UNDERGRADUATE STUDENT HANDBOOK - Music

NUI Maynooth Music Department Undergraduate Handbook 2009-2010
Examples to follow when citing the following sources:
(i) Single or joint-authored books:
Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of Oration
(Cambridge, Mass. and London: Harvard University Press, 1991), p. 59.
Donald Jay Grout and Claude V. Palisca, A History of Western Music, 5th edn (London:
Dent, 1990), pp. 21–24.
(ii) Edited Volumes:
Gerald Abraham (ed.), The Age of Beethoven, 1790–1830, New Oxford History of
Music 8 (London: Oxford University Press, 1982), p. 45.
(iii) Single-author book in more than one volume:
Curt von Westernhagen, Wagner: A Biography, trans. Mary Whittall, 2 vols
(Cambridge: Cambridge University Press, 1978), ii. pp. 65–68.
(iv) An essay by one author in a book edited by someone else:
John Rink, 'The Profession of Music', in The Cambridge History of Nineteenth-Century
Music, ed. by Jim Samson (Cambridge: Cambridge University Press, 2001), pp. 55–86.
John Rink, ‘Authentic Chopin: History, Analysis and Intuition in Performance', in Chopin
Studies 2, ed. by John Rink and Jim Samson (Cambridge: Cambridge University Press,
1994), pp. 214–44.
(v) An article in The New Grove Dictionary:
Colin Timms, ‘Steffani, Agostino’, in The New Grove Dictionary of Music and
Musicians, ed. by Stanley Sadie, 29 vols, 2 nd edn (London: Macmillan, 2001), xxiv, pp.
315–21.
(vi) An article in a journal/periodical:
Nicholas Cook, 'At the Borders of Musical Identity: Schenker, Corelli, and the Graces',
Music Analysis, 18 (1999), pp. 179–233.
Note: In referencing articles from JSTOR, Sage, Project Muse etc., use the
same format as above, including author, article title, journal title, and year.
(vii) An article in a newspaper or magazine:
Michael Schmidt, ‘Tragedy of Three Star-Crossed Lovers’, Daily Telegraph, 1 February
1990, p. 14.
(viii) Concert reviews:
Robert Thicknesse, review of Handel, Alexander Balus, dir. Laurence Cummings, The
Times, 2 May 2003, p. 23.
(ix) An unpublished thesis or dissertation:
Frank Samarotto, ‘A Theory of Temporal Plasticity in Tonal Music: An Extension of the
Schenkerian Approach to Rhythm with Special Reference to Beethoven's Late Music’
(PhD. dissertation, City University of New York, 1999), p. 80.
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