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Music 241. Guide for Bibliographic and Footnote Format
When citing books, articles, musical scores, and other materials
in your notes and bibliography, you are to follow the instructions
and examples provided by Kate Turabian, A Manual for Writers
of Term Papers, Theses, and Dissertations (6th ed.).
This handout gives examples for most of the situations you will
encounter, following Turabian’s formatting instructions.. If you
have questions about matters not cited here, consult Turabian (Music
library (REF LB2369 .T8 1996).
Some sources used in musical research, however, raise questions
not fully addressed by Turabian. This handout will give you some
guidance on these matters. The references provided refer to comparable
examples in Turabian, primarily from chapters 8 and 11. Note that
chapter 11 is entitled “Comparing the Two Citation Systems.” It
compares footnote and bibliographic form with parenthetical reference
form and reference list form. Since for your music history papers,
you will be using footnotes and bibliographies, follow the examples
in Turabian marked “N” and “B” only (footnote form and bibliographic
form). Do NOT follow the examples marked “PR” (parenthetical references)
or “RL” (reference list form). You will not be using parenthetical
references or reference lists for music history papers.
For all items note the essential differences between footnote
and bibliographic format. First, the indentation is different:
in footnotes the first line is indented, the others are not; in
bibliographic entries, the first line is at the margin, the others
are indented. Second, in footnotes the various elements are separated
primarily by commas, and the publishing information is enclosed
in parentheses; in bibliographic entries the elements are separated
primarily by periods, and the publishing information is not enclosed
in parentheses. Finally, in bibliographic entries, the name of the
author is inverted (in cases of multiple authors. the first only);
in footnotes it is not.
A caution regarding punctuation and capitalization: You cannot
simply copy and past from Bridge into your bibliography. You will
need to provide appropriate punctuation and capitalization. Note
that capitalization practices are different in English than in foreign
languages: in English most words are capitalized, in foreign languages
(except German) only the first word is capitalized, except of course
for proper nouns. In German all nouns are capitalized.
1. Books
Entries for books, articles within books, and journal articles
are pretty straightforward, though some care needs to be taken with
additional information such as multiple authors, translators, editors,
books that are part of a series, reprints, editions other than the
first, etc. Samples for all these possibilities can be found in
Turabian, chapters 8 and 11.
N 1. Marcia Citron, Gender and the Musical Canon (Cambridge:
Cambridge University Press, 1993), 45.
B Citron, Marcia. Gender and the Musical Canon. Cambridge:
Cambridge University Press, 1993.
2. Article from a journal.
N 1. Gary Tomlinson, “Madrigal, Monody, and Monteverdi’s
‘via naturale alla immitatione’,” Journal of the American Musicological
Society 34 (Spring, 1981):65.
B Tomlinson, Gary. “Madrigal, Monody, and Monteverdi’s ‘via
naturale alla immitatione,’” Journal of the American Musicological
Society 34 (Spring, 1981): 60-108.
3. Article in a book (Turabian refers to this as “Component
Part by One Author in a Work by another.” See 11.26).
N 1. Gina Spagnoli, “Dresden at the Time of Heinrich Schütz,”
in The Early Baroque Era: From the Late 16th Century
to the 1660s, ed. Curtis Price, 164-184. (Englewood Cliffs,
NJ: Prentice-Hall, 1993), 165.
B Spagnoli, Gina. “Dresden at the Time of Heinrich Schütz.” In The Early
Baroque Era: From the Late 16th Century to the 1660s, ed. Curtis
Price, 164-184. Englewood Cliffs, NJ: Prentice-Hall, 1993).
4. Chapter or other titled parts of a book by the same author.
N 1. Claude Palisca, “The First Performance of Euridice,”
in Studies in the History of Italian Music and Music Theory
(Oxford: Oxford University Press, 1994), 143-167.
B Palisca, Claude. “The First Performance of Euridice.”
In Studies in the History of Italian Music and Music Theory.
Oxford: Oxford University Press, 1994.
B Hill, John Walter. “Music in England under the First Stuart
Kings and Commonwealth.” Chap. 7 in Studies in the History of
Italian Music and Music Theory. Oxford: Oxford University Press,
1994.
5. Musical works in collected sets, historical editions, and
complete works.
In particular, published musical scores contained in historical
sets and collected editions often present problems. Turabian offers
an example of a relatively simple entry for a stand-alone score
of a Mozart opera (p. 210). When a work is included in a larger
set, citation is not so simple. In many ways editions of musical
works parallel those of texted works, though, so the information
should generally be provided for the reader in the same format and
order:
In the case of a major work that appears within a volume of a composer’s
complete works, you may wish to cite the work itself (cf. Turabian
11.13, 11.16). Note that it is not necessary to cite page numbers
in the bibliographic entry. Since you are citing this one volume
only, you would use the publication date of the volume rather than
the inclusive dates for the set.
N 12. Guillaume Dufay,
Missa “Se la face ay pale,” Opera omnia, ed.
Heinrich Besseler, vol. 3, Missarum pars altera, Corpus
mensurabilis musicae, no. 1 (Rome: American Institute of Musicology,
1962), 33-65.
B Dufay, Guillaume. Missa “Se la face ay pale.” Opera
omnia. Vol. 3, Missarum pars altera. Edited by Heinrich
Besseler. Corpus mensurabilis musicae, no. 1. Rome: American Institute
of Musicology, 1962.
In the bibliographic citation I have put the name of the editor,
Besseler, after the title of volume 3, since I am citing only that
volume. He is also the editor of the complete Dufay Opera omnia,
so his name could just as well appear before the title of the volume.
Note that the series title, Corpus mensurabilis musicae, is not
italicized.
In the case of Orlando di Lasso’s motets, the most recent edition
appears as a number of volumes in the series Recent Researches in
the Music of the Renaissance, so one must cite the title of the
volume itself, its number in the Lasso motet series, and its number
in the RRRen series. Since the volume number appears both on the
title page and in the on-line library listing as part of the title
for the volume cited here, you should include it as part of the
title. (Cf. Turabian 11.13 and 11.16.) For the footnote example,
I have cited a specific piece in the volume. That is not necessary
for the bibliographic reference.
N 12. Orlando di Lasso, “Nectar et ambrosiam,” The Complete
Motets 16: Cantiones sacrae sex vocum (Graz, 1594),
ed. David Crook, Recent Researches in the Music of the Renaissance,
vol. 131 (Madison, Wis: A-R Editions, 2002), 5-11.
B Lasso, Orlando di. The Complete Motets 16: Cantiones sacrae sex vocum (Graz, 1594). Edited by
David Crook. Recent Researches in the Music of the Renaissance,
vol. 131. Madison, Wis: A-R Editions, 2002.
When a volume contains works by a number of different composers
or by unknown composers, it should be cited under the name of the
editor.
N 12. Judith Cohen, ed., Six Anonymous L’Homme armé
Masses in Naples, Biblioteca nazionale, MS VI E 40, Corpus mensurabilis
musicae, no. 85 (Neuhausen-Stuttgart: American Institute of Musicology,
Hänssler Verlag, 1981), 35.
B Cohen, Judith, ed. Six
Anonymous L’Homme armé Masses in Naples, Biblioteca nazionale, MS
VI E 40.
Corpus mensurabilis musicae, no. 85. Neuhausen-Stuttgart: American Institute of Musicology, Hänssler
Verlag, 1981.
If you wanted to cite one of the masses only, you would do so as
follows:
N 12. Anonymous, Missa L’Homme armé I, Six Anonymous L’Homme
armé Masses in Naples, Biblioteca nazionale, MS VI E 40,
ed. Judith
Cohen, Corpus mensurabilis musicae, no. 85 (Neuhausen-Stuttgart:
American Institute of Musicology, Hänssler Verlag, 1981), 1-22.
6. Articles in The New Grove Dictionary of Music and Musicians.
The New Grove (NG) contains extensive articles written by
recognized authorities in the field; therefore it is important to
cite the author. Although most style guide give several options
for citing articles in dictionaries and encyclopedias, for your
papers here you must cite them by author (see Turabian 8:112, the
last example, which, unfortunately, gives footnote
form only). When you use the bound volumes of NG you should provide
volume and page number also (this differs from Turabian).
N 12. Anthony Hicks, “Handel, George Frederic,” in The
New Grove Dictionary of Music and Musicians, 2nd ed., II: 756.
B Hicks, Anthony. “Handel, George Frederic.” In The New
Grove Dictionary of Music and Musicians, 2nd ed., 10: 747-813.
7. Sound Recordings
Turabian, p.211, provides the general format for citing sound recordings
but uses a relatively uncomplicated example and not a musical one.
The most problematic aspect of citing sound recordings may determining
whether the album you are using has a title. Sometimes it is obvious,
sometimes not. Since unlike books, albums have no title page, you
will have to go by the album cover and the listing in Bridge
and use your best judgment. In cases where a recording clearly
has an album title, it should be cited. Many albums provide both
recording session date(s) and publication date; be sure to use the
latter.
N 12. Franz Schubert, “Hoffnung,” Follow Goethe: Lieder
after Poems by Goethe, Christoph Prégardien, tenor; Michael
Gees, piano, CPO 999685-2, 1999, compact disc.
B Schubert, Franz. “Hoffnung.” Follow Goethe:
Lieder after Poems by Goethe. Christoph Prégardien, tenor;
Michael Gees, piano. CPO 999685-2, 1999. Compact disc.
Sometimes the title of the album is the principle work on the album,
and it may be the work of a different composer, as in the following
example (bibliographic form only). If the name of the ensemble might
appear confusing, it is acceptable to add “performed by” (compare
with “edited by”):
B Des Prez, Josquin. “Berzerette savoyenne.” Antoine Brumel, Missa Berzerette
savoyenne. Performed by Chanticleer. Chanticleer Records CR-8805,
1991. Compact
disc.
In many cases, though, the cover merely lists the works included
on the album, sometimes by multiple composers. The following disc
includes the Beethoven Symphony no. 3 along with a Schubert symphony.
There is no title.
N
12. Ludwig van Beethoven,
Symphony no. 3 in E-Flat Major, “Eroica,” The London Classical Players,
cond. Roger Norrington, EMI 7-49101-2, 1989, compact disc.
B
Beethoven, Ludwig van. Symphony
no. 3 in E-Flat Major, “Eroica.” The London Classical Players,
conducted by Roger Norrington. EMI
7-49101-2, 1989. Compact disc.
For citation of articles in the booklets that accompany CD recordings,
see Turabian 8.144, ex. 3.
8. Internet Sources
Turabian doesn’t give helpful examples for on-line sources, but
see http://www.bedfordstmartins.com/online/citex.html
and follow the link for Chicago Style, World Wide Web site, for
examples.
a. The information you should include and the order is as follows:
Author's name
Title of document, in quotation marks
Title of complete work (if relevant),
in italics or underlined
Date of publication or last revision,
if available
URL, in angle brackets
Date of access, in parentheses
N
12. David Vickers,
Interview with Judy Tarling, Interviews 3 (January 2002),
<http://www.gfhandel.org>
(Aug. 5, 2004).
B
Vickers, David. Interview with Judy Tarling.
Interviews 3 (January 2002). <http://www.gfhandel.org>
(Aug. 5, 2004).
N
12. Ludwig van Beethoven, “The ‘Heiligenstädter Testament,’"
The Classical Music Pages Quarterly, Historical Documents, English
and German, name of translator not provided, <http://w3.rz-berlin.mpg.de/cmp/beethoven_heiligenstadt.html>
(Aug. 24, 2004).
B
Beethoven, Ludwig van. “The ‘Heiligenstädter Testament.’"
The Classical Music Pages Quarterly, Historical Documents.
English and German. Name of translator not provided. <http://w3.rz-berlin.mpg.de/cmp/beethoven_heiligenstadt.html> (Aug. 24, 2004).
b. Citing an article in an on-line journal. See also Turabian
8:101.
N
12. Jeffrey Kurtzman, “Deconstructing Gender in Monteverdi’s L’Orfeo,”
Journal of Seventeenth-Century Music 9, no. 1 (2003), <http://www.sscm-jscm.org/jscm/v9/no1/Kurtzman.html>
(Aug. 24, 2004).
B Kurtzman, Jeffrey.
“Deconstructing Gender in Monteverdi’s L’Orfeo.” Journal
of Seventeenth-Century Music 9, no. 1 (2003). <http://www.sscm-jscm.org/jscm/v9/no1/Kurtzman.html> (Aug. 24, 2004).
c. Citing articles from The New Grove online:
N
12. Joseph Kerman, Alan Tyson, and Scott G. Burnham, “Beethoven, Ludwig van,” Grove Music Online (accessed
August 8, 2004) <http://www.grovemusic.com>
B
Kerman, Joseph, Alan Tyson, and Scott G. Burnham. “Beethoven,
Ludwig van.” Grove Music Online. (accessed Aug. 8, 2004)
<http://www.grovemusic.com>
NB: At the bottom of the screen in NG online you
will find a link How to cite Grove Music Online. Please follow the format given above rather than the format
give there. NG is a British publication, and European format guidelines
are different than American practices.
9. Arrangement of entries in the bibliography:
a. List the items in alphabetical order by authors’ last
names. Items should not be numbered.
b. Use the 3-em dash (opt-shift-minus x 3) for repeated
names in a bibliography:
B Kerman, Joseph. Concerto Conversations. Cambridge, Mass.: Harvard University Press, 1999.
———. “On William Byrd's Emendemus
in melius.” Hearing the Motet: Essays on the Motet of the
Middle Ages and Renaissance. Edited by Dolores Pesce. New York:
Oxford University Press, 1997.
10. Short form for footnotes:
Your initial citation of a work must provide the essential bibliographic
information as shown in the previous examples. Subsequent citations
should use the short form, which includes author’s last name, title
of the article or book (long titles may be abbreviated), and page
number:
N
12. Palisca, “The First Performance of Euridice,” 143-167.
For successive citations of a work in consecutive footnotes, however,
you may simply use the abbreviation “Ibid.,” (short for ibidem,
“in the same place”).
N
12. Cleaver, The Churches of
Bavaria, 43.
13. Ibid., 64.
14. Ibid.
However, if you draw on a work throughout a section of your paper,
rather than placing a note at the end of every sentence, you may
cite the work once and inform the reader that you are drawing on
this source for much of the information in that section of the paper.
11. Footnotes that provide more than bibliographic information:
In some cases you will find it necessary to provide more than basic
bibliographic information in your footnotes. There are various ways
to do this. Here are some examples:
N
12. Cleaver, The Churches of
Bavaria, p. 43, offers sixteenth-century engravings of the interiors
of two churches in Munich, though not the particular one discussed
in this paper.
or:
N
13. This would probably have been
true even of the Italians in Antwerp, since they were primarily
merchants and financiers. The city hosted large communities of
foreign businessmen, and the largest group of these were Italians,
particularly the Genoese. Kristine Forney has suggested that it
was for this community that the Italian-titled version of Lassus's
Opus 1 was issued; see Kristine K. Forney, "Orlando di Lasso's
'Opus 1': The Making and Marketing of a Renaissance Music Book,"
Revue belge de musicologie 39–40 (1985–86), 33–60.
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