For specifics, refer to: Chicago Manual of Style, 17th ed. (Chicago: University of Chicago Press, 2017) http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html.

a. MANUSCRIPT

  1. The submitted manuscript should be saved as a doc file and labeled with the name of the author with no spaces or special characters, e.g., smith_k.doc.
  2. The manuscript font is 12-point type, double spaced line spacing, with a single space following each sentence.
  3. Paragraphs should be flush with left margin with no indention and not justified. Leave extra space between paragraphs.
  4. All periods and commas should be inside end quotes. Colons and semicolons—unlike periods and commas—follow quotation marks. Question marks follow closing quotation marks unless they belong within the quoted matter.
  5. Use American English spellings rather than British English.
  6. Indent block text for long quotes.
  7. Italicize or Quotation marks? (for in text and notes. Reference list italicizations may diverge, see below).

a. italicize all foreign words, book, periodical, and album titles, movies, television, radio, and podcast programs, titles of operas, oratorios, and tone poems.

b. quotation marks for article titles, chapters, poems, songs, shorter musical compositions, unpublished works such as, theses, dissertations, manuscripts in collections.

Examples:

  • In her dissertation, “The Fugues of Bach,” she discusses The Well-Tempered Clavier...
  • “Umbrella,” featuring Jay-Z, on Rihanna’s Good Girl Gone Bad...
  • “Oh, What a Beautiful Mornin’ ” from Oklahoma!
  • “Wohin?” from Die schöne Müllerin

c. instrumental work titles with generic names like “symphony,” “quartet,” and “nocturne," are capitalized but not italicized. However, a descriptive title that accompanies a major work is italicized if referring to a full work, and such is placed in quotation marks if referring to a section of a work. See Chicago Manual 17, 8.195.

Examples:

  • Symphony no. 6 in F Major (Pastoral)
    the Sixth Symphony
    the Pastoral Symphony
    the Pastoral

  • Air with Variations (“The Harmonious Blacksmith”) from Handel’s Suite no. 5 in E

 

b. REFERENCES AND CITATIONS

The Symposium default style of citing sources is within the text using the author-date system (e.g., Smith 2016, 315–16) with a list of references at the end of the article. Each entry in a reference list must match up with an in-text citation in the main manuscript (this is different than a “bibliography,” where items might be listed that were consulted by the author even though they are not cited in the text). See http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html. Additional commentary can go in a footnote.

The author-date style must be used for all Reviews. However, discipline-specific formatting is acceptable for articles, such as APA style for Music Education and footnote/bibliography style for Musicology. Formatting questions should be addressed to the Component Editor.

References listed alphabetically by author, where the year follows the author, should be double-spaced at the end of the article and use .5 hanging indent:

Example:

REFERENCES [Left justified]

Grazer, Brian, and Charles Fishman. 2015. A Curious Mind: The Secret to a Bigger Life.
New York: Simon and Schuster.

Pai, Tanya. 2017. “The Squishy, Sugary History of Peeps.” Vox, April 11, 2017. http://www.vox.com/culture/2017/4/11/15209084/peeps-easter.

Smith, Zadie. 2016. Swing Time. New York: Penguin Press.

Yale University. n.d. “About Yale: Yale Facts.” Accessed May 1, 2017. https://www.yale.edu/about-yale/yale-facts.


c. TITLE INFORMATION

Title information for articles and forum essays require title and author name only. Title information for Reviews and Performances is more comprehensive and varies depending on the material but should include:

Writer/Composer/Performer(s). Year of Issue/Copyright. Title of Book or Recording. Other Writer/Composer/Performer(s). Recording Label. Format. Catalog numbers, website, price.

Technology and Online Resource Reviews, because the content is so diverse, should have a descriptive subtitle beyond the name of the Tech/Resource itself. Accepted Performances, Lectures, and Lecture-Recital Reviews must include a transcription of any spoken text. For specific questions, contact the Component Editors.

Examples:

Book Review:
A Curious Mind: The Secret to a Bigger Life. 2015. Brian Grazer and Charles Fishman. New York: Simon and Schuster. 360 pp., 32 maps and 12 color images. ISBN: 9781476730776. $59.28.

Audio Review:
New Orleans: Blues of Louisiana. 2018. Music of the Earth: Multicultural Media MCM3055. Recorded, annotated, and produced by Ahmad Baqer. 12-page booklet with notes in English by Angelina Jones. Color and b/w photographs, musical notations. Mp3 download, 11 tracks (55:46). www.neworleansmusic.com. $19.95

Tech/Online Review:
Ulysses 13 for Mac and iOS: Improvements on the Leading Mac Cross-Platform Text Editor. Released Fall 2017. [for Tech, include a descriptor as the second part of the title]. https://ulyssesapp.com. $4.99 month, $39.99 year.

Performances, Lectures, Lecture-Recitals:
(Review Title)
A History of Polish Music. Leonard Bernstein with the Cracow Duo: Jan Kalinowski, cello and Marek Szlezer, piano. October 23, 2017. Lecture-Recital (video) with transcription. Ford-Crawford Hall, Indiana University, Bloomington, IN.

(Transcription Title)
A History of Polish Music. 2017. Leonard Bernstein with the Cracow Duo: Jan Kalinowski, cello and Marek Szlezer, piano. October 23, 2017. Lecture-Recital (video). Ford-Crawford Hall, Indiana University, Bloomington, IN.


d. ABSTRACTS

Brief 250-word abstracts must be submitted with articles. No abstracts are required for Reviews, Performances (which include Reviews), or Forums, but keywords are required for all. Please name your abstract file with the same name as your article file but include the word “abstract” at the end (smith_k_abstract.doc). For assistance in preparing your abstract, see RILM

Keywords: A total of 6-8 keywords should be included after the abstract or with your Forum submission. Do not use words or terms that are already in the title. Keywords supplement title information and draw attention to ideas. They also bleed into search engines and help readers locate your research in databases and through online searches. A helpful tool in finding keywords is to look for important words in your abstract and if appropriate, use those words and synonyms. Please note, concepts might have several words, and each one counts as a keyword, so “music education” is counted as two keywords.


e. MEDIA: Image, Audio, Video

1. images, audio, video files should be labeled, with no spaces or special characters, by media type and be numbered consecutively in order of appearance in the manuscript (e.g., image1; or audio6; or video1). All media must be submitted independent of the manuscript—do not embed images in the doc file.

2. In the text, indicate where images, audio, and video should be placed in square brackets. Audio files are especially effective when combined with notated music examples or other images, but such a grouping should be indicated in the captions and insert marker.

[insert image1]

Blah, blah, blah....

[insert image4 with audio9]

3. captions. All images, tables, graphs, musical examples, audio, video must be accompanied by a doc file with a list of captions and credits that are keyed to images.

Example:

List of Captions:

Image 1: Lute, c.1550, by Hans Frei. Courtesy of Warwickshire Museum
Image 2: Soprano descending passage from Josquin’s Missa Herculaneaum

Audio 1: Excerpt from Herbie Hancock’s performance of “Chameleon,” 1974. Courtesy of Sony Records

Image 6 and Audio 12: Opening groove of Norman Greenbaum’s “Spirits in the Sky.”

4. all media must be referenced in the text, and here, spaces can be used between item and number (e.g., table 1 rather than table1)

Example:

“Frei lutes are among the finest to have survived in modern times (Image 1).”

“As Jeff Beck demonstrates in this guitar passage from “Freeway Jam,” a mixolydian mode need not be used (audio 1).”

“Reich’s unique bowing style underscores this point (video 6).”

5. slides, especially common in Lecture-Recital transcriptions, must be exported and saved as .gif or .jpg files and treated like images, grouped and compressed into a zip file for submission (see below).


f. FORMATTING AND SUBMITTING

1. zip folders. Place images, audio, and video files in individual folders and compress each into a single zip file. Label the compressed file with the name of the author and the type of media (e.g., smith_k_images.zip). Upload the zip file through the Symposium submission page (video submitters will be instructed to submit through WeTransfer.com). Abstracts and manuscripts are uploaded as non-zipped doc files.

2. images should be saved in .gif or .jpg format; 300 dpi is acceptable, but 600 dpi is preferred. Place all numbered images in a compressed zip folder, [name]_images.zip.

3. audio files should be saved in mp3 format (and preferably 192 kbps stereo). Place all numbered audio files in a compressed zip folder, [name]_audio.zip.

4. video should be saved in mp4 or m4v format and should be continuous, high quality, with minimal background noise, pauses, and applause. Place all numbered video in a compressed zip folder, [name]_video.zip. Go to WeTransfer.com and send the file to the appropriate Component editor’s email as well as to This email address is being protected from spambots. You need JavaScript enabled to view it.. Symposium will provide acknowledgement of receipt of your file. (Instructions for converting to mp4 with MPEG Streamclip, 2018)



g. BIOGRAPHY AND HEAD/TORSO PHOTOS

All authors, including invited reviewers, are to provide a head/torso shot and a brief biography around 50 words. If you have a website address, include it at the end of the bio or on the submission form. Headshots should be submitted as .jpg files, at least 300 dpi, with relative dimensions 4’ x 5’, 1400 x 1750 pixels.

Brief Biography Examples:

Lauren Humperdink is a Music Educator and Violinist, active in a variety of ensembles. As an educator, she specializes in the Suzuki method, and as a performer, she is especially noted for her sensitivity in Baroque performance practice. She has been a featured performer at major global venues including Royal Albert Hall, London, and Lincoln Center, NY. www.humperdink.com

Arthur Pendragon received his PhD in Music Composition from the University of Avalon in 1889 and is currently an Associate Professor at Camelot University. He is the author of Romancing the Stone: Songs of Chivalry in Medieval England (Excalibur Press, 2018) and is the editor of the journal Stoned. www.arthurP.com

Sarah B. Barber is an Adjunct Professor of Media at the University of Central Florida in Orlando, Florida. She received her PhD from the University of Colorado at Boulder, with a specialization in the songs of pre-Columbian Mesoamerica. Her research focuses on music theory and performance practice in rituals of ancient Oaxaca, Mexico. www.sbarber.com



h. PERMISSIONS and COPYRIGHT