Revisiting the Past, Recasting the Present: The Reception of Greek Antiquity in Music, Nineteenth Century to the Present

Conference Proceedings

Guide for Contributors

GENERAL INFORMATION AND GUIDELINES: Online publication The conference proceedings will be published online under the auspices of the Hellenic Music Centre and will obtain an ISBN number. The publication will be available on the conference website (www.athensconf2011.gateweb.gr), the Hellenic Music Centre website (www.hellenicmusiccentre.com) and the website of Polyphonia Journal (www.polyphonia.gr).

Language All papers should be submitted in the conference official language: English. Non-native speakers are encouraged to have their paper checked by an English native speaker. Please use British, not American spelling.

Structure The first page should include the papers title (without quotation marks), the full name(s) of the author(s) (in capitals) and their affiliation(s). These should appear in three separate lines. An abstract of the paper should follow. Authors may use the abstract already submitted or a revised version of it. The fully-edited text of the paper should follow, which may be extended and revised. However, it is preferable that your paper does not exceed 7,000 words in length.

Permissions Copyright If the paper has already been accepted for publication (in any language) by another publisher, the author should obtain permission from that publisher. Authors should obtain permission to publish copyrighted materials (manuscripts, images, musical scores, etc.) prior to submission of their text.

Deadline of submission Please submit your paper by 1 March 2012 to both e-mail addresses: georgevlastos@hotmail.com, and ekaterini.levidou@unil.ch

Editing procedure Authors should follow the instructions below concerning format, style and other technical specifications. For any additional format changes and other corrections authors will be notified personally by e-mail.

TECHNICAL SPECIFICATIONS: Word processing Please use Microsoft Word (PC or MAC) and save your document in .doc (not .docx) format.

Page layout Please use A4 (21 X 29,7 cm) page format. Page margins should be as follows: top (2,54 cm), bottom (2,54 cm), left (2,54 cm), right (2,54 cm). Please do not insert page numbers, neither headers nor footers.

Font size Paragraph style Font size: Please use Calibri font, size 16 for the title; size 14 for the authors name; size 13 for the affiliation; size 10 for the abstract; size 12 for the text; size 10 for the footnotes; and size 11 for captions and tables.

Alignment: Please use centred alignment for the title, the authors name, captions, tables, musical examples, images etc.; justified alignment for the abstract; left alignment for the text and the footnotes.

Line spacing: Please use line spacing 1,15 for the text and single line spacing for the footnotes. Tabs: Please set the tab stop to 0,6 cm.

STYLE: General guidelines In most matters, the conference proceedings follow the guidelines of the Oxford Manual of Style, so please refer to it for areas not covered in these notes. For matters of spelling, please consult the Oxford English Dictionary. Please follow the main points provided below.

Notes Please use footnotes, not endnotes. Place the number of the note as a superscript after any punctuation or quotation mark (e.g. antiquity,1).

References Please use footnotes to provide full reference details. Do not provide a separate bibliographical section. Examples of reference citation: Monographs: o Lawrence Kramer, Classical Music and Postmodern Knowledge (Berkeley: University of California Press, 1995), 56. Translated/edited books: o Richard Buckle, Diaghilev, trans. Tony Mayer (Paris: Latts, 1980). o Ludmila Korabelnikova, Alexander Tcherepnin: The Saga of a Russian migr Composer, ed. Sue-Ellen Hershman-Tcherepnin, trans. Anna Winestein (Bloomington and Indianapolis: Indiana University Press, 2008).

Multi-author/editor publications: For more than three authors/editors of a publication, use et al. after the first name. o Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (London: Hutchinson, 1969). (Please note: for two persons, no comma before and). o Don Yeates, Maura Shields, and David Helmy (eds.), Systems Analysis and Design (London: Pitman Publishing, 1994). (Three persons: use comma before and). o Rosemary Stewart et al. (eds.), Managing in Britain and Germany (London: Palgrave Macmillan, 1994). Edited volumes: o Robert Craft (ed.), Stravinsky: Selected Correspondence, 3 vols. (London: Faber and Faber, 19821985). If you want to refer to a particular volume and page number: o Robert Craft (ed.), Stravinsky: Selected Correspondence, ii (London: Faber and Faber, 1984), 56. Editions other than the first: o Vladimir Janklvitch, Ravel (2nd edn., Paris: Seuil, 1995). Reprints: o Franois-Auguste Gevaert, Histoire et thorie de la musique de lantiquit, 2 vols. (Gand: Annoot-Braeckman, 1875, 1881; repr. Hildesheim: Olms, 1965). Series title: o Lorenzo Frass (ed.), The Opra-comique in the Eighteenth and Nineteenth Centuries (Speculum Musicae, 15; Turnhout: Brepols, 2011). Articles in journals/periodicals/newspapers: o Michael Strasser, The Socit Nationale and its Adversaries: The Musical Politics of LInvasion germanique in the 1870s, 19th-Century Music, 24/3, (spring 2001), 225251. o David Rieff, The Agency that Has Had a Bad War, Guardian (London), 10 June 1999, 19.

Note that only the London newspaper The Times has a definite article: otherwise New York Times, Daily Telegraph. Articles/chapters in books/dictionaries/encyclopaedias: o Steven Huebner, Ulysse Revealed, in Tom Gordon (ed.), Regarding Faur (Amsterdam: Gordon and Breach Publishers, 1999), 207238. o David Brown, Taneyev, Sergey Ivanovich, in Stanley Sadie and John Tyrrell (eds.), The New Grove Dictionary of Music and Musicians, xxv (2nd edn., Macmillan: London, 2001), 66. Unpublished dissertations/theses/papers: o Robert J. Fusillo, The Staging of Battle Scenes on the Shakespearean Stage, Ph.D. diss. (University of Birmingham, 1966), 33. o Patrick Collinson, The Puritan Classical Movement in the Reign of Elizabeth I, Ph.D. thesis (University of Oxford, 1971). o Laura Swift, The Hidden Chorus: Echoes of Genre in Tragic Lyric, D.Phil. thesis (University of Oxford, 2007). o Olga Digonskaya, Shostakovich in the 1930s: Loyalty or Protest?, paper given at the 40th Baltic Musicological Conference Poetics and Politics of Place in Music, Vilnius, 1720 October 2007. On-line sources (publications, dictionaries, etc.): o Steve Sohmer, The Lunar Calendar of Shakespeares King Lear, Early Modern Literary Studies, 5 (1999), 2 <http://purl.oclc.org/emls/05-2/sohmlear.htm>, accessed 28 January 2000. o David Brown, Taneyev, Sergey Ivanovich, in Grove Music Online <http://www.grovemusic.com>, accessed 28 January 2000. Manuscripts Archival material Give details of location and archive, followed by the documents full details in roman without quotation marks. o Basel, Paul Sacher Stiftung, Igor Stravinsky Collection, Box 36/III, Letter from Pierre Souvtchinsky to Igor Stravinsky dated 11 November 1946.

Page range Page numbers should be cited in full in every case: 19, 1653, 126279, 10231798.

Incomplete reference data Use n.p. for no place, n.d. for no date. For archival materials that have not been catalogued, instead of reference number please use: not catalogued. Where a volume has no author (it may be anonymous or a compilation by an editor) begin the reference with the title, unless it is commonly identified by the editors name.

Repeated references Please use ibid. (note the full stop, not italics) for a repeated reference that immediately follows a reference to the same work. For citation of a reference cited within longer distance do not use op. cit.. Use a short reference with the authors name and the title (or, if the title is too long, the first words) followed by the page reference (e.g. Apel, Keyboard Music, 2934).

Transliteration General For transliteration of Cyrillic please use the ALA-LC System without diacritics. For transliteration of Greek, please use the ALA-LC System. Both are accessible online on the Library of Congress website: http://www.loc.gov/catdir/cpso/roman.html. Quoted text When quoting text in a language other than English, please provide the text in the original language first (NOT transliterated), followed by an English translation. For short quotations (please see below for details), the translation should be placed in parentheses after the original. For longer quotations, which are indented, the translation should appear below the text in the original, and one line should separate the two. Names For those names that appear in The New Grove Dictionary of Music and Musicians please use the transliteration of names as they appear in that persons main entry. E.g. Yannis Constantinidis (not Knstantinids); Nikolaos Skalkottas (not Scalcotas, although

the latter also appears as an option on the online version of The New Grove). However, in references names should appear exactly as in the respective publication. Titles Titles of non-English literary, musical and art works, and titles of books, articles, periodicals, etc. that are not in English should be transliterated. A translation into English should follow in parentheses (not italicized) in all cases except for periodicals, followed by date of publication or completion. For example (used in the main text): In Vesna sviashchennaia (The Rite of Spring, 1913) we find .... Thereafter you may use either the original or translated title but be consistent. Also (used in a footnote): Vladimir Dukelsky, Diagilev i ego rabota (Diaghilev and his Work), Vertsy, 3 (1928), 251-255. Please note that for titles in English, the first letter of all main words should be capitalized. However for titles in other languages, only the first letter of the first word should be capitalized, and other words should start with a capital letter only if they do so in the original language (e.g. Trait de rythme, de couleur, et dornithologie; but Les Troyens and Die Harmonie der Welt). This rule also applies to titles of articles, books, periodicals, etc. that appear in footnotes. Words Italicize non-English words unless they are in common English usage (for example, elite, genre). The abbreviations ibid. and et al. are not italicized. Words in Cyrillic, Greek and so on should be italicized and transliterated.

Ancient Greek names Give familiar names in their traditional English (Latinised) form: Aristotle, Hercules, Aeschylus, Achilles, Ulysses, Oedipus. Please note that when forming the possessives of names from the classical world that end in an s or z sound, the final s is omitted: e.g. Achilles not Achilless. However, in all other cases of nouns ending in an s or z sound please use the final s (Skalkottass).

Quotations Short quotations should be presented in the text within single quotation marks ( ). Longer quotations (more than 60 words long) should be indented, single-spaced, font size 11 and without quotation marks. For verse quotations run into prose text, use a vertical | (not a solidus / ) with space either side to indicate the division between each verse. Quotations within quotations need double quotation marks: Stravinsky stated that music is, by its very nature, essentially powerless to express anything at all in his Autobiography. When omitting words from quotations, you should indicate this by means of three full stops within brackets: [...]. Ellipses without brackets may imply that the full stops appear in the original. Use square brackets [ ] (not parentheses) to interpolate any of your comments or notes.

Parentheses Brackets Use the parentheses symbols as usual. In case of a parenthesis within a parenthesis, use double parentheses (...(... ... ...)... ...) and not square brackets [.... (...) ....]. Use square brackets only for comments, corrections, interpolations, and parenthetical notes: He [Debussy] told Caplet not to do so. The Heroica [sic] Symphony. Satie declared that his work represented a return to classical simplicity with modern sensibility [my italics].

Capitalization Use capitals for the names of people, places, nationalities, days of the week, months (but not seasons), festivals, holidays, wars (use either the First/Second World War or World War I/II), treaties (the Treaty of Rome), institutions and organisations, unique events (the October Revolution), historical periods, cultural schools and movements, titles of rank (Tsar Alexander II, King George VI) empires (the British Empire), titles and subtitles of works and parts of books and so on when referred to specifically (Chapter 2, Part IV, Figure 8, Act III). For references in other languages, use the proper capitalization system in those languages.

Capitalize the title of a movement: the Andante of Mozarts Symphony, but use lowercase and single quotation marks to indicate a tempo mark: the lento gives way to a spirited vivace. For the general use of the terms, use lower-case initial letters, no quotation marks and italics: the allegro character of the piece, the allegro-andanteallegro structure.

Italics & Roman Use italics for titles of books (except for books in the Bible), names of journals, encyclopaedias, dictionaries, periodicals and newspapers, plays, art works, movie titles, operas, named symphonic works (Symphonie fantastique, Petite suite), song cycles and collections, technical terms (a cappella, basso continuo, da capo, allegro). Use roman in quotation marks for single songs, arias, individual movements, pieces within a suite (the Rigaudon from Le Tombeau de Couperin) and popular names (those not furnished by the composer) of works with a genre title (Moonlight Sonata, Jupiter Symphony). Use roman without quotation marks for generic titles and terms and genre titles like Symphony, Sonata, Quartet, Trio, Mass and for variations when popular titles are used (Enigma Variations). Use roman for overtures: Hebrides Overture, but use italics when the title is a part of an opera or literary source Overture Oresteia, Overture A Midsummer Nights Dream. Ibid. and et al., are written in roman type, while sic and c. (circa) are italicized.

Dates and numbers For dates please follow the British format: 24 January 2009 (no th or punctuation). Abbreviate months in references only (24.1.09). Beware old-style dates. If necessary, use N.S. and O.S. (new- and old-style) for clarification. Write nineteenth century rather than 19th century (use the abbreviated form only in notes, reference, and tabular matter), hyphenated as an adjective: nineteenth-century music history. Similarly, write 25 per cent (two words, no point) instead of 25% and first, second, third instead of 1st, 2nd, 3rd. Use 1870s or 1930s but prefer Seventies or Sixties to 70s or 60s.

Word can manage numerals one above the other for time signatures and figuring, but otherwise indicate e.g. 6-4 chords in a passage in 3/4. In plays and operas Act II scene iv.

Abbreviations For upper and lower case abbreviations use: Ph.D., Sun., Feb., Dr, Mr, Mrs, Ms, Mme and Mlle. Avoid abbreviations such as e.g., i.e. and etc.; use expressions such as for example, that is and and so on instead. Write manuscript instead of MS in the text, but in references and captions write MS for manuscript, MSS for manuscripts and arr. for arrangement. Circa. Use c. (italics with dot): c.1830. With a span of dates c. must be repeated before each date if both are approximate: c.1830c.1832. When abbreviating first names, please write: J. S. Bach, G. B. Shaw (with spaces).

Acronyms Acronyms take no points: BBC, UNESCO, while titles of books, plays and journals produce italic abbreviations: JAMS (Journal of the American Musicological Society). Please, write USA, UK without points.

Titles of works For italicization see Italics & Roman. Catalogue numbers: Use a comma after the title and before the catalogue number (Faurs Promthe, Op. 82); use initial capital letters in Op. 1 No. 1 (no comma between the two elements). Musical examples Tables Images Please insert musical examples, tables and images into the text. To ensure high quality of reproduction, please use high resolution (400 dpi) for the iconographic material. All material should be numbered in Arabic numbers and should have caption, which should be placed below the respective element. Their alignment should be centred. 10

References to musical pitch We encourage the use of musical examples rather than musical notation run into the main text. However, in certain cases a single note or short sequences of pitches are more conveniently expressed in the text in letters according to the system devised by Helmholtz. Thus a cello is tuned C-G-d-a, and a violin g-d'-a'-e''. Special subjects may require special terminology, which should be explained. Musical symbols Key signatures Please avoid the use of any musical symbols, since these often cause serious problems in the text format. Use F sharp minor (upper case, no hyphen) instead of F# minor and E flat major instead of Eb major. If it is absolutely necessary to use symbols (to indicate rhythmical patterns, or else), please use a font (such as Opus Text) that would not cause formatting problems in the text. Use abbreviations of dynamics, such as pp, mf, ff (italics).

11