Citation Style for Music History

There are different styles of citing sources, and writers should always follow the guidelines set by individual professors or publishers. The following examples use the Chicago, Documentary-Note Style, which has been adopted by the Music History faculty. You are also encouraged to refer to reference works, such as The Chicago Manual of Style, 15th ed. (Chicago: Univ. of Chicago Press, 2003) for additional style information. 

If you are listing sources in a bibliography, order them alphabetically by last name and use hanging indentation: the first line is on the left margin, and successive lines are indented (in Word do not use any Tabs, but highlight the entire bibliography, choose Format, Paragraph, Indents & Spacing, Special, Hanging).  Use a double space only between each separate bibliographic entry. 

Notice that for publishers you do not include the words for company, publisher, or incorporated (Ex.: W.W. Norton and Company is simply W.W. Norton).  University Press, however, is written out.

All book, journal, dictionary and encyclopedia titles are italicized.  Series titles are not italicized.  Underlining is no longer used in research papers or published materials. An example of a Bibliography page is given below:                                                                          

Bibliography

                                                                                                         
 

Adler,   Guido and Oswald Koller. Sechs Trienter Codices : geistliche und  

 
 

 

 
 

weltliche Kompositionen des XV Jhs. Denkmäler der Tonkunst in Österreich.  Bd.14, 15.   Graz: Akademische Druck- u. Verlagsanstalt, 1900.

 
 

 

 
 

 

 
 

Bach,   Johann Sebastian. Matthäuspassion. Neue Ausgabe sämtlicher Werke,

 
 

 

 
 

ed.   Johann-Sebastian-Bach-Institut, Göttingen, and Bach-Archiv,   Leipzig,   eds. Alfred Dürr and Max Schneider. Ser. II, Bd. 5. Kassel: Bärenreiter, 1972.  

 
 

 

 
 

 

 
 

Blackburn,   Bonnie J., Edward E. Lowinsky and Clement A. Miller, eds. A

 
 

 

 
 

Correspondence of Renaissance Musicians. Oxford: Oxford University   Press, 1991.

 
 

 

 
 

 

 
 

Dufay,   Guillaume. Opera omnia. Heinrich Besseler, ed. 6 vols. Rome:

 
 

 

 
 

American Institute   of Musicology, 1947-66.

 
 

 

 
 

 

 
 

Eisen,   Cliff and Stanley Sadie. "Wolfgang Amadeus Mozart." The New   Grove

 
 

 

 
 

Dictionary of Music and Musicians. ed. S. Sadie and J. Tyrrell.   2nd edn. (London:   Macmillan, 2001) 17: 276-347.

 
 

 

 
 

 

 
 

Eisen,   Cliff, and Stanley Sadie. "Wolfgang Amadeus Mozart," The New   Grove

 
 

 

 
 

Dictionary of Music Online. ed. L.   Macy (Accessed 21 August   2001). http://www.oxfordmusic.com.

 
 

 

 
 

 

 
 

Giger,   Andreas. "Social control and the censorship of Giuseppe Verdi's operas

 
 

 

 
 

in Rome   (1844-1859)." Cambridge Opera Journal 11 (1999): 233-65.

 
 

 

 
 

 

 
 

Haydn,   Franz Joseph. Symphony, No. 96, (London No. 6) [originally   no. 14]

 
 

 

 
 

in D   major. Edited from the first prints by Ernst Praetorius. London:   Eulenburg,1935.

 
 

 

 
 

 

 
 

Meconi,   Honey. "Art-Song Reworkings:  An Overview." Journal of the   Royal

 
 

 

 
 

Musical Association 119 (1994): 1-42.

 
 

 

 
 

 

 
 

Nosow, Robert   M. "The florid and equal-discantus motet styles of fifteenth-

 
 

 

 
 

century   Italy." Ph.D. diss., Univ. North Carolina, 1992.

 
 

 

 
 

 

 
 

Tinctoris,   Johannes. Opera theoretica, 2 vols. Ed. Albert Seay.  Corpus

 
 

 

 
 

scriptorum   de musica 22.  American Institute   of Musicology, 1975.

 

 

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