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Writing about Music

UNIVERSITY OF CALIFORNIA PRESS

Contents

Preface............................................................ix1 MUSIC TERMINOLOGY................................................1Titles of Works....................................................1Major and Minor....................................................6Capitalization Schemes.............................................6Composers' Names...................................................7Thematic Catalogs of Composers' Works..............................10Pitch Names........................................................11Dynamics...........................................................12Numbers............................................................12Other..............................................................142 NARRATIVE TEXT...................................................15Numbers............................................................15Dates..............................................................16Money..............................................................18Simple Punctuation.................................................19Ellipses...........................................................21Dashes.............................................................22Quotation Marks....................................................23Superscript Note Numbers...........................................23Capitalization.....................................................24Capitalization Schemes in Foreign Languages........................26Diacritics (Accents)...............................................28Ligatures..........................................................30Word Breaks........................................................30Russian............................................................31British English....................................................32Abbreviations......................................................33Block Quotations...................................................35References in Running Text.........................................36Roman and Italic...................................................37Other Typical House Rules..........................................40Format and Design..................................................40Finally ...........................................................413 CITATIONS........................................................42Articles...........................................................43Books..............................................................44Sound..............................................................48The Internet.......................................................49Short Titles.......................................................50Review Heads.......................................................50Abbreviations......................................................51Principles of Annotation...........................................52Sample Notes and Bibliography......................................534 MUSICAL EXAMPLES.................................................56Lyrics.............................................................59Scores and Parts...................................................645 TABLES AND ILLUSTRATIONS.........................................67Tables.............................................................67Illustrations......................................................706 THE PRINTED PROGRAM..............................................73Concerts...........................................................73Operas.............................................................77Texts and Translations.............................................77Rosters of Personnel...............................................80Program Notes......................................................81The Concert Listing................................................84Reviews............................................................85Finally ...........................................................877 ELECTRONICS......................................................888 BEST PRACTICES FOR STUDENT WRITERS...............................91Preliminaries......................................................91Typescript.........................................................93Citations, Again...................................................94Vetting............................................................95Production.........................................................95Beware.............................................................96Appendix: Problem Words and Sample Style Sheet.....................99Works Cited........................................................103Credits............................................................105

Chapter One

1.1 The formal title of a work from the classical repertoire includes the key, index identifier, and sometimes its familiar or traditional name.

Beethoven, Symphony No. 3 in E[flat] Major, op. 55 ("Eroica")

or

Beethoven, Symphony No. 3 in E-flat Major, op. 55 ("Eroica")

Either solution is correct. (The use of lowercase b and the number symbol # for E[flat] and F# is not.) For most applications the spelled-out version ends up posing fewer challenges to design and layout.

1.2 Generic Titles. Generic titles are those, in English, that use such describers as symphony, concerto, fantasia, and the like, often with an identifying opus or catalog number appended. These titles are given in roman type. Consider the forms given below.

Bach, Toccata and Fugue in D Minor, BWV 565 Haydn, Baryton Trio No. 71 in A Major, Hob. XI:71 Beethoven, String Quartet No. 1 in F Major, op. 18, no. 1 Beethoven, Violin Concerto in D Major, op. 61 Beethoven's Fifth Symphony Schubert, Mass No. 6 in E[flat] Major, D. 950 Schumann, Variations for Piano, op. 9 the Schumann Variations, op. 9 Liszt, Piano Sonata in B Minor

(See, for more samples, 1.12, and, for catalogs, 1.25.)

Capitalization styles vary but should be consistent throughout a work. CMS (8.203), for instance, prefers Symphony no. 3. The style strongly preferred in the profession, from performing artists to record producers, uses the uppercase No. for the title-and lowercase no. for a constituent of the opus number, as in the case of the Beethoven string quartet above.

1.3 Titles assigned by the composer (usually in their original language) are given in italics. (For capitalization of foreign titles, see 1.16, 2.45-53.)

Bach, Das wohltemperierte Clavier (or The Well-Tempered Clavier) Mozart, Vesperae solennes de confessore Beethoven, Missa solemnis Rossini, La gazza ladra Berlioz, Symphonie fantastique Mendelssohn, Lieder ohne Worte Verdi, I masnadieri Debussy, La Mer Stravinsky, Le Sacre du printemps (or The Rite of Spring) Copland, Appalachian Spring Boulez, Le Marteau sans matre

1.4 Common Names. Many works are referred to by widely recognized popular names. These are generally put in quotation marks.

Mozart, Symphony No. 41 in C Major...