Professional Documents
Culture Documents
7th edition by
Olga Lipsky (Educational Products & Services)
& Catherine Hodgson (EP&S)
Contributors:
Gregg Howard
Kathy Watson
Information Services
Queensland Conservatorium
Griffith University
2009
Table of Contents
This chapter will examine some of the more important music reference sources to be
found in the Reference Collection of the Queensland Conservatorium Library.
The Reference Collection is a small collection of materials, mainly books, which are
designed to provide convenient and ready access to information. Material in the
Reference Collection is not for loan.
• basic sources;
• bibliographies of music literature;
• bibliographies of music.
Basic Sources
Dictionaries and Encyclopedias
There are different categories of dictionaries. This chapter will examine some of those
that deal with:
• biographical information;
• terms;
• miscellaneous.
Sadie, S. (Ed.). (2001). The new Grove dictionary of music and musicians (2nd ed., Vols 1-29).
London: Grove.
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• This remarkable work aims to bring together in one alphabetical order all of the
most important information on music history, theory and practice, instruments
and terms.
• The longer biographical entries include lists of works and extensive
bibliographies to lead you to further information.
• The New Grove Dictionary of Music and Musicians is available online via
Databases and is called Grove Music Online.
Biographical
entry
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The “Works” list provided at the end of many biographies vary from basic lists of works
to quite extensive tables. The tables provide a wealth of information about the works
they list depending on the composer and type of music.
Table of works
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Bibliography
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It focuses mainly on musicians and musical figures in the world of "art music", e.g.
composers, performers, scholars, critics etc.
Biographical
entry
Bibliography
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International who's who in popular music. (2006). (8th ed.). London: Europa.
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Australian
biographical
entry
Contact
address
Volume 2 covers popular music contains information on over 5,000 individuals in the
fields of pop, rock, folk, jazz, blues and country music. It includes:
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This is the standard reference work in English for information about terms, and
provides accurate and pertinent information on all musical topics.
Term
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Kennedy, M. (1994). The Oxford dictionary of music (2nd ed.). Oxford: Oxford University
Press.
Term
Many music dictionaries are organised around a single subject or interest. There are
specialist dictionaries focusing on jazz or popular music, opera, instruments or the
music of particular countries.
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Bowman, D. (2002). Rhinegold dictionary of music in sound (Vols. 1-2 + 3 CDs). London:
Rhinegold.
Definitions of musical terms (v.1) illustrated with examples from scores (v.2) and
recorded extracts (3CDs).
Term
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The following section will examine examples of specialist dictionaries in the following
areas:
• popular music;
• jazz and blues;
• opera;
• music of a particular country;
• world music.
Popular Music
Works in this genre have increased quite dramatically over the last few years as more
research is done in the area. Major works are:
Shepherd, J., Horn, D., Laing, D., Oliver, P., & Wicke, P. (Eds.). (2003). Continuum
encyclopedia of popular music of the world (Vols. 1-12). London: Continuum.
Larkin, C. (Ed.). (2006). The encyclopedia of popular music (4th ed., Vols. 1-10). London:
Muze U.K.
Gammond, P. (1991). The Oxford companion to popular music. Oxford: Oxford University
Press.
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Bibliography
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• It includes jazz.
• It lists albums.
• Names of people mentioned elsewhere in the dictionary are highlighted.
• There is reference to further reading.
Biographical
entry
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People with
entries in
Encyclopedia of
Popular Music
Albums
Further
reading
NOTE: This resource is available online from University networks. Please refer to p.55
for information about the electronic version of this resource.
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The Oxford Companion to Popular Music is a good tool for brief information on
musical theatre, folk-music, jazz and pop music. It has particularly useful indexes to
people, groups, shows, films, songs and albums referred to throughout the book.
Song title
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The number beside the song title 'Sound of Silence' refers to the page number.
Song title
Page number
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Kernfeld, B. (Ed.). (2002). The new Grove dictionary of jazz (2nd ed., Vols. 1-3). London:
Grove.
The New Grove Dictionary of Jazz is the first truly scholarly dictionary on jazz. The
dictionary includes a comprehensive treatment of terminology and theory, articles on
musical instruments, record labels, festivals, venues, films and institutions.
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Signed entries
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Opera
Sadie, S. (Ed.). (1992). The new Grove dictionary of opera (Vols. 1-4). London: Macmillan.
This dictionary, like its parent, The New Grove Dictionary of Music and Musicians:
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Opera title
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Biographical
entry
Bibliography
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Chamber Music
Cobbett, W. W. (Ed.). (1963). Cobbett's cyclopedic survey of chamber music (2nd ed., Vols. 1-3).
London: Oxford Unversity Press.
Critical, historical and analytical survey of chamber music (for three to nine solo
instruments). Includes biographical and subject coverage
Music example
Contributor
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Cohn, A. (1997). The literature of chamber music (2nd ed., Vols. 1-4). London: Oxford
University Press.
Composer
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The first comprehensive reference book on Australian music, The Oxford Companion
to Australian Music, combines an account of music in Australia with biographical
information on its musicians. At the end of many of the entries there are references to
further reading, notes and recordings
.
Biographical
entry
Bibliography
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Whiteoak, J., & Scott-Maxwell, A. (Eds.). (2003). Currency companion to music & dance in
Australia. Sydney: Currency House.
A general reference work on music and dance in Australia, rather than Australian music
and dance. Arranged alphabetically by subject. Each article includes a bibliography.
Further
reading
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World Music
Nettl, B., Stone, R., Porter, J., & Rice, T. (Eds.). (1998-2002). The Garland encyclopedia of
world music (Vols. 1-10). New York: Garland.
Chapter title
Chapter author
Chapter
coverage
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In this section we will look at the literature about music. Such works can cover a wide
variety of areas: writings about a particular period in music, about individual composers,
about music education, or about the music of a particular country, just to give a few
examples.
It would be impossible to include all these resources here, so we will examine three
selected works in constant use.
Annotated Bibliographies
An annotated bib is a bib in which each citation contains a brief description or summary
of rhe contents.
The principal use of this book is to find analyses on particular compositions of Western
art music.
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Book title
Description
Works
Dissertation
number
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Bibliographies of Music
This section deals with bibliographies of musical scores as distinct from the literature about
music.
These sources are designed for the musician who has a specific objective in view;
namely, the selection of material for performance purposes, whether for solo or
ensemble use.
Orchestral Music: A Handbook contains not only information about music for
orchestra, but also music for chorus, solo voices and solo instruments.
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Composer Publisher
Instrumentation
Duration
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The Repertoire for the Solo Voice... is one of the most useful tools for singers.
• source of text;
• vocal range;
• difficulty of accompaniment;
• general style and musical and vocal requirements of the song.
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Source of text
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Thematic Catalogues
A thematic catalogue (also known as a thematic index) is an index or guide to a body of
musical works, such as the collected works of a composer. It is a systematic
arrangement (often in chronological order) of the published and unpublished works of
the composer.
Each work is given a unique identifying number. This can be an opus number, e.g.
op.25, or an alphanumeric code, e.g. K.466, BWV565, etc.
K.466 The alphabetic character may denote the first letter of the compiler’s name.
e.g. K. = Köchel (Mozart’s compiler)
466 = Piano concerto no.20 in D minor.
• Title;
• Incipits (= opening notes – Latin) of each movement of work;
• Instrumentation;
• Date(s) of composition;
• Performance date(s);
• Manuscript sources;
• Publication date(s);
• Dedication;
• Related works;
• Literature.
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Music Research
Music Reference and Research Materials: An Annotated
Bibliography
Duckles, V. H., & Reed, I. (1997). Music reference and research materials: An annotated
bibliography. Michael A. Keller, advisory editor. Indexed by Linda Solow Blotner
(5th ed.). New York: Schirmer Books.
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A guide to the contents of principal anthologies of music, including the complete works
of prolific composers and the content of sets, including publisher’s series.
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Taruskin’s provides a scholarly, yet individual and critical perspective of the history of
Western music. Volumes 4-5 concentrate specifically on the history of music in the 20th
Century. Volume 6 contains an index, chronology and bibliography.
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Reference List
The following key reference sources were used to illustrate this chapter:
Bowman, D. (2002). Rhinegold dictionary of music in sound (Vols. 1-2 + 3 CDs). London:
Rhinegold.
Brook, B. S., & Viano, R. (1997). Thematic catalogues in music: An annotated bibliography.
Annotated reference tools in music no.5 (2nd ed.). Stuyvesant, NY: Pendragon
Press.
Cobbett, W. W. (Ed.). (1963). Cobbett's cyclopedic survey of chamber music (2nd ed., Vols. 1-3).
London: Oxford Unversity Press.
Cohn, A. (1997). The literature of chamber music (2nd ed., Vols. 1-4). London: Oxford
University Press.
Crabtree, P. D., & Foster, D. H. (2005). Sourcebook for research in music. Revised and
expanded by Allen Scott (2nd ed.). Bloomington IN: Indiana University Press.
Daniels, D. (2005). Orchestral music: A handbook (4th ed.). Lanham, MD: Scarecrow Press.
Diamond, H. J. (1991). Music analyses: An annotated guide to the literature. New York:
Schirmer.
Duckles, V. H., & Reed, I. (1997). Music reference and research materials: An annotated
bibliography. Michael A. Keller, advisory editor. Indexed by Linda Solow Blotner
(5th ed.). New York: Schirmer Books.
Espina, N. (1977). Repertoire for the solo voice: A fully annotated guide to works for the solo voice
published in modern editions and covering material from the 13th century to the present day
(Vols. 1-2). Metuchen, NJ: Scarecrow Press.
Gammond, P. (1991). The Oxford companion to popular music. Oxford: Oxford University
Press.
Heyer, A. H. (1980). Historical sets, collected editions and monuments of music: A guide to their
contents (3rd ed., Vols 1-2). Chicago: American Library Association.
International who's who in classical music. (2006). (22nd ed.). London: Europa.
International who's who in popular music. (2006). (8th ed.). London: Europa.
Kennedy, M. (1994). The Oxford dictionary of music (2nd ed.). Oxford: Oxford University
Press.
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Kernfeld, B. (Ed.). (2002). The new Grove dictionary of jazz (2nd ed., Vols. 1-3). London:
Grove.
Komara, E. (Ed.). (2006). Encyclopedia of the blues (Vol. 1-2). New York: Routledge.
Kuss, M. (Ed.). (2004). Music in Latin America and the Carribean: An encyclopedic history
(Vols. 1-4). Austin: University of Texas Press.
Larkin, C. (Ed.). (2006). The encyclopedia of popular music (4th ed., Vols. 1-10). London:
Muze U.K.
Nettl, B., Stone, R., Porter, J., & Rice, T. (Eds.). (1998-2002). The Garland encyclopedia of
world music (Vols. 1-10). New York: Garland.
Randel, D. M. (Ed.). (2003). The Harvard dictionary of music (4th ed.). Cambridge, MA:
Belknap Press of Harvard University Press.
Sadie, S. (Ed.). (2001). The new Grove dictionary of music and musicians (2nd ed., Vols 1-29).
London: Macmillan.
Sadie, S. (Ed.). (1992). The new Grove dictionary of opera (Vols. 1-4). London: Macmillan.
Shepherd, J., Horn, D., Laing, D., Oliver, P., & Wicke, P. (Eds.). (2003). Continuum
encyclopedia of popular music of the world (Vols. 1-12). London: Continuum.
Taruskin, R. (2005). The Oxford history of western music (Vols 1-6). Oxford: Oxford
University Press.
Whiteoak, J., & Scott-Maxwell, A. (Eds.). (2003). Currency companion to music & dance in
Australia. Sydney: Currency House.
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Library Catalogue
The Library catalogue contains records for all items held in all campus libraries. It is
available at:
www.griffith.edu.au/ins/catalogue/
Alternatively, from the Griffith University home page click Library and computing
services. Then, from the Information Services home page, click Library Catalogue.
There are a number of options for searching for information in the catalogue: browsing,
keyword searching, refining a search, e.g. for a particular format, such as scores, sound
recordings, etc.., and advanced search options.
Tips
When searching for authors, enter surname first, then other names, e.g. Stolba, K.
Marie.
When searching for titles, omit the first word if it is a definite or indefinite article, such
as ‘A’, ‘The’, “La’ ‘Le’, etc. For example use:
Well-tempered clavier
and not:
For more information about searching the catalogue, placing and cancelling holds,
renewing loans etc., click , then click Help Topics for a list of
help options.
Browse in Index
Browse searching enables you to search for headings that start with the word or phrase
entered. An alphabetical list of matching headings is displayed. You can browse by
title, author, subject, series, call number or course code.
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Advanced Search
The advanced search option enables you to combine searching in different fields, such
as author and title.
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Refine Search
It is also possible to further refine a search by language, date or material type.
To refine a search:
Enter a search.
A list of results matching the search criteria is displayed.
Click to display the Refine Search options.
Type the required date in the Date window or
click in the Language window to select the required language or
click in the Material window to select the required material.
Click ..
A list of results matching the search criteria is displayed.
From the displayed result list, click the required reference to display more
information.
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Marking Records
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NOTE: Thematic index (catalogue) number = the unique number given to each work
by the person who systematically numbered a composer’s works e.g.
BWV 565 = Bach Werke Verzeichnis 565 (German for Bach Works Index [no.]
565)
NOTE: opus = Latin for ‘work’ i.e. op. 25 = work 25 of a composer’s output.
www.griffith.edu.au/ins/catalogue
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Journal Articles
When researching for your assignments you will be expected to use a variety of
materials. Among these materials are journal articles.
The material found in journals often represent the most recent scholarship available in a
discipline. Journals often contain information that may not be found in other sources
such as books.
Journals
Journals are known by several names. They may be referred to as periodicals or serials
but they are best known in the academic world as journals.
Journals are distinguished by their scholarly content. Journals are often of a specialist
nature and articles focus on specific aspects of a discipline.
Journals are published according to a regular schedule, e.g.: monthly, quarterly, annually
or even less frequently.
Magazines
Magazine articles can be a useful source of information although they tend to be of a
less academic nature than journals. Magazine articles are not usually written in a
scholarly style nor do they tend to use academic language. Articles appearing in
magazines are usually written to appeal to the general public or hobbyists. Magazines
cover a broad subject interest within a discipline.
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Magazines are published more frequently than journals, e.g.: weekly, fortnightly or
monthly.
• National Geographic
• New Scientist
• Gramophone Magazine
• Studio Sound
In addition to subject specific journals, the Library holds many journals and magazines
of general interest to instrumentalists and singers.
In addition to the journals held in the Queensland Conservatorium Library, there are a
large number of journals of interdisciplinary interest held at other campuses of Griffith
University. All students of the Conservatorium have access to these either when visiting
other campus libraries in person or by requesting copies of articles via the Interlibrary
Loan & Document Delivery Services.
Journals are located in the Periodical Collection and new issues of each journal are
displayed on the New Periodical display. Browsing new journals is an excellent way of
keeping up to date with developments in your fields of interest. Journals are not for
loan.
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Journals may be browsed issue by issue, however this is not an efficient way of
searching for articles and is not recommended.
Another way of locating journals is to search through the contents pages found at the
beginning of each issue. Upon completion of each volume, indexes are often published
listing the entire contents of the volume.
The third and most efficient way of locating journal articles is to use a database, which is
discussed in the next chapter.
The bibliographies provided at the end of Grove dictionary articles may also be a useful
source of references to journal articles.
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Databases
Databases can be general (covering a wide range of subjects) e.g. Expanded Academic
Database, or specific e.g. International Index to Music Periodicals.
Searches can be done on specific authors, titles, subjects, etc. or by entering keywords.
Access
On Campus Access
www.griffith.edu.au/library
Alternatively, from the Griffith University home page click Library then
Databases.
You can also access the databases from Learning@Griffith. From the
Learning@Griffith web site, click Library, then Databases.
Library Proxy
Griffith University Library uses a proxy service to provide users with access to restricted
subscription resources, such as databases, e-journals, e-books and web-based resources.
Many of the electronic resources provided through the Griffith University Library are
licensed to be used only by current students and staff.
If you are off campus and you click a link to a licensed resource you will be prompted to
log into the Griffith University network, using your ‘s’ number and password.
Licensed library resources available via the Library Proxy service will not incur
individual NetCheck costs. Licensed library resources not available via the Library
Proxy service will incur individual NetCheck costs.
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www.griffith.edu.au/ins/collections/libraryproxy/
VLink Software
As not all databases are covered by the Library Proxy, you may still need to install
VLink software by following the instructions on the VLink web site:
www.griffith.edu.au/ins/remoteaccess/vlink/
Selecting a Database
Once in the library databases page you can select a database by:
• Title;
• Database Title by Keyword;
• Full Text;
• Subject.
Full Text (i.e. complete texts of articles in journals): Click on the title of a database.
Subject: Click on the subject under the subject listings e.g. music.
Searching a Database
Databases can be searched in a variety of ways. You can usually search by:
• Author
• Title
• Subject
• Keywords
You can also refine searches by specifying language/dates etc. and by indicating peer
reviewed journals only (i.e. journals reviewed by experts in the particular subject field).
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• Author of article
• Title of article
• Title of journal
• Volume number, issue or part number if there is one
• Year of publication (often includes month)
• Page numbers
• Abstract or summary of article
Example:
Priore, Irna. The compositional techniques of Messiaen’s “Le Merle Noir”
Flute talk 20:8 April 2001, p.11-13
Discusses and analyses Messiaen’s work for flute and piano…
When the database search produces citations and abstracts (summaries) only of articles,
you have to check the library catalogue to see if the journal is held by the library, e.g. for
the above example, enter ‘Flute talk’ under ‘Title’ in the library catalogue. This journal is
held in the Periodicals (Journals) section (prefix Per=Periodicals) at Per ML935.F68.
Mark/E-mail/Print/Save Articles
You can mark articles, e-mail them to yourself or others, or print and save.
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• JSTOR (Electronic archive of articles in all subject areas, including music. Full
text, going back to earliest dates. Does not include current volumes. Select
“Advanced” or “Expert” search, then select “Music”)
• Music Index Online [MIO] (Articles in music journals, both abstracts and full
text)
• Naxos Music Library (The whole catalogue of the Naxos CD label. Covers
classical, popular, jazz, world music, film music and nostalgia)
• Neue Mozart Ausgabe (Complete works of Mozart online. Available via the
library catalogue)
• Oxford English Dictionary Online [OED] (The complete OED, with regular
updates)
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• ProQuest Education journals (Full text for nearly 400 education journals. For
music in education)
• Taylor & Francis online journals (Online access to over 1000 journals
published by the Taylor & Francis group, including Carfax, Routledge and Spon)
The works of an artist may be listed in a complex table that can be saved and
manipulated in Microsoft® Word® as required.
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When the article has been received via e-mail, it can then be copied into Word and
manipulated as required.
To copy and paste an entry from an e-mail message:
Open the e-mail with the Grove Music Online article.
Select Edit, Select All.
Select Edit, Copy.
Open a new Word document.
Select Edit, Paste.
When the text has been pasted into Word, it can be manipulated like any other table of
information.
To delete a row:
Position the cursor in the table row to be deleted.
Select Table, Delete, Rows.
The Sibelius Group produces software for writing, teaching and publishing music,
including Scorch, which can be used to view, print, customise and listen to Sibelius
scores on the World Wide Web. Scorch can be downloaded from the Sibelius site for
free and is installed automatically when it is downloaded.
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NOTE: If Windows XP Service Pack 2 is installed, the instructions are slightly different
to allow for the service pack’s security features.
To download and install Scorch if Windows XP Service Pack 2 is installed:
Open Internet Explorer and go to http://www.sibeliusmusic.com to display the
Sibelius Music home page.
Click and select Australia.
If required, click and select the required language.
Click to display a new page.
Click to display the Products page.
Scroll down and locate Scorch, then click .
A new page is displayed with a blank image.
The Information Bar dialog box is displayed. Click to close the
dialog box
Click on the yellow information bar and select Install ActiveX Control.
A security warning window is displayed. Click to install Scorch.
Another security warning window is displayed. Click again to
confirm installation.
A new page is opened. Enter your name and e-mail address, then click
to return to the page with the blank image.
When installation is complete, the blank image is replaced with a score.
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References from RISM, the International Inventory of Musical Sources database can be
exported directly into an EndNote library.
To save references from RISM database:
Go to RISM database and execute the required search.
Mark the required references.
Click to go to the Output page and select required options.
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There are several steps involved in researching an assignment topic and you will need to
allocate plenty of time for each step. Begin working on your assignment as soon as
possible.
Pathfinder to Information
The research process should be thorough and consistent. At tertiary level research
should cover a wide variety of materials including journal articles and specialist books.
There is a hierarchy of information from the general to the specific. This hierarchy of
information may be thought of as a pathfinder to information. The following is an
outline of the pathfinder.
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Internet Documents
Use these for:
• repertoire lists;
• discographies;
• music analysis;
• biographical information;
• historical information.
Published Reviews
Use these for:
• analyse music.
Booklet notes included with CDs, DVDs, etc. can also be useful for background
information and music analysis.
Specialist Books
Use these for:
Journal Articles
Use these for:
Bibliographies
Bibliographies are specialist reference tools focusing on specific subjects or individuals.
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Read through the assignment topic. Are there any terms or concepts you are unfamiliar
with? If so you will need to consult a dictionary or ask your lecturer for clarification.
Think about the topic and decide what sort of information is needed and where the
information might be found (see “Pathfinder to information”).
Identify the directive word/s and list main concepts and keywords. Think which
combinations of words and phrases are most likely to help you find material on the
topic. It can be helpful to write some combinations down especially if Boolean
connectors or truncation is being used (see “Boolean logic, AND, OR, NOT” and
“Truncation”). These combinations are called search statements.
Directive Words
When you have read the assignment topic carefully, identify the directive words.
Directive words are those words that tell you exactly what you must do to address the
topic. Some assignment topics are quite complex requiring you to address a number of
issues. Be careful to keep the directive words in mind when writing an essay as it is
quite easy to write around an assignment topic without actually answering it.
Analyse Show the essence of something by breaking it down into its component
parts, examining each part in detail and attempting an explanation.
Comment Make critical observations about the subject matter; be careful not to
write in too many generalisations.
Define Set down a precise meaning of a word or phrase; show that the
distinctions inferred in the definition are necessary.
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Describe Investigate or examine an argument; sift and debate the topic; give
reasons for or against the central argument.
Discuss Present a point of view, that of others and/or your own. This is likely to
entail thorough description and an emphasis on the most important
points.
Evaluate Appraise the worth of something in the light of its apparent “truth” or
utility; test for assumptions.
Explain Assign meanings, interpret and make clear the cause, origin or reasons.
Interpret Bring out the meaning, clarify and make explicit. This usually involves
judgement and evaluation.
Outline Give the main points or general principles of a topic, omitting minor
details and emphasising structure and relationship.
Relate Show how things are connected to each other and to what extent they
affect each other.
Review Survey and examine critically the topic and the logic of the argument.
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Directive word
Concepts
Having identified the directive word/s in an assignment topic, the next step is to
identify the main concepts. Main concepts are the major elements of the topic. They
may be identified as significant words or phrases.
• Hallot Kisero;
• funeral music;
• Romanian Gypsies;
• musical style;
• cultural context.
Keywords
From the main concepts, a list of keywords may be derived. Keywords describe the
main concepts, usually in a single word.
The following is a list of keywords derived from the main concepts listed above,
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Concepts Keywords
Truncation
Truncation is the act of shortening words in order to find variations on those words.
Truncation may occur at the beginning, within or at the end of a word.
Words are truncated by replacing letters with a truncation symbol. Truncation symbols
vary between databases but the most common truncation symbol is the asterisk ( * ).
All the keywords derived from the main concepts listed above may be truncated, e.g.,
When truncating words be aware of the wider implications. In addition to the words
listed above, Romanian truncated to Roman* will also find such words as Roman,
Romans, romance, romantic, romanticism etc. and so may therefore be of limited use.
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Boolean logic uses three terms, AND, OR, NOT, these are called Boolean operators.
Using the keywords Gypsy and culture, Boolean operators are best explained as follows.
AND
A search for Gypsy AND culture will find materials about Gypsy culture.
Searches using the Boolean operator AND are very specific. Most searches will use the
AND operator.
OR
Gypsy OR culture will find materials about Gypsies and it will find materials about
culture. Only a very small amount of the material will be about Gypsy culture. Most of
the material will be unrelated to Gypsy culture.
Gypsy OR culture is too broad a search to be useful.
NOT
Gypsy NOT culture will find materials on Gypsies but will exclude materials on Gypsy
culture. Searches using the Boolean operator NOT are very specific. The operator
NOT should be used with caution.
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The following is an example of a search statement using truncation and Boolean logic.
Sometimes it will be necessary to use more generalised materials from which it will be
possible to draw inferences and conclusions. A general book about Gypsies may
contain information about Romanian Gypsies, and Gypsy religion and Gypsies in
general. The book may not have information specifically about the funeral music of
Romanian Gypsies, yet by reading the text and by thinking broadly about the
information it contains, the book may prove to be quite useful.
Evaluating Resources
Not everything appearing in print or on the Internet is of equal importance or deserving
of credibility. As you review the literature you have collected during the course of your
research you should apply evaluation criteria. The following are a few guidelines to
assist you evaluate your materials.
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Internet Documents
Great discernment should be used when using information taken from the Internet.
These are three basic points to remember when using information taken from the
Internet.
Apply the same criteria to Internet documents as you would to books or journals. In
addition, consider the following questions.
• On what sort of site does the document appear, e.g., personal, commercial or
academic? If this is unclear the URL will indicate the type of site.
• Does the document give the author’s name?
• Is there a date on the document?
• When was the document last updated?
• What is the context of the document?
Reference List
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Effective Reading
Your academic subjects will involve high reading demands. There are a number of
reading strategies that can be used depending on your purposes for reading. Effective
reading is all about determinin98
g a clear purpose and adjusting the way you read for different purposes.
Active Reading
Active reading means you focus your reading and use strategies to keep your mind on
the text.
Using a highlighter, underlining or annotating text as you read can help you focus on the
text. This technique also emphasises information and helps you review important
points after you’ve finished reading. Never mark library books or books belonging to
others as such markings are usually meaningless to other readers and disrupt the flow of
their reading.
Always determine how deeply you need to study a text before you begin reading. The
following are some strategies you can use while reading at university.
• Know your purpose for reading. Why are you reading a text? Are you
reading to find evidence for an assignment? Do you need to remember
what you are reading for an exam?
• Ask questions, then read to find the answers. Turn your assignment
question into many questions. Create questions out of your weekly lecture
topics or assigned readings. What do you need to understand? Asking
questions helps determine a clear reading purpose.
Practice pacing your reading to increase speed. Increase your eye span from single
words to phrases or key words, survey sentences, paragraphs or whole pages of text.
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Q Question set questions for yourself and read to find the answers.
Critical Reading
Effective readers are critical readers who question, evaluate and judge everything they
read. As you read, evaluate the authors’ intentions and arguments. Is sufficient
evidence provided to support their arguments? Is the evidence valid? Are the authors’
conclusions justified by clear argument and supporting evidence?
More critical reading strategies you can apply to make your reading more satisfying and
productive, are available at:
mind.phil.vt.edu/www/1204crs.html
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Note Taking
Note taking is an important part of any university subject whether reading or listening to
a lecture or to a musical recording. Your purpose for taking notes will determine the
form of your notes.
Note taking needs to be systematic so that your notes are easily retrieved. Keep your
notes simple, neat and useful.
Although there are differences between reading and listening, common elements exist
when note taking in both situations. The sorts of things to note are:
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When taking notes consider whether the material is new and will be examined which
will require full notes, or if summary is adequate which will require brief notes. It is
important is to find a balance between careful listening and useful notes.
The following are some practical ways to order your notes, or establish a format for
note taking.
• Identify your notes with topic heading, date and number the pages.
• Leave wide margins or write on one side of the paper.
• Note phrases, key points or concepts rather than full sentences.
• Number points and sub-points clearly, use colours to categorise.
• Develop abbreviations, underline or circle important points.
• Use diagrams/patterns, pictures or concept maps to categorise ideas and show
relationships between concepts or issues.
• Use concept maps as a useful strategy to show the relative importance of
information when preparing for a research assignment or exam.
Concept Maps
Concept maps are visual representations showing the relationships and relative
importance of information and ideas to a main topic.
• summarise information;
• consolidate information from different sources;
• organise complex information;
• show the overall structure of a subject.
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For more information about concept mapping see the Web page, Improving Note Taking
with Concept Maps at:
www.mindtools.com/mindmaps.html
All lecturers have different lecturing styles and all speak at different speeds with
differing levels of clarity. When taking notes in lectures, look for structures in the
lecture, these will help provide structures and boundaries for your notes.
Your notes will vary depending on the requirements of a subject. Consider whether the
materials will be examined (full notes) or whether a summary (brief notes) is adequate.
Most important is to find a balance between careful listening, reading and useful notes.
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Some practical ideas for recording information from a book or journal article include:
• Always record the author’s name, date, page and full citation details.
• Summarise the argument, key ideas, evidence and conclusions/summary.
• Use an outline form to note issues, concepts or important points.
In summary, note taking needs to be systematic so they are easily retrieved. Keep in
mind that the purpose for your note taking is to provide resources for your assignments
or exams. Keep your notes simple, neat and useful. Quality is more important than
quantity.
Keeping a Record
It is a good idea to keep a record of all resources you have quoted from or found useful
during the course of your research. Among these are the materials you have quoted
from, disagreed with and the materials that helped you form your opinions. Also include
in your record keeping scores, sound and video recordings.
Keeping an accurate record of the materials you have used is necessary when you need
to write footnotes/endnotes and reference lists. Your records will also be useful if you
need to refer back to your original sources.
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Academic Writing
Academic writing is different from other types of writing and has distinctive purposes
and structures. Academic writing seeks to critically respond to controversial questions.
Research assignments require the writer to convince a reader that an argument or
position is logical and reasonable based on valid evidence. Students write essays to
persuade a reader that a particular position, viewpoint or argument is defensible and
convincing.
Many students make the mistake of not reading or understanding the assignment
question correctly and therefore loose marks or even fail for not specifically addressing
the assignment topic.
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A few hints:
• use a dictionary/encyclopaedia to find definitions
• if unsure, discuss requirements with your lecturer or tutor
• keep the essay question in front of you
These main elements may be illustrated by referring to the assignment question used in
the chapter “Research for assignments”.
For more information about analysing and researching assignment topics, refer to the
chapter “Research for assignments”.
Your assignment question will provide insights to possible positions by the way the
question is stated. You will often be required to analyse or evaluate the work of a
composer, or explain how certain pieces of music illustrate a musical style, or examine a
composer’s contribution to the music of a particular period.
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The following table may be useful when you are asked to analyse or evaluate.
Analyse Evaluate
Examine component parts and explain Make judgements about information, use
motives or causes criteria to verify quality
Keywords: Keywords:
categorise, classify, compare, contrast, criticise, defend, judge, determine, measure,
simplify, distinguish, relationships, rate, prioritise, compare, assess, appraise
themes, conclusions
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Introduction
Body
The purpose of the body of an essay is to provide a discussion that clarifies, expands
and supports your position or argument. The following features should appear in the
body of the essay:
Conclusion
The conclusion does not include any new information. The conclusion should:
References
A reference list should contain all the items cited in the body of the essay.
Inadequate referencing and poor referencing style can result in the loss of marks.
Good referencing:
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Assessment
Students are expected to demonstrate an ability to critically analyse a question and the
literature, then present a coherent argument supported by authoritative evidence.
Academic writing is generally assessed in five areas: relevance to the set topic, critical
use of resources, a reasoned argument, competent presentation and referencing.
Academic Skills
Learning Services
Griffith University
Phone: 3735-6452
E-mail: academicskills@griffith.edu.au
Website: www.griffith.edu.au/ins/learningservices
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Style Guide
Assignment Presentation
Assignment presentation is an important aspect of academic writing. This style guide
outlines all aspects of assignment presentation. The second part of this style guide
focuses on citation and referencing. A substantial collection of citation and reference
examples of particular relevance to music students is included. An index to these
examples with cross references is provided.
All assignments should be accompanied by an assignment cover sheet. Fill out the
cover sheet legibly and supply all the information required. The cover sheet is attached
to the front of the assignment.
www.griffith.edu.au/ins/assignments
Select Forms from the navigation bar of the Off Campus & Assignment Handling
Service web page, and then select OCAHS Assignment Cover Sheet to display a PDF
copy ready for printing.
Printed copies of the cover sheet are also available from the library.
Title Page
Attach a title page at the beginning of your essay. Include such information as:
• your name
• university membership number
• course code
• title of the assignment
• word count
Paper Size
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Spacing
Assignments should be typed and double-spaced. This means that there should be one
clear line of space between each line of typed text.
Reference lists should be single-spaced with one clear line of space between each
citation.
Margins
Word processing applications have automatically set margins. This includes the top,
bottom and right margins of 2.5cm and a left margin of 4cm.
Font
The font size should be no smaller than 12 pt. This document is formatted in 12 pt.
Serif fonts are easier to read than non-serif or “sans serif” fonts. This document is
largely formatted in Garamond which is a serif font.
Page Numbering
Pages should be numbered sequentially, preferably at the top centre or top right corner
of each page. The first page is not numbered but subsequent pages are numbered from
2 onwards.
Your name should be placed at the top right corner of each page.
Binding
Your essay should be securely stapled in the top left corner when submitted.
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Proofreading
Proofread your work several times before submission, if possible, ask someone else to
proofread it for you.
Spell-checks
Be aware that spelling varies between usages. Word processing applications have a
selection of national usages including US, British and Australian usages. The Australian
usage is to be preferred when available otherwise the British usage should be used.
Do not rely on the spell-check function to pick up all your spelling errors. If you are
not sure of the spelling of a word, use a dictionary. Spell-checks will not pick up
grammatical errors or incorrect use of words.
Grammar-checks
The grammar-check option is a useful option to help you write clearly. Grammar-
checks highlight sentences that are too long or clumsy, or that are unfinished.
Grammar-checks also indicate places that might require punctuation.
Grammar-checks are not a proofreading devices, always proofread your essays for
spelling and grammatical errors
Appendices should be included sparingly. Each appendix should have a title. Include in
appendices such material that will not fit conveniently into the text of an assignment
without detracting from its continuity. Material such as large music examples, statistical
tables or diagrams which although relevant to the assignment may not be essential to the
text. Material not directly relevant to the text should not be included in an appendix.
Label a single appendix as: Appendix. If adding multiple appendices, label each with a
capital letter, e.g. Appendix A, Appendix B, etc.
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Plagiarism
On 2 March, 2000 Academic Committee, Griffith University approved the Policy on
Academic Misconduct of which the following abridged material on plagiarism forms a
part.
Students must conduct their studies at the University honestly, ethically and in
accordance with accepted standards of academic conduct. Any form of academic
conduct which is contrary to these standards is academic misconduct, for which the
University may penalise a student.
• include in the student's individual work material which is the result of significant
assistance from another person if that assistance was unacceptable according to
the instructions or guidelines for that work;
• Word for word copying of sentences or paragraphs from one or more sources
which are the work or data of other persons (including books, articles, thesis,
unpublished works, working papers, seminar and conference papers, internal
reports, lecture notes or tapes) without clearly identifying their origin by
appropriate referencing.
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• Submitting work which has been produced by someone else on the student's
behalf as if it were the work of the student.
• Submitting work which has been wholly or partially derived from another
student's work by a process of mechanical transformation. For example,
changing variable names in computer programs.
Penalties
On determination that academic misconduct has taken place, the penalty which may be
imposed on the student is one or more of the following:
a. a reduced or nil result for the assessment item affected by the academic
misconduct
b. a fail grade for the course in which academic misconduct occurred
c. exclusion from enrolment in the program for a specified period
d. exclusion from the program; readmission to the program is at the discretion
of the Faculty based on consideration of the student's case for readmission
Where a student has been found guilty of academic misconduct on more than one
occasion and has previously been penalised as set out in above a. - c., the penalty shall
normally be exclusion from the program as set out in d., unless in the opinion of the
relevant Assessment Board there are mitigating circumstances.
The full Policy on Academic Misconduct may be found on the Griffith University
Policy Library at:
www.griffith.edu.au/policylibrary
APA Style
APA citation style is based on:
Perrin, R. (2007). Pocket guide to APA style (2nd ed.). Boston: Houghton Mifflin.
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Quotations of less than 40 words should be included in the text and enclosed with
double quotation marks. The quotation is followed by a reference to the author, the
publication year and the page number and these elements must be enclosed in
parentheses, either together or separately. A complete reference should be included in
the reference list at the end of your assignment.
The following examples are three different citation styles representing the same
information. Select one style and use it consistently throughout the assignment.
Example 1
Stolba (1998, p. 74) states, “When the Cathedral of Notre Dame was being constructed,
a school of composers in and around Paris was producing polyphonic liturgical music”.
Example 2
Stolba (1998) states that at the time “the Cathedral of Notre Dame was being
constructed, a school of composers in and around Paris was producing polyphonic
liturgical music” (p. 74).
Example 3
Stolba states that at the time “the Cathedral of Notre Dame was being constructed, a
school of composers in and around Paris was producing polyphonic liturgical music”
(Stolba, 1998, p. 74).
Example 1
Grout and Palisca (1988, p. 5) state, “Greek music resembled that of the early church in
several fundamental ways”.
Example 2
Grout and Palisca (1988) stated, “Greek music resembled that of the early church in
several fundamental ways” (p. 5).
Example 3
“Greek music resembled that of the early church in several fundamental ways” (Grout
& Palisca, 1988, p. 5).
Example 4
Porter, Ullman and Hazell (1993, pp. 107-108) identified that “Strayhorn and Ellington
were delighted when listeners couldn’t tell their works apart”.
Example 5
Porter, Ullman and Hazell (1993) identified that “Strayhorn and Ellington were
delighted when listeners couldn’t tell their works apart” (pp. 107-108).
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Example 6
“Strayhorn and Ellington were delighted when listeners couldn’t tell their works apart”
(Porter, Ullman & Hazell, 1993, pp. 107-108).
In an indirect quotation the ideas of another author are paraphrased i.e. the writer
restates another writer's ideas in different words. No quotation marks are used.
Examples:
Example 1
Stolba (1998, p. 74) states that a school of composers was producing polyphonic
liturgical music around the time of the construction of the Cathedral of Notre Dame.
Example 2
Stolba (1998) states that a school of composers was producing polyphonic liturgical
music around the time of the construction of the Cathedral of Notre Dame (p. 74).
Example 3
Stolba states that a school of composers was producing polyphonic liturgical music
around the time of the construction of the Cathedral of Notre Dame (1998, p. 74).
For quotations of more than 40 words, use a free-standing "block quotation" on a new
line, indented five spaces and omit quotation marks.
Examples:
Example 1
Stolba (1998, p. 487) identified the following:
In Italy during the nineteenth century, musical interest was centered on opera. To
many Italian composers, success in music meant success in opera. Most Italian
composers wrote a good deal of church music, secular songs, and some
instrumental works, but they either turned to composition in other genres after
having a career in opera or considered other genres of lesser importance.
Example 2
Stolba (1998) identified the following:
In Italy during the nineteenth century, musical interest was centered on opera. To
many Italian composers, success in music meant success in opera. Most Italian
composers wrote a good deal of church music, secular songs, and some
instrumental works, but they either turned to composition in other genres after
having a career in opera or considered other genres of lesser importance (p. 487).
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Cite electronic documents in the same way as print documents. If the electronic
document has an author and date of publication, cite these in the text. If the electronic
document has no obvious author, title or date, then cite the document’s address.
Example
This web site (http://www.abcxyz.com) provides an alternative perspective.
Example
(Smith, 2007, Conclusion section, para. 1)
For the in-text citation, name the original work, and give a citation for the secondary
source, e.g. if Morrow’s book is cited in Jones and you did not read the original work
cited (i.e. Morrow’s book), list the Jones reference in the reference list. In the text, use
the following citation:
Morrow’s book Concert life in Haydn’s Vienna: Aspects of a developing musical and social
institution (as cited in Wyn Jones, 1995).
Abbreviations
The AGPS Style Manual (2002) identifies the following abbreviations for Australian
states:
The Publication Manual of the American Psychological Association (2001) identifies the
following abbreviations for US states:
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The Publication Manual of the American Psychological Association (2001) also identifies the
following common abbreviations:
APA discourages the inclusion in the Reference List of communications that are not
archived anywhere and thus cannot be retrieved for verification.
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M. Page (personal communication, May 10, 2004) informed me of his research in the
area.
For books:
Details required in the following order:
Capitalisation
For book titles and article titles capitalize the first word in the title and the first word
after a colon or dash (i.e. the first word of the subtitle) e.g.
Journal of Voice
Arrange in alphabetical order, letter by letter, by the surname of the first author.
Alphabetise the prefixes M', Mc, and Mac letter by letter and not if they were all spelled
Mac e.g. MacAdam precedes McAdam, and MacNeil precedes M'Carthy.
Alphabetise surnames that contain articles and preposition (de,la, du, von, van, etc.)
according to the rules of the original language, e.g. if you know the prefix is commonly
part of the surname, alphabetise by the prefix e.g. DuBois. If the prefix is not used (e.g.
Beethoven not van Beethoven), place the prefix following the initials e.g. Beethoven, L.
van.
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Books
Single Author
Stolba, K. M. (1998). The development of western music: A history (3rd ed.). Madison, WI:
Brown and Benchmark.
Uszler, M., Gordon, S., & Smith, S. M. (2000). The well-tempered keyboard teacher (2nd ed.).
New York: Schirmer Books.
Cite the surnames and initials of the first six authors then follow with the abbreviation
et al (followed by a full stop) e.g.
Smith, G., Jones, T., Brown, J., Davies, M., Hill, S., Harris, D., et al. (2001). Pretend styles.
London: XYZ Press.
No Author / Editor
APAD: Australian performing arts directory. (2000). North Sydney: Performance Media.
Translation of a Book
Bach, C. P. E. (1974). Essay on the true art of playing keyboard instruments (W. J. Mitchell,
Trans.). London: Eulenberg Books. (Original work published 1753 (Pt. 1) and
1762 (Pt. 2)).
Edited Book
Bergeron, K., & Bohlman, P. V. (Eds.). (1992). Disciplining music: Musicology and its canons.
Chicago: University of Chicago Press.
Jones, D. (Ed.). (1996). Meaty beaty big & bouncy! Classic rock and pop writing from Elvis to
Oasis. London: Hodder & Stoughton.
Latham, A. (Ed.). (2002). The Oxford companion to music. Oxford: Oxford University Press.
Edition
Gridley, M. C. (2000). Jazz styles: History and analysis (7th ed.). Upper Saddle River, NJ:
Prentice Hall.
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Series
Ralls-McLeod, K., & Harvey, G. (Eds.). (2000). Indigenous religious musics. SOAS
musicology series. Aldershot: Ashgate.
Fallows, D. (2001). Diminuendo. In S. Sadie (Ed.), The new Grove dictionary of music and
musicians (2nd ed., Vol. 7, pp. 351-352). London: Grove.
Brochures
Queensland Conservatorium Griffith University. (2006). Concerts and events calendar 2006
[Brochure]. Nathan, Qld: Griffith University.
Scores
Britten, B. (1975). Death in Venice: An opera in two acts, op.88. [Vocal score]. Libretto by M.
Piper, based on the short story by T. Mann. (C. Henneberg and H. Keller,
German Trans.) Piano reduction by C. Matthews. London: Faber Music.
Brophy, G. (2002). Concerto in blue: For guitar and orchestra. [Score]. Composer's autograph.
Grosvenor Place, NSW: Australian Music Centre.
Davies, P. M. (1998). Time and the raven: Concert overture for orchestra. [Miniature score].
London: Chester Music.
Mercury, F. (2000). Bohemian rhapsody: For 16 horns (or 8 horns and 8 Wagner tubas), drums,
piano, bass. [Score and parts]. Arranged by R. Bissell. London: Cala Music.
Theses
Cundith, S. (1995). A study of the music used for receptive experiences in music therapy and the
factors influencing the choice of this music. Unpublished honours thesis. Griffith
University, Brisbane.
Newspaper Articles
Kelly, P. (2004, February 16). Informal touch to a real treat. The Courier Mail, p. 13.
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Journal Articles
1. author (s)
2. year of publication (in parenthesis)
3. title of article
4. title of journal (italicised and significant words capitalized)
5. volume number (italicised)
6. issue or part number for journals without continuous pagination
7. page number(s)
Examples:
Music, D. W. (2003). The larger sacred choral works of Alan Hovhannes. Choral Journal,
44(4), 9-21.
The above example refers to volume 44, number 4, pages 9-21. The pagination does not
continue but starts at p.1 for each issue.
The following example refers to volume 1, number 3 but the issue number is not
included because of continuous pagination from issue to issue.
Colton, R. H. (1987). The role of pitch in the discrimination of voice quality. Journal of
Voice, 1, 240-245.
Reviews
Identify the type of medium reviewed in square brackets. If the review is untitled, use
the review note in square brackets as the title.
Freeman, J. W. (2000). [Review of the opera Der Rosenkavalier by Richard Strauss]. Opera
News 64(10), 92-93.
Thomas, R. (2000). [Review of the CD Whale spirit rising, by Roddy Elias, Chandos,
CHAN9748]. Gramophone 78, 62, 64.
Braun, W. R. (2002). One saint in three acts. Opera News, 67(3), 46-51. Retrieved
November 19, 2003, from International Index to Music Periodicals database.
Crory N. (2007). Opera at home: “Don Giovanni” [Review of the opera Don Giovanni by
Wolfgang Amadeus Mozart]. Opera Canada, 48, 195. Retrieved February 4, 2007,
from International Index to Music Periodicals database.
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Schuring, M. (2002). Oboe reeds at altitude. The Double Reed, 25(2), 34. Abstract retrieved
November 24, 2003, from International Index to Music Periodicals database.
Peter Sculthorpe: The music. (n.d.). Retrieved November 19, 2003, from
http://www.nla.gov.au/epubs/sculthorpe/collection.html.
Software
Do not italicise software titles. Software manuals should be referenced the same way as
software.
Rudolph, T. E., & Leonard, V. A. (2002). Finale: An easy guide to music notation
[Computer software and manual]. Boston, MA: Berklee Press.
Audiovisual Material
According to the APA publication manual, when citing audiovisual material, list the
name and function of the originator or primary contributor. This is usually identified as
either the director or producer or both. However, in the context of music study and
research, the primary contributor is often the composer, rather than the director. It may
be more appropriate to identify the composer as the primary contributor, rather than
the director or producer.
CDs
The APA publication manual indicates the song’s performer need only be included if
different from the song’s writer. However, in the context of music study and research,
the performer is an important piece of information, and should also be included.
If the recording date is different from the copyright date, add the recording date to the
end of the reference.
Davis, M. (1986). Kind of blue [CD]. [Performed by Miles Davis]. New York: Columbia.
(1959)
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Debussy, C. (1987). Children’s corner [CD]. [Performed by Michael Beroff]. London: EMI.
Recordings for A history of Western music, Vol I, Medieval, Renaissance, Baroque (1988). [CD].
New York: Sony Music Special Products and W. W. Norton.
Single Song on CD
Byrd, W. (1988). Tu es Petrus [Performed by the Kings College Choir]. On Recordings for
A history of Western music, Vol I, Medieval, Renaissance, Baroque [CD]. New York: Sony
Music Special Products and W. W. Norton.
Julien, J-R. (1987). Children’s corner [Booklet notes]. In C. Debussy, Children’s corner
[CD]. [Performed by Michael Beroff]. London: EMI.
Videos
The following reference identifies the composer as the primary contributor, rather than
the producer.
Television Series
DVDs
Appell, G. [Producer] (2001). Long way to the top: Stories of Australian and New Zealand rock
n' roll [DVD]. [Sydney, NSW]: Australian Broadcasting Corporation.
Monsaingeon, B. [Producer]. (2001). The art of violin [DVD]. United States: NVC Arts.
The following reference identifies the composer as the primary contributor, rather than
the producer.
Mozart, W. A. (1998). Don Giovanni [Produced by Carlo Battistoni] [DVD]. Chicago, Il.:
Home Vision.
Artwork
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EndNote
Griffith University has adopted EndNote as its recommended software for managing
references. More information is available at:
www.griffith.edu.au/ins/endnote
EndNote is installed in all common use labs and learning centres. Training resources
and workshops are offered by Learning Services.
Endnote can be downloaded via Software Services' Software Downloads page at:
https://www79.secure.griffith.edu.au/03/softwaredownload/
Alternately, you can obtain software by completing the Endnote Home Use form
(available from either the Lending or InfoServices Desks in any campus Library) and
hand in when borrowing the software.
EndNote includes a bibliographic style file for formatting references according the APA
5th Edition. However it does not take into account all the types of references that are
used by members of the Conservatorium.
Reference List
APAD: Australian performing arts directory. (2000). North Sydney: Performance Media.
Appell, G. [Producer] (2001). Long way to the top: Stories of Australian and New Zealand rock
n' roll [DVD]. [Sydney, NSW]: Australian Broadcasting Corporation.
Bach, C. P. E. (1974). Essay on the true art of playing keyboard instruments (W. J. Mitchell,
Trans.). London: Eulenberg Books (Original work published 1753 (Pt. 1) and
1762 (Pt. 2)).
Bergeron, K., & Bohlman, P. V. (Eds.). (1992). Disciplining music: Musicology and its canons.
Chicago: University of Chicago Press.
Braun, W. R. (2002). One saint in three acts. Opera News, 67(3), 46-51. Retrieved
November 19, 2003, from International Index to Music Periodicals database.
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Britten, B. (1975). Death in Venice: An opera in two acts, op.88 [Vocal score]. Libretto by M.
Piper, based on the short story by T. Mann. (C. Henneberg and H. Keller,
German Trans.) Piano reduction by C. Matthews London: Faber Music.
Brophy, G. (2002). Concerto in blue: For guitar and orchestra [Score]. Composer's autograph
Grosvenor Place, NSW: Australian Music Centre.
Byrd, W. (1988). Tu es Petrus [Performed by the Kings College Choir]. On Recordings for
A history of Western music, Vol I, Medieval, Renaissance, Baroque [CD]. New York:
Sony Music Special Products and W. W. Norton.
Colton, R. H. (1987). The role of pitch in the discrimination of voice quality. Journal of
Voice, 1, 240-245.
Crory N. (2007). Opera at home: “Don Giovanni” [Review of the opera Don Giovanni by
Wolfgang Amadeus Mozart]. Opera Canada, 48, 195. Retrieved February 4, 2007,
from International Index to Music Periodicals database.
Cundith, S. (1995). A study of the music used for receptive experiences in music therapy and the
factors influencing the choice of this music. Unpublished honours thesis. Griffith
University, Brisbane.
Davies, P. M. (1998). Time and the raven: Concert overture for orchestra [Miniature score].
London: Chester Music.
Davis, M. (1986). Kind of blue [CD]. [Performed by Miles Davis]. New York: Columbia.
(1959)
Debussy, C. (1987) Children’s corner [CD]. [Performed by Michael Beroff]. London: EMI.
Fallows, D. (2001). Diminuendo. In S. Sadie (Ed.), The new Grove dictionary of music and
musicians (2nd ed., Vol. 7, pp. 351-352). London: Grove.
Freeman, J. W. (2000). [Review of the opera Der Rosenkavalier by Richard Strauss]. Opera
News 64(10), 92-93.
Gridley, M. C. (2000). Jazz styles: History and analysis (7th ed.) Upper Saddle River, NJ:
Prentice Hall.
Grout, D. J. & Palisca, C. V. (1988). A history of Western music (4th ed.) London, J. M.
Dent & Sons.
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Jones, D. (Ed.). (1996). Meaty beaty big & bouncy!: Classic rock and pop writing from Elvis to
Oasis. London: Hodder & Stoughton.
Julien, J-R. (1987) Children’s corner [Booklet notes]. In C. Debussy, Children’s corner
[CD]. [Performed by Michael Beroff]. London: EMI.
Kelly, P. (2004, February 16). Informal touch to a real treat. The Courier Mail, p. 13.
Latham, A. (Ed.). (2002). The Oxford companion to music. Oxford: Oxford University Press.
Mercury, F. (2000). Bohemian rhapsody: For 16 horns (or 8 horns and 8 Wagner tubas), drums,
piano, bass [Score and parts]. Arranged by R. Bissell London: Cala Music.
Monsaingeon, B. [Producer]. (2001). The art of violin [DVD]. United States: NVC Arts.
Mozart, W. A. (1998). Don Giovanni [Produced by Carlo Battistoni] [DVD]. Chicago, Il.:
Home Vision.
Music, D. W. (2003). The larger sacred choral works of Alan Hovhannes. Choral Journal,
44(4), 9-21.
Perrin, R. (2007). Pocket guide to APA style (2nd ed.). Boston: Houghton Mifflin.
Peter Sculthorpe: The music. (n.d.). Retrieved November 19, 2003, from
http://www.nla.gov.au/epubs/sculthorpe/collection.html.
Porter, L. Ullman, M. & Hazell, E. (1993). Jazz: From its origins to the present. Englewood
Cliffs, N.J.: Prentice Hall.
Queensland Conservatorium Griffith University. (2006). Concerts and events calendar 2006
[Brochure]. Nathan, Qld: Griffith University.
Ralls-McLeod, K., & Harvey, G. (Eds.). (2000). Indigenous religious musics. SOAS
musicology series. Aldershot: Ashgate.
Rudolph, T. E., & Leonard, V. A. (2002). Finale: An easy guide to music notation
[Computer software and manual]. Boston, MA: Berklee Press.
Schuring, M. (2002). Oboe reeds at altitude. The Double Reed, 25(2), 34. Retrieved
November 24, 2003, from International Index to Music Periodicals database.
Smith, G., Jones, T., Brown, J., Davies, M., Hill, S., Harris, D., et al. (2001). Pretend styles.
London: XYZ Press.
Stolba, K. M. (1998). The development of western music: A history (3rd ed.). Madison, WI:
Brown and Benchmark.
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Style manual: For authors, editors and printers. (2002). (6th ed.). Milton, Qld: John Wiley &
Sons.
Thomas, R. (2000). [Review of the CD Whale spirit rising, by Roddy Elias, Chandos,
CHAN9748]. Gramophone 78, 62, 64.
Uszler, M., Gordon, S., & Smith, S. M. (2000). The well-tempered keyboard teacher (2nd ed.).
New York: Schirmer Books.
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Music Examples
Layout
Music examples should appear directly below the points they are intended to illustrate.
Further references to the same example may be made using a brief note.
The text should be separated from the music example by two lines of space placed
before and after the example.
Music examples may be “left justified”, i.e. aligned along the left margin or “centre
justified”, i.e. aligned in the centre of the page as in the example above.
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Labelling
Music examples should be labelled as clearly and as fully as possible.
The label should include the composer’s name and the title of the work. Other relevant
information should be included as appropriate, eg. opus number, movement, aria,
thematic catalogue number and bar numbers
If more than one example is used, they should be numbered consecutively. The number
is preceded by the word “Example” or the abbreviation “Ex.”, eg. Example 2, or Ex. 2.
One line of space should separate the label from the example.
Ex. 1. Purcell, H. (1976). Sonata 1, bars 1-4. In M. Tilmouth (Ed.), The works of Henry
Purcell. (Vol. 5 Twelve sonatas of three parts). Borough Green, Kent: Novello.
Ex. 2. Mozart, W. A. (1961). Aria: A chi mi dice, bars 13-19, Act 1, Scene 5. In
Don Giovanni. Libretto by Lorenzo Da Ponte (pp. 32). New York: Schirmer.
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Music Copyright
As the future creators and performers of musical works, it is extremely important that
you think carefully about how you currently act in relation to copyrighted material. Do
you ever photocopy a whole score in order to save buying it? Do you burn a CD, so
you can listen to it away from the library? If the answer is yes, then you are infringing
copyright and should stop doing so. In a few years from now, you might be the
copyright owner, and will expect others to respect your rights.
The Copyright Act recognises the need for the public to be able to access and use
material in various ways, either with or without payment to the composer/author. It
also attempts to strike a balance between the needs of the user and the rights of the
owners of the copyright, the composer or author.
Unauthorised Copying
The unauthorised copying of a “substantial part” of a musical work infringes copyright.
A library/university can be held liable for the actions of its users, where it has not
provided adequate warning of the limits to copying and permitted dealings under the
Act e.g. the display of notices on all copying equipment.
A “substantial part” can be as brief as a few seconds if the idea of the original work can
be conveyed in that time e.g. the opening bars of Beethoven’s 5th Symphony. A recent
example, taken from an actual court case, is the opening bars of the theme from “Pretty
Woman”. This was found to be a substantial and integral part of the whole song and
required permission from the copyright owner.
The most usual infringements are those done in the reproduction of a work, such as
photocopying or recording.
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Duration of Copyright
The duration of copyright varies. If copyright exists on January 1 2005 onwards:
• In a musical work, it exists from the time it is first fixed in a material form, to 70
years from the end of the year in which the creator died.
• Lyrics or words – as for a musical work, 70 years after the death of the author.
• In the publisher’s edition, up to 25 years from the date of publication.
Fair Dealing
The Copyright Act recognises the need to balance the interest of the owner of the
copyright and those wishing to access the work, and provides for the reproduction of a
limited part of a work. This is known as “fair dealing” and allows for the copying of a
reasonable part of a work. This is defined as 10% of an edition of more than ten pages
in length, or up to one chapter of a work that is divided into chapters.
In some instances licences can be obtained, usually with a fee attached, where a blanket
permission is given to copy certain items. At Griffith University, such an agreement
exists for the copying of off-air recordings, which are then placed in the library.
More Information
Griffith University has a University Copyright Officer. Further information on the
observance of copyright law at Griffith University is available at:
www.griffith.edu.au/ins/copyright
There are also information sheets available from the Australian Copyright Council’s
website at:
www.copyright.org.au
If you are interested in learning more about copyright, the following is a very useful
book.
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Index
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ADDENDUM