Music 421

Dr. Bailey

The Modern Era

Fall 2014
Term Paper Assignment

Goal: To demonstrate ability to:

-gather material from a variety of sources
-synthesize material and report it convincingly
-apply research and knowledge to specific musical examples
-make significant analytical observations about specific musical examples
-express original opinions.
Key elements: original opinions supported by historical fact and significant analytical
observations about a specific piece.
Length/Format: Topic Proposal (1 page or less) and Bibliography (length determined by
number of sources found) should be submitted as an attachment via OWL-Space (see
Assignments on the OWL-Space site for musi 421). Paper: eight to ten pages (not counting
musical examples, footnotes/ endnotes, or bibliography; i.e., about 3,000 words), typed doublespaced. Only hard copies will be accepted: do not attempt to deliver the paper as email text or
attachment.
For both Proposal/Bibliography and Paper:
-Use one-inch margins and 12-point type.
-Number the pages.
-Staple the pages together.
For the paper:
-Include a title page.
-Include a word count at the end of your paper.
-If there are loose pages (musical examples or endnotes), collect/staple them
separately and use a paper folder with pockets to join the loose pages with the
body of the text; do not use plastic folders or bindings.
-Include the Rice Honor Pledge on your completed paper.
Sources: Avoid textbooks and other very general works as sources, although you might want to
browse such sources (articles in the New Grove Dictionary, for example) to help formulate your
topic. Avoid websites as sources unless there is a compelling reason to cite one. Consult books
and scholarly articles. Find books via WebCat, and employ the periodical indexes (at the very
least: Music Index and RILM) to find articles.
For an easy link to online music resources, including periodical indexes, pull down the
About menu on the main Fondren Library webpage, click on the last entry under Special
Collections, i.e., (Brown Fine Arts), and then click on Music [the icon to the right on the
screen]. From the new menu, click on Online Resources, which will give you the option of

clicking on RILM, Music Index, or New Grove Dictionary, etc., to go to directly to

these online resources.
In your final bibliography, i.e., the one that accompanies the completed paper, list only sources
that you have actually consulted. However, if you find a reference to a source that sounds ideal
for your topic, but you cannot locate that source, please include it in your bibliography with an
annotation to that effect.
Citations: Please use the Chicago/Turabian form for footnotes and bibliography, and use it
consistently. See "suggested form" for notes and bibliography on OWL-Space, and see also the
reference shelf in the library: LB2369 .T8 1996 (Kate L. Turabian, A Manual for Writers of Term
Papers, Theses, and Dissertations, 6th ed.). Footnotes are STRONGLY preferred but endnotes are
acceptable as separate pages at the end of the paper if you are unable to use footnotes. Shortform citations within the body of the paper are not acceptable; they must be presented as
footnotes or endnotes. The first citation of a given source should be a complete citation; the
second and subsequent references to that same source should be shortened (see examples). Use
notes to identify every quotation, paraphrase, or reference to another writers ideas unless they
are common knowledge. Quotations shorter than three lines should be run in to the text and
enclosed in quotations marks. **Longer quotations should be presented as block quotations,
indented from the left margin and not enclosed in quotation marks.** Your paper should not
consist of an unending string of citations. It is your paper: develop your own ideas.
Musical Examples should be a part of nearly every paper: Photocopy, scan, or write out
examples (by hand or computer) and include them within the text; if you absolutely cannot fit
them into the text, you may present them on separate pages at the end. Annotate the examples
(with boxes, arrows, and colored ink, etc.) and make sure that you refer specifically to them in
your paper. Do not present a score example that is lacking a clef.
Due:
1. ASAP
2. Throughout
the semester

3. Oct. 9

Check paper topic with Dr. Bailey in person or via email.

Schedule appointment(s) with Dr. Bailey to evaluate progress

toward completion of paper. At least one appointment is
recommended to verify that you are following an appropriate path.
Submit paper topic proposal and initial bibliography in the following
form:
a. One-paragraph discussion of how you will turn your topic into a
a thesis and paper.
b. Complete bibliography organized according to tools you
employed to locate the sources (you must employ each of these):
1. Fondren Library Catalog
2. WorldCat

3. RILM
4. The Music Index
5. International Index of Music Periodicals
4. November 18

Submit completed paper, including the revised bibliography. Late

papers will be penalized with lowered grades.

Process to follow in selecting a topic and thesis:

Choose a piece or group of pieces that you have played or sung, will play, would like to
play, or like to listen to--this piece is the topic of your paper. You might choose a piece by a
major composer, or you might explore some less-well known music. (Explore the index to the
book and talk to your teachers to find interesting pieces and composers. This is a perfect
opportunity to explore works and composers NOT covered in class.)
Explore the library's resources to determine if there is enough information to support
your topic. Explore distinctive angles on the topic as a means of determining your thesis.
Place the piece you have chosen within the context of the composer's life and career.
Discuss the distinctive stylistic elements of the piece--melody, harmony, rhythm, timbre,
texture, form, etc. DO NOT TURN IN A MEASURE-BY-MEASURE DESCRIPTION OF THE
MUSIC, because that would be only a preliminary step in your analysis of the music. Instead, use
specific musical passages to illustrate the distinctive style of the work.

Suggested Bibliographic Form

BOOKS
Author [inverted]. Title. Place of publication: Publisher, Date.
Ed., Trans., Series, No. of vols., Edition.
Watanabe, Ruth T. Introduction to Music Research. Englewood Cliffs,
N. J.: Prentice-Hall, 1967.
Pauly, Reinhard G. Music in the Classic Period. Prentice-Hall History of
Music Series. 2nd ed. Englewood Cliffs, N. J.: Prentice-Hall, l973.
DISSERTATIONS
Smithson, Henry. Musical Settings of Ophelias Songs. Ph.D. diss., University of
Antwerp,
1985.
ARTICLES
Author (inverted). "Title." Periodical vol. no. (date): page numbers.
Palisca, Claude V. "The Letters of Girolamo Mei." Musical Quarterly
45 (1959): 111-76.
ARTICLES IN COLLECTIONS
Auner, Joseph H. Schoenberg and His Public in 1930: The Six Pieces for Male Chorus,
Op. 35. In Schoenberg and His World, 85-125. Ed. Walter Frisch. Princeton, New Jersey:
Princeton University Press, 1999.
ARTICLES IN REFERENCE WORKS
Author (inverted). "Title." Title of Book. Edition (date). [signed article in standard work]
Title of Book. Edition (date). S.v. "entry or title." [unsigned article in standard work; sub
verbo =
"under the word"]
Author (inverted). Title of Book. Place of publication: Publisher, Date. S.v. "entry or
title." [lessstandard works]

Hamm, Charles. "Cage, John." New Grove Dictionary of Music and Musicians. Ed. Stanley
Sadie. 6th ed. (1980).
Encyclopedia Americana, 1975 ed. S.v. "Sumatra."
Griffiths, Paul. Thames and Hudson Encyclopaedia of 20th-Century Music. London:
Thames
and Hudson, 1986. S.v. "MIDI."
MUSIC
See books. Distinctive titles are underlined if the work is long, put in quotes if short.
Genre titles are not underlined.
Mozart, Wolfgang Amdeus. Concerto: G Major for Pianoforte and Orchestra.
London: Eulenburg, n.d.
Berlioz, Hector. Symphonie fantastique. London: Eulenburg, n.d.
Palestrina, Giovanni Pierluigi da. Pope Marcellus Mass. Ed. Lewis Lockwood. Norton
Critical
Scores. New York: Norton, 1968.
RECORDINGS
Composer [inverted]. Title of Recording. Performer(s). Recording Company, number,
date of
recording.
Bach, J. S. Preludes and Fugues for Organ. Anthony Newman. Newport Classic, NCD
60004, 1986.
LINER NOTES
Author (inverted). "Title." Title of Recording. Performer(s). Recording Company,
number, date of recording. [If the liner notes have no title, label them "Liner Notes."]
Brown, Clive. "Schubert: Symphony in C Major 'Great'; 'Rosamunde' Overture."
Schubert:
Symphonie No. 9; Rosamunde: Overture (Die Zauberharfe). Claudio Abbado
and The
Chamber Orchestra of Europe. Deutsche Grammophone, 423 656-2, 1988.
ON-LINE SOURCES
Author's Name [inverted]. "Document Title." Title of the Site. Sponsor of the Site. URL.

For examples see (nos. 34-39 refer to online sources):

http://bcs.bedfordstmartins.com/resdoc5e/RES5e_ch10_s1-0001.html

Suggested Footnote or End-note Form

BOOKS -- Full Reference

Author's name (normal order), Full Title, (Place: Publisher, Date), page.
ed., trans., series, edition

volume

For example:
3. Philipp Spitta, Johann Sebastian Bach: His Work and Influence on the Music of Germany,
1685-1750, trans. Clara Bell and J. A. Fuller Maitland (London: Novello, 1899), 2: 103.
DISSERTATIONS
4. Henry Smithson, Musical Settings of Ophelias Songs (Ph.D. diss., University of
Antwerp,
1985), 10.
BOOKS -- Shortened Reference
15. Spitta, Johann Sebastian Bach, 2: 104.

ARTICLES -- Full Reference

Author's name, "Title," Journal volume number (year): page.
For example:
7. H. C. Robbins Landon, "The Haydn Symphonies," Music Review 26 (l959): 31-32.
16. H. C. Robbins Landon, "The Haydn Symphonies," in Essays in Honor of Oliver
Strunk, ed. Jan La Rue (New York: Norton, 1965), 31-32.
21. Joseph H. Auner, Schoenberg and His Public in 1930: The Six Pieces for Male
Chorus, Op. 35, in Schoenberg and His World, ed. Walter Frisch (Princeton, New Jersey:
Princeton University Press, 1999), 85-125.

REFERENCE WITH ADDITIONAL MATERIAL -- EXAMPLES

23. "...parce qu'il avait la plus grande inspiration." Henri Prunire, La musique en
France (Paris: Heugel, n.d.), 24.

36. Of course these restrictions on proper resolution do not always apply. Some
exceptions are cited in Heinrich Schenker, Harmony, trans. Elisabeth Mann Borgese, ed.
and annotated Oswald Jonas (Chicago: Univ. of Chicago Press, 1954), 205-18.
LINER NOTES
Author's name, "Title," Title of Recording, Performer(s), Recording Company, number,
date of recording, page number [if notes are contained in a large booklet]. [If the liner
notes have no title, label them "Liner Notes."]
Clive Brown, "Schubert: Symphony in C Major 'Great'; 'Rosamunde' Overture," Schubert:
Symphonie No. 9; Rosamunde: Overture (Die Zauberharfe), Claudio Abbado and The
Chamber Orchestra of Europe, Deutsche Grammophone, 423 656-2, 1988.
David Huntley and David Del Tredici, "Liner Notes," David Del Tredici: In Memory of A
Summer
Day, Child Alice, Part One, Phyllis Bryn-Julson, Leonard Slatkin and the
Saint Louis
Symphony, Nonesuch 9 79043-2, 1983.

ON-LINE SOURCES
Author's Name [normal order], "Document Title," Title of the Site, Sponsor of the Site,
URL.
For examples see (nos. 34-39 refer to online sources):
http://bcs.bedfordstmartins.com/resdoc5e/RES5e_ch10_s1-0001.html