Writing for Music:

1
Writing for Music An Academic Resource for t
he Successful
Completion of Graduate Assignments
Prepared by Kimberly Greene, Ph. D. candidate in
Musicology at the CGU Music Department,
in coordination with Robert Zappulla, Interim
Associate Dean of the CGU Music Department, and
Katya Fairbanks, Director of the CGU Writing
Center and Global Communications
2
Effective writing, consistent formatting, and
the adherence to the accepted guidelines for
citations remain continuing challenges for most
graduate students. In order to maintain the
highest academic standards of music scholarship
and to address the complex of discipline-related
writing issues, this resource provides
departmental guidelines with sample excerpts for
assignments, semester projects, abstracts,
dissertation proposals, and program notes.
Examples of formatting for music analysis and
musical examples, access to the disciplines
citation and writing guide, ? The Chicago Manual
of Style, and other recommended resources are
also included. Please be aware that
professor-mandated requirements supercede the
ensuing discussion and the examples.

• Music Department Assignments
• ? Basic Methodology and the Components of
  Essays and the Hypothetical Paper
  
• ? Presentations (Weekly Assignments)
• ? Program Notes
• ? Dissertation Proposals
• ? Abstracts
• ? Bibliography
• Examples
• ? Program Notes
• ? Abstract
• ? Bibliography
• ? End Notes
• Musical Analysis and Textual Translation
  Formatting
  
• ? Musical Analytical Methods Formatting
• ? Examples of Musical Inserts
• ? Literary Text and Translation Inserts (Vocal
  Literature)
  

3
The Presentation (Weekly Assignments)

• Due to the diversity of subject, content, and the
  varying requirements of the professors, graduate
  students should carefully consider the purpose
  and organization of each presentation.
• Regardless of the media of presentation, the
  following approach should be employed
  
• 1. Design the presentation surrounding the
  central subject and clearly identify the
  underlying issue (s) of the assignment. For
  example, the student should consider and
  formulate an answer as to why the composer,
  composition, or other subject is worthy of
  investigation, how the composition (s) of
  composer reflects the stylistic aesthetics of his
  period, and what implications arise from a study
  of his/her musical contribution
• 2. Presentation Structure, usually in an outline
  forma, supplemented by student commentary
  
• Section I The Purpose of Presentationthe
  central issue (s) should be stated,
  well-researched, and replaces the formal thesis
  statement (unless otherwise advised)
• Section II Preliminary historical events,
  musical trends and developments, biographic
  material, and pertinent treatises that relate
  directly to the purpose of the presentation
  (avoid the tendency of including extensive
  biographical information)
• Section III Observations regarding the subject
  with collaboration from reliable sources is
  recommended, as well as, the identification of
  the genre (s), the musical characteristics, and
  the stylistic elements evidenced in the
  composition, such as galanter Stil of the
  Classical period.
• Section IV Formal musical analysis and musical
  analysis are customary for most presentations
  
• Section V Full citations, and locations of the
  manuscripts, early printed, and
  critical/comparative editions should be listed in
  the outline
• (In-class facsimile editions of the manuscripts,
  other sources, and access to sound recordings
  enhance any presentation)
  
• Section VI Source Bibliographyall sources used
  in the presentation, using Chicago Manual of
  Style citation method
  
• Section VII Questions Responsestudent should
  be prepared to answer questions and to
  substantiate his responses, using the recognized
  sources
• ? Chicago Manual of Style

4
Basic Methodology and the Components of Essays
and the Hypothetical Paper ProjectBasic
Methodology

• Standard Formatting Aligned at the left margin,
  left margin 1'', double-spaced, Times New Roman
  font, 12 pt. font
  
• Regardless of the concentration in the field,
  each graduate student should approach essays,
  projects, and presentations systematically
  
• Procedures Structure
• Select an appropriate subject for investigation,
  with the necessary approval of the professor
  
• Research primary and secondary sources through
  the Libraries of the Claremont Colleges Blais
  Library Catalog, Databases (Grove On-line),
  Electronic Journals (JSTR), InterLibrary Loan,
  Link, Melvyl, RISM, World Cat, etc.
• Consider and obtain the appropriate musical
  edition of the work (s) to be discussed, such as
  facsimiles and early printed editions, critical
  editions, and performance editions
• Study the sources regarding the subject and
  formulate the thesisthe statement should
  indicate not only the content of the paper, but
  should also indicate what will be demonstrated
  and supported by the research (Frequently,
  writing a rough abstract assists in the
  development of a thesis statement)
• Formulate a loose outline of the major categories
  to be investigated
  
• Gather source information and research these
  major categories
  
• Create the subordinate sub-divisions of the
  outlines from this researchusually the outline
  should consist of three or four tiers with the
  standard formatting First tier, Roman numeral
  second tier, uppercase letter third tier,
  numeral and fourth tier, lowercase letter, etc.
• For greater efficiency in the organization and
  completion of the Hypothetical paper, prepare the
  End Notes and outline simultaneously
  
• The bibliography should be generated from the
  endnotes or footnotes and then supplemented with
  credible supporting material directly related to
  the thesis, the supporting arguments, and the
  evidence
• Recommendations for an Effective Essay
• For a more persuasive presentation of important
  arguments, essays should be developed from the
  completed outline
  
• Essays should include a brief introduction to the
  subject, a clearly-defined thesis statement,
  supporting arguments and evidence (body of the
  paper), and a concise, non-repetitive summary
• Generally, each paragraph of the essay should
  begin with a topic sentence, be followed by
  three to four sentences of support or
  clarification, and finish with a closing
  statement, or a statement of transition to the
  subsequent paragraph

5
Program Notes

• Regardless of the length designated by the
  department, program notes should be written to
  enhance the understanding of the performance for
  an educated audience
• Full name of composer, including birth and death
  dates
  
• Full Title of Composition, including opus number,
  movement name, and the date of the composition or
  the first performance
  
• Introduction the composers historical
  significance and his/her compositional
  contribution
  
• Introduction to the work and the relevant
  circumstances surrounding its composition
  
• Description of the composition genre, form,
  characteristics, noteworthy musical events, and
  pertinent performance considerations
  
• Include significant supplemental information,
  such as brief side-by-side translations for vocal
  works
  
• Avoid overly technical and analytical language,
  as well as trite, poetic descriptions of the
  music
  
• ? Program NotesExample

6
The Dissertation Proposal

• The intention of the dissertation proposal is to
  demonstrate to the faculty the intention and
  scope of the students research into a given
  subject, the viability of the project, the
  methodology to be implemented, and the relevance
  of such an inquiry to the discipline.
• Structure (15-50 pages)
• Proposed Title, authors name
• Introductiona brief introduction to the issues
  and fundamental questions surrounding the subject
  of the dissertation
  
• Statement of Intenta precise statement of what
  the dissertation will demonstrate, prove, or add
  to the current research in the discipline
  
• State of Researchan account of the pertinent
  historical and contemporary scholarship, the
  general assessment regarding the issues of the
  dissertation subject already completed by these
  scholars, and the nature and scope of the
  research yet to be thoroughly investigated
• Methodologyan explanatory section that addresses
  the organization of the intended research and the
  probable findings. This section should include
  chapter designations and describe the research
  methods as they relate to the central issues and
  fundamental questions of the dissertation
  subject
• Summarya brief conclusion of the proposal that
  indicates the importance of the subject and its
  significance to the discipline
  
• Bibliographya detailed bibliography, including
  sources generated from the initial research of
  the dissertation proposal and important primary
  and secondary sources necessary for the
  completion of the dissertation
• ? Chicago Manual of Style

7
Abstracts

• Abstracts serve as an authoritative and
  persuasive summary of a paper, thesis,
  dissertation, article, document or book. An
  abstract should include a description of the
  issues or subject of the paper, the methods
  employed, and the conclusions of the paper.
  Abstracts are usually written after the work has
  been completed, range from one paragraph to 150
  words, and appear after the title page.
• Structure
• Title the word Abstract appears as the title
• Introduction several sentences introducing the
  subject and the issues addressed in the paper
  
• Body a detailed description of the subordinate
  points, the arguments or material researched, and
  how these support the central subject (thesis)
  
• Summary the significance of the paper to the
  discipline and any implications or projections
  for future inquiry
  
• Since abstracts are continuously used by
  libraries and are included in research databases,
  include key words and relevant periods, genres,
  composers, compositions, and transdisciplinary
  subject terminology
• ? AbstractExample

8
The Bibliography? The Chicago Manual of Style
(Link)

• The key to a successful bibliography remains a
  keen attention to detail and a strict adherence
  to the citation formatting of The Chicago Manual
  of Style
• Although the general format of a formal
  bibliography consists of an alphabetical listing
  of all sources, the professors may require the
  organization of the bibliography into categories
  that distinguish between primary, secondary, and
  by the type of source cited
• Primary sources consist of original works from
  the time period examined or works that originated
  shortly after the events and present the
  perspective of a direct participant or actual
  spectator of the event.
• Primary sources include
• Facsimiles of manuscripts and printed editions
• Concert reviews written during the period
• Autobiographies, journals, diaries, letters
• Artwork created during the period
• Original literary works of the period
• Public documents originating from the period
• Treatises written during the period discussed,
  etc.
  
• Secondary sources are chronologically removed
  from the events under discussion. Secondary
  sources examine, interpret, and provide
  commentary regarding the subjects and events
  generating from primary sources, and include
• Published works removed from the period under
  discussion, such as journal articles, books,
  documentaries, newspapers, and conference
  proceedings
• Recordings removed from the period discussed
• Discussions available on Internet sites and in
  databases, etc.
  

9
Bibliography (continued)

• Types of Sources (examples)
• Books (Printed Material)
• Reviews
• Conference Proceedings
• Journal Articles and other Periodicals
  (Newspapers)
  
• Music Scores
• Electronic Databases
• Internet Sources
• Recordings (CDs and DVDs)
• Basic Formatting Difference Between the Notes and
  the Bibliography
  
• Contrary to the Note formatting, bibliographies
  begin with the last name of the author or editor
  and begin (flush) at the left margin with the
  second line indented by one tab or five spaces
• Bibliography formatNotice that the last name is
  flush with the left border, while the second line
  is indented
  
• Gottsched, Johann Christoph. Versuch einer
  Kritischen Dichtkunst. Leipzig Breitkopf, 1730.
  Reprint, Darmstadt
  
• Wissenschaftliche Buchgesellschaft, 1989.
• Note formatNotice that both the superscript
  numeral and the citation is indented one tab or
  five spaces, and includes the page number
  

10
The Bibliography (continued)

• Examples of Composite Entries
• Essay/component part of a volume of a
  multi-volume work with differing editors for both
  the volume and the work as a whole
  
• Littlejohns, Richard. Early Romanticism. In The
  Literature of German Romanticism, ed. Dennis F.
  Mahoney.
  
• The Camden House History of German Literature,
  ed. James Hardin, no. 8, 61-78. Rochester Camden
  House, 2001.
  
• Musical work in a collection by a composer with
  an editor
  
• Schumann, Clara. Lorelei. Sämtliche Lieder für
  Singstimme und Klavier. Edited by Joachim Draheim
  and Brigitte Höft. Vol. 2. Wiesbaden Breitkopf
  Härtel, 1992.
• Listing of several printed editions of collected
  works by one authorwhole and separate volumes
  
• Heine, Heinrich. Gespräche, Briefe, Tagebücher,
  Berichte seiner Zeitgenossen. Edited by Hugo
  Bieber. Berlin
  
• Welt Verlag, 1926.
• . Heinrich Heine Sämtliche Schriften. Edited
  by Klaus Briegleb. Vol. 1, Die Heimkehr. Munich
  Carl Hanser Verlag, 1968.
  
• . Sämtliche Werke. Edited by G. Böhnenblust.
  Vol. 1, Gedichte. Leipzig Insel Verlag, 1911.
  

11

• Example Pages

12
Program Notes

• Chansons de Bilitis, L 90 (1897-98)
  Achille-Claude Debussy (1862-1918)
  
• Claude Debussy remains Frances most renowned
  fin-de siècle composer and the leading figure of
  French musical Impressionism.
  
• Frequenting the Parisian salons of the most
  celebrated Impressionist artists and Symbolist
  poets of the day, Debussy was inspired
  
• to compose his most memorable works the ballet
  Prélude à laprès-midi dun faune (1894) the set
  of orchestral suites Nocturnes
  
• (1897-99), La Mer (1903-5) and Images (1905-12)
  the opera Pelléas et Mélisande (1893-1902) and
  numerous chansons (songs).
  
• After having mastered the chanson genre through a
  series of conventional, but beautiful
  compositions, the composer shattered the
  
• traditional boundaries by liberating the melody
  from formal harmonic structures. His repertoire
  is distinguished by gentle, yet
  
• dramatic melodic vocal lines that aptly transmit
  the poetic meaning in delivery and in
  construction, and by an equally independent
  
• and supportive piano part. Unlike many of his
  contemporaries, Debussys harmonic language is
  embedded with lyricism,
  
• dissonance, and colorful tone clusters that are
  often based upon the whole tone scale. Notably,
  his contribution to the repertory
  
• became known as the French mélodie.
• In 1897, Debussy and his friend, the poet Pierre
  Louÿs (1870-1925), publicly announced their
  discovery of a collection of erotic
  
• poems from the crumbling tomb of the ancient
  Greek poetess Bilitis. Despite the ensuing
  scandal when the story proved to be a
  
• blatant fabrication, the cycle of three songs
  Chansons de Bilitis contains some of the
  composers most remarkable musical
  
• moments La Flûte de Pan depicts Bilitis
  inauguration into the sexual realm of her lover
  and teacher La Chevelure evokes a
  
• tableau of mature and sensual love through the
  description of the erotic dream of her lover
  while La Tombeau des Naïades
  

13
Abstract
This inquiry confronts the inequity between the
musical achievement of women composers and their
male counterparts in an effort to expose the
effects of German gender essentialism on the
musical production of women active during the
nineteenth century and the socio-cultural
restrictions that hindered their aesthetic and
musical development. The resulting psychological
manifestations of gender-related oppression are
chronicled through a discussion of the lives,
writings, and Lieder of the following exceptional
women Bettine von Arnim (1785-1859) Fanny
Mendelssohn Hensel (1805-1847) Johanna Kinkel
(1810-1858) Josefine Lang (1815-1880) and Clara
Wieck Schumann (1819-1896). The correspondence
between the literary and musical realms is
offered to substantiate the significance of the
literarischer Salon in the aesthetic advancement
of women and to demonstrate the propagation of
the gender-biased perspectives of feminine
identity through important literary works,
including Johann von Gthes (1749-1832) Faust
Der Tragödie erster Teil (Tübingen, 1808)
Adelbert von Chamissos (1781-1831) poetic cycle
Frauenliebe und Leben (Berlin, 1830) and the
encapsulation of the Rhine legend, the
Loreleysage, in the poem Ich weiss nicht was
soll es bedeuten (1824) by Heinrich Heine
(1797-1856). The discussion concludes with a
substantial comparative analysis of the
characteristics of the hausmusikalische Lied and
the Kunstlied and their relationship to An
Thyrsis (Vienna, 1781) by Franz Joseph Haydn
(1739-1809) to Frauenliebe und Leben, op. 42
(Leipzig, 1840) by Robert Schumann (1810-1856)
and to the Loreleysage Lieder of Friedrich
Silcher (1789-60), Franz Liszt (1811-1886), Fanny
Mendelssohn Hensel, Johanna Kinkel, and Clara
Wieck Schumann.
14
(No Transcript)
15

• 
  
  Notes
  
• 1. Janis Bergman-Carton, Women of Ideas in
  France, in The Women of Ideas in French Art,
  1830-1848 (New Haven Yale University
  
• Press, 1995), 5-18. For a detailed history of
  the socio-political environs of the ancien
  régime, see Emmanuel le Roy Ladurie, The Ancien
  
• Régime A History of France, 1610-1774 (Oxford
  Blackwell Publishing, 1996) and Pierre Goubert
  and Daniel Roche, Les français et lancien
  
• régime la société et lÉtat, vol. 1, ed. Armand
  Colin (Paris Éditions Armand Colin, 1992).
  
• 2. Joan B. Landes, The Gendered Republic, in
  Women and the Public Sphere in the Age of
  Revolution (Ithaca Cornell University
  
• Press, 1988), 169-200 and Joan Wallach Scott,
  The Duties of the Citizen Jeanne Deroin in the
  Revolution of 1848, in Only Paradoxes to
  
• Offer French Feminists and the Rights of Man
  (Cambridge Harvard University Press, 1996),
  57-124. For a general historical account of the
  
• revolution, see François Furet and Mona Ozouf,
  eds., A Critical History of the French
  Revolution, trans. Arthur Goldhammer (Cambridge
  
• Harvard University Press, 1989) and Donald M. G.
  Sutherland, France 1789-1815 Revolution and
  Counterrevolution (New York Oxford
  
• University Press, 1986). For further
  investigation into the Republican depiction of
  heroic women, see Maurice Agulhon, Marianne
  into Battle
• Republican Imagery and Symbolism in France,
  1789-1880 (Cambridge Cambridge University Press,
  1981) and Eric Hobsbawm, Man and
  
• Woman in Socialist Iconography, History Workshop
  6 (Autumn 1978) 121-138.
  
• 3. Janis Bergman-Canton, Le Monde Renversé
  July Monarchy Typologies of the Woman of Ideas,
  in The Women of Ideas in French
  
• Art (New Haven Yale University Press, 1995),
  13-14.
  

16
Musical Analytical Methods Considerations of
Formal Design in CompositionsMusical analytical
methods vary, are period-appropriate, and include
some of the following
17
Formatting Musical Examples

• Musical insert examples include textual overlays
  
  
• Musical examples depicting form utilize measure
  numbers and alphabetical letters for section
  delineation
  
• ? Musical Form Example created with standard
  formatting, enhanced by AutoShapesicon usually
  found on the bottom toolbar of Microsoft Word and
  on PowerPoint programs
• Musical InsertsComputer Instructions
• Apply formatting on inserts that are scanned from
  a printed source, generated from Finale software
  or copied from databases, internet sites and
  digital files, by using the Printscreen function
  (available on most computers)Achieved by
  pressing the Printscreen button on the keyboard
  and by pasting it to the word document
• Next, click on the insert tab on the toolbar and,
  using the picture toolbar, set it Behind the
  Text
  
• Overlay AutoShapes, Roman Numerals (Harmonic
  Analysis), or add text using the textbox (bottom
  toolbar)
  
• Musical inserts should be cropped well (Picture
  toolbar ?? icon) and are positioned after a
  paragraph
  
• The appropriate line spacing, framing the insert,
  consists of 3 single lines above and below the
  text
  
• All examples should be labeled using the
  appropriate format, for example
  
• Fig. 1. Composers Name, Name of Work, mm. 1-8.

18
Textual Example of Form Analysis
19
Musical Example Formatting
20
Textual Overlay of a Musical Example
21
Literary Example of Text Translation
22
Printed Writing Resources
23
Online Resources for Citations, English Usage,
Foreign Languages, and Music Research