KMMC102 History & Analysis

Referencing guidelines
There are two elements to referencing in your essay:

1. In-text citations: these relate the content of your essay to your sources.
2. Bibliography or reference list: this provides a complete list of all reference material.

1. In-text citations

There are two options for in-text citations: the author-date system and footnotes. The
difference is in the way that the information is communicated to the reader: the former is
simpler, whilst the latter is more flexible and allows for greater precision. Whichever method
you choose, be consistent: do not mix the two formats in the same piece of work.

Author-date

Place the following information in parentheses at the end of the relevant sentence (after the
full stop): 1. the author’s surname, 2. the date of publication and 3. the page number/s of
quotations or paraphrases. For example:

The structural problems in Purcell’s Dido and Aeneas have been discussed by Roger Savage
and Andrew Tilmouth, in an article that addresses several of the practical issues involved in
staging a Baroque opera. (Savage & Tilmouth, 1976)

Janet Schmalfeldt describes this ambiguity as follows: ‘With no indication whatsoever in the
libretto that Dido now holds a sword or a knife, we are left to imagine that she is simply about
to die of a broken heart’. (Schmaleldt, 2001, 611)

Footnotes

Inserting footnotes allows more details and further text to be included. The first time a source
is cited full details are given, in exactly the same way as it would appear in the bibliography,
as well as relevant page numbers for quotations and paraphrases. Later citations of the same
source are shortened to the author’s surname, abbreviated title and page numbers.

The structural ambiguities in Purcell’s Dido and Aeneas have been discussed by
Roger Savage and Andrew Tilmouth, in an article that addresses several of the
practical issues involved in staging a Baroque opera.1
... The physical presence of the chorus members in Dido and Aeneas also presents
particular problems for staging several scenes in the opera.2

Janet Schmalfeldt has described this ambiguity as follows: “With no indication whatsoever in
the libretto that Dido now holds a sword or a knife, we are left to imagine that she is simply
about to die of a broken heart”.3

1
Roger Savage and Michael Tilmouth, ‘Producing "Dido and Aeneas": An Investigation into Sixteen Problems
with a Suggestion to Conductors in the Form of a Newly-Composed Finale to the Grove Scene’, Early Music, 4
(1976), 393-406.
2
For example during Dido’s lament. See Savage and Tilmouth, ‘Producing "Dido and Aeneas"’, 401-2.
3
Janet Schmalfeldt, ‘In Search of Dido’, The Journal of Musicology, 18 (2001), 584-615, 611.
KMMC102 History & Analysis

2. Bibliography.

The information required in the Bibliography remains the same for different sources, but the scholarly
conventions that dictate how this information is presented (commas, italicised font, inverted commas,
parentheses and so on) can differ slightly in each case. Follow these examples as guidelines:

Single-author book

Author, Title (Place of publication: Publisher, year of publication)

e.g. Charles Rosen, The Classical Style (New York: Norton, 1971)

Multiple author book

Editor/s, Title (Place of publication: Publisher, year of publication)

e.g. Simon P. Keefe (ed.), The Cambridge Companion to Mozart (Cambridge: Cambridge
University Press, 2003)

Chapter in a multiple author book

Author, ‘Chapter Title’, in Editor/s, Title (Place of publication: Publisher, year of publication), page
nos.

e.g. Dorothea Link, ‘Mozart in Vienna’, in Simon P. Keefe (ed.), The Cambridge Companion
to Mozart (Cambridge University Press, 2003), 22-34.

Journal article

Author/s, ‘Article Title’, Journal Title issue no. (Year), page nos.

e.g. William Forde Thompson, E. Glenn Schellenberg and Gabriela Husain, ‘Arousal, Mood
and the Mozart Effect’, Psychological Science 12 (2001), 248-51.

Note: ‘Inverted commas’ and Italics

The relation of ‘chapters’ and ‘articles’ to titles of Books and Journals is the same as that between
‘movements’ in Musical Works. For example, we refer to the ‘Dies Irae’ movement in Mozart’s
Requiem, or the aria ‘Se vuol ballare’ in Le Nozze de Figaro.

Music editions

Composer, Title, Editor and publication details as above

Mozart, Requiem, ed. Friedrich Blume (London: Eulenberg, n.d.*). *n.d. = no date.

Web sources

Give the author and title of the article, a short form of the URL and the date you accessed the page.

‘Mozart’s Thematic Catalogue’, British Library website,

http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introduction.html, Accessed 20 Feb 2012.

Note: You do not need to cite the URL for a source that exists independently in print, such as a
journal article accessed via JSTOR, or a book accessed via Google Books. These websites represent
the database or portal through which you have accessed the source, not the source itself.