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7/29/2019 RILM - How to Write About Music_The RILM Manual of Style
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How to write about music: The RILM
manual o, style
Répertoire International de Littérature Mus icale
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7/29/2019 RILM - How to Write About Music_The RILM Manual of Style
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HOW TO WRITE ABOUT MUSIe
THE RILM MANUAL OF STYLE
Second Edition
James R. Cowdery, editor
Foreword by Carl A. Skoggard
Introduction by Barbara Dobbs Mackenzie
. RÉPERTOIRE INTERNATION AL DE LlTrÉRATURE MUSICALE, NEW YORK
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THE RÉPERTOIRE lNTERNATIONAL DE LlTTÉRATURE MUSICALE
was founded in 1966. It is sponsored by the International Musicological Societyand the lntemational Association ofMusic Libraries, Archives, and Documenta·tion Centres and is govemed by a Commission Intemationale Mixte designatedby the sponsors. The operation of the lntemationa! Center is made possiblethrough the kind cooperation ofThe Graduate Center afthe City University of
New York. RILM publications ¡neludeRlLMabstracts 01music literature, a con·tinuously updated, intemational guide to writings on music, available in priot, onCD-ROM, and ouline.
COMMISSION INTERNATIONALE MIXTE: Veslemoy Heinlz, presidenl;Chris Banks, vice president; H.. Robert Cohen, Suzanne G Cusick, DavidFallows, Massimo e n t i l i ~ T e d e s c h i , Wolfgang Kreuger, Martie Severt, PbilippeVendrix, Chris Walton.
Barbara Dobbs Mackenzie, Editor-in-Chief
Zdravko BlaZekovié, Execulive Editor
Répertoire Internationale de Uttérature Musicale
365 Fifth AvenueNew York, NY 10016www.rilm.org
© 2005, 2006 by Répertoire Intematianal de Littérature Musicale
AH rights reserved. First edition 2005.Second edition 2006.
Printed in the United States of America.12 I I 1009080706 12345
ISBN-lO: 1-932765-03-4ISBN- 13: 978- I-932765-03-8
Cover: Sto Gregory with the scribes (Carolingian, late 9th century). Ivory, 20.5 )(
12 .5 cm. Vienna, Kunsthistorisches Museum, iov. no. 8399. Reproduced withpennission.
Layout and design by 1. Graeme Fullertoo.Cover design by fredgatesdesign.com .Printing by Port City Press, Baltimore, MD .
This·book is printed on acid-free papero
TABLE OF CONTENTS
Foreword ix
Preface to the second edition xi
Introduction xiii
1,
2,
STYLE 1
I. I Choosing a litle
1.2 Dead·langoage 1
1.3 Gender issues 21.3.1 Neutrallanguage 2
1.3.2 Female vs. women 3
1.3.3 Sexualorientation tenninology 3
1.4 Interpolations 3
1.4.1 Substantive notes and hyperlinks 4
PUNCTUATlON 5
2.1
2.2
2.1.1
2.2.1
2.2.2
Spacing 5Compound words and words
with prefixes and sufflXes 5
The comma 6
Appositives 7Place names 7
2.2.3 The serial camma 72.2.4 With Jr., III, etc. 8
2. 3
2.4
2.5
2.62 .7
2.8
2.3.12.3.2
2.3.3
The semicolon 8Independellt c/auses 8Serial semicolons 8
Bibliographic data 8Thecolon 8The perlod 9Thehyphen 9The en dash 10
The ero dash 11
2.9 The slash 12
2.10 The apostrophe 12
2.11 Quotation roarks 12
2.1 I. I Terms I3
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3.
4.
2.11.2
2.11.3
2.12
2.12.1
Seare qua/es l3
End pun etua/ian with quatatian marks 13
Parcntheses and brackets 13
Parenthetica/ sen/ences 14
ABBREVIATlONS 15
3.1 Names of organizations 15
3.2 SI. and SS. 15
3.3 Punetuating abbreviations 16
3.4 Et al. and etc. 17
3.5 Le. and e.g. 17
3.6 Slang abbreviations 17
PLURALS 18
4.1 . Non-Westem plurals 18
5. NUMBERS 20
6.
7.
8.
iv
5.1 Figures vs. words 20
5.2 Punetuation 21
5.3
5.4
5.5
5.6
6.1
6.2
6 .3
7.1
7.2
7.3
8.1
5.2.1
5.2.2
Numbering series in sentences 21
Large numbers 22
Dates 22
Page ranges 24
Times of day 24
Roman vs. arabie 25
SPELLlNG 26
U.S. eonventions 26
Cornmon problems 26
Transeribing dialec! and pronuneiation 27
ITALIC VS. ROMAN TYPE 28
Terms 28
Legal cases 29
Ships and trains 29
CAPITALlZATlON 30
Wben to eapitalize 30
8.2 Examples 31
8.3 Assimilated Gennan nOlins 32
8.4 Slang names and racial epithets 32
9. NAMES 33
9.1 Names ofpeople 33
9. 1.1Spelling 33
9.1.2 Alphabetization 33
9.1.2.1 Married names 33
9.1.2.2 Jr ,fll, etc. 34
9.1.2.3 Compound names 34
9.1.2.4 Prefixes 35
9.1.2.5 Other eonsiderations for parrieular languages 37
9.1.3 Name changes, pseudonyms, and sobriquets 38
9.1.4 Epithets and honorifles 39
9.1.4. 1 Non-Westem honorifies 40
9.1.5 ¡ncomplete and descriptive names 40
9.1.6 First names and initials 41
9.1.7 Middle names and patronymies 41
9.1.8 Dates 41
9.1.9 Scriptural, early, legendary, and
myth% gical names 41
9.2 Names of organizations 42
9.3 Names of plaees 43
9.3. 1 Country and region names 43
9.3.2 Directional adjectives 43
9.3.3 Sta/es andprovinces 43
9.3.4 CUy and town names 43
9.3.5 A partia/lis! o[cilles with alternate names 44
9.3.6 Geagraphie adjeetives 47
10. TITLES 48
10 .1 Tme titles 48
10.1.1 ltalies vs. qua/o/ion marks 48
10 .1.2 Trans/atialls 49
10.1.3 Exeep/ions 49
10.2 Generie titles 50
10 .3 Opus and catalogue numbers 51
10.4 Nieknames ofworks 51
10.5 Portians ofworks 51
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10.6 Manuseripts 52
10.6.1 RlSM sigla 52
10.7 Visual art 53
10.8 Online publieations 54
11. NOMENCLATURE 55
11.1 Pitehes 5511.2 Chord, key, and seale denotatioos 56
11.3 Modal systems 56
11.3.1 Westernmelodiemodes 56
11.3.2 Non-Western melodie and rhythmie types 57
11.3.2.1 Distinet traditions 57
12. FOREIGN LANGUAGES 58
12.1 Speeial chameters 58
12.1.1 The seharfes s (jJ) 58
12.2 Capitalization 58
12 .3 Transliteration 58
12.3.1 Cyrillie eharaeters 59
12.3.2 Chinese 61
12.3.2.1 Mandarin 61
12.3.2.2 Dialeets and non-Han languages 62
13. QUOTATIONS 64
13.1 Wheu to quote 64
13.2 Quotation vs. plagiarism 64
13.3 !ntrodueing changes 64
13.4 Plaeement 65
13.4. 1 Block vs. ron-in 65
13.4.2 Run-in quotalions 65
14. ILLUSTRATIONS 66
14.1 Musical examples 66
14.2 Tables and figures 66
15. ABSTRACT WRlTING 68
15.1 Content 68
15.2 Style 68
15.2.1 Furtherexamples 69
VI
15.3
15.4
CheckJist for abstractors 72
Submitting an abstraet to RILM 73
16. CITATIONS 74
16.1 When to cite sources 74
16.2 Citiog publishers 74
16.2. I City names 74
16.2.1.1 Mu1tip1eeities 75
16.2.1.2 States, provinees, and countries 75
16.3 Sty1e c)loice 75
16.4 Numbered notes and bibliographie fonnats 76
16.4.1 Printed materials 76
16.4.1.1 Books 76
16.4.1.2
16.4.1.3
16.4.1.4
16.4.1.5
16.4.1.6
16.4.1.7
16.4.1.8
16.4.1.9
16.4 .1.10
16.4.2
16.4.2.1
16.4.2.2
16.4.2.3
16.4.2.4
16.4.3
16.4.3.1
Theses and dissertations 77
nems from periodieals and collections 78
Referenee publieations and tertiary sourees 79
Notes and commentary in scores and editions 80
Reviews 81
Liner notes 81
Program notes 82
Editions ofmusie 83
Teehnieal drawings of instruroents 84
Audio and audiovisual materials 85
Sound recordings 85
Films and video reeordings 86
Music videos 87
Radio and television broadeasts 88
Electronic publications 88
CD-ROMs 88
16.4.3.2 Online publieations 89
16.4.4 Correspondenee 91
16.4.5 Manuseripts and eol/eelions 93
16.5 !n-text eitations and bibliographie fonnats 95
16.5.1 Printedmaterials 95
16.5.1.1 Referenee publieations and tertiary sourees 97
16.5.1.2
16.5.1.3
16.5.1.4
16.5 .1.5
Notes and commentary in scores and editions 98
Reviews 99
Liner notes 99
Program notes 100
vii
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16.5.1.6 Editions ofmusie lOO
16.5.1.7 Teehnieal drawings of nstruments 101
16.5.2 Audio and audiovisual materials 101
16.5 .2. 1 Sound reeordings 101
16.5.2.2 Films and video recordings 102
16.5 .2.3 Musie videos 103
16 .5.2.4 Radio and television broadeasts 103
16.5.3 Elec/ronic publica/ions 104
16.5.4 Correspondence 106
16.5.5 Manuscripts and collec tions 107
17. INDEXING 109
17.1 Getting started 109
17.2 Headwords 110
17.1.2 See relerences 110
17 .3 Second levels 110
17.4 Margin tenns and subsequent levels I I I17.4.1 Personal names 111
17.4 .2 Places 115
17.4 .3
17.4.4
17.5
Topies 118
Standard arrangement
Enriehing your index 121
[ndeJe 123
VIIl
119
FOREWORD
For many years, our organization did without any written manual of
style. Dorothy Curzon, the offiee boss back then, served as oral authority
of last resort. She bad copyedited for The New Yorker under William
Shawn and knew her eommas. The patb to her desk was a well-worn one,
and I myselflearned mueb from her patient replies. Alas for her, manyof
the same elementary queries would come up time and again: Unfonned
minds tend to think alike and to ask the same simple queslions. "Commas
always come in pairs" might do very nicely as part ofan unveiling oftbe
mystery ofthe unrestrietive elause, b ul you had to wanl lO know, and she
bad to be prepared lo repeal this lesson for eaeh new petil ioner.Tben, too,
with more recondite issues, Dorothy could tum oracular. "That depends"
or "!t's a matler oftaste , you know" left one wilb a regard forthe myster
¡es of our guild though no.t necessarily aoy wiser. (There are in faet rnys-
tenes for which the most detailed manual cannot a.ccount, but notmany.)
In the early days, RILM proeessed only a fraction ofwhat it must con
tend wilh today. Dorolhy managed to go over everything befare it went lo
press, grooming away what was still bearish in her sous-editors' copy.But for sorne two decades now, RlLM has depended on various incama
tions of a hou se style manual. The advent of a manual- the codification
of explicit editing rules-was imperative if we were to cope with the
growing challenge of coverage,let alone thrive. Successive RILM house
style manuals reflect every stage of our recent evolution, which has been
driven by continual advances in infonnation technology. Every RILM
ehieftain sinee Dorolhy has left a version of the manual behind. (These
make for amusing reading for anyone who lived Ihrough the erises of
whiehever moment it happened to be in the history ofRILM.) The pres
ent compendium, however, is more than our latest house manual dressed
up for an outing. How to write about music is intended to meet the needs
ofanyone who wants to write conscientiouslyabout music. ln a spirit opposed lO guild exclusivity, we are determined lo share with you the bene
lits ofRILM's experience wilb virtually every kind ofwriting about mu
sic, from alI over tbe world, for 40 years.
Readers will see thatthis guide proceeds, roughly, from the general lO
the specialized. Sorne ofwhat is offered applies to academic writing as a
whole, but most concems the very particular craft of writing effectiveIy
and well about tbe art we alllove aboye tbe rest. How to write about mu-
sic reflects RlLM 's daily encounters with nOl only Westem materials, but
also with writings from Japan, India, China-from everywhere, in fael,
where people are busy producing studies of music. It applies an intema
tional perspective to matters usually dealt with in piecemeal and
iv
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x
ethnoc,entric fashion: transliteration, city names, institutional names
work J t l e ~ . !l0w w r i ~ e abo,ul ~ L S i c deals with popular musics as weli
art tradlhons. L l ~ r g l s t s , libranans, crities, perfonners. postmodernIsts, and r e m o d e m ~ will find answers to their questions. Throughout
abundamexamples lilustrate eaeh po n!. Tbere are detailed and o p h i s t i ~eated gUldehnes for tbe blbhographie bandling of online and other
non-pnnt matenal. There are even guidelines ror how to write d bstraet and submit it to RILM. a goo a -
fi Sinee tbe undersigned bad nothing to do with its preparation be feels
ree that tbe ~ i r t u e s of How lo write about music i n c l u d ~ , but arenot hmlted to, s ~ c c m c t n e s s comprehensiveness , and a refreshing ab
~ e n ~ e s o f dogmatlsm. Certainly this is tbe most ambitious guide of ils
In . eme c0.u1d f ~ a r tbat 8uch a rulebook must encroach on the writer's
p r ~ s e r v e leavmg hlm or her feeling over-regulated and under-authorial
It 18 not the case, bowever. P ~ r s u a - appeal to the writer's good
cornmon sense-always remalOs the aim, not prescription.
Anonymous RlLM (ji. 1971- 2005)
PREFACE TO THE SECOND EDITION
Whenwe published tbe first edition ofHow lo wrile aboul musie: The
RlLMmanual of lyle in 2005, we assumed tbat a revised seeond edition
would be in order at sorne poin!. Althougb tbe original book represented
many years of experience and thought, we suspected that we would ideo
tify otber mauers Ihat should be eovered, and we antieipated- and in
vited- suggestions from readers. This new editioo, whieh is roughly
one-third larger than the first, ineludes responses to suggestions , revi
sioos, and new material.
The largest single addition ls a ehapter on indexing. Since authors of
monographs ofteo must compile tbeir owo indexes, and since RJLM has
40 years of experience in indexing writings about mus ie , it seemed natu
ral for us to offer assistanee. The new chapter explaios bow we approach
indexing, and provides suggestions for adapting our system for individ
ual indexing projeets.
AIso,we deeided to make a general revision to chapter 16, Citatiolls.
As Barbara Dobbs Maekenzie explained in ber introduetion to the fírstedition, the bibliographie format s in tbat ehapter were based on those in
The Chicago manual ofstyle rather than on the formats used in RlLM's
printed volumes. We later realized that RILM's formats, wbich were per
fected over the course ofthree decades, were no less wortby tban those of
other publisbers- in faet, they are easier to use, since the same biblio
grapbie information is always handled in the same way. A publisher wiU
convert eitations to its own house style regardless ofhow an author for
mats tbem, so why oot offer OUT simple, clear system as an altemative for
Ihose preparing manuseripts or writing papers? Aceordingly, RILM
standards arenow available bere and througb online bibliographic man
agement services.
Other additions inelude formats for eiting referenee publieations, ter
tiary sources (including Grove and MGG), reviews, correspondence,
manuscripts, and notes and cornmentary in scores and editions. A section
on transliterating Chinese languages has been added, and smaU revisions
have been made throughout tbe book. Although we do not plan to issue a
tbird edition in the near future, we will always be grateful for suggestions
for further improvements.
JRC
XI
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1
INTRODUCTlON
fIow fa write aboutmusic: TheRILMmanual ofstyle lays outpolicies
and procedures for issues that confront every author oftexts about music.We have aimed to 5tate each point clearly and concisely, with illustrative
examples that perta n primarily lo the realm ofmusic. Tbe fírst and sec
ond ehapters deal with eertain general e1ements of writing style that arecommonly questioned, 5uch as how best to achieve gender-neutral prose,
the differenee between an en dash and an em dash, and other nagging
matters of punctuation. Should choirbook have a hyphen? What about
ear training, or jieldwork, for tbat matter? Is it really pre-Classica/ but
poslimpressionism? Where do the hyphens properly go in four
three-to-ten-year-old children? ls it Brahms 'or Brahms 5?
Next come ehapters 3 through 9, treating issues frequently eneoun
tered by writers on music, though not specifically musical in nature. How
does one handle plurals in non-English words? Is it libre/ti or librettos ,
and how should the plurals of concerto grosso and opera bllffa be
forrned? Common misspellings are eleared up (a cappella, in RILM of
fiee lore, is the single most eommonly misspelled terrn in aeademie texts,ofien berefi of ap). Are eonferenee names rendered in italics or roman?
There is no spaee in K.440, nor in d.1970, but when the eity of Jimi
Hendrix's death is included, a spaee is needed (d. London 1970). Shou ld
you write rnridangam , mridangam, or rnrdangam? When is trecento eapitalized and when isn t it? Even !he mysteries of alphabetizing Pedro
Calderón de la Barca, Mairéad Ni Mbaonaigh, and 'Abd al-Qader
al-Maraghi are revealed.
Chapters 10 through 14 taekle musical problems. When should one
use quotation marks and when italics forwork titles? Under what cireum
stanees may translations and cornmon nicknames be used? Why is it
Missa "L 'homme armé" but Missa La sol fa re mi? How and when
should one include opus and catalogue numbers? How are manuscriptseited and how do those enerypted RISM sigla work? Conquer the eom
plexilies ofpiteh, ehord, sea e , and mode designations, both Westemand
non- Westem, as well as the construetion of captions for in-text musical
examples.
RJLM eould not publish a manual without ehapters on abstraet writing(15), bibliographie eitation (16), and indexing (17)-proeedures upon
which OUT reputation has rested for 40 years. Authors of dissenations and
theses traditionally write abstracts oftheirtomes; but increasingly,joumal
publishers are requesting such surnmaries from their authors as wel1. Then
there is the practice- ingrained in well-behaved scholars-of submittingabstracts of al1 their publications to RlLMabstraets ofmusie literature.
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And yet, in many quarters, the fine art of writing a good abstraet has re-
mained dark and mysterious. Until now .
Chapter 16 , significantly expanded and somewhat changed in this
seeond edjtion of our manual, provides eitation formats for footnotes,
endnotes, and bibliographies. No existing bibliographic style authority
eovers many of the specialized sourees relied upon by eootemporarywriters 00 music . Thus Cbapter 16 pro vides eitation fonnats ror online
and otber e-publieations, liner notes, program notes, teehnieal drawingsof instruments, seores, sound reeordings, videos, radio broadeasts, and
morco
The final chapter, newly added in this edition, pro vides a how-to
guidc on indexing, a procedurc few writers 00 music bavc any expcri
ence with before confronting the task. Here you will lin d suggestions for
gctting started and ror organizing and arranging tbe concepts, names, and
places addressed in you r prose in a logical, clear, and useful manoer fol
lowing sorne of the RlLM principies for indexing.
Tbe policies contaioed berein reflect RILMts mission and will not co
incide with every reader's common praetiee. As an intemational, collab
orative projcct to abstract and indcx writings about music, RlLM strivcsfor global coverage, and our house style airns to serve lhis breadtb ofma
terial as accurately and even-handedly as possible. We adopt intema
tional standards wbenever ít ís possible to do so , avoiding standards peculiar to any one country. One example ofthis is RlLM's transliteration
systems for non-roman alphabets: RlLM follows tbose published by the
Intemational Organization far Standarization (ISO), not the National ln
fonnation Standards Organization (NISO) ofthe U.S. or any otber coun
try-specilic system. Therefare, RILM spells that well-known 19th-cen
tury Russiao composer Cajkovsldj, eonseiously escbewing Tchaikov
sky, with the full knowledge tbat in certain Eng lish-speaking countries
the latter is widely used. (Far a fuller discussion oftbis policy, see page
58.) An intemational perspective- inclusive of all tbe world's cultures
and writings- is at tbe very heart ofRlLM.
We have worked to organize tbe manual and its index lo allow for
quick dips in and out as specific que stions arise . But consider, as we ll,diving in headlong and freestyling from one end lo the other. You may
find the waters surprisingly invigorating. No doubt you will come upon
many topics for which you need no refresher or instmction; but there will
almost ccrtainly be other sections that illuminate subrncrged pockets of
uncertainty in your mind.
Countless RlLM editors have contributed to our manual , and all de
serve to be named, as their opinions, ideas, and sometimes even tbeir
XIV
prose are found here in one form or a n o ~ e r .. It would be impossible to ac-count individually for each one's contnbutlOns, so we must content our-selves instead witb tipping our hat collectively to all those who have had
a hand in fonning the RlLM style over tbe years. Two individuals, how
ever, deserve special mention: E. Terence Ford wrote tbe first subs tantlalstyle manual for RlLM when he was an editor in the mid- l 980s; he con
tinued to reline it during his tenure as Editor-IO-Chief (1988- 91). Adam
P.J.O'Conoor succeeded Terry in tbatposition, and he amplified the document significantly in his own distinctive voice until his untimely death
in 1996. These two each left behind a line version ofthe manual, and we
continue to be indebted to tbeir efforts, expertise, and prose.
Because so many have contributed to the manual, the reader may no
tice the cbanging timbre ofmultiple voiees. We bave retained, to a certain
degree, these variations and nuances of tone, not only b e c a ~ s e we at
RILM enjoy encounteringthe voices of our old colleagues herelO, bu t be
cause they mirror the eollaborative, dcmocrabc, and LnelUSIVe nature of
RILM, a nature we hold dear. We hope that some of this is transmitted
through lhese pages, enlivening tbem witb hints ofRlLM's past and pres
ent culture-oftbe lengthy discussions common, no doubt, to all edltonal
offices; of echoes of past and current personalities and sensibilities;.and,
especially, of the daily inspiration of working with lhe world's stunnmgly
rich musical scholarship.
ls our manual exhaustive? No. The JULM manual 01 style 1S an or-
ganie entity, a never-ending work in progress. It will c o ~ t i n u e .to growand cbange over time as the disciplines and mades of mUSle and lts studychange. The manual will grow, too, simply because---even afier years of
tinkering- we still come across new problems to salve. We contmue to
encourage readers to alert us to areas you would like us .to a d d r e ~ s , or ad-
dress more fully; we will carefully collect such suggestlOns and Ideas for
future editions. Collaboration is at the core of the RILM enterprise, and
has been from the day Barry S. Brook founded il. We invite you to join
the ranks and become a RILM collaboratar yourse lf.
Barbara Dobbs Mackenzie, Editor-in-Chief
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f
,•
1. STYLE
1.1 Choosing a title
TitIes should poiot to tapies; they need not entertain. In print, a mysteri
OllS or clever title may stimulate ¡nterest, but in an electronic wor ld it
ean have the opposite effeet: People searehing in eleetronie databases
may never find tbe item, even ir t is directly relevant lo their concems.
Ifyou wanl your work to be diseovered, be sure thal your title ineludes
the keywords that willlead interested readers to it.
1.2 nead language
Avoid obfuscation, peripbrasis, pretensions, and other kinds of dead
language.
affeets, not impacts on
use, Dot utitize
uses, not makes use of
Say it in one word, not tbree (or more):
during Lent, not between tbe beginning of Lent and Easter
variation involves, not variation is a technique that involves
symphonies and concertas, not on the one band, symphonies.
and, on the ather, concertos
Refraio from needless repetition, modification, and self-praise:
limits, not limits and constraints
aD analysis, not a complete analysis
examination reveals, not a careful examination reveals
Eschew twisty passive constructions and meandering prepositional
pbrases:
maJe troupes entertain at festivals, Bot men are organized
gether in troupes that provide entertainment at festivals
began eolleeting song' in 1887, not first began the aetivity ofthe
collection of songs in the year 1887
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1.2 Dead fanguaga
Not only . .. . also is not only overused, but al50 rarely necessary. Use it
o ~ l y when It needed to distinguisb between opposing views; otherwIse, change It to both.
She is known as both a perfonner and a scholar.
Andlor is inelegant, and should be avoided; in most cases it may be replaeed by oro
They provide grants to young or Iittle-known eomposers.
Do not use an unassimilated foreign tenn wben an Englisb one exists:
reception history, Dot Rezeptionsgeschi chte
1.3 Gender issues
1.3.1 Neutrallanguage
most eoromon issue in this area is tbe pronoun problem:how
to avoidusmg he when speaking generally. The solution of using they or /heir
when the antecedent is singular, although tbere are literary preeedents for
It gomg centuries, is to be avoided beeause it sets sorne people's teeth
on edge. It IS better to reeast the entire sentenee in the plural:
advanees in his program, the student has increasing opportumues for ensemble work.
becomes
As advance in their program, students bave inereasing opportumues for ensemble work.
Another solution is to change tbe sentence to avoid using any pronoun:
A frrst grader can feed and dress himself.
becomes
A first grader Can eat and get dressed without assistanee.
He or she, helshe, and their inversions are tiresome; they should heaVOlded.
Repudiate unneeessarily gendered terms: pre ferpeople to mankind and00= '
2
1.4 fnterpofatjons
1.3.2 Fenrale vs. wonren
Use women as a descriptive noun instead offemale whenever possible:
women s studies, women composers, all-women ensemble. In certain
casesfemate is more appropriate (e.g., ¡emate impersonator, or ifthe dis
eussion ineludes young girls).
1.3.3 Sexual orientation terminology
Tenns widely used in various academic contexts may or may not be the
best ones for particular topies. While heterosexual , homosexual, and
transgender are elinical and distaneing, tbey must sometimes be pre
ferred to tenns like straight, gay, lesbian , queer, or drago n other cases,
terms in the latter group are more appropriate. Here are sorne guidelines:
Gay usually indicates both a sexual orientation and a cultural identity. lt
is most commonly applied to men , but it is sometimes used as a shorthand
for both male and remale same-sex relations. Because of its implied cul
tural eomponent, eaution must be taken in applying it- partieularly
when writing about historical figures. Lesbian is applied only to female
same-sex relations.
Queer and drag are used in diseourse associated with the academic field
of queer studies. Within that domain, the terms are widely used and have
well-defmed meanings; otberwise they should be avoided due to their
potentially pejorative connotations.
When in doubt, err 00 the side of the more elinical tenns.
In references to sexual aspeets ofthe works of persons who may or may
not be gay or lesbian, the words homoerotic and homoeroticism may
prove useful: They shift tbe foeus from the person to the work.
1.4 lnterpolations
Writing is most effeetive when it flows uninterrupted. However, there are
times when interpolations are called for; these inelude the need to cite
sources (see 16: Citations) aod qualifiers and examples tbat maybe set in
parentheses (see 2. ¡ 2: Paren/heses and bracke/s). Interpolations eom
prising more than one or two brief sentences are probably best put in
notes or, for electronic publieations, io hyperlinks.
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1.4.1 Substantive notes and hyperlinks
1.4.1 Substantive notes and byperlinks
Whenever possible, pUl note numbers at the end of a sentence. Substan
tive end- or footnotes may include c itations, or they may DaL
1 Notable 18th-century British bailad sources ¡nelude D'Urfey's
Wíl and mirlh, or. Pi/ls lo purge melancholy (1719- 20), Ramsay's
Th e tea-table miscellany (1724-27), Thomson s Orpheus caledonius (1725, 1733), Perey 's Reliques of andent English poetry
(1765), and Herd 'sAncientandmodern Scottish songs: Heroicbal
lads (1769, 1776).
2Even torlay, printed SQurces for ballads are not always reliable.
Unless tbey are cJearly the work of trained folklorists or ethnomu
sico logists, they must be treated more as templates ofperfonnances
than as transcriptions of them.
For the first example, fuH eitations would be provided in tbe bibliog
raphy (see 16: Citations).
Hyperlinks in electronic publications may lead to brief interpolations
sueh as tbose above, to citations (see 16 : Citations), lo iUuslrations (see
14: Illustrations), to longer passages that would usuaUy be deemed too
extensive for footnotes, to sound or video files, or, for online publica
tiaos , to outside resources.
4
2. PUNCTUATION
2.1 Spacing
Use one space after commas, semicolons, colaos, and periods, including
periods in eHipses (see 13.3: Introdudng changes). Do not put spaees be
tween initials:
Contrary to the c1aims of orthodox Schenkerians, Neumeyer drew
heavily 00 the WTitings of Schenker's most prolific student, F.E.
von Cube. The controversy surrounding Neumeyer's work .
Do 110t put spaces around dashes, hyphens. or slashes.
Sce also 3.3: Punctuating abbreviations.
2.1.1 Compound words and words with prefIXes and suffues
Mast standard American dictionaries have lists of words under un ti,counter, non, post, pre , over, re, un , under, etc., Here afe sorne com
pounds that come up in writings about music:
avant-garde oftbeat
cofounder onscreen
choirbook onstage (adj.)
cross-cultural part song
data bank part-time (adj.)
database pitch class
ear training postimpressioni sm
fieldwork roundtable (diseussion)folk song set class
folklife set-cJass analysis
folklore sight reader
folktale songbook
lifelong songwriter
neocJassical sound field
nonmusical soundscape
5
2.2.3 The serial comma
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2.1.1 Compound words and words with prefixes and suffixes
Prefixes are generaUy unhyphenated. Exceptions usualJy involve a re-
pealed lelter:
de-emphasize
non-notated
post-tonal
semi-independent
If Ibe modified word is capitalized, hyphenate, preserving Ibe capital:
anti-Semitism
non-Westem
pre-Classic
Favor hyphenating terms over using an o to join two words:
rnusic-historical, not rnusicohistorical
harmonic-contrapuntal, no t harmonicocontrapuntal
However, sorne compounds fonned with an o are wideIy accepted:
the field of sociolinguistics
a socioeconornic study
When a noun is combined wilb a pasl or present participle, the adjeclival
compound is hyphenaled:
problem -solving skills
government-sponsored events
Sorne noun and participle pairs are always one word:
a bookkeeping program
When a noun is combined wilb a gerund (which looks jusl like a presenl
participle but funclions as a noun), a hyphen is not used:
music making at horne
skillful piano playing
See also 2.6: The hyphen.
2.2 The comma
See also 5.2.2: Large numbers; 5.4: Page ranges; 10.3: Opus and cala-
logue numbers.
6
2.2.1 Appositives
Use coromas in pairs to setoff parenthetica l remarks or appositive words
or phrases:
Tbe composer Easley Blackwood, who works witb microtones,
was .. .
Ifthe appositive restricts, it is nol set off by commas:
The composer Easley Blackwood
bul
Tbe oldest c o m ~ o s e r in tbe group, Easley Blackwood, was . ..
Some olher examples:
His favorite opera, Lohengrin, opened in Paris the next day.
Wagner 's opera Lohengrin opened in Paris the next day.
Jay Ungar, a fiddler, was featured.
The fiddler Jay Ungar was featured.
2.2.2 Place Dames
Use cornmas to set off the individual elements in names of pIaees:
Tbey stopped in Ashtabula, Ohio, that evening.
2.2.3 The serial comma
The serial eornma appears between ¡tems in a list andbefore the .eonjunc-
tion.It is
standard in sorne (huI notaH)
U.S. style manuals, and mslances.rise where il aids inteHigibility:
Her family was renowned for its composers, pedagogues, and vio-
lin makers and players.
Do no! insert Ihe serial comma when ciling titles or quoting passages
where it is not used ; in British English and in many European languages
Ibe serial comma is considered wrong.
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l(
(
l(
l
((
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
r
2.2.4 With Jr., 111, etc.
2.2.4 Witb Jr., JIl, etc.
Do not use commas with these in prose:
Beny Gordy ir. founded Motown Records in 1959.
2.3 Tb e semicolon
Do notcapitalize the beginning of a full sentence following a semicolon .
2.3.1 Independent clauses
Use a semicolon lo join two c!auses only when each could stand on ¡ts
own as a sentence:
She severely criticizes Beethoven; his music strikes her as patriar
chal and violent.
2.3.2 Serial semicolons
Use a semicolon to separate items in a list when tbe items themselves
contain commas . A semicolon should appear before the conjunction:
Most of his manuscripts are in the Bodleian Library ; the Wilson
Collection, Yale University; the Biblioteca Apostolica Vaticana;
and Butler Library, Columbia University.
When items are especially long or complex, it is permissible to separate
them with semicolons and enumerate them with arabic numbers in paren
theses (see 5.2. 1: Numbering series in sentences).
2.3.3 Bibliograpbic data
Elements of equal significance in bibliographic data are separated with
semicolons. See also 5.4: Page ranges; 16.2.1: CUy names.
2.4 Tb e colon
In prose, Ibe colon may be used only afterthe equivalentof a complete sen
tence; it should not be preceded by words like ine/ude, con/ain, and are.
Capitalize after a colon ifwhat follows is a complete sentence:
Keep the tempo steady: Do nol use rubato.
8
2.6 The hyphen
Do not capitalize after a colon if what follows is a list or a sentence
fragment:
Danckert disputed Vicentino's views about three tetrachord genera:
diatonic, chromatic, and enhannonic.
Always capitalize after a colon in a title:
Chris/us: A mys/ery
2.5 Tb e period
See 2.11.3:End punctua/ion wi/h quo/a/ion marks; 3.3: Punc/ua/ing ab-
breviatiúns.
2.6 Th e bypben
Hyphenate multiword s u b ~ t a n t i v e s thus:
17th-century opera
the as yet half-finished auditorium
six five-year-old children
four three-to-ten-year-old children
four-to-seven-year-olds
first-grade students (but first graders)
9th- and 1Oth-century monastic libraries
the mid-15th century
mid- 15th-century church tradition (see 2. 7: The en dash)
Sorne compounds are integral and never require internal hypbenation to
signal that they are being used adjectivally:
high school students
South American culture
World War II industry
Anumbered century has no hypben unless it is being used as an adjective:
18th-century keyboard works
keyboard works from the 18th centwy
9
I,í!
".'!'
"·1·1
:1
jI
,ijI
i' .I"
,I
2.6 The hyphen 2.8 The em dash
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Similarly:
Nadine's grande-dame attitude seemed unwarranted.
Lady Prunella fancied herself a grande dame.
Do not hyphenate afier adverbs ending in -ly:
physically challenged persons, no! physically-challenged persons
Do hyphenate if ambiguity is likely:
late-bloorning ingenue, not late blooming ingenue
Sorne phrases are hyphenated when used as adjectives, but not when
used as adverbs:
Hom players adjusted out-of-tune notes by hand stopping.
but
He sang loudly and out of tune.
Hyphenated names are represented with hyphenated initials:
1.-1. Rousseau
Prefer en dashes to hyphens in numeric ranges and pitch series (see 2. 7:
The en dash).
See also 2.1.1: Compound words and words with prefixes a nd suffues.
2,7 The en dash
The en dash is longer tban a hyphen, but shorter than an em dash' its name
derives from case-drawer typesetting, when it was the dash tb:width of
an N. It is used rather than a hyphen for date or page ranges:
1786-991854-1953
pp. 63- 72
It is a180 used ror joining names:
Strauss- Hofmannsthal correspondence
Use en dashes to join a series of pitches:
the A - C - B motive
10
En dashes are particularly useful as substitutes for hyphens when multi
word compound nouns are modified:
post- World War Il culture
In tbis case, a hyphen would have limited the adjective post to World;
only with tbe en dash does post apply to the whole phrase World War 11:
Franco-Prussian War- era compositions
non- interest-bearing accounts
When qualifying a century tbat is used adjectivally, use an en dash to sep
arate the qualifier fram the century, and a hyphen to separate tbe number
from the century:
late- 19th-century music
pre- 18th-century continuo practice
2.8 The em dash
The em dash is tbe longest cornmonly used dash, named for being the
widthof
an M. A pairof em
dashes is more powerful than cornmas andmore forceful than parentbeses for setting off a phrase:
He was- though it bothered bina little-un iversally hated.
When an em dash appears in a title, always capitalize tbe following word:
Burl Ives: The unauthorized biography- An introduction
In the aboye example the em dash is used to avoid multiple colons. It can
also function as a colon or comma for dramatic emphasis:
He had a plan- a plan that required irnrnediate action.
They were archetypal enemies ofthe arts- arrogant ignoramuses.
Em dashes are also used to separate ane or more subjects frOID a pronoun
that starts a sentence's main clause:
Debussy, Ravel , and Satie-these were the composers she loved.
I I
' ! ;
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2.9 The sfash
2.9 The slash
The slash (shill, solidus, virgule) is used for bilingual joumal or book
titles.
Jazzforschung/Jazz research
It may also be used in certain technical contexts to replace and:
tonic/nontonic polarity
Avoid using it to replace or (e.g., he!she, andlor,parentlguardian).
Do DOt put spaces around a slash.
Do DOt use slashes for date or page ranges, or n opus·plus·Dumber desig-
natioDs. Exceptionally, academic years may be designated with a slash
(e.g., 2005106).
2.10 Th e apostrophe
Singular possessives are always made by tacking s onto the end of tbe
Dame or word, regardless of its final letter:
Brahms's Delius's Boulez's
wrong: Brahms' Delius' BouIez'
terribly wrong: Brahm's Ive's Boule'z (yes, wehaveseen these)
Possessives ofplurals ending withs are made usingjust an apostrophe:
the Habsburgs' patronage
Rules for apostrophes are different in sorne languages; English rules
should not be forced on them when quoting non·English titles or paso
sages. AIso, tbe British ofien drop tbe apostrophe in firm narnes (Bush·
milis Distillery, Lloyds ofLondon) and in churches (Saint Andrews).
2.11 Quotation marks
Far tilles , see 10. / .1: lfaUes vs. quo/alion marks.
12
2.12 Parentheses and brackets
2.11.1 Terms
Tenns as tenns are generally italicized in prose:
the tenn sonataform denotes
in this sense bailad implies
Use quotation marks afier verbs snch as caUed or labeled for terms forwhich the author or speaker does nol take responsibility:
called the music "primitive"
labeled him a "barbarian"
2,11.2 Scare quotes
Avoid scare quotes (quotes used for emphasis); they are obtuse.
She argues that a "defmitive" method of singing does not exist.
,bould be '
She argues that a defmitive method of singing does oot exist.
2.11,3 En d punctuation with quotation marks
Contrary to connnon practice, RILM favors precision: Punctuation is
only treated as part of a quotation ifit actually is. Quotes are closed be ·
fore end punctuation unless an entire sentence is being quoted:
She was called "the wisest woman in the realm".
He wrote: "This is enough. I' m finished."
2.12 Parentheses an d brackets
Parentheses are used for material that is less essential to the sentence than
that set of f by em das hes or cornmas:
Most Irish dance tunes (jigs, reels, and hompipes) have regular,
predictable structures.
Sorne ofGoethe's poems (e.g., Der Schatzgraber) have been set bysevera) composers.
13
2. 12 Parentheses and brackets
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Brackels are rare . Tcchnieally, Ihey should be used wilhin parenlheses,
bul try nol lo gel mIo a Sltuahon Ihal requires Ihis.
(Labaree's dissertalion [1989] provides further examples.)
becomes
(Labaree 's 1989 dissertation provides further examples.)
mam use ofbrackets is to indicate editorial interpolations in quota
llOns (see 13.3: 1ntroducing changes).
See also 3.6: Slang abbrevialions;5.2.1: Numberingseries in senlences'
10. /.2 : Translations; 16.5: ln-Iext citations and bibliographicjormats.'
2.12.1 ParentheticaJ sentences
Rarely, one or more .full senlences may be parenlhesized, especially ifthey preseot IlIustratlve matenal. (pareothetical seotences should never
occur wilhin senlences. They should be sel offseparalely, like Ihese.) In
general, I s c u r s l dlgresslons work better io oumbered notes (see J 4.J:SubstantIve notes and hyperlinks).
14
3. ABBREVIATlONS
3.1 Names of organizations
These should be unabbrevialed and in Iheir originallanguages (see 9.2:
Names olorganizations). The second and subsequent times an organizalion is menlioned ils naroe may be abbrevialed if a faroiliar, commonly
used abbreviation exists. I f you will be using an abbreviated form, in
elude il in parentheses after the initial use of!he full name.
The American Musicological Society (AMS) meets annually. Past
locatioos of AMS meetings include . . .
Sorne organizations, such as UNESCO , are primarily known by !heir ac
ronyms; it is rarely necessary lo spell out theír full oames.
Names of organizations that do not have cornmonly used abbreviations
may be referred to generically Ihe second aod subsequent times they
appear:
The Iostitut za Etnologiju i Folkloristiku io Zagreb has beeo cany-ing out large-scale systematic fie ldwork 00 Istrian traditiooal music
since its founding in 1947. The institute's archives comprise . .
3.2 Sto an d SS.
Sto aod Ss. are the abbreviations for Saint and Saints io all cases when re
ferring to the human beings, since these references are in English. Place
names, surnames, and institutions vary in usage; do oot force standard
ized forros on Ihem.
Antoine de Saint-Exupéry
JilI SI. John
Pascale Saint-André
Saint-Amand
Saint-Cyr- I'École
San Francisco
Sankt Augustin
Santa Maria del Fiore
SS. Giovanm e Paolo
SI. Catberine
Sto Louis, Míssouri
Yves Saint Laureot
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3.3 Punctuat ing abbreviations
3.3 Punctuating abbreviations
[o British English, periods are not used afier abbreviations comprising
the first and last letters of words:
DrWill iams Mr Pierson St Bartholomews Cburch
In U.S. Englisb, periods are used after most abbreviations of single
words:
ca. 1300 op. 111 Dr. Salk
Exceptions inelude units of measurement and scientific and technical
terms:
60dB 440 Hz 78 rpm
Periods (no space) are used for most two-letter acrooyms:
E.U. GE U.S.
Again, the exceptions tend to be teebnieal and teehnologieal tenms:
CD (for eompaet dise)
AM (for amplitude modulation)
AP (for absolute piteh)
Do oot use periods or spaces in acrooyms of three or more letters:
BWV
bu l
IAML UNESCO
B.C.E., lo match C.E. (see 5.3: Dates)
No space is oeeded between personal initials or between two-Ietter acro
nyms. Use one space after the initials:
C.P.E. Baeh U.N. mandate
Do not put a space between a one-Ietter abbreviation aod a number:
The G-minor symphony, K.440, may be Mozart's besl-known
work.
No spaee is used after b. or d., unless a place comes before lbe date.
Copland (d. New York 1990) spoke for all Ameriea.
16
3.6 Slang abbreviations
Other abbreviations are followed by one space:
5tring quartct, op. 131 JohannesKlosler(fl.156(}- 85)
Traelalus de musiea (ca. 1320)
Exeeptionally, by analogy witb Mozart's K. numbers and Sehubert's D.
numbers, Haydn's Hob. is c\osed up:Hob.xII:4
See also 10.3: Opus and catalogue numbers.
3.4 Et al. and etc.
Et al. is sbort for el alii (and others); ele. is sbort for el eelera (and olher
things). The fonmer is used only for people ; lhe l atter is used for things,
places, ideas, aod so oo. They are always preceded by a comma and a
space. They are oever italicized.
Avoid using them in fonmal prose: Use their prose equivalents instead.They may be used in parenthetical situations.
3.5 Le . an d e.g.
1.e. is short for id esl (Ihat is); e.g. is short for exempli gratio (for exam
pIe). Use i.e. when whal follows is a c\arifieation, and usee.g. when what
fo llows is one or more possible iIlustrations:
The accompanying instruments (Le., the tabla and tambITra) . ..
Ravel's excursions into exoticisrn (e.g., Shéhérazade) . . .
/.e. and e.g. are always followed by a eomma and are never italieized.
As with et al. and etc., reserve these for parenthetical situations: Do not
use thern in fonna! prose.
3.6 Slang abbreviations
Sorne slang abbreviations, such as a.k.a. (for also knOWIJ as) are cornmon
injoumalistic writing; they are avoided in scholarly writiog. A.k.a. may
be replaeed by parenlbeses.
They mel McKinley Morganfield (Muddy Waters) in 1941.
17
.!
;j
4.1 Non-Westem plurals
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4. PLURALS
Standard plural abbreviations may be used:
mm. nos. opp.
Plurals of assimilated words are in Eng lish sty le:
concertos,notconcerti
librettos
virtuosos
pp.
opuses (Try to get around this ane, though; it is unappealing.)
However, where a foreign plural is as common as the familiar singular
fonn, or is listed first in a standard English dictionary, it may be retained:
alumni !ieder
concerti grossi media
curricula opere serie
Festschriften opere buffe
hazarurn syllabi
klezmorim topoi
Criteria is the plural of cri/enon.
Dala is the plural of datum.
Commata is theplural of comma (the ¡nterval,not fue punctuation).
4.1 Non-Western plural s
Where it is not easy to deduce lbe singular from the plural, lbe singular
may be given thus:
professional epic singers. known as shu 'arii (singular, shii ir)
Non·Western terros that appear in standard Eng lish dictionaries may be
considered assimilated:
gamelans kotos cagas
18
If you add an s to a nonassimilated non-Western teno that has no plural
fono , do not distinguish it typographically from the teno:
Lou Harrison composed several gendings.(not gending-s,gendings)
If you are conlident lbat your readers know the language in question,
lbere is no need to add !he s.
See also 7.1: Terms.
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5. NUMBERS
5.1 Figures vs. words
Cardinal and ordinal numbers up to and including ten are spelled out; 11
and above are figures (except as discussed below and in 5.5: TImes ofday
and 10.2: Generic titles) :
fourth movement
ten maids a-milking
Schoenberg's 12-tone compositions
nearly 300 years later
Ordinal numbers greater than tenth, when tbey do not begin a sentence,
consist of a figure and a two-Ietter suffix:
It was the 158th piece Telernann wrote that month.
For multiples of I ,000,000, spell out the appropriate unit and follow the
first rule above for tbe multiple:
two million 48 billion 306 trillion
Act, scene, chapter, page, opus, and catalogue numbers are always arabic
figures:
act 2, scene 3
chapter 1, page 2
Haydn's string quartet op. 76, no. 3
Gretchen am Spinnrade, D.118
Numbered movements are identified with ordiríal numbers , spelled out:
in the third movement of his string quartet no. 5
no!
in rnovement no . 3 of bis string quartet no. 5
or
in movernent 3
Measurements, statistics, and model numbers should always be figures:
washed with a .2% solution of sulfuric acid
using a 50 mm bOTe
20
5.2.1 Numbering series in sentences
Centuries are usually rendered as figures:
2nd century B. e.E.
8th century
21 st century
Acardinal or ordinal number at the beginning of a sentence must be written out , so try to avoid this where it would be awkward:
Five students .. .
Twenty-third on the list ..
Eighteenth-century dances ..
In all, 2346 songs . . . (to avoid spelling out the number)
When citing titIes, leave numbers and dates however they are printed.
When translating titles, conform the translation to English style.
title: Franz Fodermayr zum 60. Geburtstag
translation: Franz F6dennayr on his 60th birthday
title: Eberhard Würz/ zum achtzigsten Geburtstag
translation : Eberhard Würzl on his 80th birthday
5.2 Punctuation
5.2.1 Numbering series in sen!ences
When using numbers to organize major points (do no t use letters or ro
man numerals), enclose them in parentheses and separate the points with
semicolons:
Four trends emerged in the traditional music ofYugoslavia between
1960 and 1965: (1) retention ofexisting fonns, with minorchan ges
in melodies; (2) structural changes in the music system; (3) accep
lance of essentially new phenornena and their adaptation; and (4)
newly composed songs (lyrical poems with melodies that contain
traditional elements, new long narrative poems, chronicles, and in
strumental and vocal compositions).
21
5.2. 1 Numbering series in sentences 5.3 Dates
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Caution: This technique is overused. Always think about whether Ibe
passage would read more smoolbly without Ibe numbers:
Stravinsky manipulates motivic material tbrough variation (Le
sacre dupn"ntemps), repetition (L'oiseau dejeu), and inversion (In
memoriam Dylan Thomas).
not
Stravinsky manipulates motivic material in thIee different ways:
(l ) variation ¡nLe sacre du printemps; (2) repetition in L'oiseau de
Jeu; and (3) inversion in In memoriam Dylan Thomas.
5.2.2 Large number.
Do not use cornrnas in figures offourdigits or fewer; use them otheIWise:
10,000 Maniacs 5000 lisleners
5.3 Dates
Write dates thus (day, if any, before monlb, month before year, and nocorumas at aU):
Concierto de Aranjuez premiered 00 9 November 1940.
Coplaod completed Piano variations io August 1930.
Do not repeat the tirst two digits in date ranges wilbin a century:
1823- 87
Retain zeros for early years of centuries:
1801-09
A queslion mark goes after Ihe questionable dale:
Urnm Ku1thüm (1904?-75 )
If words inlroduce a date range, words (rather Iban an en dash) must be
used in Ibe middle as well (see 2.7: The en dash):
a survey of concerts from 1956 through 1959
not
a survey of concerts from 1956-59
22
Wheo describing a decade, do not use apostropbes:
San Francisco in the 19605
not
San Francisco in the 1960's
A recent Irend in scholarship supports replacing A.D. (Anno Domini,
Year ofOur Lord) andB.C (Before Cbrist) with CE. (Corumon Era) and
B.CE. (Sefore Ihe Coromon Era), respectively. This practice eliminates
the problemof applying Christian-centered terminology where it would
be inappropriate.
Unlike A.D., which precedes the year, CE. and B.CE. foUow it:
66 C.E. 492 S.C.E.
Use CE. sparingly, usuaUy only when it closes a range that began before
Ihe year I e.E. or in a very early century. Ifthe topic is musical practices
in a 9th-century Saxon abbey, CE. is not needed .
To avoid ambiguity, century redundancy is required in B.C.E. dates- forexample, 327- 325 S.e.E. (Abridging the second date would confound
325 S.e.E. wilb 25 S.e .E.)
When referring to Asian dynasties, ¡nelude date ranges:
Tbe earliest infonnation on music in Korea dates from the
Gogu'ryeo dynasty (37 B.C.E.-668 C.E.).
When source documents give dates accorcling to the Julian calendar, con-
vert lhe dates lo Ihe Gregorian (C.E.) calendar, but give the Julian ones in
parentheses:
Stevan Mokranjac was bom on 9 January 1856 (Julian: 28 Decem
ber 1855).
OtheIWise, when a date is given in an alternative syste m it is followed by
the Gregorian version in parentheses:
Abü M a ' ~ a r began bis scholarly career at the calipbate court al
al-Ma'mün between 199 and 219 A.H. (813- 833 C.E.).
23
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5.4 Page ranges
5.4 Page ranges
Use a COmIna to separate page ranges from individual page numbers or
other ranges in bibliographic data:
67- 71,75
459-463,495-501
When citing an article published in two or more languages in the same
publication, use a semicolon between page ranges.
I f everal nearly adjacent page ranges are indicated (e.g., for an article in
a magazine with full-page advertisements), simplify and cite one inclu
sive range only.
5.5 Times of day
Times of day in full, half, and quarter hours are spelled out:
They expected the meeting to continue until half past three.
The farnily always ate lunch at twelve o'clock.
The performance ended around nine-thirty.
But numerals are used (with zeros for full hours) when the exact moment
of time is emphasized:
The program is televised at 2:30 in the aftemoon.
Liftoff occurred at 11 :05 a.m.
In Britain a period is used between the hour and minutes !ather than a
colon. -
Abbreviations for time of day (a.m., p.m.) are lowercase. Do not use
these abbreviations with morning, afternoon, evening, night, or o 'dock.
10:45 a.m.
10:45 in the moming
ten o'clock in the evening
Do not include J2:00 witb the words noon or midnight.
24
5.6 Roman vs. arabic
5.6 Roman vs. arabie
When citing books that have more than one level of volume or series
numbers, differentiate them by using roman numerals for the largergroupmg:
Handel, Georg Friedrich. Israel in Egypt, HWV 54. Hallische
Handel-Ausgabe: Kritische Gesamtausgabe. 1: Oratorien undgroBe Kantaten, 14. Kassel: Barenreiter, 1999.
Otherwise, prefer arabic in prose. For example, use arabic for act andscene numhers ofstage works:
act '), scene 1
25
li',
j.,:.
r6.3 Transcríbing dialect and pronunciafion
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6. SPELLING
6.1 U.S. conventions
Ifyou are using U.S. spelling conventions. stick to them:
tbeater, Dot theatre
center,not
centrecolor, not colour
practice, Dot practise
behavior, not behaviour
analyze, not analyse
traveled, not travelled
rnemoir, not memoire
premiere, not r e m ü ~ r e
The most notable exception is repertoire, which need not be translated to
repertory for Westem classical tapies. Repertory is preferred for ethno
musicological topies.
Do not change the spelling of an organization:
American Ballet Theatre, New York
Royal Centre, Nottingharn
Opinions differregarding catalogvs. catalogue, dialogvs .dialogue, and
so on. While the shorter fonns may be considered U.S. usage, many U.S.
writers and publishers (including RILM) favor the longer forrns. In gen
eral, dialog is preferred in computer-related words (e.g., dialog box).
6.2 Common problems
26
a cappella, not a capella
defense, not defence
improvise, not improvize
judgment, Dot judgement
supersede, not supercede
supplement, not suppliment
Discrete means noncontinuous; discreet means prudent.
To affect sometbing is to have ao effeet on it; to ejJect something is
to bring it about.
A complement completes; a compliment honors.
6.3 Transcribing dialect and pronunciation
The benefits and disadvantages of transcribing a person's singing orspeech with variant spellings to indicate particularities of dialect or pro
nunciation have be"n discussed at length by scholars working with a va
riety oftopics, from ballads to blues. The main drawback in transcribing
pronunciation is that it can make the singer or speaker appear unsophisti
cated or foolish, particularly when it is frarned by scholarly prose. In
most cases, nonstandard pronunciation may be disregarded without mis
representing intent or spirit. As noted in 13.3: Introducing changes, the
wording of quotatlons- including tbe use of contractions- must not be
altered; details of pronunciation, however, should only be indicated if
they are themselves an object of study.
27
(
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7. ITALle VS. ROMAN TYPE
See also 2. 1/.1: Terms; 10: TIlles.
7.1 Terms
Names of peoples, plaees, instruments, genres (musie or dance), organi
zatioos, and political or aesthetic trends are nOl italicized. No clear rules
can be formulated for determining whieh terms for instruments and gen
res may be considered assimilated amoog scholars who write about mu
sic, so it ls best 10 treat tbem all the same way.
Debussy brougbt impressionism into the realm of music.
He plays the jembe to accompany manjani dancing.
The Théíhre National de l 'Opéra-Comique was founded in 1714.
A number of 000-Westem tenns now appear in standard English dictio
narles; these are generally treated as assimilated words.
gamelan
koto
mbira
rnridangam
raga
sitar
tabla
tala
However, in ethnomusicological writings tenns 3fe given standardized
transliterations (see 12.3: Transliteration):
mrdatigam
raga
sitáe
tála
Other unassimilated words are italicized. Any word found in a standard
English dictionary is considered assimilated. [fthe word is used repeat
edly, only italicize its ftrSt appearance.
Jouissan ce is a driving force in film musie. Elements associated
witb jouissanee inelude . . .
Occasionally it will make sense to italicize a foreign generic term to dif
ferentiate it from an English word with Ihe same spelling:
His son became a famous son singer.
28
7.3 Ships and Irains
A few phrases of foreign origin that do appear in English dictionaries
(e .g., a cappella, a priori) are italieized solely to make them easier toread in prose.
Occasionally a terrn may be italicized the first time it appears to signal
that it is being used in a specialized way. It does not have to be a foreign
word. This is an extension ofthe rule given in 2.11.1: Terms.
The three main types of development are motivic, harmonic, andcontrapunta/.
See also 4.1: Non-Weslern plurals.
7.2 Legal cases
Na rnes ofIegal cases are italicized and, contrary to usage elsewhere, v. is
used rather than \.IS.
Roe v. Wade
7.3 Ships an d traios
The name of a ship is italicized, but not Ihe artiele or title (USS HMS
etc.) preceding i1. Names oftrains or traio routes are in roman '
Longfellow's poem begins with a scene onboard the Hesprus.
Many Pitcairn residents descended from the HMS Bountyrnutineers.
Blind Willie McTell also celebrated the B. & O. line in song.
29
8.2 Examples
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8. CAPITALIZATlON
Two styles are used for capitalization when deahng with more than one
word: headline style and sentence style.
!n headline style, articles (a, an, the), eonjunetions (and, or), and preposi
tiaos (to, from , tbrough, unless !bey are emphasized or used as modifiers
or conjunctions) are lowercase; other major words (neuns , pronouns,verbs, modifiers) are capitalized; and the first and last words are
invariably capitalized.
Ford to New York: Drop Dead
In sentence style, only those words that would be capitalized in nomlal
prose are uppercase. Work titles are always in sentence style.
How Tom beat Captain Najork and his hired spo rtsmen
8.1 Wben to capitaIize
Genre and cultural movement names where tbere is no ambiguity are
lowercase (sonata, futurism), but capitalized where confusien could re-sult (Mass, Renaissance).
Generic designations ofpieces and scenes are lowercase (the mad scenes
in bel canto opera, Beethoven's fifth symphony).
Fixed-though-informal English names of particular things, such as seenes
and manuscripts, are capitalized in headline style: Artieles (a, an, Ihe),
conjunctions (an, or), and prepositions (lo, from, through, unless they are
emphasized or used as modifiers or conjunctions) are lowercase; other
majorwords (nouns , pronoun s, verbs, modifiers) are capitalized; and the
first and last words are invariably eapitalized (the Mad Seene in Lucia di
Lammermoor, the Dance of the Seven Veils; the Siena Lute Book).
Act and scene designations are lowercase, with arabic numerals.
Names ofsoftware (Microsoft Word), eopyrighted tests (Adolescent Per
ception Test), and methods and techniques whose names are copyrighted
or otherwise legally owned (Feldenkreis Method, Alexander Teehnique)
are capitalized in headline style.
Names of organizations or institutions (Library of Congress, Intema
tional Musieological Soeiety) are eapitalized in headhne sty le.
30
Genericized English names (The Rock ofGibraltar, St. Peter 's Basiliea)
are eapitalized in headhne style.
Ongoing broadeast programs or series (All Things Considered) are capi
talized in headline style, beeause they are eonsidered to be institutions. A
single episode of a broadcast series, or a oue-time program, is italicized
and treated as a work (see /0./ : True tit/es).
Tbe titles of academic eourses (Introduetion to Musie) are eapitalized in
beadline style.
Capitalize a perfonning group's institutional name in headline style
(Carter Family, Currenee Brothers).Do not capitalize iflbe family is not
a formal group (Seeger family, Baeb family).
Brand names that are registered trademarks are capitalized in headline
style ¡fthe reference is specific. For a generic reference, substitute a ge
neric tenn.
Kleenex , prefer tissue
Xerox, prefer photocopy
Oeeasionally brand names have eeeentrie eapitali zation (e.g., iPod);
tbese are retained.
Acronyrns are capitalized (BBC, IAML); in rare cases, lowercase initials
are included (RldIM for Répertoire !ntemational d ' IconographieMusi
cale).
See also JO : 1itles; for foreign languages, see /2 .2: Capitaliza/ion.
8.2 Examples
act 1, scene 2ars nova
baroque (general)
Baroque (historical)
Bible
biblical
Bowen Technique
classie (general)
Classie (historieal)expressionism
Gothic cathedral
gotbic novel
Gradual (as liturgy)
gradual (as book)
Harlem Renaissance
impressionism
3 1
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8.2 Examples
Internet
Laban Movement Analysis
Muzicka Akademija
new age music
New Geonan School
renaissance (general)Renaissance (historical)
Second Viennese School
Stomp Dance
8.3 Assimilated German Douns
Suzuki Method
!recento (general)
Trecento (style period)
verbunkos
waltz
World Wide Web (or Web)website
westem (general)
Westem (cultural)
Assimilated German nouos are not capitalized:
baryton
frankfurter
gestalt (but Gestalt therapy)
glockenspiel
hamburger
leitmotiv
8.4 Slang names and racial epithets
lieder
singspiel
urtext
weltanschauungweltschmerz
zeitgeist
Derogatory or slang names for peoples are never capitalized. S ~ c h :erms
sbould only be used wben absolutely necessary- for example, 10 dlSCUS-sions of racial or cultural prejudices.
honkies krauts
32
9. NAMES
9. t Names of people
9.1.1 Spclling
Personal names are given with tbeir original spel1ing and diacritics.
Transliteration should follow ISO standards (see 12.3: Transliteration).Seosarnh Ó hÉanaí
Sergej Sergeevic Prokof' ev
Trltn VAn KM
Persons who lived long as expatriates may bave their names spelled otherwise:
Diaghilev
Liszt
Lully
Nijinsky
Schoenberg
Stravinsky
but : Handel, nOl Handel nor Haendel
Medieval or other persons known only by first name and fatber's name,region. or an adjec!ive should be given in full forro (tirs! name followedby regian) the tirst time they are mentioned:
Abu N a ~ r al-Farabi
Guido of Arezzo
Guillaume de Machaut
Mikolaj z Radomia
Cammon sharter faons may be used thereafrer:
al -Farabi
Guido
9.1.2 Alphabetization
9.1.2.1 Married names
Machaut
Mikolaj
For women with a married name preceded by an unmarried name (unhyphenated), use the married name, unless she publishes under tbe compound sumame. Always use the compound surname ifit is hyphenated.
Callegari Hill, Laura Seeger, Ruth Crawford
33
,i:1
!I,,:
t
:II1"1,, :¡,.
]"i,.
'11
i¡,!.t
i·l. :i
l',
1,.,l'
9. 1.2.2 Jr., 111, etc.9.1 .2.4 Prefixes
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9,1.2.2 Jr.,IIJ, etc.
When these are par! of personal names (as oppose d to tities) alpbabeti zethus: '
Gordy, Berry, lr.Hammerstein, Osear, II
For titles with roman numerals, see 9.1.4: Epithets and honorifics.
9.1.2.3 Compound names
Hyphenated names always appe.r under the first Sumame:
Mendetssohn .Bartholdy, Felix
Alphabetization of non·bypheoated sumames varies. ConsuIt lhe Inter.
nahonal Federation of Library Associations and lnstitutions (IFLA)
Names o[ pe rsons: Na/lOnal uses lar en/ry in catalogues (Müncbeo'Saur, 1996) foc any question nol answered here. .
D u ~ c h compound surnames, including those with prefixes, are alpha
beh zed by lhe first par! of he eompound:
Slicher van Bath, Bemard Goes van Naters, M. van der
Italian, compound surnames, inc1uding those with prefixes, are also al
phabetlzed by lhe first par! of the sumame:
Rosmini Serbati, Antonio Sala di Feliee, Elena
Portuguese compound surnam es are alphabetized uoder the last part:
Baptista Filho, Zito Lima, loao de Souza
Filho (Brazilian) means Junior· it is oot a true sumame J¡ . . (111 d
• . . umor a waysspe e out) should be treated Iike Filho as shown abo ve.
Russian, ykrainian, and Belorussian names consist of a forename ,
patronymtc, and sumame. They are alphabetized by Sumarne:
34
éajkovSkij, Petr [J ' io
éajko vskaja, Antonina Miljukova
Spanish compound surnames, including those with prefixes, are alpha
betized under the first par! of the sumame:
García Lorca, Federico Calderón de la Barca, Pedro
9.1.2.4 Prefixes
U.S. an d British names are alpbabetized under the prefix, even if the
country of origin of thc name does otherwise:
De Zeeuw, Anne Marie
Although this name is of Duteh origin, and would be alphabetized under
the sumame ¡fshe were Dutch, since she 1S from the U.S. her name is al
phabetized the U S. way.
Belgian surnames with prefixes follow French rules for French names,
but U. S. or British rules for Duteh names:
Van Maldere, PieITe Vo s, Luc de
Canadian surnames witb prefixes folJow Freneh rules for Frenehnames and U.S. or British rules for English names.
Dutch surnames with prefixes are alphabetized by lhe par! folJowing
the prefix.
Borren, Charles van den Kinderen, Anton der
French surnames with prefixes are alphabetized under the artiele ¡fthe
prefix is an artiele, an article plus a preposition, or a contraction of an ar
ticIe and a preposition; alphabetize under the surname ¡fthe prefix is just
a preposition:
Alembert, Henri d '
Des Forets, Louis-René
Du Barry, Marie
Le Cordier, Rolaod
La Grange, Henry-Louis de
Nerval, Gérard de
lrish surnames with prefixes are alphabetized under the prefix. lri sh
prefixes inelude tbe masculine Ó and Mac and the feminine Ni and Ui(the Anglieized prefixes Me and O' are ungendered):
MacMathúna, Ciarán O'Connor, Sinéad
35
iI,
·1
,[
9.1.2.5 Other considerations for particular languages
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9.1.2.4 Prefixes
McCormack, John
Ni Mhaonaigh , Mairéad
6 Riada, Seán
Vi Chróinin, Éitís
German surnames with prefixes are alphabetizedunder the part follow
ing the prefix:
Beethoven, Ludwig vanHagen, Friedrich van der
Schiller, Friedricb van
Jlalían surnames are alphabetized by prefix, except pre- 19th:century names with prefixes indieating noble deseent (de, de , deg/¡, del , andde li) and sumames including a place name by which a person lS usually
identified:
Dal1' Ongaro, Francesca
Di Benedetto, Vincenzo
Medid, Francesco de'
Palestrina, Giovanni Pierluigi da
Soutb African surnames with prefixes , even those ofDutch or French
origin, are alphabetized by the prefix.
Van Biljon, Emes! Hendrik De Villiers, Dirkie
Spanish surnames with prefixes comprising only an article are alpha
betized by the prefix:
Las Heras, Manuel Antonio
When the prefix consists of a preposition only, or a preposition and an ar
ticle, alphabetize by !he par! following the prefix:
Adelid yGUITéa,
Marcial deSantos, Rafael de los
Vega, Francisco de la
Summary
36
Da [ltalian sumame], see Da; see aIso exceptions aboye
De [Belgian/Sou!h African sumame], see De
De [Dutch surname J, see sumame
De [French sumameJ, see sumame
De' [Italian sumameJ, see D e ' ~ see also exceptions aboye
De [Spanish sumame , see sumame
De La [French ISpanish sumameJ, see La
De La [Spanish sumame], see sumame
Del [Spanish sumame], see sumame
Di [Italian sumameJ, see Di
Du [French sumame , see Du
Van [Belgian sumame], see Van
Van [DutchJGerman sumame], see sumame
Van [South Afriean surname], see Van
Van Der [Belgian sumame), see Van Der
Van Der [Duteh sumarneJ, see sumame
Van Der.[South Afriean surname , see Van Der
Van [German surname], see surnamc
9.1.2.5 Other considerations for particular languages
Arabic names before the 19th century are varied; when in doubt, Tenderthem without commas or inyersions:
' Abd al·Qader al-Maraghí
Modero names may be inverted:
al-Farran,Ibráhim
Such names are alphabetized under the element following the particle.Therefore, sorne authorities prefer to invert the name thus:
FaITan, Ibráhim al-
East an d Southeast Asian names are norrnalIy not inverted. The main
exceptions involve Westem given names; these appear befare the Sllf
name in prose, and they are inverted far alphabetization. Far example,Margare! Leng Tan is alphabetized as Tan, Margaret Leng.
Chinese, Korean, and Vietnamese names comprise a surname(usually one syllable) followed by a given name (usually two syllables). In China, names are never hypbenated; they are usuallyhyphenated in Taiwan and Hong Kong (and, oeeasionally, in Ma
laysia and Singapore), witb the second syllable uppercase forsumames (e.g., Ssu-Ma, Au-Yeong) and lowerease for givennames (e.g., T'ien-hua, You-ch'ien). Korean given names areusually !wo hyphenated syllables, with the seeond syllable
37
9.1.2.5 Other considerations for particular languages9.1.4 Epithets and honorifics
,
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lowercase. Vietnamese given names are written as separatenames, both capita lized.
Ouyang Jinxing (following rnainland Chinese standard)
Au-Yeong Karn-sing (Chinese not frorn mainland)
Kirn Hae-suk (Korean)
Tr'an Khe (Vietnamese)
Japanese Dames are not hyphenated. The honorific suffixes-san, -sama, and -sensei should not be treated as part ofa name.
Malay names (found in several parts of Southeasl Asia) compnse one or two g1Ven names followed by the father's narnewhich may also consist of two names. Malays do not use s u r ~names unless the name is of sorne other origin (such as Westemor Chinese; follow Ihe rules for the originallanguage). Tbere issometimes a particle such as hin between the given names andthe father's name. Malay names are not inverted.
Siti Zainon Isrnail
Hassan bin Abdul Majid
lnon Shaharuddin Abdul Rahman
South Asian names are difficult to standardize. India alone hassorne 325 recognized languages; add the other countries of Ihe
I n ~ i a n subc.ontinent and the challenge of consistency becomesqUite dauntmg. For authors who write in English, use the fonnthey use, even ifit differs from other renditions ofilie sarne name(Krisbnamoorthy, Krisbnamurthi, Krishnamurtby, Krisbnamurtl , etc.); for others, prefer the applicable transliteration
( K i r u ~ t } a r n I T r t t i , Kiru!!it).amITrtti, K r ~ t ) . a m I T r t i etc.).
Hungorian names may be found wilh the sumame as Ihe firsl element:
for example, Bodnár István. Since Bodnár is the sumame, the name ap
pears as [stvánBodná r io prose, aod it is alpbabetized as Bodnár, [stváo.
Ieelandic names comprise of a given name followed by a patronymic.
Tbey are alpbabetized by giveo oame.
A3algeir Kristjánsson Helga Guomundsdóttir
9.1.3 Name changes, pseudonyms, and sobriquets
For people who permanently changed their names when moving to a new
country or for religious or other reasons, use the new name instead ofthe
38
oId. However, if a person is known by a pseudon ym or sobriquet, use
their birth name witb tbe pseudonym or sobriquet in parenlheses in bib
liographic Iistings.
Marx, Artbur (Harpo), not Adolph; he changed his given name.
Owens, Dana (Queen Latifah)
Pujol, Joseph (Le Pétomane)
9.1.4 Epitbets and honorifics
Epilhets are preceded by the:
the publisber Ottaviano Petrucci
the enterta iner Lady Bunny
the nove tist Bulwer-Lytton
Names ofpopes,early saints ,and emperors are given in the familiar Eng
Iish or Latin forro (Jobo, Pius), or a national forro ifit is Ihe familiar one
(Franz Jose!).
Pope,King , and Saint may be dropped (e.g., Clernent XI1I , Augustine);
this practice is not required, but it is more sophisticated. See also 3.2: Sto
and SS.
APope 's secularname may be included the first time he is mentioned:
lnnocent XI Odeschalchi
Benedict XVI Ratzinger
In general, refer to titled people using lbe highest title tbey received.Of
course, if yo u are discussing tbeir life before they were so titled, it willmake sense to use whatever their name or title was at the time .
Augustine
Charles Il , Hol y Roman Emperor
Charles 11, King of England
John XXIlI
Titles and honorifics such as Sir, and Dame ma y be omitted in
mo sl kind s ofwriting (exceptions may ¡nelude tributes, obituaries, etc.).
39
¡
t
1
,I
I
9.1.4 Epithets and honorifics
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Sir and Dame are oDly followed by a given name, even in abbreviated ref
erences:
Joan Sutherland
Dame Joan Sutherland
Sutherland
Dame Joan
9.1.4.1 Non-Western honorifics
Many cultures bestow terms ofres pect on accomplishedmusicians, teach
ers, and other worthy persons. Although these terms may be capitalized,
they arenota formal part ofthe person's name, and they should be omitted
in seholarly writing. Examples inelude Pandit and Ustad in India, Bapak,
¡bu, and Ki in Indonesia, and the suffixes -san and -sensei in Japan.
9.1.5 lncomplete and descriptive names
Wben only one name eIernent is known for a historical person who un
doubtedly had others, use that name, with an honorific or title if one is
eornmonly assoe iated with that personoFor example, the 18th-eenturyEnglish choreographer is known in sources only as "Mr. Isaac". Do not
add titles or honorifics without precedents in sources. Narnes with only
one elernent are common in several non-Western cultures; do not add
anything to tbem.
Kiilidiisa Sumarsam
Historical visual artists who are known only through their works may be
known by temporary names sueh as Master, followed by a place name,
initial s, or a description of a work. Use the English form Master regard
less ofthe artist 's nationality.
Masler of F1émalles
Master of the Embroidered Foliage
Rare exceptions are names of artists known by certain stylistic features:
Painter of the Long Overfalls
Temporary names of painters of Altie eeramies should be eapilalized and
in Ihe following form:
40
Andokides Painler, not the painter of Andokides
Pig Painter, not the painterof Schweinerei
9.1.9 Scriptura/, ear/y, /egendary, and mytho/ogical names
9.1.6 First names and initials
The first names famous persons may be omitted unless fuere is a ood
ehanee ofeonfuslOn. Ir eonfusion is likely, give the tirsl name F ! fa-mous famllIes, glve Ihe initial(s): .
B.eh (J.S. is assumed)
e.p.E. Baeh
D. Scarlatti
G Gabrieli
1t is a sign of espect to drop first names. Sorne very farnous persons seern
tobalways be stuek with their first names (or initials) forno good reason- it18 etler lO drop Ihem: '
Eliot's Four quartetsStrauss s Elektra
fiFamous wornen and nonclassical musicians should also go without theirlrst names:
Fitzgerald 's scat singing
settings ofDickinson's poems
9.1.7 Middle names and patronymics
Patronymics for Slavie names should always be ineluded in biblio
~ ~ ~ j ¡ : IIstlUgs . Olher types ofmiddle names are al so ofien ineluded ingraphles, but mlddle names of eilher variety are seldom d d .
prose passages. nee e In
9.1.8 Dates
In seholarly writing, a person's birth and death dates may be included .
parenthese8 Ihe tirst time the name appears; do not do this forf a m o ~ :
names. Dates may also be used to distinguish persons with tbe same name.
9.1.9 Scriptu ral, early, legendary, and mythological names
In prose, Ihese are given in Ihe forms mosl eornmonly found in Englishwntmgs:
Apollo
Don Juan
Krishna
Moharnmed
Moses
Plato
41
9.2 Names of organizations 9.3.4 Gity and town names
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9.2 Names of organizalions
Organization or institution names are given in the originallanguage, in ro
man type, and capitalized in headline sty le (see 8.1: When to capitalize):
Accademia Filannonica
American Federation of Labor
Bibliotheque Nationale de France
Hrvatska Akademija Znanosti i Umjetnosti
Teatral'noe Uéilisce
Ediciones Mexicanas de Música
Libreria Musicale Italiana
For non-European languages, an English translation may be given in pa
rentbeses, especially if the organization is known intemationalIy by tbe
English name:
Saino Kyoiku Ongaku Gakko (Talent Education Music School)
Treat ongoing broadcast prograrns and se ries as institutions:
Absolutely Fabulous The Ed Sullivan Show
A single prograrn is treated as a work (see 10.1: Tme titles):
Live aid
The art al h e vialin, frOID the Oreat Performances series
Exhibitions and conferences are considered temporary organizations.
Degas and tbe Dance (Philadelphia, 2003)
Organizations wbose names have ehange d sbould be referred to with the
appropriate name for the time period under discussion; the current name
may follow in parentheses.
Religious, royal, and intemational institutions may be in a source lao
guage, in Englisb, or in an otherwise familiar formo If given as one of a
gerue (i.e., a name plus an English word or words), they should be eapi
talized nevertheless (e.g., Fürstenfeld Abbey). Never add ehurch to Ger
manie forros eontaining thal word (e.g., Frauenkirehe, Vrouwkerk); do
not add Sto e Oennan ic churches (e.g ., Thomaskirche, Nikolaikirche).
42
If a name is given, even if oot in the original language, put Church or
Temple, capitalized. If no name is giveo, however, use lowercase:
The Church of lesus Christ of Latter-Day Saints
The church on Broadway and 10th Streel
Shri Akshar Purushottam Swaminarayan Temple
The Hindu templesin
Tamil Nadu
For abbreviations, see 3.1: Names olorganizations.
9.3 Names of plaees
For punctuation witb place names, see 2.2.2: Place names.
9.3.1 Country and region names
Names of countries and regions are given in Eng lish:
Central African Republic
Ivory Coast
9.3.2 DireelionaI adjeelives
Pacific Rim
Silesia
The tenns North , South, West, etc., are always uppercase in place names.
Central is uppercase for a contineot and lowercase when applied to a
country. Eastern, western, etc., are uppercase iftbey are part of a region'8
proper name or a recognized subsection ef a supranatiooal region or coo
tinent. Otherwise, they are lowercase.
Central Asia
Eastem Europe
9.3.3 Sta!es and provinees
southem Fraoce
West Africa
Write out the names of states and provinces io prose. When abbreviating
them, use the standard abbrev iations, not the postal abbreviations.
9.3.4 City an d !own names
Iftbere is a prevailing, familiar English name for a place (e.g., Milan),
use it ratber Ihan tbe Ime place n ame ( e.g., Milano). Otherwise, ealI it
43
!!
I
9.3.4 City and town names 9.3.5 A partiallist o { cities with alternate names
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(
whatever the people who live there call it. Avoid outdated appellations Current name English Older names Other forms, ueh as Leghom or Museovy.
Geneve/Gcnf Geneva Ginevra, Ginebra
In general, use the current name of a town or city. Where appropriate, put Genova Genoa Géneshistorical names in parentheses:
Gent Ghenl Gante, Gaunt,8he spent her fonnative years in 8t. Petersburg (then Petrograd) . Gand
Places with two current, legal , familiar names (this is unusual) can have's-Gravenhage The Hague Den Haag,
bolh (e.g ., Turku/Abo). La Haya, L'Aia
Hannover Hanover Honovre9.3.5 A partiallist of cities with alternate names Kaliningrad Konigsberg
Bold forms are preferred. However, for publi sher listings in citations, Karlovy Vary Karlsbad
give Ibe eity name lhe way Ihe publi,her has printed it. Kebenhavn Copenhagen Copenhague,
Current name English Older names Other formsCupenhagen
Kolkata CalcultaAntwerpen/ Antwerp Anversa,
Kóln CologneAnvers Amberes Colonia
Athínai Athens Athenae Konstanz Constance Constanza
BasellBale Basle BasileaKraków Cracow Krakau Cracovie,
BolzanolBozenCracovia
Kyjiv KievBratislava Pressburg Pozsony,
LaknauPressburgo, Lucknow
Pozun Legnica Liegnitz
BrauDschweig Brunswick (obs.) Legnickie Pole Wahlslan
BrDo Brunn Lisboa Lisbon Lisbonne,
Brugge Bruges Brujas Li sbona,
Bruxelles/ Brussels Bruselas LissabonBrussel
Livorno Leghorn (obs.)
Bydgoszcz BrombergLuzem Lucerne Lucerno,
Chennai MadrasLucerna
L'vivLemberg, Lvów,
DiIli DelhiL'vov
Firenze Florence Florenz, Lyon Lyons LuydunumFlorencia
Mantova Mantua
Gdaósk DanzigMilano Mitan Mailand
44 45
9.3.5 A partía/lis! of cities with alternate names 9.3.7 Geographical adjectives '1
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urrent name English Older names Otber forms Current Dame English Older names Other formsontréal Montrea) Trier Treves Treves
Moskva Moscow Moskau, Mosca, Turku/Ábo TurkulÁbo Turku (Ábo);Moscú ÁbolTurku
Mumbai Bombay Varanasi BenaresMünchen Munich Monaco, Mónaco Venezia Venice Venedig,Nai Dilli New Delhi Venecija, Venise
Nilinberg Nuremberg Warszawa Warsaw Warschau Varsovie,Varsovia,
Oostend/Ostend Ostende Ostenda Varsavia
O§wh¡;cim Auschwitz Wien Vienna Viena, Bécs,Padova Padu3 Bee, Dunaj,
RakúskoPinang GeorgeTown
Wroclaw BresJauMalaysia) :!raba Prague Prag PragaYerWsalayiml Jerusalemal-Quds
Pune Poona
al-Qiihira CairoZüricb Zurich Zurigo
Zweibrücken DeuxpontsQuébec Quebec
Roma Rome
Sankt-Peterburg Sto Petersburg Leningrad,9.3.7 Geographic adjectivesPetrograd
Slavkov AusterlitzStrasbourg StraJ3burg
Catalan ion is strictly for geographical use ; For culture, language, andEstrasburgo, persons, use Catalan.Strasburgo
Szczecin Stettin Use Filipino ) not Philippine.
Thanjavur TanjoreWhen referring to a person or thing from tbe United States , use u.s. ,not
Tbessaloniki Thessalonika , Therma Thessalonique, American.Salonika Salonika, Selanik
Thiruvanan- Trivandrum Use British ollly when referring to lhe whole Uniled Kingdom; otherwisethapuram use English, Scottish , and so on, as appropriale.
Torino Turio Use Hispanic only when referring to cultural heritage; for peoples oflhe
Trento Trent Trente Americas, use Latino.
4647
1O 2 Generic tit/es
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10. TITLES
In prose references, work titles may be followed by parenthetical dates
when they are useful to the reader. Do not add them iflhey are irrelevanl
to the discussion.
10.1 True titles
True (nongeneric) titles are given in their r i g i n a l l a n . g u ~ g e ~ n d , with the
exception of Gennan titIes, with sentence-style c a p l t a l t z ~ t J O n (see 8.1:
When lo capitalize). Only tbe tirst word in a title or sublltle and subse
quent proper names are capitalized. Original punctuatlOD , abbrevl3tlOnS,
etc., are retained:
Mr. Gilfil's lave story
Das Lied von der Erde
Le marteau sans maítre
Psalmes, sonets, & songs
For titles of exhibitions, conferences, and broadcast programs, see 9.2:
Names %rganizations.
10.1.1 Italies vs. quotation marks
Tbe general rule is similar foc writings and musical works: The largest
unit is italicized, the smaller unít is in quotes:
"Song of rnyself' from Leaves o/ grass
"Der Leiennann" from Die Winterreise
Major works that are part of a set are still italicized :
Das Rheingold introduces the central object of Der Ring des
Nibelungen.
They attended an all-night performance of tbe Anoman duta epi
sode from the Ramayana
Like articles in periodicals and essays in collections, individual parts of a
larger work are in quotes, even ifthe larger unit is not named:
Even the local barber whistled "La donna emobile".
48
Smaller works that stand alone, including traditional songs and dance
tunes, are italicized.
A major work title within a title should be italicized, but single quotes are
used for a secondary title within a title:
Paul Banks's uBerlioz's 'Marche au supplice' and Lesfrancs-juges:A
re-examinatíon"
When yet another level is needed, double quotes are used:
In her paper "A response to 'Play "Mondestrunken" for me': Pier
rot lunaire and the global marketplace" . . .
10.1.2 TranslatioDS
If your readers will recognize titles in tbeir original languages, do not
Iranslate them. Otherwise they may be Iranslated without italics in parentheses:
A kékszakállú herceg vára (Duke Bluebeard's eastle)
Pikovaja dama (Queen ofspades)
Ifyou follow a title with both a Iranslation and publication inforrnation,
separate the two with a semi colon an d a phrase like "published in":
Muzika i pjevanje ú lsusovackom Kolegiju i gimnaziji u Pozegi
(Music and singing in I s u s o v a ~ k i Kolegij in Pozega ; published in
Svela ee cilija, 1936)
10.1.3 Exeeptions
Sorne very old writings (medieval and earlier) that may not bave had true
titles or are known by text incipit may be given in their most familiarforro:
Aristotle's Metaphysics
Augustine's De musica
the Letter to the Hebrews
10.2 Generic tilles
Generic titles are treated as descriptions, not names. They are given in
English, in roman, and may be rendered variously. Sorne Westem
49
10.2 Generic lit/es 10.5 Portions of works '
1
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religious genres are capitalized. Sorne post-19th-century titles that use
generic tenns should be considered true titles; sorne earlier works a1so
use them as parts of true titles.
études
Mass
Passion
~ r e l u d e sbut
Schwnann's Requiemfiir Mignon
Stravinsky's Symphony in e
Requiem
sonata no. 32, op. 111
symphony no. 4
third quartet
The exception to this rule is the Renaissance cantus firmus Mass section
or cycle.Th e genre comes first, capitalized and italicized, followed by
the Idenllfymg name oflhe Mass, italicized and with tbe first letter capitalized:
Missa Osculetur me
When lhe identifying name is the name oflhe cantus finnus (cbant or secular tune), put it in quotes:
Missa "L 'homme armé"
When the identifying name is a descriptioo ofthe cantus fmnus or ofthe
Mass itself, ¡eave out the quotes, but capitalize tbe first word ofthe identifier anyway:
Missa La so/fa re mi
Missa Sine nomine
Missa de Beata Virgine
The generic part of specified generic works is not capitalized:
Diabelli variations
Goldberg vanation s
10.3 Opus and catalogue numbers
Tbe opus or catalogue nuruber may be included the first time a work is
meotioned. Numbers following op. and /10. are always arabic figures;
so
catalogue numbers are varied. Opus or catalogue numbers are not com
monly given for operas and other stage works.
Poulenc's Poemes de Ronsard, op . 38
Beethoven's symphony no. 5, op. 67
Haydn's D-rnajor keyboard sonata Hob.XVI:42
Cornmas are used to set of f supplementary infonnation; commas are not
used lo r necessary information. Haydn wrote more than one D-majorkeyhoard sonata, so the catalogue number is a necessary qualifier:
Gelobet seisl du, Jesu Christ, BWV 91 , was written forChristmas.
Bach's cantata BWV 91 was written for Christmas.
The Brahms e-minor piano quartet, op. 60, is an example.
Brahms's piano quartet op. 60 is an example.
When a work is cited using both opus and number numbers, the no. com
ponent is always set of f on both sides with corrunas:
The sonata op. 31, no. 2, has been called the "Tempest" sonata.
10.4 Nicknames ofworks
A nickname is a tille that was appended to a work by someone other than
the composer. Ir it is used, put it in parentheses and quotation marks:
Beethoven's third sympbony ("Eroica")
10.5 Portions ofworks
References to movements by tempo or character indication are lowercase
and ¡talic:
The allegro con moto movement
True titles of movements are roman and in quotes:
"La vallée des cloches" from Miroirs
Small, untitled portions ofworks may be designated with generic terms if
they are unambiguous. Portions designated by perfonnance indications
are in italics.
In the recapitulation, the theme is transformed.
51
lj
'J)
,)
)
A
'<A
)
)
,
)
""'J
)
)
)
)
)
)
)
)
")
)
)
)
)
(
10.5 Porlions of works10 .7 Visual art
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An extended stretto section follows.
The cantabile passage introduces a contrasting texture.
Measure numbers may be used for smaller portions of works. For works
without bar lines, otber designations may be used as appropriate.
The theme reappears in measures 5 through 10 afthe passacaglia.
The sixth cell introduces the first sustained tone.
10.6 Manuscripts
Tbe given titles of manuscripts are descriptive, so tbey may be translated
(e.g., Trent codices); however, ifthey are in Latin, leave them in Latin.
10.6.1 RISM sigla
RlSM stands for Répertoire Intemational des Sources Musicales, one of
fOUT bibliographic projects in music sponsored by tbe Intemational Musicological Sociely and the lntemational Association ofMusic Libraries,
Archives, and DocumentatioD Centres. These projects are sometimes
known as the four Rs; the others are RlLM, RIPM (Répertoire lntema
tional de la Presse Musicale/Retrospective Index to Music Periodicals),
and RldIM (Répertoire Intemational d'Iconographie Musicale).
RISM is a catalogue of musical sources. Each saurce location has an as
signed RlSM siglum that indicates the country, cily, and library. For ex
ample, the siglum for a manuscript in the Vatican library ineludes 1for It-
aly, R for Roma, and val for Biblioteca Apostoli_a Vaticana: I-Rvat. No
tice that Ibe letters for Ibe geographic elements are capitalized and the li-
brary Dame is lowercase. When only one source location exists in a town,the siglum is composed of the elements for country and town only. The
italicized siglum is foUowed by one space, the capitallettersMS (without
periods) when appropriate, anolber space, and the shelfnumber, which
indica es the location ofthe manuscript in that particular library. Individ
ual elements of the shelf number are separated by periods, without
spaces. Capitalization of elements foUows the library's practice.
52
Transcriptions oftwo-part polyphonic works with Latin texts from
F-Pn MSS lat.1l39, lat.3549, and la1.3719; F-CHRm MS 109 ;
E-Mn MS 289; and D-Mu MS 156 are included.
Reliable reference works for searching out sigla inelude Die Musik in
Geschichte u"d Gegenwart: Personenteil vol. I the N G"S " . ' ew rove
ources arhcle, and the book RlSM-BibliothekssigeJ (München:
Henle; Kassel,. New York: Biirenreiter, 1999). The latter is the onlySource contammg tbe complete li sto
Works publisbed in coUections during the 16th and 17th centuries are
hsted m RlSM 's series BIl/I: Recueils imprimés XVI'-XVlr sieeles by
Fran90Is Lesure (München: Henle, 1960). The number for each collec
tlOn compnses the four-digit year of publication and the superscriptednumber of the edition in that year:
Doló aJJetti madrigali a cinque vaci de diversi eccellenti musici diRoma (RJSM 1582')
Edilions printed between 1600 and 1800 (catalogued in Ibe RlSM series
N I) have their own RISM numbers, comprising the uppercase initial of
fue composer's last name followed by a numher, without a space:
Giovanni Giornovichi, Concerto a violino principale (RISM
02382)
For copies of editions included in subsequent RlSM addenda and corrigenda, the composer's initial is doubled:
(RlSM 002382)
Wheneverpossible, use the RISM siglum and number when mentioning
a manuscnpl. Ifno shelfnumber is available, speU out the fuU name of
the hbrary and omitthe siglum. Use oflbe libraryname and the siglum together would be redundant.
10.7 Visual ar t
Befare the mid-19th century, titles ofworks ofvisual art were usuaUy ge
nene and. l ~ e ~ ex post facto; they were rarely assigned by tite artist.
Theyare ltahclzed when they refer to specifíc works, and they are cus
tomanly glven in the language ofthe country where lhey are held:
Lippi's Anmmciation in the Frick CoJlection . . .
?eneric references are not italieized, and are given in English, cap itallzed:
It is not a typical 15th-century Annunciation .
53
10.8 Online publications
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True titles are italicized and given in the originallanguage. If your read-
ers are not likely to reeognize Ibe original-language title it may be trans
lated in pareotheses.
Les demoiseJ/es d'Avignon Skrik (The seream)
10.8 Online publications
Doline publieatioos are Ireated as eolleetions: The title ofthe main page(e.g., an oolioejournal s horne page l is in italies, and seeondary pages are
treated as artic1es, with titles in quotation marks. lfthere is only onepage,
its title is italicized. Ifthere is no true title, a descriptive phrase may be
used:
Posting on Olass Onion list, 16 June 2005
Referenees to online sourees sbould ioelude all eomponeots of the uni
form resouree loeator (URL). A URL should never be eapitalized, so
avoid starting a sentence with one.
The history of Mu sical traditions, which evolved from a printed
magazine to an onhne one, can be found at http ://www.mustrad.org.uk/about.htm.
Line breaks may be made afier a double or single slash, a colon, or lhe
symbol@,orbef oremostotherpu netuatioo or symbols(a break may be
made on either side of ao ampersand or equals sign). Hyphens should
never be added to indieate line breaks, and a hypheo that is par! ofa URL
should never appear at Ibe eod of a lineo
54
11 . NOMENCLATURE
11.1 Pitches
Pitch names given without regard to specific octaves are uppercase and
roman:
symphony in Athe opening D- A dyad
Aeeidentals follow the piteb oame, wilbout a spaee:
The third symphony, whieh is in E' major . . .
Refereneesto speeifie pitehes should be staodardized aeeording to ooe of
Ibe three most widely used systems: the Helmholtz systern, the system
used by orgaoists (use Ibis only for speeialized wntrngs for orgamsts)¡,or
Ibe staodard reeornmended by the Aeoustieal Soeiety ofAmenea. or
Ibe latter, whieh is our prefereoee, the piteh elass is syrnbohzed by a a ~ l -talized romao letter, followed wilbout a spaee by ao arable u m b e ~ 10 1-
eatiog the relevant octave. Ao octave number refers to pltehesh
orn a
iveo e through Ibe B one major seveolb above il. Any gets t e same
g b Ibe B J ust below it· thus IS enharmOOleally e4 .octave num er as ' . b '1' C\.4Likewise. any C\. gets the same octave number as the CJust a ove 1 ,
is the sarne as B3.
Helmholtz organ ASA
e l eee e l
ee e2 eello ee
ee3 viola e
ee4 middle e
e' e
e" e' es soprano e
cm e" e6Queen orthe
Night C
en" cm C7
55
11.2 Chord, key, and scale denotations 11 .3.2.1 Distinct traditions
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,
,
11.2 Chord, key, and seale denotalions
Arabic numbers in ehord denotatioos should be superseript:
y ' l'
Descriptive oames for chords, keys, aod scales are oot capitalized:
F-major triadsonata in e minor
pentatonic scalediminished-seventh chord
However the use or nonuse of capitals to differentiate them in abbrevia
tions (e.¡., DM for D majar, Dm for D minar) can be usefui for eerrain
kinds of annotation.
11.3 Modal systems
In writings on melody, mode has two overlappingbut distinet meanings:
sea le and me/odie type. The former denotes a sequenee of pltches II Iwhicb one pitcb is considered fundamental; tbe latter indicates more
tail such as cbaracteristic motives or phrases. Writings about mode In
W e ~ t e m music in the Middle Ages and Renaissance tend to discuss me
lodic types, while writings on jazz, traditional, or 000- Westem musics
tend to use mode or modal tenninology to refer to scales. In sorne
ethnomusicological writings mode is used as a generie designation for
noo-Westem melodic types.
Mode also has a specific meaning in reference to medieval Westem
rhythmie praetices.
11.3.1 Western melodie modes
These are generally referred to as "the ehureh modes". Sinee their namesare derived from proper nouns, tbey are capitalized, unlike the deslgna
tions major and minar.
Dorian mode Phrygian cadence
11.3.2 Non-Western melodie an d rhy!hmie types
While the word mode may be used to refer to these, the indigenous terms
are preferred. Most systems that have tenns for melodic types have sepa
rate terms for seales.
56
The generie names for melodie alld rhythmic types are trealed Iike other
generie names: They are lowerease and romano
maqam
raga
tala
usul
Specifie instances are treated as unassimilated terms: They are lowercase
and italic.
raga pürvikaiyal)i maqam bijéiz
]].3.2.1 Dislinet tradilions
Do not conflate distinet regional traditions by standardizing their names.
Maqam is lhe general Arahie term, but makam (Turkey), mugam (Azer
baijan), and muqam (Uyghur people) denote separate traditions.
The Kamatak terms raga and tala are considered to be assimilated by
standard English dietionaries, and may lherefore appear without dia
erities; however, the diacritics are retained in ethnornusicoJogical writings. These tenns are ofien used in general diseussions of ndian music;
in discussions ofHindustani music aJone, the oorthem versions, rag and
tai , are used. Wheo these tenns are components of more specific ones,
the appropriate regional fonns are retained (e.g. , the Hindustani rag
jaunpuri and tintal, the Karnatak raga begatja and adi tala).
57
12.3.1 Cyrillic charact.rs
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12. FOREIGN LANGUAGES
For non-English names of persons, places, and organizations, see 9: Names.
See also 4.1: Non-Westernplurals; 7.1: Terms; 11 .3.2: Non-Western me
lodie and rhythmie types.
12.1 Special eharaete rs
Many word processing programs now provide lettees with various
diacritics in a "symbol" or "special characters" menu, and sorne allow foc
ways of entering tbem with key combinations. Diacritics should never be
omitted; to do so is to misspell Ibe word.
12.1.1 The seharCes S (ll)
German has rules regarding use ofjJ vs. ss, so eare must be take n in add
ing or removingj3. There i8 no uppercase version ofthe character so ir a
word withjJ must be rcndered entirely in capitallelters thejJ ~ u s t be
changed to SS.
The Waltz King used tbejJ; tbe composer of Elektra did no!.
12.2 CapitaIization
Many languages do not capitalize adjectives derived froro proper nouns
as English does: QUT German is their deutsch, allemand, ctc.; OUT
Mozartean i8 their mozartisch, mozarlien, etc.
Unassimilated German nouos are capitalized; assimilated ones are not
(see 8.3: Assimilaled German nouns).
Many European languages capitalize only Ibe first words oflbe names of
institutions. In this instance consistency overrides tbe wisb to honor the
practices ofother languages . Even in a foreign language, the name ofan
institution is capitalized throughout.
12 .3 Transliteration
Thanks to the Intemalional Organization for Standardization (ISO), ef
forts al transliteration need no longer be plagued by parochialism and
58
inconsistency. Now tbat Ibe ISO has established standards for transliter
ating non-Latin writing systems ioto LatiD characters, there is no reaSOD
to resort to improvised or anach.ronistic solutions.
12.3.1 CyriIIie characters
The case for standardized transliteration oflanguages written in Cyrillic
characters, such as Russian, is particularly strong in the context of practices in other Slavic languages. The interface of Serbian and Croatian
provides a compelling toucbstone: The two are very clase linguistically,
but Serbian uses Cyrillic characters while Croatian represents tbe same
sounds in corresponding Latin characters. To readers of Croatian and
other Slavic languages tbat use Latin characters, Tchaikovsky looks sim
ply inaecurate, or at least eccentric; Cajkovskij looks perfectly natural.
01d attachments caD be tenacious, and sorne music reference works that
otherwise embrace ISO standards still cling to Ibe old, familiar ways of
transliterating famous names. However, publications that serve a more
intemational readership, such as Die Musik in Geschichte und Gegen
warl and RlLM abstracts DI music litera tu re, view transliteration in alarger context. We have our "Stravinsky rule" for émigrés who custom
arny published under a particular version of their names, but otherwise
we believe that a consistent intemational perspective is increasingly ap
propriate.
Table I may be used for transliterating Cyrillic characters; tables for
other languages are available from the ISO.
59
,
12.3. 1 Cyrilfic charact.rs12.3.2.1 Mandarin
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Russian
Aa
E6
BB
fr,[Ii\
EeheJlClK
33
HwHiíKK
nnMM
HH
00
TIn
Pp
Ce
TT
Yy
<1>4>
Xx
[(11qq
l l l l I llI{m
b
bI
b
33
1010
51 .
60
Latin
Aa
Bb
Vv
Gg
Dd
EeReztZz
1 i
JjKkLIMm
Nn
00
Pp
Rr
SsTt
Uu
F fHh
Ce
Ce
SsSe se
Yy
ReJU
Ja
pronunciation
ah
yehyo
zh
eee (long)
ee (short)
oh
00 (as in "too")
kh (as in German «ach")
ts
eh
sh
shch"hard sigo" (obsolete;
for transliteratian of
historical litles or names)
"hard e" (a vowel nol
found in English)"soft sign" (safteos the
consonant preceding it)
eh
yoo
yah
Table 1: CyriJlic transliteration
12.3.2 Chinese
.12.3.2.1 Mandarin
Chinese is a family ofmutually unintelligible spoken languages , all rep
resented by a single ideographie writing system; eaeh character has dif
ferent pronunciations in different languages. Mandarín, a fully standard-
ized laoguage based on the dialeets radiating out ofthe Yellow Riverva l
ley, is the official spokeo language throughout tbe Chinese-speaking
world, so Chinese words are usually transliterated in tbe Mandarin pro-
nunciatían. No attempt is currently made to represent syllabic tone.
Two romanizatian systems for Mandario are in wide intemational use:
lhe older Wade-Giles system and the newer Hanyu Pinyin. The latter is
now almost universally used except in Taiwan, where it has had negative
political connotations; but Pinyin is increasingly common in Taiwan,
even in sorne official uses such as Taipei street signs. [o auy case,
Wade-Giles has no more official status tbere tban Pioyi n does.
Hanyu Pinyin should be used as a general rule, with sorne exceptions
noted below. You can leam to differentiate lhe two on sight: Wade-Gi lesby its apostrophes after initial consonants, syllables ending in h, frequent
use ofe nd ü, and hyphens between syllables; Hanyu Pinyin by its use of
b, d,g,j, r,z, e, q,x, the absence offinal h and of é( ü does occur, butnotas
frequently) , and Ihe elosing up ofwords in whieh Wade-Giles uses hy
phens.
Translation Wade-Giles Hanyu-Pinyin
harnrner dulcimer yang-ch'in yangqin
Shandong opera Lü-chü lüju
Cantonese opera Yüeh-chü yueju
China Chung-kuo Zhongguo
Canton (province) Kuang-tung Guangdong
[personal name1 Mao Tse-tung Mao Zedong
[personal name] Teng Hsiao-p'ing Deng Xiaoping
61
12.3.2.1 Mandarin12.3.2.2 Dialects and n o n ~ H a n languages
Hong Kong should always be given its English Dame , never the Pinyin
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Another frequently arising problem is that, although most library catalogues usmg the Latm alphabet have adopted Pinyin, many continue to
treat eaeh syllable as a separate word (with sorne exeeptions).
Translation
Dictionary o[
Chinese music
People's MusiePublishcr
Library
catalogue style
Zhongguo yin
yue ci dian
Ren mio yin yueehu ban she
ISO style
Zhongguo yinyue
cidian
Renmin YinyueChubanshe
In the closed-up r ather than hyphenated style, an apostrophe is used toshow syllable boundanes that would otherwise be ambiguous:
?Ci'an (Tang Dynasty capital) vs. xian (single syllable, rnany rnean-
mgs)
min'ge (traditional song) vs. ming'e (quota)
A peeuliarity due to the eustom of not indieating tone is the use of thspelllng Shaanxi to distinguish the name of one provinee (first Syllabl:
has a low-nsmg tone) from that of its neighbor to the east, Shanxi (ftrstsyllable has a hlgh-Ievel tone).
12.3.2.2 Dialects and non-Han languages
Chinese languages other than Mandarin are eornmonly ealled "dialeets"a c ~ n f u s j n g usage since t h ~ y . ge.nerally have complex dialectologies of
thelr 0.":0. Because ofthe vlclssltudes ofhistory and the peculiarities of
the. wntmg system, tbese languages have 00 standardized versioos or offlclal status n y w h e r ~ .(with a few exceptions: Cantonese in Hong Kong,and re.cently HololFujJan andHakk a in Taiwan), aud no romanizationsofsufficlently wlde acceptance to be used consistently; nevertheless theyare as real, and as culturally distinct, as Catalan or Bosnian. Of coursemany peoples within the borders of China are ethnieally and linguisti:eally not Han (Chinese) at all.
For non-Mandarin place and ethnicity names, ethnolinguistic terminology, and personal names, if there is a standard English spelling it is preferred to the Hanyu Pinyin version (see also 9.1.2.5: Other consider-
atlonsJor particular languages). Sorne examples follow.
62
Xianggaog. For plaees within Taiwan, the conventiooal Wade-Giles
names may be retained:
T'aipei (or Taipei) Kaohsiung
F or place names from tbe non-Chinese regioos of the nortb andwest- Manchuria, loner Mongolia, Xiojiang, aod Tibet- Pinyin sbouldbe avoided io favor of non-Chinese names (Harbin, Hohhot, Ürümqi,
etc.). SimilarIy, there are standard English names for some Chinesesubethnieities that are preferable to the Pinyin terros (Cantonese,Shaoghainese, etc.). Szechuanese for Sichuan is obsolete except 00 restaurant menus; Pekingese is only for the dog breed, otherwise always use
Beijing with no suffix.
Pinyin should never be used for names and tenns from languages used inChina by people with independent literaey traditions , such as Tibetan,Uyghur, Mongolian, and Manchu. Other minority groups sucb as Naxi,Xibo, Miao, and Yao use spellings developed by Chinese linguists andethnographersbased on Pioyin principies, and lbese should be adopted.
lo a di seussion of local culture, tbe use of terms transliterated from thespoken languages of Guangdong, Fujian, Shanghai , and so 00 is desirable. While such terms will generally have Mandarin (Pinyin) equivalents, these are not felt by native speakers to have the flavor of lhe localterm, and sometimes are directIy in conflict with it. For example, theshort melodies that are the basis ofex tende d pieces inyueju (Cantoneseopera) are known in Cantonese as siu kuk. The exacUy correspondingMandarin xiaoqu has beeo used to refer to aD instrumental genre, and to
popular urban song in Hubei province.
II is possible to use a terro in both languages:
The hammer dulcimer is calledyeungkam in Cantonese (yangqin in
Mandarin).
63
13.4.2 Run-in quotations
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13. QUOTATIONS
13.1 When to quote
Overuse of quotation is tempting for sorne academic writers: Lacking a
verbal flair oftheir OWD, tbey seek to borrow it from athers. 00 the otber
band an otherwise drab survey oftbe literature on a particular tapie maybe e;livened by the inclusion of different voices, particularly ones with a
distinctive sound. To sorne extent, decisions 00 whether to quote ar to
parapbrase should be based on the ultimate clarity and readability ofthe
passage. A reader becomes impatient with long, unnecessary quotes that
could have beeo neatly surnmarized; bUl the exact words of an autbor
with whom you are arguing, or who supports your argument, may be vital
to your purpose.
13.2 Quotation vs. plagiarism
With few exceptions (see 16.1: When lO cile sourees), pbrases and sentences that are not your own must be cited. The doctrine offairuse allows
quotation of small amounts of verbal, visual, ar musical material foc il
lustration, comparison, ar criticism, as long as the original sources are
clearly docurnented (see 16: Cilations). Quotation wilbout documenta
tion is plagiarism. I f you wish 10 ¡nelude more tbao a relatively small
amollot of copyrighted material- most or all af a poem, for example-in
writing that will be publisbed, permission must be granted by Ibe copy
right holder.
Copyright law has many gray areas, and it varies in different places and
situations . When in doubt, check with a qualified lawyer.
13.3 Introducing changes
The wording of quotations must never be changed, although ellipsis
points may be used to amit unnecessary wards. Three periods with
spaces befare, between, and after ( . . . ) indicate amitted material; fOUT
periods witb no space before indicate the end of a sentence (the first
riod) followed by omitted material. Care should be taken that the omlS
sion does not change the meaning or produce a grammatical1y or syntac
tically incorrect passage.
64
She s.ummed up her critique: "Thi s typc of analysis creates an im-
presslOn of esoteric insight. .. . But . .. does it really ¡Iluminate anything bcyond itself?"
Other than ellipsis points, the only changes that may be introduced are
small matters ofpunctuation (e.g., a final penad may be omitted as nec
essary), letter case (e.g., an initiallelter may be changed from lowercase
to capJtal), addition ar deletion of end- ar foatnotes, and- where abso
lutely necessary- a word may be replaced or explained by a bracketedaddition:
He replied that the composer in question "was not fit to shine[Mozart 's] shoes".
13.4 Placement
13.4.1 Block quotations
Longer quotations are set off from the text in blocks. These may be in
dented or Ibey may use a smaller font size-o r both- but tbey always be
gm on a new Ime, after a blank line. Opinions differ as to how long a
quote must be in order to be set off; generally, blocks should not compriseJust a few Iines or a single sentence.
13.4.2 Run-in quotations
Briefer quotations are not set off in blocks; ifthey do not comprise full
sentences, the text around them is phrased so that the resulting sentences
are syntactICally correct. The minar admissible changes Doted aboyemay be employed.
65
14.2 Tables and figures
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14. ILLUSTRATlONS
Tables, figures, aod musical examples are separately numbered (eveo if
there is only ane) and so designated. When referring to them in a sentence,
spe ll out the word; if the re ference is parentbetical, it is abbreviated.
Table 1 lislS the yearly wages of each court mu sician.
Tbe alburncover (fig. 3) depicts happy natives in festive costumes.
The theme is unomarnented at first (ex. 7).
14.1 Musical cxamples
Ifthese are inserted in the text, limit them to what is absolulely necessary
for understanding tbe points you wish 10 make. Examples from ensemble
works should be presented in reductions whenever possible. Ful! ethno-
musicological !ranscriptions may be included in an appendix, bul Ihey
should nol interrupl the text uoless !hey are relatively brief.
Ca ptions should identify the example succinctly, repeating infonnation
fouod in !he text only when necessary to avoid confusion. If complete
works or transcriptions are presented, the caption should contain full ti
tles and the full names of composers, infonnants, or sources.
Ex.!. Anton Webem, "Erliisung" from Drei Lieder,op. 18, mm. 1- 3.
Ex. 2. Barbara Al/en, sung by Fleecy Fox (recorded by Jobo
Quincy Wolf, Jr., 1963)
Ex. 3. Virtutem titulos/vestreque glorie from IvLa MS 247, n. 3.
14.2 Tables an d figures
As with musical examples , limit in-text tables, diagrams, and figures to
relatively smal! ones, and save large ones for an appendix. In general,
captions should simply identify them without unnecessarily repeating information found in !he tex!. However, iftbe figure is a reproduction ofan
artwork it should be treated as a complete work and captioned accord
ingly. ¡fthe artwork is the object of an iconographic study, inelude date,
medium, dimensions, location, and inventory number ir possible.
66
Table l . Court musicians' wages, 1745.
Fig. 5. Fleecy Fax al horne, 1963.
Fig . 6. Pablo Picasso, Guitar, sheet musie, and wine g/ass. Detail.
( .f ) • jC)
(iJÚI,/''/ ! (/t'ú':Áf'1' ~ / ' ¡ l I / " J -D u J J \ . . ~ Í , > h
Fig. l . "Egy Magyar verbunkos: Dudás", Hungarian bagpiper with
three soldiers dancing verbunkos (Vienna, ca. 1840).
Watercolored engraving , 214 x 285 nun. Private collection.
67
15.2,1 FUrlherexamples
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15. ABSTRACT WRITING
15.1 Content
An abstracl ougbl lO convey every importanl aspecl of be wriling il describes. Nonessential matters should be omitted, so as not to mislead tbereader. Do nol spend too much time describing the item s intellectual
background; it is more important to deal with ¡ts content. Ifyou are presenting new findings , concentrate on lbem and do not rehearse the knownfacts. 8tate clearly the maio conclusion or conclusions given in tbe itembeingabslracled (allbough nol all research yields specific conclusions).
Providing concrete informatian such as personal names, places , andnames of organizations is always a desideratum as long as tbe item givessubstantial informatíon about tbem (see 9: Names). Ifyou are referring toa manuscript, give ¡ts preseot location (institutjon and complete shelf
number; see 10.6.1: RlSM sigla). Ifyou are referring to specific musicalor scholarly works, give lbeir full titles (see 10: Titles). Ifyou are referring to one or more elements of a work. indicate where tbey are found in
the longer work (e.g., for a song from a cycle, name lbe cycle as well asthe song; for an étude in a set of études, name or number lbe set and givethe number of the étude). Indicate the time period under discussion asprecisely as po ssible. I f you use unu sual terms, define them. ]f you aredealing with pedagogy, indicate lbe level of education concemed.
15.2 Style
Avoid colloquial or infonnallanguage and write in complete sentences.Do not ¡nelude personal views on the value ofthe item being abstracted.Many effective abstracts resemble a single well-shaped paragraph, wilbtopie sentence, development, and conclusion. Writing in the voice ofthe
author (decJaratively) yields a more vivid abstract than does describinglhe author's work, and lends itselfto specificity.
Here is a pair of examples of abstracts for "Music iconograpby in
Panselli s Coro", an article in an exhibition catal ogue. (These and the following examples describe fictitious publications.)
68
(1) Supports Ibe attribution lo Allendro, fust proposed by Ridgeway, of the music in Panselli's Co ro d'angeli, and suggests tbatGuido Sforza may have beeo responsibJe [or the coUaboration between compaser and artist. The music's iconographic significance
is examined. A r e ~ o n s t r u c t i o l l of it as a canoo, rising a wholetone al each repetltlOn, IS proposed. lt s argued thal Ihis canonic desigo originated with AlJendro .
(2) The musical inscription in Michelangelo Panselli's Coro
d'angeli, drawn on a book held by an angel, is by Sandeo AlIendroas proposed by Millieent Ridgeway. Guido Sforza may haveranged a collaboration on the painting, bringing together the composer and palOter. The text of Allendro's pieee relates to the i e o n ograpbie d e ~ i g n as a wbole, eompleting an allegorieal portrait ofthe
Sforzas as Ideal human beings. A new reeonstruetion ofthe musicas a a n ~ n , wrueh rises a whole tone at eaeh repetition, suggests thatthe mUSical work 's design was the pa¡nler's.
!he first ofthese is descriptive, the second declarative. ln tbeory, one canmclude same information with either approaeh, but in practice, the
~ e c l a r a t l : e style forces a writer to be more specific. (Where the descripÍlve verSlOn says "the musie s ieonographic significance is examined "
declarative version says: urhe text of AlIendro's pieee relates to thel C o n o g r a p ~ i c design as a whole, eompleting an alIegorical portrait ofthe
Sforzas as Ideal human beings.") Further, Ihe descriptive style normallyInvolves the wrlter In a senes of passive constructions, as in the last threesentences of the first example.
Note that the second abstraet used complete personal names which iscorrect, since none ofthe people mentioned here is famous n o ~ g h for instant recognition.
15.2.1 Further examples
Each of he following examples comprises an abstract with a number of
lapses in style, followed by the same abstract wilh improvements.
EXAMPLE 1: "Schütz revisited", an article.
The u t h ~ r attempts a complete reevaluation ofSehütz 's position in
l c a l ~ l t O r y t h r o u ~ h an examination ofal l known eontemporary?lOgraphlCal and musical sources, resulting in a considerable changeIn Our understanding of this composer.
This descriptive abstraet leaves a number of questions in the reader 'smind. What is Schütz's historical position? What rnethod was used toaccomplish a reevaluation ? Are there any dates, personal names, or
69
15.2. 1 Further examples
llames .of organjzations involved? What conclusion was reached?The
15.2.1 Furtherexamples
EXAMPLE 4: An article eotiUed "Peter Grosskleio: Life aod works" is
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followtng declarative abstract, though not mueh longe . hquestlOns. r, answers t e se
~ e c e n t findings in Sch ütz's biography and on the SOurces ofhis muSIC suggest fundamental revisions in our assessme t fh 'rty d ' . . n o IS person-I tb artIstlC ~ r o f i l e . In particular, the repertorial emphases se t
e"Fan Smgbewegung ofthe 1920s- which still shape the:: ec Ion o hls muslC ~ o s t frequently encountered- appear to re _
sent not fue core ofhis creative achievement but the peripheri
EXAMPLE 2' "R d' . tb. ecor mgs 10 e singing room", an article.
Proposes a methodology of modem singing.
The SOurce document obvious ly presents a conclusion: lt pro oses a new
rnethod. The abstraet should say wbat the methodology is. p
Reeording teehnology should be used to supplement the traditionalpnvate VOlce lesson, alIowing outstanding singers to ofti .
f ' . er avanety
b
operm
f. ane nt- ¡f one-slded- master cJasses to an unlimited Dum
er o mterested students .
EXAMPLE 3: Schumann al wo/'k, a book.
A critical review of Schumann 's method of . .Schu ' h b' f . composmg melodles
h Imann
s Its o .co mpo si ng are eonsidered as viewed byse o ars, and m the hght of new research Comments b f1'
and by Sehumann himseI f, shed light on tbis question. y nends,
The author oft?is souree doeument obviously had an opinion but th b-stract sta tes neJther what that opinion was how th '. ' e a
h ' , .e OpIOlOn was foernedllor w at eoncluslOns were drawn What were S h ' . ,How ha th b ' . e nmann s methods?b k ve '
dey een vlewed? Who exaetly held tbose views? Does
00 proVI e a new eonelusion? The following abstraet shows ho
much more useful a well-written declarative abstraet can be. w
The belief widely aceepted by scholars that Sehumann donl hiI ' ki compose
Yw e In a .nd offrenzy, ortranee ofinspiration, is refut ed bmanycomments In letters and diary entries by him and b th y
~ e n ~ s ~ f ~ n t e m p o r a r i e s - most notable admirer berng n ~ ~ ~er ar Ilhelm von Alpenburg, his nephew. At least 13 remarks
b S e h n m h anh" belween 1848 and 1850 refer to having worked hard
oug Wlt out much mterest". '
70
probably, judging from the title alone, a general diseussioo of!he eomposer. The following abstraet eOffecUy foeuses 00 !he major poiot oftbe
general discussion, but tbe writing is not concise and fails to use tbe au
thor 's voice.
After a general discussion of Grossklein's works, the autbor at
tempts to provide arationale tbat encompasses the fact tbat his work
took jnto aceount musica l thought in the context oftbe philosophi
cal tbinking of the symbolist school.
Once again, a declarative abstrae t with simpler language is better.
Grossklein's works show his deep interest in the musical philoso
phy of the symbolislS.
EXAMPLE 5: "Gluek 00 slage", ao artiele.
The author suggests that, to understand the dramati e recitative in
works by Gluck, a souod knowledge ofthe vocal techniques oftbe
actors and vocalists of the 18th eentury is required on the part of
listeners.
(1) Tbe souree doeumeot eootains a eooelusioo- that listeoers should beknowledgeable--so a declarative a bstraet is required; (2) tbe pass ivevoice should be ehaoged to tbe active voiee; aod (3) "sound knowledge"and "on the part of ' are unnecessarily wordy.
Understanding Gluck 's dramatic recitative require s know ledge of
tbe techniques of 18th-century actors and singers.
EXAMPLE 6: "A seribal traditioo diseovered", ao article.
The autbor compares manuscript psalters from the 14th to the 16th
eenturies preserved in church archives.
For a seholarly artiele, tbeabove abstraet is too vague. Factual details arerequired, in addition to a clear presentation of the author's conclusions:
the abstract states "lhe author compares", but what are the results? The
followiog declarative abstraet elarilies aod summarizes. Note lhe inelusion of RlSM library sigla with shel f numbers.
The SI. Kevin Psalter (E-Dpc MS Kev.1234), the Steinbertz Psalters (D-KNdMS 9876), and all ofthe psalters in !he colleetion oflheÁvila Cathedral (E-Ac MSS 12,34, 35,36, 37,453, 1120 ,223 1)
71
,1
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II
show emendations in many hands, apparently added ayer long pen
ods. Psalters from Eastem European sourees (CZ-Psj MS 3456,56788, aod 56798-D 1; H-EGb ios. 4564-87) show emeodatioos by
a success ion of apparently official scribes. Study of the emenda
tions reveals a clase relationship among all of tbese psalters, and
variant readings have provided evidence with which to construct a
tentative sternma.
EXAMPLE 7: "Musie ofthe Central Afriean pygmies", an article.
Music and dance are very important in pygrny culture. Tumbull's
recordings of the pygmies were all songs. The UNESCO record
ings of pygmies also inelude flutes . Like their society, their songs
have no particular formo
The first sentence may be true, but it is true of so many cultures that it is
nearly m e a n i n g l e s s that importance is discussed in the article, not sim
ply stated as it is here. We need to know who Tumbull was, and when his
recordings were made. Song should not be used genericaBy for vocal mu
sic (many ofTumbu11's reeordings are of polyphonie group singing).
Also, pygmy is a very broad term; always prefer the term a particulargroup uses for themselves. Ethnomusieologieal reeordings should be
de signated by the person(s) who made them, not the organization that is
sued them. Indigenous instrumental tenns are favored over generic anes
likeJlute , though the latter may be used deseriptively. The last sentenee
sounds condescending, mistaking apeo or flexible fonns for fonnless
ness- an inapplieable Westem eoneepl. The following abstraet ad
dresses these concerns, and conveys much more infonnation in not much
more space.
72
The function ofmusic and dance in pygmy 50ciety is assessed, and
parallels are drawn between musical and social structures. eo lin
Turnbull's recordings ofthe mButi people, made in the 19505, pres
ent only vocal performances; Simba Aram's recordings of the
Benzele people from the 19605 also ¡nelude performances on the
hindewhu, a one-tone pipe.
15.3 Checklist for abstractors
A11 abstraets should supply:
names of all authors, translators, co llaborators and sub-Jec s, except for very well-known persons. '
m p l e t e titles of musical works in the originallanguage with
In
exo.r
opus numbers in their correct fonn. (Give ori in;l-language lItles for works only when the wor k has a given tgtl hever; see 10.2: Generic tit/es,) I e, ow-
Complete . n ~ m e s or. all associations, societies, erformin~ r o u P . s , rehglOus bodles, and academic and goverru:ent i n s t i t u ~tlons m the language of heir country.
For manuseripts, loeation and shelfnumber with RlSM . 1for the hbrary. J Slg um
Definitions oftenns not in standard music reference works.
~ o m p : ~ ~ aod COrrect pla.ce names in their appropriate historical?ffi1: current fonns m parentheses wben re ferrin to aD ear
her tlme; e.g., Pressburg (now Bratislava). g -
bibliographie information (place and date of publieation)lor pubhcatlOns referred too
15.4 SUbmittiDg aD abstract to RILM
RILM's national eommittees provide thousands of eitations and ab
strae!s every. year, but they sti11 might not diseover a11 of your publish dwork. Even Ifthey do tb l ' ed ' ey canoot a ways pro vIde abstract s as detailed
an :ccurate as ones you can write. By far the best way to have your
wor, r ~ p ~ e s e n ~ e d m RILM is for you to send citations and abstracts our~ e l f , tbls tS easlly done online at bttp://www.rilm.org/submil.html. L M.s bappy to replace mfenor abstracts with authors' subrnissio r: .
mgs' the ne b tr ' 11 os lor wnt-. , w a S act WI appear online within a few months.
73
16. CITATlONS
16.3 Style choice
names for the same cily. In doeumentation, favoring one of these place
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16.1 When to cite sourees
Do Dot cite sources for facts that are cornmonly known or th t .brief t d d · d · a compnse
) s an ar rze mformation, such as a person's name or birtb and
death dates. ,Well-known expressions do not require citation nor do fa-mous quotatlons. •
Mozart's sister Maria Anna ("Nann erl" 1751-1829) Iented musician. ,was so a tal-
He knew very well that misery laves company.
As Shakespeare noted, "all that glisters is not gold".
16.2 Ciling publishers
Do not change, translate, or abridge a publisher 's name There eexceptlOnS· An· ·f I Th . are a ,ew
" . InJ la . e and abbrev iations such as Ca., L/d., and lne.be omltted. Pub/¡shers, Publishing, and their counterparts in other
~ ~ g u a l ges may also be omitted ; Baoles, Press, and their equivalents ino er anguages should stay.
Publishers are capitalized in headline sty le (see 8 1 . Whe / . l· ). - n ocapl/a lze .
Basic Books
Kasturi & Sons (for Kasturi & Sons Ltd.)
Leo S. Ol schki Editore (not Olschki)
Mkuki na Nyota (for Mkuki na Nyota Publishers)
University ofChicago Press (for The UniversityofChicago Press)
16.2.1 Cily names
For languages using !he Latin alphabet, provide the version of the cit
name glven m the publication itself: Do not translate it ioto the E n g l i s ~v ~ r s l o n , even lfyou would do so in pro se (see 9.3. 5: Apartiallist 01cities
wzthdolternate e ~ ' ) . For languages usin g other alpbabet s, use the ISOstan ard transhteratlOn (see 12 .3: Translitera/ion).
The b v i o u objection to Dot standardi zing city names in this context is
!hat of conslStency: The same bibliography may list books publ ·s h d .Petrograd Le· ddI e m
, nlllgra, an Sankt-Peterburg, which are different histori cal
74
names Qver the others is tantamount to rewriting history, a practice well
beyond the domain of bibliography. lt is best to treat aU instanees the
same way, retaining whatever place name the publisher used.
There is one exception: If a publisher has chosen to render its city name
in a foreign language, it may be changed to the current official name
(e.g., Nueva York becomes New York).
16.2.1.1 Mulliple cilies
When a publisherpublishes in more than one city, the cities are separated
witb semicolons:
University Park; London: Pennsylvania State University Press
16.2.1.2 States, provinees, an d countries
lnelude a sta e, province, or country witb a publisher 's city when such in
formation is necessary. For example, if a publisher is based in Cam
bridge, Mas saehusetts, indieate Cambridge, Mass. to differentiate !he
cily from Cambridge, England (which would be rendered as Cambridge,
U.K. l. Note that the standard state abbreviation (Mass. ) is used, not !he
postal abbreviation (MA). You may also inelude such information for
small or little-known towns, as a courtesy to the reader.
16.3 Style choice
Scholarl y au!hors must choose between two citation styles: numbered
notes (footnotes or endnotes) and in-text citations (the au!hor-date sys
tem).ln general, the former is preferred in the humanitie s, while!he latteris preferred in the social sciences. The notes system is generaUy the stan
dard for Western musicology, while !he in-text system is generaUy the
standard for e!hnomusicology.
Examples of citations for several publication types are given separately
below for each sys tem in 16.4: Numbered /lo/es and bibliographic
formats and 16.5: In-text citations and bibliographicforma/s. Relevant
explanatory material is repeated for each sys tem, so readers may consult
only the sec tions on the system required for their work.
75
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16.4 Numbered notes and bibliographic formats 16.4.1.2 Theses and dissertations
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Ii(
1.
,
16.4 Numbered notes and bibliographie fonnats
These are iodicated by a superscript number al the appropriate point in
tbe texto often this wiU be at the end of a quotation or paraphrase. The
notes m'ay appear either at the bottom ofthe same page (footnotes) or at
the end ofthe artic\e, ehapter, seelion, dlssertatlOn, or book (endnotes).
(The use ofnotes for discursive matter is discussed JO 2.12.1 Parenthetl
cal sentences.)
Throughout this section, most of the examples.of num?ered D?tes are
. en in pairs: the long form used when no bibliography IS supphed , andglv . . b·bl· hthe short form used in conjunctlon wlth a 1 IOgrap y.
16.4.1 Printed materíals
16.4.1.1 Books
In the absenee of a bibliography, all publieation information is given in
the first reference:
1 Bruno Nettl, Encounters in ethnomusicology: A memoir (Warren,Mieh .: Harmonie Park Press, 2002) 125.
Note that the author's Dame is not ¡nverted, since alphabetization is not
an issue.
I f a bibliography is inc\uded, the f1rst referenee provides only the au
thor's last name, the title (without subtltle), and the page number(s).
1 Nettl, Encounrers in ethnomusicology, J25 .
In both cases, subsequent references use a sborteoed fonn oftbe title, of
ten just the tirst word:
8 Nettl, Encounters, 57- 58.
[bid. may be used for the work ei ted in the immediately preeeding note:
1 Nettl, Encounters in ethnomusicology, 125 .
2 Ibid ., 126--27 .
The eumbersome and potentially misleading op. cit. and loc. cit. are es
ehewed.
76
The book is entered in the bibliography thus:
NenJ, Bruno. Eneounters in ethnomusieology: A memoir (Warren,Mieh.: Harmonie Park Press, 2002).
ln sorne situations you may wish to give additional infonnation:
Lassiter, Luke E. rhe power ofKiowa song: A collaborative ethnog
raphy (lUeson: University of Arizona Press, 1998) xv, 266 p. ISBN0-8165-1835·1. llIus., port., bibliog., index, tables, diagr., maps.
When multiple works by an author are listed in a bibliography, the au
thor's name is replaeed by f1ve underseores after the f1rst lisling:
Nettl, Bruno. Encounters in ethnomusicology: A memoir (Warren,Mich.: Harmonie Park Press, 2002).
_ _ o Heartland excursions: Ethnomusieologieal refleetions on
sehools o/musie (Urbana: University of Illinois Press, 1995).
Note Ihat works by the same author are arranged alphabetieally by title,not ebronologieally.
Translations aud editions otber Ihan the f1rst are indieated thus:
Touma, Habib Rassan. The musie o/ he Arabs. Trans. by LaurieSehwartz (Rev. ed.; Portland, Ore.: Amadeus, 1996).
Sorne books are issued simultaneously by two publishers:
Reichling, Alfred, ed. Orgel. MGG prisma; Veroffentlichung der
Gesellsehaft der Orgelfreunde 181 (Kassel: Barenreiter; Stuttgart:Metzler,2001).
Note tbat the series ¡nformation (two series, in this case) is given after thetitle.
16.4.1.2 Theses and dissertations
The practice of treating dissertations and theses as writings that do oot
merit tbe same treatment as publisbed ones is gratuitously demeaning.
Especially now tbat anyone with a computer and a printer can be a priot
publisher aod anyone with Internet access can be an online publisher, the
faet that a pieee ofwr iting has been publi shed should not eonfer more sta
tus tban tbe faet that an extended study has been accepted by a conunittee
ofrecognized experts 00 its subject. Dissertations and tbeses exist in the
77
16.4.1.2 Theses and dissertations
same fonn as print publications- as books- and copies may be found at
16.4.1.4 Reference publications and tert;ary sources
Best, David. "Relationsbips: Musical and personal- Theme and
variations", /nternationaljournal ofmusic education 22/1 (2004)
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the granting institutions and, not infrequentIy, at other Iibraries. Titles
should be italieized, and the designation unpublished should be omitted.
Degree-granting institutions are treated similarly to publishers.
1 Mikaela Ceridwen Griffiths, A projile of needs: Mus;c therapy
with H/V infected children in a South African institution (M.Mus.
tbesis, University ofPretoria, 2003) 46.
I
Griffiths, A pro ile01
needs, 46.
2 Szymon Paczkowski, Nauka o afektach w mysli muzycznej 1polowy XVII wieku (Ph.D. diss. , Uniwersytet Warszawski, 1996)
213-14.
2 Paczkowski, Nauka o afektach w mysli muzycznej 1po lowy XVIl
wieku, 213 - 14.
These items are entered in the bibliography thus:
Griffiths, Mikaela Ceridwen. A pro ile 01 needs: Music therapy
with HIV in fected children in a South African institution (M.Mus.
thesis, University of Pretoria, 2003).
Paczkowski, Szymon. Nauka o afektach w mysli muzycznej 1polowy XVII wieku (Ph.D. diss. , Uniwersytet Warszawski, 1996).
16,4.1.3 ltems from periodicals an d coUeclions
The flIst pair of examples is for an essay in a eoJleetion; tbe seeond pair is
for an article in a periodical :
1 Ferenc Farkas, "Kodály és a magyar müdal", Kodály emlékkii,¡yv
1997, ed. by Ferenc B6nis. Magyar zenetorténeti tanulmányok 7
(Budapest: Püski, 1997) 61.
1 Farkas, "Kodály és a magyar mudal", 61.
2 David Best, "Relationships: Musical and personal- Theme and
variations", In/erna/ionaljou rnal01musiceducation 22/1 (2004) 23.
2 Best, "Relationships: Musical and personal", 23.
Note that in the first example the series informatian is given before lhe
pub Lisher. These items are entered in the bibliograpby thu s:
78
Farkas, Ferenc. "Kodály és a magyar müdal", Kodály emlékkónyv
1997, ed. by Ferenc Bónis. Magyar zenetorténeti tanulmányok 7
(Budapest: Püski, 1997) 60-63.
21 -33.
Note that end punetuation following the titie goes outside quotation
marks: End punctuation goes inside quotation marks only when lt IS ?art
of the title (see 2.11.3: End punc/ua/ion wi/h quo/ation marks). Tltles
that include end punctuation are not followed by a penod or cornma.
Neumann, Alfred E. "What, me wordy?" Pomo review 211108(1997) 23- 55.
Multiple works by the same autbor are treated like tbose deseribed in
16.4.1.1: Books .
16.4.1.4 Reference publicalions and tertiary sourees
Entries in reference publications and tertiary sources are seldorn cited;
however, in sorne cases they are the ooly available sources- for e x ~ m -pie, when nothing else has been published on a topie, or when a pubhea
tion cannot be located or is in an unfamiliar language. In r a ~ e cases, tertiary souree may provide the most eurrent or eomprehenslve pubhshed
treatrnent of a topic. For onHne versions ofsuch sources, see 16.4.3.2:
Online publica/ions.
These are treated Iike items in a eolleetion. ¡f!hey are signed, they are en
tered under the author's name; ifthey are unsigned, they are entcred l l l l -
der the editor's name.
1 Ricardo Miranda-Pérez, "Herrera de la Puente, Luis", Die Musik
in Geschichte ufld Gegenwart: Personenteil, ed. by Ludwig Finscher
(2nd ed. rev.; Ka ssel: Barenreiler; Stuttgart: Metzler, 2002) vol. 8,
1421.
1 Miranda-Pérez, "Herrera de la Puente, Luis", 1421.
2 Harold S. Powers, et aL, "Mode", The new Grove dictionary o f
music and musicians, ed. by Stanley Sadie and John Tyrrell (2nd ed.
rev.; London: M a c m i l l a n New York: Grove's Dictionaries, 2001)
vol. 16 , 842.
2 Powers, et al., "Mode", 842.
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16.4 .1.4 Reference publications and tertiary sources 16.4.1.7 Unernotes
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3 Colin Larkin, ed. , "Yamaguchi, Momoe", The Guinness encyclo-
ped;a ofpopular mus;c (2nd ed. ; Middlesex: Guinness; New York:
Stockton, 1995) 4578.
3 Larkin, ed., "Yamaguchi, Momoe", 4578.
These ¡tems are entered in the bíbliography thus:
Miranda-Pérez, Ricardo. "Herrera de la Puente,Luis", DieMusik in
Geschichte und Gegenwart: Personenteil, ed . by Ludwig Finscher
(2nd ed. rev.; Kassel: Barenreiter; Stuttgart: Metzler, 2002) vol. 8,
1421.
Powers, Harold S., et al. "Mode", The new Grove dictionary o/mu-
sic and musicians, ed. by Stanley Sadie (2nd ed. rev.; London:
Macmillan; New York: Grove's Dictionaries, 2001) vol. 16,
775- 860.
Larkin, Colin, ed. "Yamaguchi, Momoe", The Guinness eneyclope-
día o/popular musie (2nd ed.; Middlesex: Guinness; New York:
Stockton, 1995) 4578.
Note that edition infonnation is given in parentheses with the publisher
information.
RILM abstracts in print are cited the same way as those in online
sources; see 16.4.3.2: Online publieations.
16.4.1.5 Notes and eornrnentary in seores and editions
These are treated like items in collections:
80
1 Richard Strauss, "Geleitwort", Caprieeio by Clemens Kraus and
Richard Strauss (Mainz: B. Schotts; London: Boosey & Hawkes,
1942) 3.
I Strauss, "Geleitwort", 3.
2 Charles Jacobs, "Critical notes", Freseobaldi s "Il primo libro de
madrigali a einque voci", ed. by Charles Jacobs (University Park;
London: Pennsylvania State University Press, 1983) 152.
2 Jacobs, "CriticaJ notes", 152.
These items are entered in the bibliography thus:
Strauss, Richard. "Geleitwort", Capriccio by Clemens Kraus andRichard Strauss (Mainz: B. Schotts; London: Boosey & Hawkes1942) 1-4. '
Jacobs, Charles. "Critical notes", Freseobaldis "1/ primo libro de
madrigaJi a cinque vocí ", ed. by Charles Jacobs (University Park;
London: Pennsylvania State University Press, 1983) 151 - 57.
Note that ifyou are citing the second example as an edition (as opposed
to only citing the editor's notes) it is Iisted under the composer's name
not the editor's; see 16.4.1.9: Editions ofmusic. '
16.4.1.6 Reviews
Titled reviews are treated as articles:
1 Alex Ro ss, "Resurrection: The Passion according to Osvaldo
Golijov", The New Yorker 77 /2 (5 March 2001) 101.
1 Ross, "Resurrection", 101
Untitled reviews are listed with a brief description instead of a title:
2Daniel Avorgbedor, review ofCharr y Mande musie, in The world
ofrnus;c 47/2 (2005) 165 . .
2 Avorgbedor, review ofCharry Mande muste, 165.
Tbese items are entered in the bibliography thus:
Ross, Alex. "Resurrection: The Passion according to OsvaldoGolijov", Th e New Yorker 77 /2 (2001) 100-01.
Avorgbedor, Daniel. Review ofCharry Mande musie, in The world
ofmusic 47/2 (2005) 163- 67.
Note that for the second example the word in is inseI1ed for clarity.
16.4.1.7 Liner notes
Sorne liner notes have titles othe r than the title oftbe recording; many do
not. In either case, citations should state tbat they are liner notes and give
basic publishing data for the recording.
81
16.4.1.7 Unernotes
] Tina Frühauf, "Introduction to the libretto/lntroduction du livret!
Vorwort zum Libretto". Liner notes for Charles Gounod: Faust
16 .4.1.9 Editions ofmusic
1Claude Rostand, "JeanRivier: 7e
symphonie fa". P ~ ? ~ r a m notes
for Orchestre de Paris, 22-25 March 1972 (Pans: Soclete des Coo
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(Andaote 3995, 2002) 54- 57; 116- 19; 182- 86.
] Frübauf, "lntroduction to tJle libretto".
2 Nat Hentoff, liner notes for Thefreewheelin ' Bob Dylan (Columbia Records CS 8786, 1963).
2 Hentoff, liner notes for Thefreewheelin 'Bob Dylan.
These are eotered in the bibliography thus:
Frühauf, Tina. "Introduction to the Iibretto/lntroduction du livret/
Vorwort zum Libretto". Liner notes for Charles Gounod: Faust
(Andante 3995, 2002) 54-57 ; 116-19; 182-86.
Hentoff, Nat. Liner notes for Thefreewheelin 'Bab Dylan (Colum
bia Records CS 8786,1963).
Sometimes supplements, updates , or errata for liner notes may be found
onlioe; these are treatedas ooline publications (see 16.4.3.2: Onlinepub-
lica/ions). Full publishing data for the original publication is not oeces
sary, but the owner or sponsor ofthe website sbould be noted. The year of
the online publication is given, not that of tbe original recording.
Yamplosky, Philip. "Liner notes supplements: What is a gamelan?".
http:// ww w.folkways.si .ed u/ pro ects_ in i ia ives/indonesi an /
liner_noteslvolume 14.html (Smithsoruan Folkways Recordings,1998).
Forroles regarding line breaks in URLs, see 10.8: Oll/illepublica/ions.
16.4.1.8 Program notes
Ihese are issued in various fonns. Sorne, like Stagebill, are issued as pe
riodicals; these are treated as such in bibliographies, aod the program
notes are treated like articles. Others are issued as books, with change
able details-such as lists ofperformers- provided as an inser!; these are
treated like collections ofessays. Forthese two cases, see 16.4.1 .3: J/ems[rorn periodicals and collections.
For notes in programs that are neither periodicals nor collections, titles of
ootes and programs are giveo when they appear, as is the performance
date or date range. Tbe sponsoring organization or venue may serve as
the publisher. The publication may or may nol be paginated.
82
certs du Conservatoire, 1972).
I Rostand, "Jean Rivier: 7e symphonie en fa" .
2 Adrienne Fried Block, "The Philhannonic r o m o t e ~ c h a m b e ~ mu
ste, 1843- 68". Program notes for rhe New York P h l l h a r m o m ~ en-
sembles in a hiSlOrically informed program of chamber mUStC, 2
December 2002 (New York: City University of New York, 2002)
1-4.
2 Block, "The Philharmonic promotes chamber music, 1843- 68".
3 Harold Rosenthal , program notes for Tristan u nd Isolde by Rich
ard Wagner, 3 lul y 1971 (London: Royal Opera House Covent Gar
den, 1971).
3 Rosenthal, program notes for Tristan und Isolde ,
These items are entered in !he bibliography thus:
R la d Claude. "Jean Rivier: 7e symphonteen fa". Program nolesO r ~ h e s t r e de Paris, 22- 25 March 1972 (Paris: Société des Con
certs du Cooservatoire, 1972).
Block, Adrienne Fried. "Ibe Philharmonic r o m o t e ~ chambe: mu
sic, 1843-68". Program noles for The New York P h l l h a r m o m en-
sembles in a historically inlormed ~ o g r a ~ J 01 chamber mustC, 2
December 2002 (New York: City Umverslty ofNew York, 2002)
1-4.
Rosenthal, Harold. Program notes for Tristan und Isolde by Rich
ard Wagner, 3 luly 1971 (Londoo: R oyal Opera House Covent Gar
den , 1971).
16.4.1.9 Editions of music
Works are nol cited bibliographically or in notes unless a particular edi
tion is discussed:
1 Loreto Vittori, La Galatea. Ed. by Thomas D. Dunn (Middleton,
Wis.: A-R Editions, 2002).
1 Vittori, La Galatea.
83
~ - - - - - - - -
16 .4.1.9 Editions of music 16.4.2 .1 Sound recordings
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i.
1,
IkI
Note that the composer is the author; the editor's name follows the title.
The item is entered in the bibliography thus:
Vittori, Loreto. La Gala/ea. Ed. by Thomas D. Dunn (Middleton,
Wis .: A-R Editions, 2002) .
For multivolume editions of complete works, series infonnation is given
afier the title:
I Georg Friedrich Handel, Israel in Egypt, HWV 54. Hallische
Handel-Ausgabe: Kritische Gesarntausgahe I- Oratorien und
groBe Kantaten 14 (Kassel: Barenreiter; Stuttgart: Metzler, 1999).
I Handel, Israel il1 Egypt.
Tbe item is entered in the bibliography thus:
Handel, Georg Friedrich. Israel in Egypt, HWV 54. Hallische
Handel-Ausgabe: Kritische Gesamtausgabe l- Oratorien und
groBe Kantaten 14 (Kassel: Blirenreiter; Stuttgart: Metz1er, 1999).
Exceptionally, critical editions published as part of a dissertation or the
sis are listed under tbe name of the editor/author.Spence, Marcia Louise. Carl Nielsen squintetfor winds, op. 43. A
critical edition (DMA di ss., University ofNorth Texas, 1995).
For items in Ihe volume other Ihan the work itself, see 16.4J5: Notes
and commentary in scores and editions.
16.4.1.10 Technical drawings ofinstruments
The persan who made tbe drawing is treated as the autbor. Titles are in
standardized fonn, in English, giving the instrument type and maker
(Anonyrnous when necessary), with the place and year it was made (ap
proximate, ifnecessary) in parentbeses. Tbe locatian oftbe instrument isindicated, including tbe inventory number in the callection. Tbe date of
the drawing is given, even ifit is the same as tbe pub lication date , and the
number of shects i8 noted.
84
I Fer Vromans, Barrel organ by DiederikNicolaus Winkel (Amster-
dam, ca. 1820) . Owned by Haags Gemeentemuseum, Ea 178-X-
1952. Drawn in 1988.6 sheets ('s-Gravenhage: Haags Gemeente
museum , 1988).
I Fer Vromans, Barrel organ by Diederik Nicolaus Winkel (Amster-
dam, ca. 1820).
The item is entered in the bibliography tbus:
Vromans, Fer. Barrel organ by Diederik Nicolaus Winkel (Amster-
darn, ca. 1820). Owned by Haags Gemeentemuseum, Ea 178-X-
1952. Drawn 10 1988. 6 sheets. ('s-Gravenhage: Haags Gemeentemuseum, 1988).
16.4.2 Audio and audiovisual materials
Mass-media publisbers are ofien not associated witb a single city and the
locatIOn oftbeir executive offices may not be relevant. In such dases, donot force a place name.
16.4.2.1 Sound recordings
Recordings may be Iisted in a discograpby; they sbould be cited in notes
only ¡fthey are discussed in the text. References may be grouped by com
poser, performer, producer, or compiler as appropriate, in shor! or longnote fonns:
1 Béla Bartók , Pour les enfants. Michel BérofT, piano. 2 LPs; in-eludes other Bartók piano works (EMI La Voix de Son Mailre 2C167-16 .246/247, 1979). '
1 Bartók, Pour les enfants.
' Dolly Parton, Litlle sparrow. CD (SugarHill Records 3927, 2001).
2 Partan , Little sparrow.
3 Robin Broadbank and Joep Bor, prod s., The raga guide: A survey
of 74 Hindustani ragas. 4 CDs (Nimbus Records 5536- 5539
,
3 Broadbank: and Bor, Th e raga guide.
" ~ m a x A ~ a n , comp., Carriacou Cala/oo. The Atan Lomax col-lectlOn: Canbbean voyage. CD (Rounder Record, 1722, 1999).
4 Lomax , Carriacou Calaloo.
Note that the Bar!ók work title is given as it appears in the publication
clted; It IS not changed to its original language.
85
16.4.2.1 Sound recordíngs
These items are entered in the discography thus:
16.4.2.3 Music vídeos
4 Noreg i dans og spel. VHS (Dragvoll: RAJet for Folkemusikk og
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Bartók, Béla. Pour les enfants. Michel BérofI, piano. 2 LPs; ¡n-
eludes other Bart6k piano works (EMI La Voix de Son Maitre 2C167-16.246/247,1979).
Parton, Oolly. Lillle sparrow. CO (Sugar Hill Records 3927,20 0 1).
Broadbank, Robin, and Joep Bor, prods. The raga guide: A survey
oJ 74 Hindustani ragas. 4 CDs (Nimbus Records 5536-5539,1999).
Lomax, Alan, comp. Carn'acou Cala oo. The Atan Lomax collec
tion: Caribbean voyage. CO (Rounder Records 1722, 1999).
Tbere is no need to cite individual tracks in notes; specific sections, titles,
etc., are supplied in tbe text:
Parton has even recorded standards such as Cole Porter's "1 get akick out ofyoU".l
2 Parton, Little sparrow.
For liner notes, see 16.4.1. 7: Liner notes.
16.4.2.2 Films an d video recordíngs
Fi lm s and video recordings may be listed in a filmography or
videography (the two may be combined); they should be cited in notes
only ifthey are discussed in the texto They are treated like books, with an
indication of tbe medium for the full citation. References may be
grouped by composer, director, producer, or tide as appropriate, i n sbortor long note forms:
rGiuseppe Verdi. Nabucco. DVD, Teatro alla Scala Riccardo Muticonductor (Kultur 02042, 2003). ' ,
r Verdi, Nabucco.
2 Alfred Hitchcock. Psycho. OVO (MCA Horne Video, 1998).
2 Hitchcock. Psycho.
3 David Evans, William Ferris, and Judy Peiser. Gravel Springsfife
and drum. 16mm (Memphis: Center for Southem Folklore, 1971).
3 Evans, Ferris, and Peiser, Gravel Springsfife and drum .
Folkedans, 2002).
4 Noreg i dans og spel.
Feature films are treated similarly to musical works: They are only cited
when a specific edition is under discussion. So , for example, Psycho
need not be cited as a publication if tbe reference is to Bernard Herr
mann's score for the film; however, ¡ftbe reference is to one oftbe additional features added for the DVD edition, the aboye citabon is in arder.
These items are entered in the filmography or videography thus:
Verdi, Giuseppe.Nabucco. DVD. Teatro alla Scala, Riccardo Muti,
conductor (Kultur 02042, 2003).
Hitcbcock, Alfred. Psycho. DVD (MCAHome Video, 1998).
Evans, David, William Ferris, and Judy Peiser. Gravel Springsfife
alld drum. 16mm (Memphis: Center for Southem Folklore, 1971).
Noreg i dans og spel. VHS (Dragvoll: Ra Jet for Folkemusikk og
Folkedans , 2002).
16.4.2.3 Musíc videos
These are listed by performer in long or short forms:
1Selena Quintanilla Pérez, La carcacha. VHS (EMI Latin, 1992).
r Quintanilla Pérez, La cm·cacha.
20utkast. Hey ya. DVD (La Face, 2003).
2 Outkast, Hey ya.
Tbese items are entered in the videograpby thus:
Quintanilla Pérez, Selena. La carcacha. VHS (EMI Latin, 1992).Outkast. Hey ya. DVO (La Face, 2003).
Note that Se ena is listed under her full name, not her stage name. When
neccssary, the stage Dame follows the full name in parentheses. See
9.1.3: Name changes, pseudonyms, and sobriquets.
87
16 .4.2.4 Radio and television broadcas/s
16.4.2.4 Radio an d television broadcasts
16.4.3.2 Online publications
16.4.3.2 Online publications
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Typograpby for titles should be slightly different than it is in p.rose: : r e ~ tbolh ongoing programs and single ones as works, and treal senes as ¡nStl
tulions (see 8.1: When lo copitolize). Like films, they may be grouped by
composer. director, producer(s), or title as appropriate, in short or long
note fonns:
, Karlheinz Stockhausen, Mittwochs-Gnif3 (BBC Radio 3, 27 Au
gust 2005).
, Stoekhausen, Mittwochs-Gruj!.
2 Bruno Monsaingeon, The art ollhe violin (Oreat Performances,
PBS, 22 May 2005).
2 Monsaingeon, The arl of/he vio/in.
l The Ed Sullivon show (CBS, 9 February 1964).
] The Ed Sullivan show.
These iterns are entered in the bibliography thus:
Stoekhausen , Karlheinz. Mittwochs-Gruj! (BBC Radio 3, 27 Au
gust 2005).
Monsaingeon, Bruno. The art of he vio/in (Oreat Performances,
PBS, 22 May 2005).
The Ed Sullivan show (CBS, 9 February 1964).
16.4.3 Electronic publications
16.4.3.1 eD-ROMs
These are treated like books, with an indieation ofthe medium for lbe full
citation:
lAtan ruch, Baeh and befare: A eollee/ors guide lo compac! discs.
CD-ROM (Santa Moniea: Voyager, 1992).
, Rieh, Boch and befare.
The item is enlered in lhe bibliography lhus:
88
Rich, Alan. Bach and before: A collee/orsguide /0 campac/ discs.
CD-ROM (Santa Moniea: Voyager, 1992).
Onl ine publicatioos are not always paginated; this example from an 0 0 -
line joumal appears on a sequenee of five web pages. In lhe long form,
this infonnation is represented by bain3 in the URL.
I Jennifer Bain, "Hi ldegarde on 34th Street: Chant in the market
place", Echo 6/1 (2004) http://www.eeho.ucla.edu/volume6-issuel/
bain/bain3.html.
I Bain, "H ildegarde on 34th Street", 3.
The item is entered in lhe bibliography thus:
Baio, Jennifer. "Hildegarde on 34th Street: Chant in the market
place", Echo 6/1 (2004) http://www.eeho.uela.edu/volume6-issuel/bainlbain l.htrnJ.
Note lhat for a paginaled online artiele lbe full cilalion gives lhe URL for
lhe firsl page. For rules regarding line breaks in URLs, see 10.8: OnUnepublica/ions.
Opinions differ regarding inclusion of access dates. Since URLs and
Internet sources may change over time, sorne authorities recommend in
c1uding the last dale that you verified the informalion by visiting the site .
Olbers eontend lhat sueh dates do not constitule proofof anything, and
lhal lhey may rnislead readers by appearing to indieale lbe date lhal the
site was posted or updated. If you inelude aceess dales, clarify their
meaning.
Bain, Jennifer. "H ildegarde on 34th Street: Chant in the market
place",Echo 6/ 1(2004), http://www.eeho.ucla.edu/volume6-issuel/bainlbain I.html (aceessed 8 May 2006).
Other kinds of onlinepublications are listed by author oreditor whenever
possible; otberwise they may be Iisled by organizalion. If a URL is very
long, it may be shortened to that ofthe horne page.
I American Folklife Center, "About the American Folklife Center"http://www.loe.gov/folklife/aboutafc.hlml. '
I American Folklife Center, "AboUl the AmericanFoLklife Center".
2 Hareld S. Powers, et al., "Mode", Grove musie online, ed. by
Laura Macy, bttp://www.grovemusic.com.
2 Powers, et aL, "Mode".
89
16.4.3. 2 On/ine publications
3 Ángel Romero, ed., "Malian guitar legend Ali Farka Toure dies at
67", World music central, http://www.worldmusiccentraLorg.
16.4.4 Correspondence
2 Carl A. Skoggard, abstraet for Burlasová Vojenské a regrotské
pieme, RlLM abstraets ofmusie literature, 1993-06959.
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3 Romero, ed., "Malian guitar legend AJi Farka Toure dies at 67".
These ilems are lisled in Ihe bibliography Ihus:
American Folklife Cenler. "Aboul the American FolkJife Cenler",
hltp://www.loc.gov/folkJife/aboutafc.html.
Powers, Harold S., et al., "Mode", Grave music onhne, ed. by Laura
Macy, http://www.grovemusic.com.Romero, Ángel, ed., "Malian guitar legend Ali Farka Toure dies at
67", World music central, http://www.worldmusiccentraLorg.
Messages to listservs and other semipublic groups are cited like items in
a collection, with the subjeet hne as the item title, tbe group name as the
eolleetion title, and the sponsoring organization as the publisher:
1Alvaro Neder, "Re: Signifieation and meaning in music", Society
¡or Ethnomusicology discussion list, 8 Mareh 2006 (Bloomington:Soeiety for Ethnomusieology).
J Neder, "Re: Signification and meaning in music".
This item is entered in Ihe bibliography thus:
Neder, Alvaro. "Re: Signifieation and meaning in rnusic", Society
lo r Ethnomusicology discussion list, 8 Mareh 2006 (Bloomington:Society for Ethnomusicology).
RILM abstracts are cited by their reeord numbers, whieh eomprise two ele-menls, separated by a hyphen: the year of the volume in whieh tbe record
was published, and tbe five-<ligit number oftbal record in tbat volume.
1997-03797
The abstraels may be signed or unsigned. If an abstract is signed or cred
iled lo the author oftbe abslracted item, Iist itunderthat person's name. If
the abstraet is not by the author, ¡nelude the author's name before the titleof Ihe abslraeled ilem.
90
1 Warren Kirkendale , abstraet for his "Gregorianiseher Stil in
Beethovens Streichquartett op. 132 ", RlLM abstracts ofmusic lit-
erature, 1980-00564.
1Kirkendale, abstraet for his "Gregorianiseher Stil in BeethovensStreichquartett op. 132".
2 Skoggard. abstraet for Burlasová Vojenské a regrútské piesne.
Ifthe abslracl is unsigned o r credited lo !he publisher or jonrnal, lisl il un
der RlLM abstracts o/music literature:
3 RlLM abstr acts 01 music literature, abstraet for Ferguson "Fis
oder Fisis?", 1992-03797.
3 RILM, abstraet for Ferguson "Fis oder Fisis?"
These ilems are enlered in Ihe bibliography Ihus:
Kirkendale, Warren. Abstraet for his "Gregorianiseher StilBeethovens Streiehquartett op. 132", RlLM abstracts 01 mUSlC
literature, 1980-00564.
Skoggard, Cad A. Abstraet for Burlasová Vojenské a regrútské
piesne, RlLM abstraets of musie literature, 1993 -06959.
RILM abstracts 01 music literature. Abstraet for Ferguson "Fis
oder Fisis?", 1992-03797.
16,4,4 Correspondence
Published eorrespondence is eited like an item in a eollection:
1 Giuseppe Verdi, letter lo Giulio Ricordi, 21 Oclober 1883,
Carteggio Verdi- Rieordi, 1882- 1885, ed. by Franca Celia, Madma
Ricordi, and Marisa Di Gregorio Casatl (Panna: IstItuto Nazlonaledi Studi Verdiani, 1994) 152- 53.
1Verdi, letterto Giulio Rieordi, 21 Oclober 1883.
This ilem is entered in Ihe bibliography thus:
Verdi, Giuseppe. Letter lo Giulio Ricordi, 21 Oclober 1883,Carteggio Verdi- Rieordi, 1882-1885, ed. by Franca Celia, Madma
Ricordi, and Marisa Di Gregorio Casatt (Panna: Istltuto NazlOnale
di Studi Verdiani, 1994) 152- 53.
If you are citing severalletters from the same book, you ehoose to
cite the book only once. When you cite !he book as a whole, 1t should be
lisled by editores), not by !he author(s) oftbe letters:
1Cella, el al., 152- 53.
91
16.4.4 Correspondence
In this case, the book is entered in the bibJiograpby tbus:
16 .4.5 Manuscripts and collections
16,4,5 Manuscripts and collections
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Cella, Franca, Madina Ricordi , and MarisaDi Gregorio Casati, eds.
Cartegg io Verdi- Ricordi, 1882- 1885 (Parma: Istituto NazionaJe di
Studi Verdiani , 1994).
Correspondence published online is cited with the appropriate URL:
2 Fred McCormick, "Re: Eddie Butcher review", Musical tradi
tions, 13 February 2006, bttp://www.mustrad.org.ukJletters .btm.
2 McConnick, "Re: Eddie Butcher review".
Tbi s item is entered in tbe bibJiograpby thus:
McCormick, Fred, "Re: Eddie Butcher review", Musical tradi
tions, 13 February 2006, http://www.mustrad.org.ukJJetters.htm.
For messages to listservs and other semipublic groups, see 16.4.3.2: On
Une pubUcations.
Unpublished correspondence is cited with infonnation on where the
correspondence is kept:
1 Félix AJexandre Guilmant, Jetter to EmiJ Sj6gren, 20 June 1908.
Stockholm: Nordiska Mu seet, Emil Sj6grensArkiv, MS 129.1945.
1 Guilmant, letter to Emil Sjogren, 20 lune 1908.
This item is entered in tbe bibliograpby tbus:
Guilmant, Félix Alexandre. Letter to Emil Sjogren, 20 lune 1908.
Stockholm: Nordiska Museet, Emil Sj6grens Arkiv, MS 129.
1945.
Private e-mails may be cited witbout titles or location information:
2 Dorothea Hast, e-mail to the author, 17 March 2006.
2 Hast, e-mail to the author, 17 March 2006.
This item is entered in the bibliography tbus:
Hast, Dorothea. E-mail to Ibe autbor, 17 March 2006.
92
~ a n ~ s c r i p t s may be referred to in the text witboutno tes, orthey may beclted ID notes thus:
1 Berlin, Staatsbibliothek, Cod.gr.174.
Tbey are listed in a separate bibliography or index according to where
tbey are kept, by city, institution, and shelf number (former shelfnum
b e r ~ are indicated in parentheses with tbe word olim). Additional infor
m a t t o n ~ a u t h o r , true title, generic title, date, and so on- may follow theshelfnumber in brackets: .
Berlin, Staatsbibliothek
Cod.gr.174 [Phillipps 1577]
Bruxelles, Bibliotheque Royale Albert Tr
9392 [Christine de Pizan, L 'Epitre d'Othéa]
10607 [Psalter ofGuy de Dampierre, Count ofFlanders]
Milano, Archivio Storico Ricordi (Casa Editrice)
M.I .13 [Donizetti Don Pasquale autograph]
Trento, Museo Nazionale (Castello del Buonconsiglio)
1374- 79 (olim 87- 92) [Trent Codices]
New York, The Pierpont Morgan Library
02 5
M.788 [Matali 'al-So '¡¡Jo]
Othe r items in collections are handled similarly:
2 Vermillion, National Music Museum, NMM,4457.
Vennillion, National Music Museum
NMM,4457 [hardingfele, Norway, 18th/19th century]
NMM.7129 [William Lander, serpent in C]
) Washington, D.C., Archive ofFolk Culture, AFS 4423--4427.
Washington, D.C., Archive ofFolk Culture
AFS 4423--4427 [Alan Lomax, field recordings ofPhiliasBedard,1941]
AFS 13,577-13,671 [Robert W Gordon, field recordings ca.1929- 1932]
93
1"6.4.5 Manuscripfs and collections
Unpublished reeordings in personal eolleetioos are listed by eom
poser, perfonner, or place, as appropriate:
16.5.1 Printed maferia/s
16.5 In-text dtations and bibliographie formats
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4 Tyaganlja, KaligiYUlJ.fe. Tanjore Brinda, voice; Tanjore Viswana
than, flute; Tanjore Ranganathan, I11fdañgam. Tape recording byMatthew Harp Allen, Madras, 1977.
4 Tyagaraja, KaligiyulJ.fe.
5 García Villamil, Felipe, interview by the author. Video tape re-
eording, Bronx, 1998. .
3 García Villamil , interview.
'Central Afriean Republie, Makala, Aka people. Tape reeording byMiehelle Kisliuk, 1988.
'Central African Republie, Makala.
Thcse may be listed along with published sound recordings or in a separate section.
94
Tyagaraja. KaligiyulJfe. Tanjore Brinda, voice; Tanjore Yiswana
than , flute; Tanjore Ranganathan , I11fdañgarn. Tape recording by
Matthew Harp Allen, Madras. 1977.García Villamil, Felipe, interview by the author. Video tape recording, Bronx, 1998.
Central Afriean Republie. Makala. Aka people. Tape recording byMiehelle Kisliuk, 1988.
These are parenthetical references inserted juto the text instead of num
bered notes. They are always Iinked to a bibliography; full eitations are
never given in parentheses. Only theautbor's lastname, the date ofpubli
eation, and the pagination is given. These should inunediately follow
run-in quotations. For block quotations, they follow end punctuation.
For pro se references or paraphrases, tbey are best placed at the end of
sentences, before end punctuation; if tbis would cause confusion, tbeymay be placed in the body oflbe sentenee. These examples represent Ibe
same sources as the ónes in section 16.4: Numbered notes and biblio-
graphie formats.
16.5.1 Prioted materials
The in-text citation fonn is the same for monograpbs, artieles, essays,
tbeses, and dissertations:
(NeuI2002:125)
(BesI2004:23)
(Farkas 1997:61)
¡bid. may be used forlbe work eited in the immediately preceding note:
(Ibid., 126-27)
The eumbersome and potentially misleading op. cit. and loe. cit. are es
chewed.
In-text citations are inserted at the appropriate point in the text;often this
will be at the end of a quotation or parapbrase. I f he aulbor's name ap
pears in the text it is omitted from Ibe eitation, whieh will usually follow
the author's name to avoid confusion:
Hess (200 1 63) notes!heinfluenceofFalla's obituary for Granados.
The above items are entered in the bibliography Ibus:
Nettl, Bruno. 2002. Encounters in elhnomusicology: A memoir
(Warren, Mich .: Harmonie Park Press).
Be st, David. 2004. "Relationships: Musical and personal- Theme
and variation s" , Interllalional j oumal o[ mu s ic edu catioll
2211 :21- 33.
95
l((
(
16.5. 1 Printed materiaJs
Farkas, Ferenc. 1997. "Kodály és a magyar müdal", Kodály
16.5.1.1 Reference publications and tertiary sources
Tbe in-text citation reflects this addition:
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em/ékkonyv /997, ed. by Ferenc B6nis. Magyar zenet6rténeti
tanulmányok 7 (Budapest: Püski) 60- 63.
Hes s, Carol A. 200 l . Manuel de Falla and modernism in Spain,
1898- 1936 (University ofChicago Press).
Note tbat end punctuation goes outside quotation marks: End punetua
tion goes inside quotation marks only when it is part of the title (see2.11.3: End punetua/ion wi/h quota/ion marks). Titles that inelude end
punctuation are not followed by a period or comma:
Neumann, Alfred E. 1997. W h ~ t , me wordy?" Pomo review
21 /108 : 23 - 55.
Note al50 that in the Farkas example the series infOlmation is given be
fore the publisher.
In sorne situations you may wish to give additional information :
Lassiter, Luke E. 1998. Thepower ofKiowasong: A col/aborarive
ethnography (Tucson: Universityof
Arizona Press) xv, 266 p.ISBN 0-8165-1 835-1. Illus., port., bibliog., index, tables, diagr.,
map s.
When multiple works by an author are listed , the author's name is re
placed by tive underscores afler the tirst listing:
Nettl , Bruno. 1995. Heartland excurs ions :EthnomusicologicaL re-
jlections on schoo/s o[musie (Urbana: University ofIllinois Press).
__ 2002. Eflcounters in ethnomusicology: A memoir (Warren,
Mich.: Hannonie Park Press).
Note tha! works by the same author are arranged chronologically, not al
phabetically by titIe.
Multiple items by the same author from the same year are alphabetized
by title, and sequentialletters are added to the dates:
96
Nettl, Bruno. 2002a. "Alexander L. Ringer (1921- 2002)". SEM
newsletter 36 /4:2 1.
.2002b. Encounters in ethnomllsicology: A memoir (Warren,
Mich.: Hannonie Park Press).
(Nettl 2002b: 125)
Translations and editions other tban the first afe indicated thus :
Tourna, Habib Hassan. 1996. The music of Ihe Arabs. Trans. by
Laurie Schwartz (Rev. ed. ; Portland , Ore.: Amadeus).
Sorne books are issued simultaneously by two publishers:
Reichling, Alfred, ed. 200 l. Orge/. MOO prisma; Ver6ffentlichung
der Gese llschaft der Orgelfreunde 181 (Kassel: Barenreiter;
Stuttgart: Metzler).
Note that the series inforrnation (two series, in tbis case) is given afier the
title.
The practice of treating dissertations and theses as writings that do nOl
merit tbe same treatment as published anes is gratuitously demeaning.
Especially now that anyone with a computer and a prioter can be a print
publisher and anyone with Internet access can be an online publisher. the
faet that a piece ofwriting has been published should not confer more sta
tus than the faet that an extended study has been accepted by a committee
of recognized experts on its subject. Dissertations and theses exist in the
same form as print publications- as books- and copies may be found at
the granting institutions and, not infrequently, at otber libraries. Titles
should be italicized, and the designation unpublished should be omitted.
Degree-granting institutions are treated similarly to publi shers.
Oriffitbs, Mikaela Ceridwen. 2003 . A profi/e ofneeds: Mu sic Iher-
apy with HIV infected children in a South African institution
(M.Mus. thes is, University of Pretoria).
16.5.1.1 Referenee pnblieations and tertiary sonrees
Entries in reference publications and tertiary sources are seldom cited;
however, in sorne cases they are the ooly available sources- for exam-
pie, when nothing else has been published on a topie, or wben a publica
tion canDot be located or is in an unfamiliar language. In rare cases, a ter-
tiary source may provide the most current or comprehensive published
treatment of a tapie. For online versions of such sources. see 16.5.3:
Electronic publications.
97
16.5.1.1 Reference publications and tertiary sources
These are treated like items io a collectioo. lflbey are sigoed, Ibey are eo
tered under the author 's name; ifthey are unsigned, they are entered un
16.5.1.4 Liner notes
Note that ifyou are citing the seeood example as an edition (as opposed
to ooly citiog the editor's ootes) it is listed under the composer's oame,
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der the ectitor's name.
(Miranda-Pérez 2002)
(Powers, et al. 2001 :842)
(Larkin, ed. 1995:4578)
These items are entered in the bibliography thus:
Miranda-Péiez, Ricardo. 2002. "Herrera de la Puente Luis" Die
~ u s i k in Geschichte und Gegenwart: Personenteil, ed: by Ludwig
Fmscher (2nd ed. rev.; Kassel: Barenreiter; Stuttgart: Metzler) vol.8, 1421.
P o w e r Harold S. ' .et al. 2001. "Mode", The new Grove dictionm y
of u s ~ c and muslclans, ed. by Stanley Sadie (2nd ed. rev.; London:
Macmlllan; New York: Grove's Dictiooaries) vol. 16,7 75- 860.
Larkin, Colio, ed. 1995. "Yamaguchi, Momoe", The Guinness en-
cyclopedia o/popular music (2nd ed.; Middlesex: Guinness; NewYork : Stocktoo) vol. 6, 4578.
Note that edition informatioo is giveo in parenlbeses with the publisherlllfonnatlon.
RILM abstracts in print are cited the same way as those in anHnesOUIces; see 16.5.3: Electronic publications.
16.5.1.2 Notes aud eommeutary in seores aud editions
These are treated like items in collections:
(Strauss 1942:3)
(Jacobs 1983 :152)
These items are entered io the bibliography Ibus :
98
Strauss, Richard. 1942. "Geleitwort", Capriccio by Clernens Krausand Richard Strauss (Mainz: B. Schotts; London: Boosey &
Hawkes) 1-4.
J ~ c o b s , Charles. 1983 . "Critical notes", Frescobaldi's "JI primo
lt.bro de madrigali a cinque voci", ed. by Charles Jacobs (Uoiver.
Slty Park; London: Pennsylvania State Uni ve rsity Press) 151 - 57.
oot the editor's; see 16.5.1.6: Editions ofmusic.
16.5.1.3 Reviews
These are treated as articles. Untitled reviews are listed with a brief description instead of a title.
Ross, Alex . 200f. "Resurrection: The Passion according toOsvaldo Golijov", The New Yorker 77 /2 (5 March):100-01.
Avorgbedor, Daniel. 2005. Review ofCharry Mande music, in The
world o/music 47/2: 163- 67.
Note lhat for Ibe secood example the word in is added for c1arity.
16.5.1.4 Liner Dotes
Sorne liner notes have titles other than Ibe title ofthe recording; maoy do
not. In either case, citations should state that they are linee notes and give
basic publishing data for the recordiog:
Frühauf, Tina. 2002. "Introduction to the libretto/lntroduction du
l.ivretNorwort zum Libretto". Liner notes ror Charles Gounod:
Faust (Andante 3995) 54-57; 116- 19; 182- 86.
Hentoff, Nat. 1963. Liner notes for The freewheelin ' Bob Dylan
(Columbia Records CS 8786).
Sometimes supplements. updates. or errata for liner notes may be found
ooline; these are Ireated as online publieations (see 16.5.3: Electronic
publications). Full publishing data for the original publicatioo is oot nee
essary, but the owner or sponsor oflbe website should be noted. The year
of the onlioe publicatioo is given, not that of Ibe original recordiog.
Yamplosky, Philip. 1998. "Liner notes supplements: What is a
gamelan 7". http://www.folkways.si.edu/proj ects_in it at ves/indonesianlliner_"otes/volume 14.html (Smithsonian Folkways
Recordings).
For rules regarding lioe breaks in URLs, see 10.8: Online publications.
99
16.5. 1.5 Program note s
16.5.1.5 Program notes
16 .5. 2.1 Sound recordíngs
Exceptionally, critical editions published as part of a disseltation or the
sis are listed under the name ofthe edilor/author.
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These are issued in various forros . Sorne, Iike Stagebill. are issued as pe
riodicals; these are treated as such in bibliographies, and the program
notes are treated like articles. Others are issued as books, with change
able details-such as lists f p e r f o r m e r s ~ p r o v i d e d as aD insert; these are
treated like collections of essays. For tbese two cases, see 16.5.1: Printed
materia/s.
Fornotes in programs that are neither periodicals nor collections, titles of
notes and programs are given when tbey appear, as is the performance
date or date range. The sponsoring organization or venue may serve as
the publisher. The publication may or may not be paginated.
Rostand, Claude. 1972. "Jean Rivier: 7esymphonie en fa", Program
notes for Orchestre de París, 22- 25 March (paris: Société desCon
certs du Conservatoire).
Block, Adrienne Fried. 2002. "The Philhannonic promotes cham
ber music, 1843- 68". Program notes for The New York Philhar-
monic ensembles in a historicaUy informed program 01 chamber
music, 2 December (New York: CityUniversityofNew York) 1-4.
Rosenthal, Harold. 1971. Program notes for Tristan und Isolde byRichard Wagner, 3 luly (London: Royal Opera House Covent
Garden).
16.5.1.6 Editions of music
Works are oot cited bibliographically or in notes unless a particular edi
tiao is discussed:
(Vittori 2002)
The item is entered in the bibliography thus:
Vittori, Loreto. 2002. La Galatea. Ed. by Thomas D. DUDO
(Middleton, Wis.: A-R Editions).
Note that the composer is the author; the editor's name follows the title.
For multivolume editions of complete works, series information is given
afier the title. The item is entered in the bibliography thus:
100
Hiindel, Georg Friedrich. 1999. Israel in Egypt. HWV54. Hallische
Handel-Ausgabe: K-ritische Gesamtausgabe I- Oratorien und
graOe Kantaten 14 (Kassel: Barenreiter; Stuttgart: Metzler).
Spcnce, Marcia Louise. 1995. CarJ Nielsen squintetfor winds. op.
43: A cr it ical editioll (DMA diss. , University ofNorth Texas).
For items in the volume other than the work itself, see 16.5.1.2: Notes
and commentary in scores an d editions.
16.5.1.7 Technical drawings of instruments
The person who made the drawing is treated as the author:
(Vromans 1988)
In the bibliography, titles are in standardized forro, in English, giving the
instrument type and maker (Anonymous when necessary), with the place
and date (approximate, ifnecessary) in parentheses. The location ofthe
instrument is indicated, including the inventory number in the collection.
The date ofthe drawing is given, even ifit is the same as the publication
date, and the number of sheets is noted.
Vrornans, Fer. 1988. Barre/ organ by Diederik Nicolaus Winkel
(Amsterdam, ca. 1820). Owned by Haags Gemeentemuseum, Ea
178-X-1952. Drawn in 1988. 6 sheets ('s-Gravenhage: Haags Ge
meentemuseum.
16.5.2 Audio an d audiovisual materials
Mass-media publishers are ofien not assoeiated with a single city, and the
loeation oftbeir executive offices may not be relevant. In sueh cases, do
not force a place name.
16.5.2.1 Sound recordings
Recordings may be Iisted in a discography; they should be cited only if
they are discussed in tbe text. Referenees may be given by composer, per
former, producer, or compiler as appropriate:
(Bartók 1979)
(Parton 2001)
(Broadbank and Bor 1999)
(Lomax 1999)
101
16.5.2.1 Sound recordings
These are entered in !he discography tbus:
Bartók, Béla. 1979. Pour les enfants. Michel BérofT, piano. 2 LPs;ineludes other Bartók piano works (EM [ La Voix de Son Maltre 2C
16 .5. 2.4 Radio and lefevision broadcasts
These are entered in tbe filmography or videography Ihus: .
. . 2003 Nabucco. DVD. Teatro alla Scala , RiccardoVerdl, GlUseppe. .
Muti, conductor (Kultur D2042). .
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167-16.246/247).
Parton, Dolly. 200 [. Li/tlesparrow. CD (Sugar Hill Records 3927).
Broadbank, Robin, and loep Bor, prods. [999. Tile raga guide: A
survey of74 Hindustani ragas. 4 CDs (Nimbus 5536- 5539).
Lomax, Alan, comp. 1999. Carriacou Calaloo. The Alan Lomax
collection: Caribbean voyage. CD (Rounder Records 1722).
Note !hat for!he Bartók example the work title is givell as it appears on
the sound recording itself; it is not changed to its original Janguage.
There is no need to cite individual tracks in notes; specific sections, titles,etc., are supplied in the text:
Parton has even recorded standards such as Cole Porter's "1 gel akick out of you" (Parton 2001).
Far liner notes, see 16.5.1.4: Liner notes.
16.5.2.2 Films aud video recordiugs
Films and video recordings may be listed in a filmography or
videograpby (tbe two may be combined); they should be cited only if
!hey are discussed in tbe tex!. They are treated like books , with an indica
tion ofthe medium for the fulI citalion. References may be given by com
poser, director, producer(s), or title as appropriate:
(Verdi 2003)
(Hitchcock 1998)
(Evans, Ferris, and Peiser 1971)
(Noreg i dans og spe12002)
Feature films are treated similarly to musical works: They are only cited
when a specific editiOIl is under discussion. So, for example, Psycho
need not be ci ted as a publication if the reference is to Bemard Herr
mann's seore for the film; however, ¡fthe reference is to one ofthe addi-
lional features added for!heD VD edition, the abo ve citation is in arder.
102
Hitcbcock Alfred. 1998. Psycho. DVD (MCAHome Video). 1
' .. F i aod ludy Peiser. 1971. GraveEvans. David, WIlham ~ : ; ; (Memphis: Center for SouthemSprings rife and drum. I
Folklore). .kk
1 2002 VHS (Dragvoll: Radet for FolkemuslNoreg i dans og spe . .
og Folkedans).
16.5.2.3 Music videos
II treated like films and videos, listed by performer:These are genera y
(Quintanilla Pérez 1992)
(Oulkast 2003)
These items are entered in Ibe videography tbus: .
Quintanilla Pérez, Se lena. 1992. La carcacha. VHS (EM1 Latm).
Outkast 2003. Hey ya. DVD (La Face).
. h full name not her stage name. WhenNote Ihat Selena is ilsted under
ller !h full 'name in parentheses. See
necessary, the stage name fo ows e . .
9.1.3: Name changes, pseudollyms, and sobrtquets.
16.5.2.4 Radio aud televisiou broadcasts
. be sli htl different !han il is in prose: TreatTypography for tIlles should . g y ks and treat series as mstl-
, ams and smgle ones as wor , bbolh ongomg progr . ¡- ) Like films !hey may be grouped ytutions(see8.1: When to copita Ize. ".
d· eclor producer(s), or litl e as appropnate .composer, u •
(Stockhausen 2005)
(Monsaingeon 2005)
(Til e Ed Sullivan show 1964)
These items are cnlered in the bibliography thus:
K lb · 2005 Mittwochs-GrujJ (BBC Radio 3, 27Stockhausen, ar emz. .
August).
103
16.5.2.4 Radio and television broadcasts
Monsaingeon, Bruno. 2005. The art of the vio/in (G rea t Performanees, PBS, 22 May).
16.5.3 Electronic pUblications
Olbers contend Ibat such dates do not constitute proofof anything, and thatthey may mislead readers by appearing to indicate !he date that the site was
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Th e Ed Su/livan show. 1964. (CBS, 9 February).
16.5.3 Electronic publications
These are ITealed jusI like printed writings:
(Rich 1992)(Bain 2004:3)
(Powers, et al. n.d.)
(Romero, ed. n.d.)
Articles in online joumals are nol always paginated; the second exampleaboye points to an article Ibat appears on a sequence offive Web pages. If
a URL is very long it may be shortened to that ofthe horne page.
Items fram websites that are continually updated are cited as n.d. (nodate). An access date may be included (see below), but il should nol be
treated as the publication date.Where no author or editor is indicated, an organization may be uscd:
(American Folklife Center n.d.)
These are entered in the bibliography thus:
Rich, Alan. 1992. Raeh and befare: A collector sguide lO compact
discs. CD-ROM (Santa Monica: Voyager).
Bain, Jennifer. 2004. "Hildegarde on 34th Street: Chant in the marketplace", Echo 6/1, http://www.echo.ucla.edu/volume6-issueI/
bainlbain3.htrnl.
American Folklife Center. n.d. "About the American Folklife Center", http://www.loc.gov/folklife/aboutafc.html.
Powers, Harold S., et aL n.d. "Mode", Grove music online, ed. byLaura Macy, http://www.grovemusic.com.
Romero, Ángel, ed. n.d. "Malian guitar legend Ah Farka Toure diesat 67", World music central, http://www.worldmusieeentraLorg.
Opinions differ regarding inclusion of access dates. Since URLs andInternet sources may cbange over time, sorne autborities recornmend including the last date that you verified the infonnation by visiting the site.
104
posted or updated. Ifyou inelude access dates, clarify their meaning.
Bain, Jennifer. 2004. "Hildegarde on 34th Slree\: Chant in Ihe marketplace", Echo 6/ 1, http://www.echo.ucla.edulvolume6-issuel/bainlbainl.htrnl (accessed 8 May 2006).
Far rules regarding tine breaks in URLs, see 10.8: Onlinepublications.
Messages to Iistservs and other semipublic groups are cited Iike items ina collection, with Ibe subject line as the item title, the group name as thecollection title, and the sponsoring organization as the publisher:
(Neder 2006)
Neder, Alvaro. 2006. "Re: Signification and meaning in music",Society or Ethnomusicolog y discussion lisl (Bloomington: Societyfor Etbnomusieology).
RILM abstracts are cited by tbeir record numbers, which eontain two elements, separated by a hyphen: the year ofthe volume in which Ibe record
was publisbed, andthe
five-digit number ortbat record in that volume.1997 -03 197
Tbe abstracts may be signed or unsigned. If an abstract is signed or credited to the authorofthe abstracted item, list it under Ibat person s name.
(Kirkendale 1980)
(Skoggard 199 3)
Iflbe abstract is unsigned or crediled to the publisher or joumal, give therecord number:
(RJLM 1992-03797)
These items are entered in the bibliography thus:
Kirkendale, Warren. 1980. Abstraet for his HGregorianischer Stil in
Beethovens Streichquarten op. 132", RILM abstraclS ofmustc Iit-
era/ure, 1980-00564.
Skoggard, Carl A. 1993. Abstract for Burlasová Vojenské a
regrútské piesne,RlLMabstracts 01music litera u re, 1993-06959.
RlLM abstraclS ofmusic lilerature. 1992. Abstraet far Ferguson"Fis oder Fisis?", 1992-03797.
105
16.5.4 Correspondence
16.5.4 Correspondence
Published correspondence is cited like an item in a collection:
16.5.5 Manuscripts and collections
Private e-mails may be cited without titles oc location infonnation:
(Hast 2006)
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(Verdi 1883)
Note that Verdi's letter is cited with the date of!he letter itself. Since sev·
eral letters- including unpublished ones- may be cited in !he sarne
item, it is best to cite all correspondence this way.
This item is entered in !he bibliography thus:
Verdi, Giuseppe. 1883. Letter to Giulio Ricordi, 21 October,
Carleggio Verdi- Ricordi, 1882- 1885, ed. by Franca Celia, Madina
Ricordi, and Marisa Di Gregorio Casati (Parma: Istituto Nazionaledi Studi Verdiani, 1994) 152- 53.
lfyou are citing severallelters from the same book, you may choose to
cite the book only once. When you cite tbe book as a whole, it should be
Iisted by editor(s), not by the author(s) of!he leUers:
(Celia, et al. 1994:152- 53)
In !his case, !he book is entered in the bibliography thus:
Celia, Franca, Madina Ricordi, and Marisa Di Gregorio Casati, eds.
1994. Carteggio Verdi- Ricordi, 1882- 1885 (Parma: ¡stituto
Nazionale di Studi Verdiani).
Correspondenee published online is cited with the appropriate URL:
(McConnick 2006)
McCorrnick, Fred. 2006. "Re :Eddie Butcher review" ,Musical tra-
ditions , 13 Fehruary, http://www.mustrad.org.uklletters.htm.
For messages to listservs and other semipublic groups, see 16.5.3. Elec
fronic publications.
Unpublished correspondence is cited with inforroation on where !he
correspondenee is kept:
106
(Guihnant 1908)
Guilmant, Félix Alexandre. 1908. Letter to Emil Sj6gren, 20 June.
Stockholm: Nordiska Museet, Emil Sj6grensArkiv , MS 129.1945.
Hast, Dorothea. 2006. E-mail to the au!hor, 17 March.
16.5.5 Manuscripts and colIections
Manuscripts may be referred to in !he texl wi!hout parenthetical citatioos, or they may be ciled thus:
(Berlin, Staatsbibliotbek, Cod.gr.174)
They are listed in a separate bibliography or index according lO where
they are kept, by ci!y, institulion, and shelf number (former shelf num
bers are indicated in parentheses wilb lbe word olim). Additional infor
mation- author, true title, generic title, date , and so on- may follow the
shelfnumber in braekets:
Berlin, Staatsbihliothek, PreuBischer Kulturbesitz
Cod.gr.174 [Phillipps 1577]
Bruxelles, Bibliothéque Royale Albert IN
9392 [Christine de Pizan, L 'Epi/re d'Olhéa]
10607 [psalter of Guy de Dampierre, Couot of Flanders]
Milano, Archivio Slorieo Ricordi (Casa Editriee)
M.U3 [Donizetti Don Posquale autograph]
Trenlo, Museo Nazionale (Caslello del Buoneonsiglio)
1374--79 (olim 87- 92) [Trent Codiees]
New York, The Pierpont Morgan Library
G25M.788 [Mota/i 'ol-So 'Mo]
Olber ítems in collections are handled similarly:
(Verrnillion, Nalional Musie Museum, NMM.4457)
Vennillion , National MusicMuseum
NMM.4457 [hardingfele, Norway, 18th/19th eentury]NMM. 7129 [William Lander, serpent in C]
107
16.5.5 Manuscripts and collections
(Washington, D.C., Archive ofFolk Culture, AFS 4423-4427)
Washington, D.C., Archive ofFolk Culture
17. INDEXING
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,u·
j
I(
"
I!
l',
.,
;,
AFS 4423-4427 [Alan Lomax, field recordings ofPhilias
Bedard,1941] .AFS 13,577- 13,671 [Robert W. Gordon, field recordmgs ca.
1929- 1932]
Unpublished recordlngs in personal eollections are listed by composer,
performer, or place, as appropriate:
(Tyagaraja 1977)
(Gareía Villamil 1998)
(Central African Republic 1988)
These may be Iisted along with published recordings or in a separate
section.
Tyagarája. 1977. Kaligiyw)f'e . Tanjore Brinda, .voice; Tanjore
Viswanathan, flute ; Tanjore Ranganathan, rnrdangam. Tape re-
cordiog by Matthew Harp Allen, Madras.
Gareía Villamil, Felipe. 1998. Interview by the author. Video taperecording, Bronx.
Ceotral African Republic. 1988 .Makala. Aka people.Tape record
ing by Michelle Kisliuk.
108
Indexes provide crucial access to infonnation; they are indispensable
features of most nonfietion books. But vague indexes that force readers
to f1ip back and forth, laboriously searching for the nuggets of informa
tioD they need, are all too eommon. Few seholarly publishers provide
professional indexing for monographs; authors are usually told that if
they wanl ao iodex they will have to supply it themselves. Understand
ably, indexes prepared by amateurs are seldom ideal.
RlLM's indexing system, developed to help users sift through hundreds
ofthousandsof entries, is much too eomplex for indexing a single book;
still , many ofthe insights we have anived at will be useful for the noviee
indexer. Below you will find sorne basic information on how RlLM ap
proaches iodexing, and sorne models that you may ehoose to follow. De
pending on what your book covers, you may want to provide separate in
dexes foc personal names, topies, tides, manuscripts, and so on. (For in
dexing manuscripts and items in eolleetions, see 16.4.5 or 16. 5.5: Manu-
scripts and collections.)
17.1 Getting started
Before the advent of word processing, one way to begin indexing was to
div ide several sheets ofpaper ioto sections, one for each letter ofthe al
phabet. As indexers read through final page proofs, they wrote topics and
page numbers in the appropriate letter seetions, adding new page num
bers to topies wbenever they reappeared in the text; the next phase was
alphabetiziog topics under each letler. Larger or more detailed indexes
were compiled using index cards. If you do not have access lo a com
puter, you may compile your index in one of these time-honored ways.
Ifyou have access to a eomputer, it may already have indexing software
that will alphabetize Iistings and perform other organizational chores. If
not, open a new doeument and type eaeh letter of the alphabet on a new
line, with Ihree blank Iines under it. As you go through your final page
proof, enter eaeh new topie and page number on a blank tine under the
appropriate letter, adding a new blank tine ror the next one ; alphabetize
as you go along. Add new page numbers to topics when Ihey come up
again. After one pass through yourp age proofyou will have a rudimen
tary indexo
109
17.2 Headwords
17.2 Headwords
In indexing parlanee, the toptes you have compiled are headwords. Typi-
17.4.1 Personal names
Similarly, someone looking for information on Chilean instruments will
appreeiate this breakdown:
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c a l ~ y these are terms, pillases, or llames tbat someone might want to laok
up 10 your book. You might be surprised by what sorne people will look
for, so try to seleet as wide a range ofheadwords as possible. In addition
to topIes, It 18 best to index every persan and organization mentioned in
your text, and it will probably be worthwhile to index most place names.
17.2.1 See references
If readers are likely to look for something under a headword that you
have chasco n,ot to asee reference can send them to the Tight place.
Far example, Iryou rndex the rack musician Bono under his full Dame
yau can ¡nelude asee reference ibat will alphabetize under B; 8ec r e f e rences may also be useful for places and tapies.
Bono see Hewson, Paul (Bono)
South Asia see Asia, South
bebop see jazz
17.3 Second levels
Ir ape,rsonal name, for example, only OCcurs once or twice in your book,
there 18 no need to add more detail to it in the index; anyone who has
looked forthatname will probably want to read the passages where it ap-
pears. If, however, several references to that name are indicated by sev-
eral page numbers following it in the index, readers will be grateful if you
prov,de more mformation by adding seeond levels that are indented andalphabetized under the headword.
For example, someone who is only interested in Cherubini's operas willthank you for thlS level ofspeeifieity:
110
Cherubini, Luigi
cantatas
hymns
Mas ses
operas
overtures
string quartets
Chilehistory
instruments
pedagogy
politicspopular music
traditional musie
Of course, these are bypothetical categories. Always thiTIk. in terms of
balancing the most accurate characterization with the needs of people
who may consult yOU! indexo fCherubini is a minor figure in your book
and general aspects ofhis works are touched upon io various places in it,
the above indexing may suffiee. If, however, your book is about the !ife
and works ofCherubini, more detailed indexing is called for; when this is
the case, you will want to establish margin terms.
17.4 Margin terms and subsequent levels
Margin terms are fixed subheadings, usually placed on secood levels sothey line up in the margin under the headword (exeeptions are noted under
J7.4.2: Places). Further levels are grouped and indented under these mar-
gin terms, so the index is c1early organized and easy to read. RILM margin
terms and their uses are outlined below; you are welcome to adopt any or
all ofthem, or you may fmd that it makes sense to devise ones that are more
appropriate for your book.
17.4.1 Personal names
Example I presents RlLM 's margin terms for personal names in tbree
groups: most specijic, more general, and most general. If a concept can
be appropriately grouped under more tban one ofthese tenns , it is best tochoose the least general one; the more general margin tenns tend to
group more subheadings, making individual entries harder to locate . So,
for example, a passage referring to manuscripts of a composer's works
could be indexed under works, but manuscripts is preferred because it is
more specific. Similarly, sinee a Festsehrift is a type oftribute, it eould be
indexed wlder tributes, but Festschrifíen is more specific.
111
')
')
)
)
)
)
)
)
)
í)
)
)
)
)
((
(
(
17.4.1 Personal names
Ex. 1: Personal Margin Tenns Ex. 2: Indexing for Madonna
Ciccone, Madonna Louise
17.4.1 Personal names
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(Most specific More general Most general
bibliographies collections aesthetics
catalogues correspondence life
chronologies editions works
di scographies iconography writings
exhibitions instruments
fe stivals and manuscriptsconferences
Festschriften perfonnances
filmographies reception
interviews sound recordings
obituaries tributes
periodicals
tran scription s
translations
videographies
Ouru se ofstandarizedphrases in indexing is also hierarcbical (see exam-
pIes 2 and 3). For example, the phrase openings compared with, illjlu-
ence on, and influenced by denote more specific connections than re/a-
lion /0; the lattcr is used formare complex interrelationships. Standardi z-
ing the openings of such pbrases clarifies the index, since pbrases with
the same openings will be alphabetized together.
Example 2 presents sorneRILM indexing for a popularmusician; exam-
pIe 3 presents indexing for a composer. Note that in example 3 the margin
tenn performances is used bolb for perfonnances by Barló k and for per-
formances of his works by olbers. Note also that Ibe titles of his works
and writings are given in the originallanguage. Since readers of a book
written in English may not recognize Ibe Hungarian titles, they are fol-
lowed by parenthctical translations (see 10.1.2: Translations).
For infonnation on the treatment ofpersonal names, including alphabet-
iza tion , stage name s, and other considerations, see 9.1: Names ofpeople.
11 2
bibliographies
discographies
to 2005
iconography
magazine covers
interviewslife
career
persona
relation to feminism
relation to mas s media
relation to Spears
views on religion
perfonnances
B/ande ambition tour
costumes
Evita
gestural analysis
influence on Trevi
influenced by hard rock
music videos
Justify my love
Material girl
role of parody and pastiche
reception
academic vs. journalistic writings
France
relation lo visual images
women
sound recordings
compared with music videosinfluenced by techno
Ray oJlight
videographies
works
femini st interpretations
Papa, don 't preach
1980swritings
song Iyrics
113
---- __- - - -- - ----
17.4.1 Personal names
Ex. 3: Indexing for Bartók
17.4.2 Places
17.4.2 Places
Example 4 presenls RlLM s geograpbie margin terms, whicb are
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Barlók, Béla
aesthetics
influenced by traditional music
rnodernism
correspondence
from Doflein
lo Verhuyekfestivals and conferences
Hungary
life
Miskole, 2005
Szombalhely, 2000
last years
relation to Kodály
teaching of Csikor
perfonnance practice
Contrasts
piano music
performancesA csodálatos mandarin (The miracu lous mandarín)
by Harangozó
premiere, 1927
European lour, 1922
Schubert works
reception
Hungary
1945 lo presenl
transcriptions
Transylvanian traditional music
use of special signs
writingsA magyar népzene (Hungarian traditional music)
Hungarian song classification
on Strauss
works
charal music
Gyermekeknek (For ehildren)
¡nfluence 00 Ligeti
influenced by Grieg
vie wed by Hindemith
grouped and prioritize d the same way that OUT personal margin tenns are .
However, there is one difference in the way these are bandled: Geo-
graphic information ma y be given in more than one level, pusrung the
margin lerm lO wbalever level follows Ihe geograpruc leve ls . So, for ex-
ample, ifyour book is aboul musicallife in Nortb Ameriea in Ibe 19th
century, your index mighl inelude this very general enlry, in wbich fuemargin term ",usicallije appears in Ihe second level :
North America
musical Jife
cornmunity organizations
It also might ¡Delude a much more specific entry, such as thi s:
CanadaOntario
Túronto
musicallife
reception ofWagner
In fue second example, fue same margin lerm is pushed lo fue fourth
level, following fue bierarcbicallyordered geograpbie infonnation. Note
that Canada is the headword, rather than North America; there is no
need to situate Canada by contlnent in the indexo However, for a book
like ibis it is a good idea to group cities by country and province or sta e;
Ihe index will be more organized and easier lo use. For a book witb less
information about Canada, the province may be omitted, Note also that
fuere is no need lO inelude Ibe qualifier 19th century, sinee Ihal is fue
slaled time frame covered by Ihe book.
RlLM also puts ethnic information before the margin While elhnic
and geographic considerations are not analogous, we bave learned thatthis practice proves usefuI.
Uoit.ed Sta es oC America
Ar izo na
Tohono Q'odharn peopledance
waila
instrumen ts
traditional music
fiddle musie
115
17.4.2 Places
Ex. 4: Geographic margin terms
Most specific More general Most general
Ex. 5: Indexing for China
China
17.4.2 Places
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antiquity blues aesthetics
bibliographies cultural policies culture
catalogues economics dance
discographies ethnomusicology dramatic arts
filmographies iconography folklore
periodicals instruments history
videographies jazz history of music
librarianship literature
mas s media musicallife
musicology popular music
pedagogy traditional music
performance practice visual and plastic arts
politics
religious music
sociologytheory
Sorne of our geographic margin terms may need explanation. RILM uses ·
history01music instead of classical music or art music, and we use tradi-
lional music instead ofjolk music. Both history ojmusic and traditional
musie are applied to non-Westem cultures as well as to Westem ones. So,
for example, Japanese koto repertoire is indexed under history 01mu sie,
as are Japanese contemporary composers; Japanese folk songs are in-
dexed under traditional musie. We adopted the margin terms blues and
jazz because opinions differ as to whether blues is popular or traditional
music, and whether jazz is popular or art music. We use the margin termsmusicology and ethnomusicology only for items about those disciplines,
not for items about the musics studied by musicologists or ethno-
musicologists.
Exarnple 5 presents sorne margin-term indexing foc a place. Note that
Chinese-Ianguage titles and gerne terms are used; where translations
might be helpful, they are supplied in parentheses.
116
antiquity
instruments
ritual music
viewed by Confuciusculture
¡nfluence on Southeast Asia
viewed by Jesuitsdramatic arts
jingju (Beijing opera)
yueju (Cantonese opera)ethnomu sicology
conferences
publications
journalshistory of music
guqin music
late 20th centuryHuzhu
Monguor peopletraditional rnusic
instrumental music
wedding songsinstruments
erhu
wind
rnusicallife
festivalsTang dynasty
northwestem
traditional musichua'er
shaonianpolitics
Cu ltural Revolution
influence on jingjupopular music
rack
ca. 2000
traditionaI music
children 's songs
Ketu qiuhen (Autumn regret ofthe exile's road)sound recordíngs
117
17.4.2 Places
Note that- following the rule about preferring the most specitic margin
term- instruments appears under tbe margin term antiquity, but instrn
ments also appears as a margin term itselfwhen a more specific category
Ex. 6: Indexing for ethnomusicology
ethnomusicology
academic activities
17.4.3.1 Standard arrangement
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is not indicated.
17.4.3 Topics
Topic indexing is not as pre-defmed as that for people and places, and tosorne extent it must be handled 00 a case-by-case basis. Use precise tenns
for tapies that are covered extensively, allowing more general terms for
topics that may be grouped together. For example, in a book aboutjazz
saxophonist s it may make sen se to list players separately by their favored
instrument- soprano, alto , tenor, baritone, or bass- while a more gen
eral book about jazz may not require such detailed indexing.
A list of topical headwords currently used by RILM may be viewed at
http: //www.rilm.orglheadword s.htmJ.This list comprises more head
words than any single book would require, but it provides examples of
the kinds of topics you might considero
For extensive indexing under a single tapie, yau may wish to establish
appropriate margin tenns. For example, listings under pedagogy could
be sorted by level (elementary, secondary, etc .), by subtopic (composi -
lion , piano playing, etc.), by population (amateurs, children, etc.), by
place, or by sorne combination of these.
Example 6 presents sorne RlLM indexing for a topic, using tiV" margin
terms that we established as ways of organizing items about the two main
disciplines we cover: musicology and ethnomusicology. Rules govern
ing their use keep things in order. For example, place names can only ap
pear under academic activities and national and regional studies; as dis
cipline is only for topics, never for people or places; research tools andtechniques is only for specific considerations, not for general ¡teros about
methodology (these go uoder as discipline); andpublications is only for
general ¡tems about publications, not for individual publications tbem
selves (the rare exceptions ¡Delude discussions of ongoing work 00 criti
cal editioos or anthologies).
118
conferencesGermany
Berlin
partnership witb Brazil, 1990
Hungary
activities of Kodályas discipline
applied ethnomusicology
compared witb musicology
conceptofsoundscape
emic vs. etic perspectivemethodology
relation to soeiology
national and regional studiesAfrica
bistoriography
sub-SaharanIndia
women 's studies19th ceotury
Pacific Riro
state of researchpublications
bibliography
Croatia
sound recordings
research tools and techniques
analysis
computer applications
rhythmic analysis
fieldworktranscription
17.4.3.1 Standard arrangement
For topical headwords Ihat do not need standardized margin terros,
RlLM has established a default indexing system that we call standard aro
rangement. In tbis s y s t e ~ , the first preference in the margin is a person ,
the second preference IS a place, and the third preference is a tapie.
119
17.4.3.1 Standard arrangement
Adhering to a default system such as this unifíes the index, making it
easier to use.
17 .5 Enríching your index
17.5 Enriching your index
During the process ofindexing. you may find that new headwords seem
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¡IW:"
Exarnple 7 presents sorne standard-arrangernent i n d e ~ i n g for a t?pic.. t" nly ID the margm forNote, for example, that compasers, bemg a OpIC, 15 o
an entry that does not indicate a place; in standard r r a n g ~ m e n t when a
1 .. d' ted (USA) it takes precedence over tbe topIC.pacelsmlca ,
Ex. 7: Indexing for women's studies
women's studies
Adorno, T.W
Australia
120
Aboriginal peopIes
music industry
campasers
reception
19th century
Germany
cultural policies
rack musiciansiconography
Mazar!, WA.
CosIfan tutte
misogynist themes
Don Giovanni
character ofDonna Elvira
musicians
blues
orchestral
popular music
state of research
1940s- 50s
Queen LatifahLadies first
USA
ballads
composers
musicians
Wagoer, R.
aperasmaternal characters
women as redeerners
appropriate. For example, the presence of entríes about operas in exam
pie 7 indica es that opera would be auseful headword in the same indcx:
opera
Mazar!, WA.
CasI Jan tutte
misogynist themesDon Giovanni
character of Donna ElviraWagner, R.
maternal characters
women as redeemers
The presence of entries about popular music indicates that the headword
popular music would be heipful:
popular music
Gerrnany
rack
women musiclansQueeo Latifah
Ladies jirst
women s studies
state of research
1940s- 50,
Ofien it makes sense to rotate index levels; for example, the above entries
under popular music suggest that listings under Owens, Dana (Queen
Latifah) and Germany would be appropriate and helpful. Regrouping
entries this way enriches your indexo providing many poi nts of access tothe infonnation in your book.
121
Index
abbreviations, 3 archives see libraries
1)
)
)
)
)
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acronyms, 3.3, 8.1
a.k.a., 3.6
British ,3.3
catalogue numbers
with, 3.3, 10.3
dates, 5.3
_ B.C.E.and C.E., 5.3_ plmctuation with, 2.6, 2.7
e.g., 3.5
eta/.,3.4
etc., 3.4
¡.e.,3.5ibid., 16.4.1.1 , 16.5.1
lococit., 16.4.1.1 , 16.5. 1
names,3.3
_ initials , 9.l.6
_ organizations, 3.1
_ saints, 3.2
numbers,5
_ figures vs. words, 5.1
_ translations, 5.1op. cit., 16.4.1.1, 16.5.1
opus numbers with, 3.3, 10.3
plural s,4
punctuation with, 3.3
R1SM sigla, 10.6.1
slang, 3.6
spaces with, 3.3states and provinces, 9.3.3, 16.2. 1.2
times ofday, 5.5
abstracts, 15
content, 15 . 1, 15.3
RILM submiss ion , 15.4
style, 15 .2
adjectives
directional,9 .3.2geographic, 9.3.6
hyphens with, 2.6
see a/so participles
adverbs
hyphens with , 2.6
aposrrophe, 2.10
dates with, 5.3
possessives with, 2.10
appositives, 2.2.1
Asian languages
honorifics, 9. l .4.1
personal names, 9.1.2.5
see also Chinese language
audio and audiovisual materials
documentation, 16.4.2, 16.5.2
booksdocumentation, 16.4.1.1, 16.5.1
brackets, 2.12
interpolations with, 13 .3
broadcast programs see mass media
cap italization, 8
acronyms, 3.1, 8.1
acts and scenes, 8.1, 8.2
chord names, 11.2
colon with, 2.4
cultural movements, 8.1
German language, 8.3
key designations, 11 .2
modal systems, 11.3names, 8.1
non-English languages, 12.2
racial epitbets, 8.4
scale names, 11.2
semicolon with, 2.3
terms, 8.1
tides, 10
_ broadcast programs, 8.1
_ generic, 8.1, 10.2
_ headlioe style, 8
_ punctuation with, 2.4, 2.8
_ sentence style, 8
_ true,10.1captioos see illustrations
catalogue numbers, 5.1,10.3
punctuation with, 3.3, 10.3
titles with, 10.3
CD-ROMs see electronic publications
charts see iIlustrations
Chinese language
transliteration, 12.3.2
chord names, 11.2
citations, 16
)
)
)
)
)
)
)
)
)
)
)
")
")
)
)
)
)
)
)
))
)
)
)
J
")
J123
citations
publishers, 16.2
style choice, 16.3
when to cite, 16.1
citations (author/date style), 16.5
efectronic publications
compared with em dashes and
parentheses, 2.8, 2.12
large numbers with, 5.2.2numeric ranges with, 5.4
ellipsis
ellipsis, 13.3
em dash, 2.8
compared with commas and
parentheses, 2.8, 2.12
manuscripts
rnultiword substantives with, 2.6phrases wi th, 2.6
Icelandic language
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audio and audiovisual materials,16 .5.2
_ broadcast programs, 16 .5.2.4
_ films and video recordings,
16.5.2.2
_ music videos, 16.5.2.3
_ sound recordings, 16.5.2.1drawings, technical, 16.5.1.7editions ofmusic, 16.5.1.6
e1ectronic publications, 16.5.3
printed materials, 16.5.1
booles, 165 1
dissertations and theses, 16 .5.1
liner notes, 16.5.1.4=eriodicals and collections,16.5.1
_ program notes, 16 .5.1.5
citations ( n u m b e r e d n o t e s style), 16.4
audio and audiovisual materials,
16.4.2
_ broadcast programs, 16.4.2.4
films and video recordings,
16.4.2.2
_ music videos, 16 .4.2.3
_ sound recordings, 16.4.2.1
drawings, technical, 16.4.1.10editions of music, 16.4.1.9
electronic publications, 16.4.3
printed materials, 16.4.1
books, 164 1 1
dissertations and theses,
16.4.1.2_ liner notes, 16.4.1.7
_ periodicals and collections,
16.4.1.3
_ program notes, 16.4.1.8clauses
independent, 2.3.1
collections (as books)
documentatíon, 16.4.1.3, 16 .5.1
collections (public and private)
documentation, 16.4.5, 16.5.5
colon, 2.4
comma, 2.2
124
abbreviations with, 3.4, 3.5
apposítives with, 2.2.1
opus numbers with, 10.3
place names with, 2.2.2
serial,2.2.3with Jr., lIJ, etc., 2.2.4, 9.1.2.2
compounds
en dashes with, 2.7
hyphens with, 2.1.1, 2.6conferences see organízations
congresses see organizationscorrespondence
documentation, 16.4.4, 16.5.4
dashes see em dash; en dash
dates, 5.3B.C.E.and C.E., 5.3
dynasties, 5.3
n o n ~ G r e g o r i a n , 5.3
order of elements, 5.3
punctuation with, 2.6, 2.7, 5.3
rangesabbrevlatlon, 5 3
__. and d. with, 3.3
__ ife span, 5.3
personal llames witb, 9.1.8,-16 :1work titles with, 10
diacritics, 12.1
diagrams see illustrations
dialect, 6.3
dissertations and tbeses
documentation, 16.4.1.2, 16.5 .1
drawings, technical
documentation, 16.4.1.I0, 16.5.1.7
see a/so illustrationsdynasties see dates
edition infonnationdocumentation, 16.4.1.4, 16 .5.1.1
editions of music
documentation, 16.4.1.9, 16.5.1.6
notes and commentary in
documentatlOn, 164.1 5,
16.5.1.2e1ectronic publications, 16.4.3, 16.5.3
CD·ROMs, 16.4.3.1, 16.5.3
online publications, 10.8, 16.4.3.2,
16.5.3
en dash, 2.7
multiword rnoditiers with, 2.7
numeric ranges with, 2.7, 5.3epithets, 9.1.4
derogatory, 8.4
see also honorifics
European languages, 12
apostrophes with, 2.10
Cyrillic characters
_ transliteration, 12.3.1personal names
_ compounds, 9.1.2.3
_ prefixes,9.1.2.4
serial commas with, 2.2.3
see also French language; Genn an
language; Hungarian language;Icelandic language; language,
non-English; Latin language;Slavic languages
exhibitions see organizations
expression markings, 10.5
figures see illustrationsfilms
documentation, 16.4.2.2, 16.5.2 .2French language
personal initials, 2.6
gender, 1.3
female vs. women, 1.3 .2
neutrallanguage, 1.3.1
sexual orientation tenninology,1.3.3
Gerrnan language
capitalization, 8.3, 12.2
lhe scharfes S (fi) , 12 .1.1
Hertz measurements, 11.1
honorifics,9.1.4
non-Westem, 9.1.4.1
see also epithets
Hungarian language
personal names, 9.1.2.5hyperlinks, 104.1
hyphen, 2.6
compounds with, 2. U , 2.6French language
_ personal initíals with, 2.6
personal names, 9.1.2.5ilIustrations, 14
figures, 14.2
musical examples, 14.1
tables aud diagrams, 14.2indexing, 17
manuscripts and collections, 16.4.5,16.5.5
personal names, 17.4.1places, 17.4.2
topics, 17.4.3
initials see abbreviations; names, personal
institutions see organizations
Internet see mass media; electronic publications
italics, 7
non-English words, 7.1
terms with, 2.11.1, 7. 1
titles with, 10.1, 10.1.1
key designations, 11.2
language, n o n ~ E n g l i s h , 12
capitalization, 12.2diacritics,12.1
honorifics, 9.104.1
plurals, 4.1
titIes, 10.1.2, 10.1.3
_ manuscripts, 10.6
_ translations, 10.1.2transliteration, 12.3
see also Asian languages; European
languages; French language;
Gennan language; Hungarian
language; Icelandic language;
Latin language; Slaviclanguages
Latin language
manuscript titles, 10.6libraries
RlSM sigla, 10.6.1
liner notes
documentation, 16.4.1.7, 16.5 .104
manuscripts, 10.6
documentation, 1604.5, 16.5.5
mass media
ma'is media
broadcast programs
_ documentation, 16.4.2.4,16.5.2.4
_ online publications, 10 .8
__ ocumentarion, 16.4.3.2,
__ ompound,9. 1.2. 3__ refixes, 9.1.2.4
_ changed, 9.1.3
_ dates with, 9.1.8, 16 .1
_descriptivc, 9.1.1, 9.1.5_ en dashes witb, 2.7
numbers numbers
sentences with
_ beginning of sentence, 5.1
_ series, 5.2. 1
times ofday, 5.5
translations, 5. 1
scale names
documentation, 16.4.1.8, 16.5.1.5
publishers
documentation, 16.2, 16.4.1.1 ,
16.5.1.\_ multiple cities, 16.2.1
)
)
)
)
)
)
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16.5 .3
_ titles, 8.1, 9.2
see a l ~ o films; sound recordings;
tltles, works; video recordingsmelodic type, 11.3
modal systems, 11.3
non-Western, 11.3.2Western, 11 .3.1
mus!c videos see \-ideo recordings
musical examples see illustrations
musical works see works, musical
names, 9, 11
chords, 11.2
conferences, 9.2
exhibitions, 9.2
italics with, 7
keys, 11.2
legal cases, 7.2
modal systems, 11 .3
organizations, 9.2
_ abbreviations, 3.1_ capitalizatíon, 8.1_ religious, 9.2
pitches, 11.1
publishers, 9.2, 16 .2scales, 11.2
ships, 7.3
software, 8.1
tests, 8.1
trains, 7.3
names, geographic, 9.3
_ directional adjectives, 9.3.2
_ English vs. local names 9 3 49.3.5, 16.2 ' .. ,
_ geographical adjectives, 9.3.6
_ historieal, 9.3.4, 15 .3, 16.2_ in documentati on, 16.2.1,
16.4.1.1,16.5. \
_ indexing, 17 .4.2
_ multiple for same place, 9.3.4_ punctuatioIl with, 2.2.2
_ states and provinces, 9.3.3
names, personal, 9.1
_ alphabetization, 9.1 .2
126
_ famous pcrsons, 9.1.6
_ incomplete, 9.1.5
_ indexing, 17.4.1_ initials, 9.1.6
__ rench language, 2.6__ paces with, 3.3
_Jr. , I IJ , elc., 2.2.4, 9.1.2.2
_ Iegendary and mythologica l,
9.1.9
_ married, 9.1.2.1
_ middle names, 9.1. 7
_pa t ro nym ics, 9.1.7
_ pseudonyms and sobriquets,
9.1.3,9.1.5, \7.2.1
_ ._ documentation, 16.4.2.3,16.5.2 .3
_ regional elements, 9.1.1_ saints, 9. 1A
__ bbreviations, 3.2
_ scripturaI and early, 9.1.9
_ spelling, 9.1.1see a/so epithets; honorifics
notes
substantive, 1.4.J, 2.12.1
see also citations; liner notes;program notes
nouns
compound, 2.1.1multiword
_ punctuation wilh, 2.7plurals,4
nwnbers,5
acts and scenes, 5. 1
arabic vs. roman, 5.6dates, 5.3
_ centuries, 5. 1
__ n dashes with, 2.7
figures vs. words, 5. 1
generic titles with, 5.1
large numbers, 5.1
_ commas with, 5.2.2numeric ranges
_ punctuation with, 2.7, 5.4ordinals, 5. 1
punctuation witb, 5.1, 5.2
see also catalogue numbers; opus
numbers
onIme publications see electronic publi
cations; mass media
opus numbers, 5.1, 10.3
punctuation witb, 3.3, 10.3
titles with, 10.3organizations
names, 9.2
_ abbreviations, 3.1_ capitalization, 8.1
_ religious, 9.2
parentheses, 2.12
cilations with, 16 .5
compared with em dashes and
commas, 2.8, 2.12
compared witb substantive notes,
1.4.1
parentheticaJ sentences, 2.12.1
title translations with, 10.1.2
participleshyphens with, 2.1.1
periad
abbrevialions with, 2.5, 3.3
_ space wilh, 2.1,3 .3
quotation marks with, 2.11.3
periodicals
documentation, 16.4.1.3, 16 .5. 1
personal names see names, personal
phrases
active vs. passive construction, 1.2
prepositional, 1.2
punctuation with, 2.6
pitches
nomenclature, 11.1
en dashes with, 2.7place names see names, geographic
plagiarism see quotation
plurals,4
non-Weslern,4.1
possessives
apostrophe with, 2.10
preflXes, 2.1. 1
in personal names, 9.1.2.4
program notes
names, 9.2
punctuation , 2abbreviations with, 3.3
dates, 2.6, 2.7, 5.3
numbers, 2.7, 5.1, 5.2
large numbers, 5.2.2
=eries in sentences, 5.2.1
times ofday, 5.5
quotation marks with, 2.11.3
see a/so apostrophe; brackets; colon;
comma; dashes; en dash; em
dash; hyphen; parenlheses;
period; semicolon; slash;
spacing; question mark;
quotation marks
question mark
dates with, 5.3
titles with, 16.4.1.3, 16.5. 1
quotation marks, 2.11
end punctuation with, 2.11 .3
scare quotes, 2.11.2single, IO. l. lterms witb, 2.11. 1
tilles witb, 10 .1.1
quotations, 13
allowable changes, 13.3
block vs. 13A
ellipsis with, 13 .3
famous , 16.1
relation 10 plagiarism, 13 .2
when to quote, 13.1
radio programs see mass media
recordings see sound recordings; video
recordings
reference publicationsdocumentation, 16.4.1.4, 16 .5.1. 1
religious organizations see organizations
reviews
documentatíon, 16.4.1.6, 16.5.1.3
RlLMdocumentation, 16.4 .1.4, 16 .5. 1.1
submitting abstracts 10, 15.4
RlSM, 10 .6. \
scale names, 11.2
127
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semicolon
semicoloo, 2 .3
capitalizatíon with, 2.3
in b ibliographic data, 2.3.3
¡ndependen! clauses wilh, 2.3.1
titles
choosing, 1
litles, personal see honorifics
tilles, work, 10
writing
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page ranges wit h, 5.4
serial , 2.3.2, 5.2.1
senlences
active vs. passive construction, 1.2,
15 .2
numbered series io, 5.2.1
parenthetical , 2.12.1
slash, 2.9
Slavic languages
patronyrnics, 9.1.7
transliteration, 12.3
sound recordings
documentation, 16.4.2.1, 16.5.2.1
spacing, 2.1
abb reviations with, 3.3
catalogue and opus num bers with,
3.3
punctuation with, 2.1, 3.3
spell ing,6co rnmon problems, 6.2
dialect transcription, 6.3names, 9.1.1
Gcrman language
the scharfes S (3),12.1.1
special characlers, 12 . 1
U.S. conventioos, 6.1
sty1e , 1historical periods, 8.1
titles, 1.1
writiog, 1.2
abstracIs, 15.2
symposia see organizations
lables see ilIustrations
lechnica l drawings see drawings, techni
cal; ilIustrationstelevision programs see mass media
lempo
indications, 10 .5
terms
italics with, 2. 11.1, 7 .1
quotation marks with, 2.11
see also names; nouns
tertiary sources
documentation, 16.4.1.4, 16.5.1.1
theses see dissertations and theses
times of day , 5.5
f?R
an tiquity, 10 .1.3
broadcasl programs, 8. 1, 9.2
dates with, 10
generic , 10 .2
_ capitalizatíon, 8.1, 10 .2
language, 10 .2- online publications, 10.8
manuscripts, 10 .6
nicknames, 10.4
opus and catalogue oumbers with,
10 .3
lempo indications as, 10 .5
true, 10.1
capita lizalion, 10 . 1
- italics vs. quotation marks,
10 .1.1
language, 10 . 1.2=ublication data wilb, 10 .1.2
_ punctuation with, 2.4, 2.8,
10 .1.1
translations, 10 . 1.2visual art, 10.7
transliteration, 12 .3
Chinese, 12 .3.2
- Cyrillic characters, 12.3.1
untitled work seetions, )0.5
URLs see mass media
video reeordings
doeumentation , 16.4.2.2, 16.5.2.2
musie videos
doeumentation, 16.4.2.3,
16.5.2.3
visual art
incomplete artist names, 9.1.5
titles, 10 .7
works, musical
til les, 10
see also editions ofmusic
writing
abs traels, 15
interpolation s, 1.4
style, 1
dead languagc, 1.2
titles, 1.1
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