NOTES STYLE SHEET

A WORK IN CONTINUOUS REVISION

compiled from various style manuals, memoranda, and editing decisions of

James P. Cassaro, University of Pittsburgh (Notes Editor, 2004-)
Darwin F. Scott, Brandeis University (Notes Music Review Editor, 1996-)
R. Michael Fling, Indiana University (Notes Assistant Editor, 2001-)
Tracey Rudnick, University of Connecticut (Notes Periodical Reviews Editor, 2003-2005)
Linda Solow Blotner, The Hartt School, University of Hartford (Notes Editor, 2000-2004)
and other members of the Notes editorial staff

Prepared for the Web by Darwin F. Scott
(comments and feedback are always welcome!)

Please note: We are in the process of updating this style sheet to include references to the 15th edition (2003) of the Chicago Manual of Style (CMS15) and the 11th edition (2003) of Merriam-Webster's Collegiate Dictionary (MW11).

CONTENTS

• Abbreviations
• Capitalization
• Captions
• Citation Style
• Complete Works
• Dissertations
• Edition Statements
• Electronic Resources and Databases
• E-Mail Correspondence
• Future Publications
• MGG
• The New Grove Dictionary of Music and Musicians / Grove Music Online / Other Grove Dictionaries
• Places of Publication
• Publishers
• Quotations
• RISM
• Serial Publications
• Sound Recordings
• Web Sites
• Currency
• Dates, Numbers, and Percentages
• Dimensions
• Electronic Resources, Databases, and Web Sites
• Hyphenation
• Keys, Letters, Pitches, Syllables, and Symbols
• Liturgy and Ritual
• Manuscript Names
• Musical Compositions
• Names of People and Places
• Punctuation and Spacing
• Quicksand (Traps for Music Editors)
• References in Running Texts
• Series and Closed Set Titles
• Style Quirks
• Citing Notes
• Collective Titles as Singular
• Digital Technology
• Editions vs. Prints
• Foreign Words and Terms as English Words (Italic vs. Roman)
• Music Theater vs. Musical Theater
• Patronymics
• Publishing Houses and Presses
• Repertoire vs. Repertory
• Review Bylines
• Review Headings (Title Page Transcription vs. House Style)
• Specialized Musical Words Not Found in Webster's 3d but Acceptable to Use in Notes
• Titles
• Translations of Foreign Titles, Phrases, and Terms
• Words, Names, and Phrases (Forms to Use and Not Use)
• Works Cited in this Style Sheet

WORKS CITED IN THIS STYLE SHEET

Jonathan Bellman. A Short Guide to Writing about Music. The Short Guide Series. New York: Longman, 2000.

The Chicago Manual of Style. 14th ed. Chicago: University of Chicago Press, 1993.

The Chicago Manual of Style. 15th ed. Chicago: University of Chicago Press, 2003.

The United States Government Printing Office Style Manual, 29th ed., 2000 (22 July 2003). http://www.gpoaccess.gov/stylemanual/index.html (accessed 4 September 2003). Site offers a search screen and browsing of the style manual contents.

Grove Music Online. http://www.grovemusic.com. Subscription required for access.

The Harvard Biographical Dictionary of Music. Ed. Don Michael Randel. Cambridge, MA: Belknap Press of Harvard University Press, 1996.

David Hiley, Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993. Particularly the "Index of Text and Music Incipits," pp. 631-37.

D. Kern Holoman. Writing about Music: A Style Sheet from the Editors of 19th-Century Music. Berkeley: University of California Press, 1988.

Irvine's Writing about Music. 3d ed. Rev. Mark A. Radice. Portland, Ore.: Amadeus Press, 1999.

Die Musik in Geschichte und Gegenwart. 2d ed. Ed. Ludwig Finscher. Kassel: Bärenreiter, 1994-

Joseph Gibaldi. MLA Style Manual and Guide to Scholarly Publishing. 2d ed. New York: Modern Language Association of America, 1998.

Merriam-Webster's Collegiate Dictionary. 11th ed. Springfield, MA: Merriam-Webster, 2003.

New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie and John Tyrrell. 29 vols. New York: Grove, 2001.

The New Harvard Dictionary of Music. Ed. Don Michael Randel. Cambridge, MA: Belknap Press of Harvard University Press, 1986.

RISM-Bibliothekssigel: Gesamtverzeichnis. Munich: G. Henle, 1999.

Webster's Third New International Dictionary, Unabridged. Springfield, MA: Merriam-Webster, 1993.

ABBREVIATIONS

• Use small caps. with periods for A.D.  (not  A.D. or AD) and B.C. or B.C.E. (use author's preference). Notes is not changing to AD, BC, BCE per CMS15, 15.41.

• Use A.D. 618-907 (not 618-907 A.D.)

• Common abbreviations of music editions (when used extensively in an article or review) are in italics: BNA  not  BNA (for Bach Neue-Ausgabe; see CMS15, 15.8)

• Use number abbreviations for liturgical days and weeks; thus 12th Sunday after Trinity (not Twelfth)

• Do not use abbreviations in running text except:

• ca. for circa (not c.); keep roman

• D.M.A. (Doctor of Musical Arts) not DMA (as in CMS15, 15.21)

• fl. for floruit (i.e., flourished) (not fl.); keep roman

• illus. for illustration(s) or illustrated in physical descriptions

• m., mm. for measure, measures (do not use bar, bars)

• M.A. (Master of Arts) not MA (as in CMS15, 15.21)

• no., nos. for number, numbers (for titles of musical works)

• op., opp. for opus, opera (when part of the title of a musical work, such as Beethoven's String Quartets, op. 18; but use opus when no other title is mentioned: Beethoven's opus 18)

• Ph.D. not PhD (as in CMS15, 15.23)

• rpm (revolutions per minute) not r.p.m.

• Use the following abbreviations in parenthetical citations (most in CMS15, 15.45):

• abbrev. for abbreviation (not abbr.)

• acc. for accompanied or accompaniment

• arr. for arranged

• avail. for available

• bk. for book

• bks. for books

• b&w for black and white

• CD for compact disc (but use CD-ROM in running texts and citations)

• chap. for chapter [Holoman 2.71 uses ch.]

• crit. for critical

• diss. for dissertation

• distrb. for distributor (not distr.)

• ed. for edited/editor

• eds. for editors

• ex. for example

• exx. for examples [Holoman 2.71 uses exs.]

• fig. for figure

• fol. for folio (not f.; use r, v, or r/v on the text line for recto, verso: fol. 34r; fol. 55r/v)

• fols. for folios (CMS14, 15.282)

• illus. for illustration(s) or illustrated

• introd. for introduction (not intro.)

• mvt. for movement

• n. for note (i.e., footnote; formulation: p. 1 n. 4 [no comma])

• no. for number

• nos. for numbers

• n.p. for no place (not s.l.) and for no publisher (not s.n.).

  When neither place nor publisher can be ascertained, a single n.p. may serve for both (CMS14, 15.159, 15.164).

  Use n. for notes (in running text or footnotes) and N. only in bibliographies (where N. follows a period)--examples: (Boston: n.p., 1889); (n.p., 1840); Watson, Henry. Song of the Guilded Hand. N.p., 1840.

• op. for opus

• opp. for opera (plural of opus) [per NHD; Holoman 2.70 uses ops.]

• p. for page

• pp. for pages (except in citations at the head of reviews, which use p.; and for the formulation p. 479ff.)

• par. for paragraph

• pt. for part

• pub. for published, publisher (not publ.)

• sez. for sezione

• suppl. for supplement (not supp.)

• syst. for system (not sys.)

• trans. for translated/translation/translator

• vol. for volume

• vols. for volumes

• 2d for 2nd (CMS15 9.8 prefers 2nd; Notes follows CMS14, 8.4)

• 3d for 3rd (CMS15 9.8 prefers 3rd; Notes follows CMS14, 8.4)

Examples:

• Smith discusses the opera at length in chapter 6.

• Smith's discussion of the opera (chap. 6) is lengthy.

• Handel's opus 3 is his most frequently recorded orchestral work.

• Handel's first set of concerti grossi (op. 3) is his most frequently recorded orchestral work.

• Do not abbreviate the following:

• reprint not repr.

• Geographical abbreviations:

• For states: Use the two-letter postal abbreviations in headings, footnotes, and bibliographic citations. In running text, however, spell out the names of states, territories, and possessions of the United States when standing alone and when following the name of a city (see CMS15, 15.29); thus Concord, New Hampshire, not Concord, NH. Use D.C. not DC in running text (CMS15, 15:31, option 1). Notes no longer uses the older state abbreviations.

• Other geographical abbreviations: use U.S. not US; U.K. not UK (agrees with CMS15, 15.34 but disagrees with CMS15, 15.33).

• Languages:

Eng. (English)	Fr.(French)	Ger. (German)
Hung. (Hungarian)	It. (Italian)	Lat. (Latin)
Rus. (Russian)	Sp. (Spanish)

CAPITALIZATION

• Capitalization of titles is covered in CMS15, 8.164-8.208 (pp. 366-77).

• "American Music since 1910" (lowercase since; in CMS15, 8.167, rule 2; CMS14, 15.121)

• In titles, lowercase the words to and as in any grammatical function (CMS15, 8.167, rule 5):

  A Guide to Composing Music as Good as Mozart's

• Institutions (CMS15, 8.73)

• the University of Louisville; the university

• the Cleveland Orchestra; the orchestra

• the Library of Congress; the library

• the New England Conservatory; the conservatory

• head of the Special Collections Department; head of the department

• Calvin Elliker was head of the music library and assistant professor of musicology at the University of Michigan (CMS15, 8.30, 8.31).

• French titles--capitalize only the first word of a title and anything that would be capitalized in ordinary text: "La musique et l'amour" (CMS15, 10.30; do not use "La Musique et l'amour", the alternative, foot-noted style in CMS14, 9.4 used in journals such as the French Review).

• Bibliothèque nationale de France; le Conservatoire de musique (CMS15, 10.30; CMS14, 9.21)

• Italian titles--capitalize only the words that would be capitalized in normal prose (CMS15, 10.3; 10.52): La traviata (not La Traviata)

• Cultural Periods and Styles

Middle Ages (but medieval era), Gregorian chant, Gothic, Renaissance, baroque, classical, classicism, romantic, romanticism, impressionism, neoclassicism, modernism, postmodernism, Viennese school (CMS15, 8.78-8.79, 8.85; but in violation of Holoman 2.37)

• For Latin titles of modern journals, series, etc. follow CMS15, 10.60 ("Renaissance and modern works with Latin titles are usually capitalized in the English fashion"). Examples:

  Acta Musicologica (not Acta musicologica); Musica Britannica (not Musica britannica).

• A title, being a singular noun, always takes a singular verb (CMS15, 8.183). Examples:

  The Easy Duets on Folk Themes for two violins (1945) is a delightful example of the teaching pieces so desperately needed after the war.

CAPTIONS

• Do not end captions with periods. If a caption is followed by a legend, end the caption with a period, and punctuate the legend in the same manner as regular text (CMS14, 11.30).

CITATION STYLE

Topics in This Section

• Complete Works
• Dissertations
• Edition Statements
• Electronic Resources and Databases
• E-Mail Correspondence
• Footnote (or Endnote) Citation
• Future Publications
• Grove Music Online / The New Grove Dictionary of Music and Musicians
• MGG
• Places of Publication
• Publishers
• Quotations
• RISM
• Serial Publications
• Sound Recordings
• Web Sites

Complete Works

• For citations to standard editions of composers' complete works, see Series and Closed Set Titles.

Dissertations

• For citing dissertations, use the format: 

  Adelyn Peck Leverett, "A Paleographical and Repertorial Study of the Manuscript Trento, Castello del Buonconsiglio, 91 (1378)" (Ph.D. diss., Princeton University, 1990), 32-37.

  Cited in running text: (Adelyn Peck Leverett, "A Paleographical and Repertorial Study of the Manuscript Trento, Castello del Buonconsiglio, 91 (1378)" [Ph.D. diss., Princeton University, 1990], 32-37).

Edition Statements

• For the edition statement, use only the edition number. Do not include descriptive adjectives related to the edition, such as rev. ed,. unless they are necessary to distinguish differences between the same numbered edition:

Aaron I. Cohen, Women in Music: An Encyclopedic Biobibliography, 2d ed. (New York: Books & Music, 1987).

Electronic Resources and Databases

Note: under construction 6/23/04 -- for now, see the Electronic Resources, Databases, and Web Sites section.

E-Mail Correspondence

• Use this format (based on CMS15, 17.208)

  "...whether fiction or faction, poetry or prose, journalism or criticism" (Simon Warner, e-mail message to Tracey Rudnick, 29 March 2004).

  (Paul L. Ranzini [managing editor, Recent Researches in American Music, A-R Editions, Inc.], e-mail message to Bob Gilmore, 15 January 2002).

Footnote (or Endnote) Citations

• For footnote (or endnote) citations, use: p. vii n.1 (no comma).

Future Publications

• When a projected date of completion is known, use forthcoming.

• When a projected date of completion is still up in the air, use in preparation.

Grove Music Online / The New Grove Dictionary of Music and Musicians / Other Grove Dictionaries

• Printed 2d ed. (The New Grove Dictionary of Music and Musicians, 2d ed.):
  

• Imogen Fellinger, "Periodicals," in The New Grove Dictionary of Music and Musicians, 2d ed. (London: Macmillan, 2001), 19:436.

• Note: Do not use the no. of vols. (i.e., 29 vols.) in citing this resource and omit New York: Grove from the publisher information.
  

• Electronic version (Grove Music Online):
  

• Note: Grove Music Online comprises the combined full text of The New Grove Dictionary of Music and Musicians, 2d ed., edited by Stanley Sadie and John Tyrrell (2001), The New Grove Dictionary of Opera, edited by Stanley Sadie (1992), and The New Grove Dictionary of Jazz, 2d ed., edited by Barry Kernfeld (2002). Articles updated since their appearance in print are date-stamped in the upper right corner of the screen; include this revision date in the citation and omit the original publication year. If the article from The New Grove Dictionary of Music and Musicians is unrevised, use the date (2001) after the title Grove Music Online. To distinguish the electronic forms of articles in the opera and jazz dicitionaries from parallel articles in the larger dictionary, use the qualifiers [Opera, 1992] or [Jazz, 2002] and omit the 2001 date as noted below.
  

•  In footnotes:

• One author for the entire article: Imogen Fellinger, "Periodicals" (rev. 29 July 2003), Grove Music Online, http://www.grovemusic.com (accessed 25 May 2004), at II/2/ii: "United States of America." (Note: this is a revised article.)

• Author has written only a portion of the article: David Hiley, "Organum and Discant," sec. IV of "Sources, MS," Grove Music Online (2001), http://www.grovemusic.com (accessed 25 July 2003), at 2: "Winchester Troper." (Note: this article is unrevised.)

• Parallel article in the opera or jazz dictionaries: Imogen Fellinger, "Periodicals," Grove Music Online [Opera, 1992], http://www.grovemusic.com (accessed 25 May 2004), at I/3: "The 19th Century."

• Example of a different article on the same person in all three component dictionaries:

  Richard Dyer and Norbert Carnovale, "Schuller, Gunther (Alexander)" (rev. 26 November 2003), Grove Music Online, http://www.grovemusic.com (accessed 25 May 2004). (Note: 2001 date, i.e. Grove Music Online (2001), is dropped because article is revised.)

  Mark Tucker, "Gunther (Alexander) Schuller," Grove Music Online [Jazz, 2002], http://www.grovemusic.com (accessed 25 May 2004).

  Austin Clarkson, "Schuller, Gunther (Alexander)," Grove Music Online [Opera, 1992], http://www.grovemusic.com (accessed 25 May 2004).

• In running text:

  (Imogen Fellinger, "Periodicals" [rev. 29 July 2003], Grove Music Online, http://www.grovemusic.com [accessed 25 May 2004], at II/2/ii: "United States of America").

  (Imogen Fellinger, "Periodicals," Grove Music Online [Opera, 1992], http://www.grovemusic.com [accessed 25 May 2004], at I/3: "The 19th Century").

  There may be some flexibility in form depending upon the context of the citation.

• Other Grove Printed Dictionaries:

  Follow the basic format used for the New Grove Dictionary of Music and Musicians, 2d ed.:

  Fred Steiner and Martin Marks, "Film Music," in The New Grove Dictionary of American Music (London: Macmillan, 1986), 2:118-25.

  Richard Crawford, "Porgy and Bess," in The New Grove Dictionary of Opera (London: Macmillan, 1992), 3:1061-63.

  James Lincoln Collier, "Dixieland," in The New Grove Dictionary of Jazz, 2d ed. (London: Macmillan, 2002), 1:620-23.

MGG

• Die Musik in Geschichte und Gegenwart (Kassel: Bärenreiter, 1949-86) or  Die Musik in Geschichte und Gegenwart: Sachteil, 2d ed. (Kassel: Bärenreiter, 1994-99), s.v. "xxxxxx," by yyyyy.

• For citations to a specific page of a lengthy article, use the form: Hartmut Krones, "Musik und Rhetorik," in Die Musik in Geschichte und Gegenwart: Sachteil, 2d ed. (Kassel: Bärenreiter, 1994-99), 6:830.

• Note: replace Sachteil with Personenteil (and the open publication date 1999- ) as required.

Places of Publication

• For small or ambiguous English cities, include the county (abbreviated) and the country (abbreviated):

Farnborough, Hants., Eng.: Gregg International Publishers, 1972 (for Farnborough, Hantsshire, England)

Publishers

• Use the full form of a publisher's name, but omit Co., Inc., and Ltd.:




W. W. Norton, not Norton	G. Henle, not Henle
Alfred A. Knopf, not Knopf	Carl Fischer, not Fischer
Clarendon Press, not Clarendon

Quotations

• Citing foreign language quotations with translations by the author:

• Within the text (not blocked--punctuation at end of sentence): "and so be it" (my trans.; originally in title, ed., series [pub. info.], page no.).

• Blocked quotation (the punctuation goes at the end of the quotation, not the block):

These pieces would take fright at brilliantly lit salons where gather people who do not like music. They are rather "Conversations"  between the Piano and Oneself, in which it is not forbidden to use one's sensitivity from rainy days! (my trans.)

RISM

• The first occurrence of RISM in an article or other non-citation usage should include the full name as well as the acronym, either RISM (Répertoire international des sources musicales) or Répertoire international des sources musicales (RISM). Note: RISM is a series and is in roman (CMS15, 8.186).

• Use RISM without full title in notes and for citing RISM nos. Note the following formats for citing RISM volumes and numbers:

  RISM section, volume, and part nos.: RISM A/I/5, RISM B/IV/5 (use slashes not spaces between the section, volume [roman], and part [arabic] nos.)

  RISM no. from Einzeldrucke vor 1800 (RISM A/I): RISM H 4005 (Note: Do not use the form RISM H4005 or RISM H-4005). Beware that a few composers, such as Orlando di Lasso, have a specialized numbering system in RISM.

  RISM no. from Recueils imprimés xvi^e-xvii^e (RISM B/I/1): RISM 1564¹⁷ (Note: Do not use the form RISM 1564/17).

Serial Publications (journals, periodicals, newspapers, etc.)

• For journal citations, use the following basic format: 

• Richard L. Crocker, "Matins Antiphons at St. Denis," Journal of the American Musicological Society 39, no. 3 (Autumn 1986): 441-90. Note: seasons are capitalized (CMS15, 17.164).

[Note: revised December 2004; Notes now uses issue no. and identifying month or season in all citations.]

• Stephen Rose, "Music Printing in Leipzig during the Thirty Years' War,"  Notes 61, no. 2 (December 2004): 323-49.

• For the first series of Notes, use the form: Notes [ser. 1] 8 (August 1940): 64-65.

• For serials with noncontinuous pagination for each issue, use the form: American Organist 33 (December 1999): 40.

• For serials with only a date for identification (no volume or issue nos.), use the form: Saturday Review, 13 March 1954, 36.

• For seasons in citations (when no other volume or issue designation is provided), use upper case. Do not capitalize the seasons in running text (CMS15, 8.94, 17.164).

• Journal and newspaper names do not begin with "The" in citations. But the initial article is retained in citations of foreign-language equivalents. For references to journals and newspapers in running text, "the" is lowercase and roman (see Titles).

• Do not use a comma after article titles ending with a question mark or exclamation point (per CMS14, 15.221): Richard Griscom, "How Are You Today?" Notes 53, no. 1 (September 1995): 22-23.

Sound Recordings

• The basic format is composer, title, ensemble/conductor, label label no. date of issue, not performance, medium):  Richard Strauss, Don Juan, Chicago Symphony Orchestra/Georg Solti, London 35982 (1982), CD. or within text: (Richard Strauss, Don Juan, Chicago Symphony Orchestra/Georg Solti, London 35982 [1982], CD).

• Some citations require modification, however, particularly for citing the performers and the title (if generic or simply a list of the selections on the recording). The composer and/or other components may also be omitted if already stated in the prose preceding the citation. Examples (adapted from actual Notes reviews):

• Something like 90 percent of Partch's recorded legacy is now commercially available, primarily on the CRI and Innova Recordings labels (for example, the reissued or previously unreleased recordings of performances from 1951 to 1982 available in The Harry Partch Collection, vols. 1-4, CRI CD 751-54 [1997], CD; and performances from 1941 to 1997 in Enclosure 2: Historic Speech-Music Recordings from the Harry Partch Archives, Innova 401 [1995], CD; Enclosure 5: On an Ancient Greek Theme, etc., Innova 405 [1998], CD; and Enclosure 6: Delusion of the Fury, Innova 406 [1999], CD).

• Today, Georg Philipp Telemann's Passion oratorio Seliges Erwägen des bittern Leidens und Sterbens Jesu Christi is little known outside the small circle of Telemann scholars and devotees, despite an excellent recording by Wolfgang Schäfer with the Freiburger Vokalensemble and L'Arpa Festante of Munich (Amati SRR 8905/1-2 [1989], CD; reissued as Passions-Oratorium, Brilliant Classics 99521/1-2 [2002]).

• All seven of Bacewicz's acknowledged string quartets, alongside the two piano quintets (1952, 1965), have been recorded by the Amar Corde String Quartet and pianist Waldemar Malicki (The Complete Works for String Quartet, Acte Préalable AP0019-21 [1999], 3 CDs).

Web Sites

• For URL access dates: in manuscripts, use an advanced date near the ending time of the first proofs review, so that date will not require revision in first proofs. Editors must again verify URLs at first proof stage.

• In footnotes:

  • Church of Jesus Christ of Latter-Day Saints, FamilySearch: Internet Genealogy Service, http://www.familysearch.org (accessed 10 January 2004)

  • The Music Index, http://www.harmonieparkpress.com/musicindex.html (accessed 2 June 2004).

  • RILM Abstracts of Music Literature, http://www.rilm.org (accessed 14 January 2004).

  • International Index to Music Periodicals Full Text, http://iimpft.chadwyck.com (accessed 14 January 2004).

• In running text:

There is some flexibility here depending upon the context. Examples:

• The Library of Congress has acquired several notable collections, available to researchers in the Performing Arts Reading Room. Additional details about these collections may be found online in News from the Library of Congress at http://www.loc.gov/today/pr/2000 (accessed 10 January 2001).

• For a description of selective vs. core coverage in RILM, and a list of journals in these categories, see "RILM's Primary Journal Titles" at http://www.rilm.org/prime-jt.html (accessed 30 June 2004). Lists of journals indexed by The Music Index and the International Index to Music Periodicals Full Text may be found at "The Music Index Periodical List 1979-2004," http://www.harmonieparkpress.com/period.a.html (accessed 30 June 2004) and ProQuest Information and Learning Company, "IIMP Full Text Title List," http://iimpft.chadwyck.com/public/about/titles.htm (accessed 30 June 2004).

CURRENCY

• Notes practice is based on CMS14, 8.29-31.

• A space should follow initial abbreviations but not initial symbols. Always use a period as the decimal point (i.e., replace comma in European currencies with a period). If the amount is a round number, drop the ".00" if included with the amount.

Examples:

• For archaic currencies, use lower case and roman type: thaler, not Thaler; gulden, not Gulden.

DATES, NUMBERS, AND PERCENTAGES

Dates

• 1560s not 1560's

• Paris in the 1830s and 1840s not 1830s and '40s (CMS14, 8.40)

• 1898-1903 not "from 1898 -1903"; the following are also acceptable: from 1898 to 1903 or between 1898 and 1903 (CMS14, 8.68)

• 1811-24 not 1811-1824

• Use 2000-2001 not 2000-1 or 2000-01;  2000-2004 not 2000-4 or 2000-04  (see CMS15, 9.64 and 9.67)

• Use 2001-2 not 2001-02 or 2001-2002;  2001-4 not 2001-04 or 2001-2004  (see CMS15, 9.64 and 9.67)

• Use the traditional number-range format described in CMS14, 8.69 for ranges of dates except for birth/death dates, which use all the digits.

  Wolfgang Amadeus Mozart (1756-1791) -- not 1756-91.

• For uncertain birth or death years, use ? before the year in question:

  John Benet (d. ?1458); Antoine Brummel (ca. 1460-?1512/13); Alexander Agricola (?1445/46-?1506)

• For an open date, use (1999-) (no space after the en-dash) not (1999- ) (see CMS15, 6.84)

Numbers

• Use all the digits for groups of works, etc.

Bach's cantatas BWV 812-817 -- not Bach's cantatas BWV 812-17.


• Numbers beginning a full sentence are always written out (CMS14, 8.9):

"Two hundred and sixteen [not 216] motets appear in the opening fascicles of the manuscript." But: "There are 216 motets in the opening fascicles of the manuscript."


• Arabic: Use act 1, scene 2, movement 3, etc. not act I (or Act I), scene II, movement III (CMS14, 7.146).
  

• Roman: Use violin I, violin II, etc. not violin 1, 2. Similarly, choir I, choir II; cantus I, cantus II; Kyrie I, Kyrie II.

Percentages

• Use percent not the percent sign % (Notes follows CMS14, guidelines for humanistic copy; see CMS14, 8.17).

50 percent not 50%; 30 to 50 percent not 30 to 50% (also not thirty to fifty percent)

DIMENSIONS

• Repeat the unit of measurement and use the symbol X rather than "-by-".

• Use ' for foot/feet, " for inch/inches.

• Do not use a period after metric abbreviations.

• Examples: 8" X 14"; 7 mm X 12 mm; 10 cm X 14 cm

ELECTRONIC RESOURCES, DATABASES, AND WEB SITES

Title of the Resource

• Follow the form established by the producer of the resource as the official title of the product (check the company or organization Web site when in doubt). Do not use the name given by the resource provider (such as FirstSearch, EBSCOhost, etc.) if different:

  RILM Abstracts of Music Literature not RILM Music Abstracts (FirstSearch)

• Maintain the upper/lower cases, spacing, and any other modifications of normal title format established by the company for its product. Sometimes the form used in the banner of a Web site is not identical with the official version found in the body of the text:

  alibris
  Amazon.com not amazon.com (banner)
  Abebooks not abebooks.com (banner)
  Barnesandnoble.com not BARNES&NOBLE.com

• Web sites follow the capitalization of the site's title as best as can be interpreted.

Roman or Italic?

• Encyclopedias, dictionaries, and other full-text reference works: use italic whether or not there is a print model:

  Grove Music Online
  Encyclopedia Britannica Online
  AccessScience
  Music Manuscripts after 1600 (RISM A/II)

• Citation databases: use italic whether or not there is a print model:

  RILM Abstracts of Music Literature
  RILM
  The Music Index Online
  DDM-Online
  Beethoven Bibliography Database
  Web of Science
  America: History and Life.

• Online equivalents of print resources: use italic:

  Ulrich's Periodical Directory
  Books in Print

• Online library catalogs, including union catalogs: use roman:

  OCLC WorldCat
  Melvyl (catalog of the University of California libraries)
  Hollis Catalog (Harvard Libraries)

• Aggregators of full-text articles, digital repositories, portals, etc.: use roman:

  IIMP or International Index of Music Periodicals (we are interpreting this resource as a full-text rather than citation database)
  JSTOR
  ProQuest
  Academic Search Premier
  ARTstor
  Public Library of Science

• Online services (shopping, etc.): use roman:

  Amazon.com

• Web sites (that are none of the above): use roman, except for exceptional cases when the site has the appearance of a monograph:

• Web sites--titles of subpages: use quotation marks:

• Electronic journals: use italic whether or not there is a print equivalent:

• Electronic books: use italic whether or not there is a print equivalent:

HYPHENATION

• most important composition but best-known composition (CMS14 p. 221)

• late-nineteenth-century music, mid-nineteenth-century music, early-nineteenth-century music (CMS14, p. 219)

• music of the late nineteenth century; music of the early nineteenth century (CMS14, p. 225: "Compound nouns naming centuries are always open.")

• but music of the mid-nineteenth century (CMS14, p. 229; "mid" forms a closed compound); similarly, in mid-August, in mid-1944.

• F clef (the NGD2 uses F clef; The NHD uses F-clef)

• "Use the en-dash to connect dates, pages, pitches, and keys, and in a compound adjective of which one element contains a hyphen or consists of two words." (Holoman 2.29)

Examples (with - representing an en-dash):

the Db- D#- Db figure
G major- G minor- G major
B- A- C- H
W. S. Gilbert-style verse
pitch-class-number notation

• Compound adjectives take an en dash when used as the equivalent of to, and, or versus to express a relationship of linkage or opposition (MW10 under "hyphen" in "Handbook of Style," ca. p. 1536)

Examples:

composer-pianist
Pulitzer-prize-winning
Weill-Lenya Archive
Mozart-Da Ponte operas
text-music (when indicating linkage or opposition)

KEYS, LETTERS, PITCHES, SYLLABLES, AND SYMBOLS

Form

• Use letters in roman without intervening spaces or dashes to indicate the musical form of a work or movement:

  ABA,  ABACAB'A, ABaAabAB (note: use a straight apostrophe for the prime sign, not a curved right single quote or apostrophe)

Keys

• Nocturne in D Minor (7.151); D-Minor Nocturne (note that the examples at the top and bottom of p. 289 in CMS14 are incorrect; they should read D-Minor Violin Concerto and the C-Minor Symphony per table 6.1, p. 222; Holoman 1.14 also prescribes this); but the movement begins in D minor (i.e., lower case; CMS14, 6.84).

• the D-major triad (CMS14, 6.84).

Pitches

• For pitch designations, use the system

  C₂ C₁  C   c  c¹  c²  c³ c⁴, with middle C as c.

• Generic pitch names are capitalized: middle C, a high D (CMS14, 6.84-85).

• Generic pitch names use roman not italic typeface. An exception may be made to clarify text.

  The author needs to name the pitch a below middle C.

• Use musical symbols (flat, sharp, and natural signs) when referring to the key or pitch of a note, movement, or work (ex. "Mozart wrote a D# in the manuscript, not Eb"). Use the word for the key or pitch as the prose demands it (ex. "in this edition, there is a sharp in the key signature").

• Plurals: D#s (not D#'s), Dbs (not Db's) [note: b = flat sign]

Syllables

• Use italic typeface for hexachord and modern syllable names (Irvine, p. 199).

Symbols

• Dynamics

• Use regular (i.e., nonbold) italics for abbreviated dynamics: p, f, fff, etc.

• Use roman for written-out dynamics: piano, forte, fortissimo, etc.

• Equal sign

• Notes prefers text over symbol.  When this proves cumbersome within parentheses, use an equal sign and include spaces on both sides of  it (CMS14, 8.12, which implies that quantities are treated according to the rules for spelling out numbers; and pp. 438-39).

• Time signatures

• Use time signatures (they will be typeset without the fraction line) when referring to the meter of a measure or section if the prose remains clear (ex. "The editor has changed the original time signature of 4/2 to 4/4.")

• Spell out the time signature when the prose so demands: "This march is in six-eight time" (not "This march is in 6/8" or "This march is in 6/8 time").

• For time signatures, use roman typeface in article, bold roman typeface in reviews.

LITURGY AND RITUAL

In progress (many terms, etc. can presently be found elsewhere in the Style Sheet. Use the search function to locate.

MANUSCRIPT NAMES

• Use roman typeface (including manuscript sigla):

  Berlin P200; Squarcialupi Codex; Bokmeyer Collection (Mus. ms. 30211) in Berlin; Pontifical of Aurilloc

MUSICAL COMPOSITIONS

• Symphony no. 41; the op. 67 quartet (Holoman 1.12 and CMS14, 7.151)

• Beethoven's opus 131 is a fine quartet. (No genre or title immediately precedes or follows opus.)  But: Beethoven's String Quartet op. 131(or Beethoven's op. 131 String Quartet) is a magnificent work. (Genre or title immediately precedes or follows op.)

• Symphony no. 8 in B Minor, op. 47

• Do not capitalize op., opus, or no. unless they are a part of a title in a bibliographic citation.

• Fifth Symphony; Fifth and Sixth symphonies; the Seventh (based on NGD2 practice); the symphony; the Andante of the Fourth Symphony (Holoman 1.9); Beethoven's symphonies nos. 1-5

• "Eroica" Symphony; "Italian" Symphony; "Diabelli" Variations; "Hammerklavier" Sonata (Holoman 1.4; the alternative in CMS14, 7.153)

• Varied Trio for violin, piano, and percussion (1986-87); Grand Duo for violin and piano (1988) (Holoman 1.4; the alternative in CMS14, 7.153)

• act 3, scene 2 (CMS14, 7.146)

• prelude to act 3 of Tristan und Isolde; overture to Tannhäuser

• the Prelude and Fugue in G Minor; the prelude; the fugue

• No. vs. no.:

• Use No. when No. X represents whatever title the piece, movement, or set piece might have within a larger work or collection; e.g., including two lovely ones by Purcell (Nos. 6 and 37 in Britten's score).

• Use no. when no. X qualifies the given title of a work within a collection or a movement or set piece in a large work; e.g., "Ertrage nur das Joch der Mängel" (no. 35).

• Use "duo" for the performing group and "duet" for a composition for two performers (Wester's Dictionary).

• Song titles

• When part of a larger work and discussed in this context, use quotation marks around the title of the song (the title of the song cycle is always in italic):

The author contrasts the use of the piano in Schubert's songs "Gute Nacht" and "Der Leiermann" from Die Winterreise.

• When referring to a song from a song cycle in an isolated context, however, use italics:

She performed several songs by Schubert, including Der Leiermann, Ellen's erster Gesang, and Stimme der Liebe. Among the French songs on the recital were Gounod's Au printemps, Massenet's Que l'heure est donc brève, and Saint-Saëns's La cloche.

• When referring to group of songs, some from cycles (which are noted) and some not, use a consistent marking for ALL of the song titles.
   
  This study focuses on five Schubert songs: "Gute Nacht" and "Der Leiermann" (from Die Winterreise), "Ellen's erster Gesang," "Bei dir!," and "Stimme der Liebe."

• Notes generally uses name forms of musicians and personalities connected with music as found in the NGD2 and NGD Online. For transliterated names of musicians, the forms in the Encyclopedia Britannica and MW10 are usually preferred.

• For general names, Notes uses the forms given in the Encyclopedia Britannica.

• For geographical names, Notes uses the forms given in MW10, or if not cited there, then in the Encyclopedia Britannica.

• Any exceptions to the above are listed under Words, Names, and Phrases.

• Full names of composers, musicologists, editors, and all other personages should appear at the first occurrence of the name in a text. Note, however, that first names may be dropped when preferable for stylistic reasons.

  Example:  Many performers now reject editions of Bach cantatas with editorially imposed dynamics.

• Notes regards the name of a chamber music performance organization as a personal noun and the name of a large ensemble as an impersonal noun.

Examples:  Emerson Quartet, for whom the work was written; Chicago Symphony Orchestra, for which the work was written

• Use RISM or institutional Web site as the authority for the correct names (including upper/lower case) of libraries and other institutions.

• Use the Encyclopedia Britannica as the authority for the correct forms of nonmusic names.

• For geographical names, use MW10--but use English form when it differs from that cited in MW10 (e.g., Cracow, not Kraków).

Periods

• Use only ONE SPACE after all periods (CMS15, 6.13).

• A space follows periods in initials: D. W. Krummel not D.W. Krummel (CMS15, 8.6).

• No spaces precede or follow periods in URLs and e-mail addresses (CMS15, 6.17).

Commas

• Use a comma after In (or in) + year at the start of a sentence or independent clause: "In 1770, Beethoven was born." (CMS15, 6.46, however, suggests otherwise.)

• Use a comma following a state name: "He was born in Chattanooga, Tennessee, on 14 September 1956." (CMS15, 6.47)

• No comma precedes Jr. in names: Harry Connick Jr. (CMS15, 6.49)

Colons

• One space follows colons in sentences.

• No space precedes or follows a colon in URLs (CMS15, 6.63)

Ellipses

• Notes uses three spaced periods for elipsis points (CMS15, 11.51), sometimes preceded or followed by other punctuation.

• Notes uses the "three-or-four-dot method" (CMS15, 11.57-61)

• Three dots indicate an omission within a quoted sentence, with spaces before the first dot and after the final dot.

• Four dots mark the omission of one one or more sentences--the first dot is a true period, with no space between it and the preceding word.

• A comma, colon, semicolon, question mark or exclamation point may precede or follow three ellipsis points. Placement of this punctuation mark depends on whether the omission precedes or follows the mark.

• Example: The one chosen for the April 1720 version in volume 1 is particularly interesting, as it is "a unique example of a draft prompt copy; it has annotations in ink in two hands, which show entrances, . . . indicate a surprising number of supernumeraries, . . . list props, . . . and confirm the existence of the bridge. . . . Any modern producer should find it a rewarding study" (p. xvii).

with words of 2 syllables where the accent is on the 2d syllable, the last consonant is doubled when adding a syllable. For example: traveled,