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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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



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



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



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



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.

viii



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

XV



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



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.

3



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



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.

7



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



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

' ! ;



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



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

15



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



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.

19



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



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



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



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

(



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



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

"



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



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



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

,

,



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



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



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



(

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



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



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



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



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



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



,

,

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



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



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



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



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



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



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



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

1\

I

15.2 .1 Furlherexamples 15.4 Submitting an abstrae! to RILM



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

)

)

)



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

)

)

)

)

)

))

1

)

)

)

16.4 Numbered notes and bibliographic formats 16.4.1.2 Theses and dissertations



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)

)

)



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.

79

)

I

16.4 .1.4 Reference publications and tertiary sources 16.4.1.7 Unernotes



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.


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



(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



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



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



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.



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


In this case, the book is entered in the bibJiograpby tbus:

16 .4.5 Manuscripts and collections

16,4,5 Manuscripts and collections



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



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:



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,



der the ectitor's name.

(Miranda-Pérez 2002)

(Powers, et al. 2001 :842)

(Larkin, ed. 1995:4578)


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.



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.


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


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). .



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



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)


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



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)



(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



,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:



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.


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)

)

)

)

)

((

(

(


Ex. 1: Personal Margin Tenns Ex. 2: Indexing for Madonna

Ciccone, Madonna Louise




(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

---- __- - - -- - ----


Ex. 3: Indexing for Bartók

17.4.2 Places

17.4.2 Places

Example 4 presenls RlLM s geograpbie margin terms, whicb are



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



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



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


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


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



¡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)

)

)

)

)



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



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)


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


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



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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rilm - how to write about music_the rilm manual of style

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