MUSIC 214

Fall 2015

A Short Guide to Chicago Style Citation

The art of scholarly citation may at first seem arcane and pedantic, though it is the
primary method in which scholars communicate with one another. It is an important way
to avoid unintentional ethical violations or plagiarism, as well as to lead readers to
materials with which they may be interested. As The Chicago Manual of Style states,
Ethics, copyright laws, and courtesy to readers require authors to identify the sources of
direct quotations or paraphrases and of any facts or opinions not generally known or
easily checked.1 The field of musicology favors The Chicago Manual of Style, and every
type of source imaginable has a specific method of citation. In your work, it is important
to provide footnotes (in Arabic numerals, at the bottom of a page), as well as a
bibliography at the end of the paper. There are different rules for footnotes and the
bibliography. The footnotes are in prose form with the authors full name, and commas
separating requisite information. Bibliographic entries invert the authors name, and
sections are separated by a period. In a footnote, list the exact page number from which
you are quoting. In a bibliography, list the inclusive page numbers for articles or sections
of books. The examples listed below draw from the work of scholars at Northwestern
University.

Books with a single author or editor

***Footnotes are preceded by a number, bibliographic entries indent every line
after the first.***

1. Inna Naroditskaya, Bewitching Russian Opera: The Tsarina from State to Stage
(Oxford: Oxford University Press, 2012), 25.

Naroditskaya, Inna. Bewitching Russian Opera: The Tsarina from State to Stage. Oxford:
Oxford University Press, 2012.

2. Linda Phyllis Austern, ed., Music, Sensation, and Sensuality (New York: Routledge,
2002), 7.

Austern, Linda Phyllis, ed. Music, Sensation, and Sensuality. New York: Routledge,
2002.

If a book has multiple locations of publication (ie, Oxford, London, New York), you
only have to list the first city in the list.
A book with an editor in place of an author uses the abbreviation, ed.
Note the indent after the first line of a bibliographic entry.
A musical score is treated in the same manner as a book, as below:

1
14.1, The purpose of source citations, The Chicago Manual of Style Online, accessed November 19,
2014, http://www.chicagomanualofstyle.org.turing.library.northwestern.edu/16/ch14/ch14_sec001.html.

1
3. John Cage, 261.1499 for a String Player (New York: Henmar Press, 1960).

Cage, John. 261.1499 for a String Player. New York: Henmar Press, 1960.

Books with multiple authors or editors

4. Linda Phyllis Austern and Inna Naroditskaya, eds., Music of the Sirens (Bloomington:
Indiana University Press, 2012), 206.

Austern, Linda Phyllis and Inna Naroditskaya, eds. Music of the Sirens. Bloomington:
Indiana University Press, 2012.

Only the first authors name is inverted in the bibliographic entry.

Single chapter within an edited collection

5. Ryan Dohoney, John Cage, Julius Eastman, and the Homosexual Ego, in Tomorrow
Is the Question: New Directions in Experimental Music Studies, ed. Benjamin Piekut
(Ann Arbor: The University of Michigan Press, 2014), 58.

Dohoney, Ryan. John Cage, Julius Eastman, and the Homosexual Ego. In Tomorrow Is
the Question: New Directions in Experimental Music Studies, edited by Benjamin
Piekut, 39-62. Ann Arbor: The University of Michigan Press, 2014.

This type of source is a collection of essays from many different authors. The
editor of the entire collection is included, but the author of the chapter from which
you are drawing comes first. The title of the chapter is in quotes, and the title of
the entire book comes later, in italics.

Journal article

6. Jason Rosenholtz-Witt, The Instrumentation of Orlando Gibbons Dooble Base

Fantasias, The Viol 25 (Winter 2011-12): 27.

Rosenholtz-Witt, Jason. The Instrumentation of Orlando Gibbons Dooble Base

Fantasias. The Viol 25 (Winter 2011-12): 22-28.

The footnote has the exact page number being quoted; the bibliography has the page
numbers of the full article. Additionally, the volume number (25, in this case) must be
included.
The title of the article is in quotes; the name of the journal is in italics.
Some journals have issue numbers as well as volume numbers, as seen below:

7. Thomas Bauman, Becoming Original: Haydn and the Cult of Genius, The Musical
Quarterly 87, no. 2 (Summer 2004): 335.

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Bauman, Thomas. Becoming Original: Haydn and the Cult of Genius. The Musical
Quarterly 87, no. 2 (Summer 2004): 333-357.

Edited volume in a series

Some of the edited volumes and editions we are using in class include a composer, an
editor, as well as a volume number within a larger series. All of this information must
be included.

8. Santiago Billoni, Complete Works, ed. Drew Edward Davies, Recent Researches in the
Music of the Baroque Era, vol. 170 (Middleton, WI: A-R Editions, 2011), iv.

Billoni, Santiago. Complete Works, edited by Drew Edward Davies. Recent Researches
in the Music of the Baroque Era, vol. 170. Middleton, WI: A-R Editions, 2011.

Websites

9. Jesse Rosenberg, Raimondi, Pietro, Grove Music Online, Oxford Music

Online, Oxford University Press, accessed November 20, 2014,
http://www.oxfordmusiconline.com.turing.library.northwestern.edu/subscriber/article/gro
ve/music/50122.

Rosenberg, Jesse. Raimondi, Pietro. Grove Music Online. Oxford Music

Online. Oxford University Press, accessed November 20, 2014,
http://www.oxfordmusiconline.com.turing.library.northwestern.edu/subscriber/article/
grove/music/50122.

After the pertinent information, list the access date, followed by the URL.
Dont include ridiculous;y long URLs copied from jstor.
When there is no author, list the name of the website in italics instead, as in the
example below:

10. Frescobaldi Thematic Catalogue Online, accessed November 19, 2014,

http://frescobaldi.music.duke.edu/.

Frescobaldi Thematic Catalogue Online. Accessed November 19, 2014.

http://frescobaldi.music.duke.edu/.

Repeated citations

The first time you cite a source in a footnote, include the full citation. Here is an
example.2

2
Scott Paulin, Chaplin and the Sandblaster: Edmund Wilsons Avant-Garde Noise Abatement, American
Music 28, no. 3 (2010): 269.

3
 For subsequent entires, you may shorten the citation, referring to the authors last
name, title, and page number only.3
If you cite the same source in succession, use the Latin abbreviation, ibid. (from
ibedem, in the same place).4
If you cite the same source in succession though with a different page number, use
ibid., plus the new page number(s).5

Other types of sources

This was a list of only the most common types of source material. For anything else,
please consult Section III, Documentation I: Notes and Bibliography, in The Chicago
Manual of Style, 16th edition. This can be found in the library on the reference table, and
is accessible online through the Northwestern University library database collection at:
http://turing.library.northwestern.edu/login?url=http://www.chicagomanualofstyle.org/co
ntents.html

Works Cited

Austern, Linda Phyllis, ed. Music, Sensation, and Sensuality. New York: Routledge,
2002.

Austern, Linda Phyllis and Inna Naroditskaya, eds. Music of the Sirens. Bloomington:
Indiana University Press, 2012.

Bauman, Thomas. Becoming Original: Haydn and the Cult of Genius. The Musical
Quarterly 87, no. 2 (Summer 2004): 333-357.

Billoni, Santiago. Complete Works, edited by Drew Edward Davies. Recent Researches
in the Music of the Baroque Era, vol. 170. Middleton, WI: A-R Editions, 2011.

Cage, John. 261.1499 for a String Player. New York: Henmar Press, 1960.

The Chicago Manual of Style Online. Accessed November 19, 2014.

http://www.chicagomanualofstyle.org.turing.library.northwestern.edu/16
/contents.html.

Dohoney, Ryan. John Cage, Julius Eastman, and the Homosexual Ego. In Tomorrow Is
the Question: New Directions in Experimental Music Studies, edited by Benjamin
Piekut, 39-62. Ann Arbor: The University of Michigan Press, 2014.

3
Paulin, Chaplin and the Sandblaster, 269.
4
Ibid.
5
Ibid., 273-4.

4
Frescobaldi Thematic Catalogue Online. Accessed November 19, 2014.
http://frescobaldi.music.duke.edu/.

Naroditskaya, Inna. Bewitching Russian Opera: The Tsarina from State to Stage. Oxford:
Oxford University Press, 2012.

Paulin, Scott. Chaplin and the Sandblaster: Edmund Wilsons Avant-Garde Noise
Abatement. American Music 28, no. 3 (2010): 265-296.

Rosenberg, Jesse. Raimondi, Pietro. Grove Music Online. Oxford Music

Online. Oxford University Press, accessed November 20, 2014,
http://www.oxfordmusiconline.com.turing.library.northwestern.edu/subscriber/article/
grove/music/50122.

Rosenholtz-Witt, Jason. The Instrumentation of Orlando Gibbons Dooble Base

Fantasias. The Viol 25 (Winter 2011-12): 22-28.