Excerpts from Senior Thesis: A Brief Style Guide
This style guide was created by Professor Suzannah Clark, for Music concentrators writing theses. Have a question about a type of source not listed here? Ask Kerry for more help.
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton: Princeton University Press, 1991).
Adorno, Theodor W., Beethoven: The Philosophy of Music, trans. Edmund Jephcott (Cambridge: Polity Press, 1998).
Bent, Ian (ed.), Music Analysis in the Nineteenth Century, 2 vols. (Cambridge: Cambridge University Press, 1994).
Bent, Ian (ed.), Music Analysis in the Nineteenth Century: vol. II (Cambridge: Cambridge University Press, 1994).
[NB: the difference in these formats is that the first entry is if you referred to both volumes, the second one is if you referred only to volume 2.]
Review of a book
Biddle, Ian, review of Ian Bent (ed.), Music Analysis in the Nineteenth Century, in Music and Letters 79 (1998): 120–126.
[NB: Observe the use of the colon because it appears in a journal.]
Article in a book – you must include the page numbers of the whole article
Burnham, Scott, “How Music Matters: Poetic Content Revisited,” in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford and New York: Oxford University Press, 1999), 193–216.
Article in a journal – you must refer to the page numbers of the whole article
Levy, Janet, “Covert and Casual Values in Recent Writings About Music,” Journal of Musicology 5 (1987): 3–27.
Article in Grove – hard copy and online
Powers, Harold S., “Mode,” The New Grove Dictionary of Music and Musicians, vol. 12, ed. Stanley Sadie (London: Macmillan, 1980), 376–450.
Boyden, David D. and Peter Walls, “Chin Rest,” Grove Music Online, ed. Deane Root <oxfordmusiconline.com> (Accessed September 23, 2015).
Rosen, Charles, Sonata Forms, rev. edn. (New York: W.W. Norton, 1988).
Book in a Series
Sipe, Thomas, Beethoven: Eroica Symphony, Cambridge Music Handbooks (Cambridge: Cambridge University Press, 1987).
Saslaw, Janna K. and James P. Walsh, “Musical Invariance as a Cognitive Structure: ‘Multiple Meaning’ in the Early Nineteenth Century,” in Music Theory in the Age of Romanticism, ed. Ian Bent (Cambridge: Cambridge University Press, 1996), 211–232.
[NB: note also that the quotation within a quotation is put in single quotation marks.]
Mozart, Wolfgang Amadeus, Piano Concerto No. 17 in G Major, K. 453, Angela Hewitt, Hyperíon CDA67919, CD, 2013.
Eben, Petr, Happy Birthday: Praeludium für Orgel (Leutkirch: Pro Organo, 2004).
“Style Guide,” Wikipedia, last modified July 18, 2008, http://en.wikipedia.org/wiki/Style_guide.
Clark, Suzannah, Analyzing Schubert (Cambridge: Cambridge University Press, 2011).
Sisman, Elaine R., Haydn and the Classical Variation, Studies in the History of Music 5 (Cambridge, MA: Harvard University Press, 1993).
[NB: Alas, when referring to Cambridge, the UK is presumed. So if it’s Cambridge in Massachusetts, then you need to specify that.]
A few other details about publishers with multiple places:
(Oxford and New York: Oxford University Press)
(Berkeley and Los Angeles: University of California Press)