amir,VHS recording.

a-d-p (Baily, dir. and ed., 1984, VHS recording)

reissued film with music details

res-list: Hitchcock, Alfred, dir.,North by Northwest.Written by Ernest Lehman, music

by Bernard Herrmann. With perfomers Cary Grant, Eva Marie Saint and James

Mason. MGM, 1959. Reissued DVD, Warner Home Video, B000056BB8, 2001.

short fn: Hitchcock, North by Northwest(1959).

a-d-p (Hitchcock, 1959)

film of work originally for other medium

res-list: Joyce, James.The Dead.Film dir. by John Huston, screenplay by Tony Huston,

music by Alex North. With performers Anjelica Huston and Donald McCann.

Zenith Productions/Liffey Films, 1987. Reissued VHS, PAL, Columbia Tristar

Home Video, C906 7413, 2002.

short fn: Joyce,The Dead.

a-d-p (Joyce, film dir. by Huston, 1987)

audiovisual recording of opera production

res-list: Strauss, Richard.Ariadne auf Naxos.Videorecording of Metropolitan Opera

production (March 1988), cond. by James Levine, video dir. Brian Large. With

performers Jessye Norman, Kathleen Battle, Tatiana Troyanos and James

King. Deutsche Grammophon, 1988. Reissued DVD, PAL, 0730289, 2002.

short fn: Strauss,Ariadne auf Naxos,1988.

a-d-p (Strauss, videorecording of Met production, 1988)

BROADCASTS

There is no standard format for citing broadcasts. Authorship may rest mainly with a

speaker (of a radio talk), a producer (of a documentary) or a presenter. Essential elements

include the programme title (in single quotation marks), the series title (in italics), the

network/wavelength, the date of transmission, and perhaps the time. If your source is a

recording of a broadcast, then the recording information also appears.

broadcast of specific radio programme

res-list: Judith Weir, interview broadcast in 'Judith Weir',Composer of the Week,


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27

Donald Macleod, presenter. BBC Radio 3, 2 June 2004.

short fn: Weir, 'Judith Weir'.

a-d-p (Weir, radio interview, 2 June 2004)

broadcast of a rebroadcast excerpt

res-list: Judith Weir, interview broadcast in 'Judith Weir',Composer of the Week,

Donald Macleod, presenter. BBC Radio 3, 2 June 2004. Excerpt rebroadcast in

Hear and Now,Tom Service, presenter. BBC Radio 3, 1 April 2009.

short fn: Weir, interview broadcast, 2004.

a-d-p (Weir, 2004)

broadcast of particular composition

res-list: Messiaen, Olivier. 'La colombe', from Preludes for piano. Broadcast by Rolf

Hind, piano (performing live), onIn Tune.BBC Radio 3, 9 April 2006.

short fn: Messiaen, 'La colombe', Hind.

a-d-p (Messiaen, radio broadcast, 9 April 2006)

recording of radio broadcast

res-list: Presley, Elvis. 'Live with Elvis'. Broadcast on GWR Radio, 18 April 1987.

Recording in British Library Sound Archives, C1000/046/87/1. (Interview and

music.)

short fn: Presley, 'Live with Elvis'.

a-d-p (Presley, 1987, radio broadcast recording)

recordings of radio series

res-list: Durham, Richard.Destination Freedom.Series broadcast on WMAQ Radio,

Chicago (1948-50). 91 tape recordings in Museum of Broadcast

Communications, Chicago. (Series on American civil rights movement.)

short fn: Durham,Destination Freedom.

a-d-p (Durham, 1948-50, radio broadcast recordings)


28/31

28

radio playlist accessed online

res-list: Service, Tom, presenter.Music Matters.Broadcast on BBC Radio 3, 18 April

2004. Playlist at (accessed 15 May 2004).

short fn: Service, Music Matters.

a-d-p (Service, online playlist, 2004).

internet broadcast of particular composition

res-list: Tenney, James.Diapason,internet broadcast onPostclassic Radio, presenter

Kyle Gann, 17 June 2005. .

short fn: Tenney,Diapason.

a-d-p (Tenney, internet broadcast, 2005)

television documentary

res-list: Bridcut, John, prod.Britten's Children, produced by Mentorn. Broadcast on

BBC2, 5 June 2005, 9.15 pm. (Television documentary.)

short fn: Bridcut, prod.,Britten's Children.

a-d-p (Bridcut, prod., TV broadcast, 2005)
http://www.bbc.co.uk/%20radio3/%e2%80%a8playlists/2004aprjun/musmatt0416.shtmlhttp://www.bbc.co.uk/%20radio3/%e2%80%a8playlists/2004aprjun/musmatt0416.shtmlhttp://www.live365.com/stations/%20kylegannhttp://www.live365.com/stations/%20kylegannhttp://www.bbc.co.uk/%20radio3/%e2%80%a8playlists/2004aprjun/musmatt0416.shtmlhttp://www.bbc.co.uk/%20radio3/%e2%80%a8playlists/2004aprjun/musmatt0416.shtml


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SAMPLE ESSAYS AND RESOURCE LIST

Essay using the footnote system of referencing

For Carlyle, an important sage writer in Victorian Britain, the idea of 'voice' carried

connotations beyond the audible: 'All inmost things ... are melodious and naturally utter

themselves in Song'.1 Symbolically, then, those experiencing what the voice could mean

beyond speech might read it in profoundly mystical ways. As Ree has suggested,

vocality has had to bear some very heavy symbolic freight. The fact that our voice is

carried by our breath means that it is easily taken as a kind of messenger despatched

from the soul. ... The voice is the place where the inner subjectivity of individual

spirits intersects with the social and historical reality of human languages.2

Elsewhere, Ree has suggested even greater possibilities,3and Brown also considers that the

singing voice, alone of all human music making, has been in a unique musical position to

merge different worlds of meaning: self-authority, human emotion and the most slippery of

them all, the soul itself.4

If the breath acts as carrier for both the singing voice and the soul, then the singing voice

can convey not just the individual soul into the physical world but the larger spiritual world,

opening up a glimpse of the divine. This is certainly at the core of the vocal music of Sufism,

known asQavvali(also transliterated asQawwali).5One recording ofQawwalisinger

Mohammed Abdulkebir illustrates the divine possibilities of song particularly well. Here the

voice can be heard to soar upwards towards the impossible realms of the silence whichtranscends all music. The transcription by Ali shows how difficult it is to notate this type of

music.6

1Carlyle,The Musical Hero,98. Also quoted in Smith, 'Carlyle, Thomas', inThe New Grove(2001), 4: 738.

2Ree, 'Singing', 76.

3Ree, 'The Breath and the Soul', 11.

4Brown, 'Vocal Authority', 2.

5Qureshi, 'India, VI, 2 (ii) Qavvali', inGrove Music Online(accessed 2 June 2008); see also Courtney, 'Qawwali

Page: Islamic Devotional Music', online (accessed 31 May 2008).6 Ali, Editing Qawwali for Singers, 2: 57.


30/31

30

Essay using the author-date-page (a-d-p) system of referencing

For Carlyle, an important sage writer in Victorian Britain, the idea of 'voice' carried

connotations beyond the audible: 'All inmost things ... are melodious and naturally utter

themselves in Song' (Carlyle, 1869: 98; also quoted in Smith, 2001: 738). Symbolically, then,

those experiencing what the voice could mean beyond speech might read it in profoundly

mystical ways. As Ree has suggested,

vocality has had to bear some very heavy symbolic freight. The fact that our voice is

carried by our breath means that it is easily taken as a kind of messenger despatched

from the soul. ... The voice is the place where the inner subjectivity of individual

spirits intersects with the social and historical reality of human languages. (Ree,

1998a: 76)

Elsewhere, Ree has suggested even greater possibilities (Ree, 1998b: 11), and Brown also

considers that the singing voice, alone of all human music making, has been in a unique

musical position to merge different worlds of meaning: self- authority, human emotion and

the most slippery of them all, the soul itself (Brown, 1997: 2).

If the breath acts as carrier for both the singing voice and the soul, then the singing voice

can convey not just the individual soul into the physical world but the larger spiritual world,

opening up a glimpse of the divine. This is certainly at the core of the vocal music of Sufism,

known asQavvali(also transliterated asQawwali) (Qureshi, 2001; see also Courtney, [n.d.]).

One recording ofQawwalisinger Mohammed Abdulkebir illustrates the divine possibilities

of song particularly well. Here the voice can be heard to soar upwards towards theimpossible realms of the silence which transcends all music (Abdulkebir, 1996: track 8). The

transcription by Ali shows how difficult it is to notate this type of music (Ali, 2001: 57).

Resource List

General

Brown, Peter. 'Vocal Authority'. Liner notes toHeavenly Choirs.Gothic Voices, dir.

Christopher Page. CD, Hyperion, HCD 329710, 1997.

Carlyle, Thomas.The Musical Hero.London: Calderwell, 1869.

Courtney, David. 'Qawwali Page: Islamic Devotional Music'.

(accessed on 14 Sept

2007).

Qureshi, Regula. 'India, VI, 2: Religious music: Muslim (ii) Qavvali', inThe New Grove

Dictionary of Music and Musicians,2nd ed., ed. Stanley Sadie and John Tyrrell. London:

Macmillan, 2001. Accessed atGrove Music Online,ed. Laura Macy.

(on 14 Sept 2007).

Ree, Jonathan. 'The Breath and the Soul'.Speculum48 (1998a), 3-18.
http://www.chandrakantha.com/articles/indian_music/kawali.htmlhttp://www.grovemusic.com/http://www.grovemusic.com/http://www.chandrakantha.com/articles/indian_music/kawali.html


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31

__________ . 'Singing', inRediscovering the Soul,ed. Catherine Hopkins. Boston:

Northeastern University Press, 1998b. 68-83.

Smith, Alan. 'Carlyle, Thomas', inThe New Grove Dictionary of Music and Musicians,2nd ed.,

ed. Stanley Sadie and John Tyrrell. London: Macmillan, 2001. 4: 738-9.

Score

Ali, Nur, ed.Editing Qawwali for Singers.3 vols. Karachi: Pakistan Music Press, 2001.

Sound Recording

Abdulkebir, Mohammed, voice.Qawwali.CD, EMI, FCD 291092, 1996

Documents

House Style Document 2014