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Music Research and Writing Pathfinder pg1

Library Research

An introduction to the LCC system for music

Music call numbers in the Library of Congress Classification (LCC) system are subdivided by format.

Music literature is shelved under ML (note that we only have a few items, primarily librettos, in the music library under ML; most music literature is held in the main library and is shelved using the Dewey Decimal system). Music education items are shelved under MT. These items are located in the Music Education Room and include both books (e.g. teaching manuals) and scores (e.g. studies and methods). Scores are shelved under M in the main part of the music library.

LC Call Numbers by Instrument

Click on the instrument name to find a listing of LC call numbers by instrument

  • Bassoon
  • Clarinet
  • Flute
  • Guitar
  • Horn
  • Oboe
  • Piano
  • Saxophone
  • Trumpet
  • Viola
  • Violin
  • Violoncello
  • Voice

    • Bassoon

      Studies and methods(Bassoon family)

      Bassoon music

      M75 - M79
      Bassoon and piano
      M253 - M254 (including transcriptions)
      Bassoon duets

      M288 - M289
      Bassoon and orchestra

      M1026 - M1027


      Studies and methods
      MT380 - MT388

      Clarinet music

      M70 - M74
      Clarinet and piano

      M248 - M252
      Clarinet duets

      M288 - M289
      Clarinet and orchestra

      M1024 - M1025


      Studies and methods
      MT340 - MT348

      Flute music

      M60 - M64
      Flute and piano

      M240 - M242

      M243 - M244
      Flute duets

      M288 - M289
      Flute and orchestra

      M1020 - M1021


      Studies and methods
      MT580 - MT588

      Guitar music

      M125 - M127
      M128 - M129
      Guitar and piano

      M276 - M277
      Guitar duets

      M292 - M293
      Guitar and orchestra

      M1037.4 .G8
      Guitar and String orchestra

      M1137.4 .G8
      name="hor" id="hor">


      Studies and methods (Horn family)
      MT420 - MT432

      Horn music

      M80 - M84
      Horn and piano

      M255 - M259 (including transcriptions)
      Horn duets

      M288 - M289
      Horn and orchestra

      M1028 - M1029
      name="obo" id="obo">


      Studies and methods (oboe family)
      MT360 - MT379

      Oboe music

      M65 - M69
      Oboe and piano

      M245 - M246

      M245, M247
      Oboe duets

      M288 - M289
      Oboe and orchestra

      M1022 - M1023
      name="pia" id="pia">



        M20 - M39
        M21 - M22 (collection)
      • SUITES (PIANO)
        M25 (individual pieces)
      • PIANO MUSIC (1 HAND)
      • MARCHES
        M30 - M32
        M32 - M39
        M200 - M212
      • PIANO MUSIC (PIANOS (2))
        M214 - M216
      • PIANO + another instrument
        M217 - M285
        M240 - M244
        M312 - M314
      • TRIOS (PIANO + 2 other instruments)
        M310 - M344

        M412 - M414
      • QUARTETS (PIANO + 3 other instruments)
        M410 - M449

        M512 - M514
      • QUINTETS (PIANO + 4 other instruments)
        M510 - M549

        M612 - M614
      • SEXTETS (PIANO + 5 other instruments)
        M610 - M649
        M1010 - M1011
        M1010 - M1011
        M1110 - M1111
        M1110 - M1111
        MT220 - MT224
        MT225 - MT249
      • Methods for harpsichord other keyboard instruments
        MT250 - MT258
    • MT140, MT145

    • Saxophone

      Studies and methods
      MT500 - MT508
      name="sax" id="sax">

      Saxophone music

      M105 - M107

      M108 - M109
      Saxophone and piano

      M268 - M269
      Saxophone duets

      M288 - M289
      Saxophone and orchestra

      M1034.S4 (cadenzas M1034.5.S4)
      Solo with piano

      Saxophone and string orchestra (& solo with piano)


      Studies and methods
      MT440 - MT448
      name="tru" id="tru">

      Trumpet music

      M85 - M87

      M88 - M89
      Trumpet and piano

      M260 - M261
      Trumpet duets

      M288 - M289
      Trumpet and orchestra

      M1030 (cadenzas M1030.5)
      solo with piano

      Trumpet and string orchestra
      Solo with piano



      Studies and methods
      MT280 - MT298
      name="via" id="via">

      Viola music

      M45 - M47

      M48 - M49
      Viola and piano

      M224 - M226

      M227 - M228
      Viola duets

      M286 - M287
      Viola and orchestra

      M1014 (cadenzas M1014.5)
      Solo with piano

      Viola and string orchestra

      Solo with piano

      name="vin" id="vin">


      Studies and methods
      MT260 - MT279

      Violin music

      M40 - M42

      M43 - M44
      Violin and piano

      M217 - M221

      M222 - M223
      Violin duets

      M286 - M287
      Violin and orchestra

      M1012 (cadenzas M1012.5)
      Solo with piano

      Violin and string orchestra

      Solo with piano

      name="vio" id="vio">


      Studies and methods
      MT300 - MT318

      Violoncello music

      M50 - M52

      M53 - M54
      Violoncello and piano

      M229 - M233

      M235 - M236
      Violoncello duets

      M286 - M287
      Violoncello and orchestra

      M1016 (cadenzas M1016.5)
      Solo with piano

      Violinoncello and string orchestra
      Solo with piano



      Songs are generally classified by the instrumental accompaniment or as excerpts of larger dramatic works. Within each section, the scores are filed alphabetically by composer.


        M1495 – M1998
      • Miscellaneous collections
        M1495 – M1497
      • OPERAS
      • OPERAS – VOCAL SCORES with piano
      • OPERAS – EXCERPTS ... Arias with piano accomp.
        M1507 and M1508
      • VOCAL DUETS with orchestra
      • VOCAL SCORES with piano
      • VOCAL TRIOS with piano
      • SONGS (HIGH VOICE) with orchestra or SONGS (MEDIUM VOICE) with orchestra or SONGS (LOW VOICE) with orchestra ... M1611, M1615 (collections) and M1613, M1617 (single songs)
        M1612, M1616 (collections) and M1614, M1618 (single songs)
        M1613.3, M1621.3
      • VOCAL SCORES with piano
      • SONGS (HIGH VOICE) with piano or SONGS (MEDIUM VOICE) with piano or SONGS (LOW VOICE) with piano ... M1619 -- M1620 (collections) and M1621 (single songs)
        M1623.8 (collections and M1624.7 (single songs))

        • FOLK-SONGS, [language]
          M1626- M1980
          M1628 - M1677
          M1678 - M1679
          M1738 - M1739
          M1999 - M5000
        • ORATORIOS
        • ORATORIOS -- Vocal scores with piano
        • ORATORIOS -- Excerpts
          M2004 (solos)
        • ORATORIOS -- Excerpts, Arranged
          M2005 - M2007
          M2018 - M2019
        • SACRED SONGS with orchestra
          M2102, M2105 (collections) and M2103, M2107 (single songs)
        • Solo with piano
          M2104, M2106, M2108
        • SACRED SONGS (HIGH VOICE) with piano or SACRED SONGS (MEDIUM VOICE) with piano or SACRED SONGS (LOW VOICE) with piano
          M2110 - M2111 (collections) and M2113 - M2114 (single songs)
        • HYMNS
          M2115 - M2146

        MT820 - MT893
      The basics of how LCC works

      Scores are classified primarily according to medium of performance. Various subcategories are also used, including number of performers, genre, and form. For example, full scores of operas are shelved under M1500 while opera vocal scores are shelved under M1503. As someone looking for a score, consider if you need the full score or the vocal score—or perhaps either will do?

      Remember that LCC relies primarily on medium of performance. The system does not always distinguish between ‘classical’ and ‘popular’ music. For example, you will find both opera and musical vocal scores shelved under M1503; however, you will find that art song and popular song are shelved under different call numbers. This can get tricky at times—remember that what you may consider an art song, LCC might consider a popular song!

      Note that the LCC call number also gives you other information about the score. Most duos will have a call number in the M200s while quintets will be shelved under the M500s.

      LCC often shelves original works and arrangements under different call numbers. You may need to check under both call numbers if you are not sure whether or not the score you are looking for is an arrangement.

      Searching using the ‘Special Call Number’ feature

      Using the ‘special call number’ feature found in the drop down menu on the front page of the library catalog, you can search and browse for scores using the call number. Note that there is a difference between the ‘call number’ search option and the ‘special call number’ search option. You need to use the ‘special call number’ option to search for LCC scores. The ‘call number’ option only searches items in Dewey.

      A special call number search is not necessarily the most efficient choice of search strategy; however, after a while, you may find that you begin to remember the call numbers for the particular types of scores that you use most often. Once you reach this stage, a special call number search could be your most efficient choice, particularly if combined with a composer’s cutter (see
      Finding Scores Using a Composer’s Cutter Number).

      There are two important points to remember when using a special call number search.
        1) If a special call number search shows that we do not have an item, we may still own it as part of a composer’s complete works edition (see Using Composers Complete Works Editions).

        2) Sometimes a score may not be found under the call number its title suggests. For example, symphonies are found under M1001; however, Shostakovich’s Symphony 14 is found under M1528 because it is in the format of a vocal duet with orchestra.

        A few examples of some useful LCC call numbers

        M3 Composers complete works editions
        M23 Piano sonatas
        M312 Piano trios
        M452 String quartets
        M512 Piano quintets
        M557 Woodwind quintets
        M557.4 Brass quintets
        M1001 Symphonies
        M1002 Tone poems
        M1003 Orchestral suites and variations
        M1004 Overtures
        M1500 Operas/Musicals—full scores
        M1503 Operas/Musicals—vocal scores
        M1507 Collections of opera/musical excerpts—vocal scores
        M1520 Ballets
        M1530 Secular cantatas/oratorios—full scores
        M1533 Secular cantatas/oratorios—vocal scores
        M1619 Art song collections
        M1620 Art song collections by composer
        M1621 Individual art songs
        M1630.18 American popular song collections
        M2000 Sacred oratorios—full scores
        M2003 Sacred oratorios—vocal scores
        M2010 Masses, including Requiems—full scores
        M2020 Sacred cantatas—full scores
        M2023 Sacred cantatas—vocal scores
        M2072 Anthems
        M2110 Sacred song collections
        M2117 Hymn collections
      Further information

      If you would like more information on LCC call numbers specific to your instrument or musical score needs, contact the music librarian.

      For an overview of the LCC system for music, click here.

      The ‘Music Cataloguing at Yale’ website at Yale University provides greater detail on LCC call numbers. To access this information, click here.

      Useful Web LinksMRRpg2

      Example Websites by Category

      Here are just a few examples to get you started with using the Internet for academic research. Remember that there will be many other useful sites out there on the Internet!

      Search Engines specifically to find scores


      Free sheet music databases


      Sheet Music Consortium
      Art Song Central
      CAIRSS for Music 

      Sheet Music for the nation-America




      Sheet music databases downloads for a fee

      Musicnotes Download Sheet Music. From $5.25. With Over 110,000 Available Songs.

      Art Song Transpositions--in case your song can't be found in the right key, this website publishes professional, exquisitely crafted editions of songs in any key. Fill out the request form below and we'll email you a price quote and estimated delivery date. Titles start as low as $4.95, which includes your song in one transposed key. For each additional key requested, there's an extra $.50 charge. Songs are delivered in PDF form. In case we don't have access to the song, we'll ask you to email us a copy. 24-hour rush orders are available.

      Access to other library catalogs


      Resources put together by other music libraries

      Online Resources for Music Scholars (Harvard College Library)

      Directories to open access material

      Directory of Open Access Journals

      Example website categories
      By subject

      Musicals and Musical Theatre

      Internet Broadway Database records of productions from the beginnings of New York theater until today.

      Lortel Archives--The Internet Off-Broadway Database  also known as www.IOBDB.com (Internet Off-Broadway Database) provides a catalogue of shows produced Off-Broadway.

      Guide to Musical Theater fascinating site that includes numerous details about all musical productions.

      ASCAP's Ace on the web Database of song titles, composers, lyricists, performers, and publishers. Includes publishers' addresses.

      BMI HyperRepertoire

      Links to song indexes

      SESAC Repertory

      Yale Theater and Dance Guide

      UT song index

      Popular songs in collections database-University of Washington

      Choral Public Domain Library is an archive of choral sheet music and includes a wiki with texts and translations of the availble works.

      Lied, Art Song, and Choral Texts Page

      The Red Hot Jazz Archive

      Musical Theme Dictionary

      Music Theory Assistance

      Good Ear = ear training help.

      Musicards = intensely helpful music theory flash cards!

      Music Theory and History Online = basics of notation, meter, rhythm, chord structures and more!

      MusicTheory.net = free tools for learning music theory with ear training too!

      Teoria—Music Theory Web = award winning tutorials on all aspects of music theory

      By composer/performer

      The Ira F. Brilliant Center for Beethoven Studies This is a visionary Museum/Library at San Jose State University in San Jose California. One can access information about the American Beethoven Society and the Beethoven Gateway as well as information about interesting exhibits at the Center.

      Beethoven Gateway Formerly called the Beethoven Bibliography Database, the purpose of this website is to bring all literature about Beethoven and the related information about the era he lived in under bibliographic control. This is an excellent resource for finding information about Beethoven literature.

      The Charles Ives Society, Inc.

      Mozart Database The purpose of this web site, operated by the Internationale Stiftung Mozarteum in cooperation with the Packard Humanities Institute, is to make Wolfgang Amadeus Mozart's musical compositions widely and conveniently accessible to the public, for personal study, scholarly and educational use. You can find a digital version of the Neue Mozart Ausgabe (the newest Urtext version of Mozart's collected works)here at this website.

      By collection

      The Julliard Manuscript Collection
      Brahms-Institut (in German)
      Library of Congress Performing Arts Encyclopedia

      Band Music PDF Complete settings for bands of today, including full scores and parts

      The Full English a digital archive of approximately 44,000 records and 58,400 digitized images, all available freely online. The site documents folk music culture in England during the early 20th century. While it doesn’t provide any song recordings, what it does include are thousands of transcriptions of music and lyrics of folk songs from all across England, transcribed and compiled by notable song collectors, folklorists, and composers, including the likes of Percy Grainger, Cecil Sharpe, and Ralph Vaughan Williams. The Full English also includes correspondence and notebooks that paint a compelling picture of this community of scholars and musicians.

      New York Philharmonic Dgital Archive The New York Philharmonic Digital Archives houses multiple score and part collections, including those of Leonard Bernstein and Andre Kostelanetz as well as the oldest items of the Philharmonic's own music library which dates back to the founding of the Orchestra in 1842.

      Musica International MUSICA is currently a choral documentary search tool as well as a pedagogic tool for conductors, musicologists, schools of music, musical federations, music stores, and other organisations. It is also ideal for amateurs and those who wish to know more about the choral music repertoire. It fits perfectly as a database to manage a choral music library in a cooperative way with other libraries. It is a necessary tool for choral conductors, just like a tuning fork or pitch pipe.

      MUSICA seeks to gather information on all choral music of the world and compile it into a single research tool. It is an international project and the database is therefore multilingual (French, German, English and Spanish), containing over 160,000 references (as of November 2010). This represents dozens of year-men of work. Its evolution into a virtual multimedia library is well underway. However, this work will take many years, and the contribution of volunteers from the world's choral community is necessary in order to quicken the pace towards completion.

      Musical Treasures Consortium provides online access to the world's most valued music manuscripts and print materials, held at the most renowned music archives, in order to further research and scholarship. Researchers can search or browse materials, access metadata about each item, and view digital images of the treasure via each custodial archive's Web site. The consortial collection will grow as members add more materials.

      The Avant Garde Project is a series of recordings of 20th-century classical, experimental, and electroacoustic music digitized from LPs whose music has in most cases never been released on CD, and so is effectively inaccessible to the vast majority of music listeners today.

      By organization
      American Federation of Musicians (AFM)

      American Choral Directors Association (ACDA)

      Association for recorded sound collections (ARSC)

      The National Association for Music Education

      Phi Mu Alpha Sinfonia International Music Fraternity for Men

      Sigma Alpha Iota International Music Fraternity for Women

      Can you think of other categories? Email the music librarian with your suggestions.

      Dictionaries and Encyclopedias

      Grove Music Online includes The New Grove Dictionary of Music and Musicians, second edition, 2001 (plus online updates); New Grove Dictionary of Opera (published in print in 1992 and online in 1999); and The New Grove Dictionary of Jazz, second edition (2001)


      Doctoral Dissertations in Musicology-Online DDM-Online is an international database of bibliographic records for completed dissertations and new dissertation topics in the fields of musicology, music theory, and ethnomusicology, as well as in related musical, scientific, and humanistic disciplines. Containing more than 14,000 records, including the corrected and updated contents of the earlier printed editions of Doctoral Dissertations in Musicology (still available for sale) and supplements contributed from musicological centers throughout the world, DDM-Online is browsable, just as was possible in the earlier printed editions, but it is also fully searchable by author and or by as many as three simultaneous keywords in any part of the record. The pages of DDM-Online are updated periodically throughout the academic year.

      Books and Scores

      The Dulaney-Browne Library catalog includes books (in DBL), scores (in Leichter Listening Library), and recordings (CDs in Leicther, LPs in DBL)

      WorldCat includes books, scores, and recordings in libraries around the world. Request items through Interlibrary Loan, or request an OK-Share card to visit local academic music libraries and borrow items directly.


      Music Index (index to articles on music and music performance with some links to full-text)

      RILM Abstracts of Music Literature (index to articles on music research with some links to full-text)

      JSTOR (older full text journal articles on Music and other subjects)

      Need a recording?

      Naxos includes CDs available for live streaming via the Internet

      Catalogs for recorded sound & video collections

      Library of Congress Recorded Sound Reference Center
      British Library Sound Archive Catalogue
      Televised Opera and Musical Comedy Database

      National Jukebox  The Library of Congress presents the National Jukebox, which makes historical sound recordings available to the public free of charge. The Jukebox includes recordings from the extraordinary collections of the Library of Congress Packard Campus for Audio Visual Conservation and other contributing libraries and archives.

      Live Music Archive is a community committed to providing the highest quality live concerts in a lossless, downloadable format. 

      The Avant Garde Project is a series of recordings of 20th-century classical, experimental, and electroacoustic music digitized from LPs whose music has in most cases never been released on CD, and so is effectively inaccessible to the vast majority of music listeners today.

      Free Music Archive The Free Music Archive is an interactive library of high-quality, legal audio downloads.  The Free Music Archive is directed by WFMU, the most renowned freeform radio station in America.  Radio has always offered the public free access to new music. The Free Music Archive is a continuation of that purpose, designed for the age of the internet.

      Spotify  Think of Spotify as your new music collection. Your library. Only this time your collection is vast: over 15 million tracks and counting. Spotify comes in all shapes and sizes, available for your PC, Mac, home audio system and cell phone. Wherever you go, your music follows you.  And because the music plays live, there’s no need to wait for downloads and no big dent in your hard drive.

      Grooveshark  Excellent source for popular music.  Allows users to send links to individual tracks and customized playlists via email to other users. The person sending the links, and creating the playlists, must have a (free for now) account, but the recipients do not have to be members.

      writing source books

      Crabtree, Phillip. Sourcebook for research in music. Bloomington : Indiana University Press, 2005.

      Irvine, Demar. Irvine’s writing about music. Portland, Or. : Amadeus Press, 1999.
      Location: 4th floor Circulating Materials
      Call Number: 808.02 Ir8w3

      Wingell, Richard. Writing about music : an introductory guide. Upper Saddle River, N.J. : Prentice Hall, 1997.
      Location: 5th floor Circulating Materials
      Call Number: 780.722 W726w2

      MM Thesis Guide

      Oklahoma City University

      Wanda L. Bass School of Music



      Instructions for Preparing The Research Paper for the Master of Music Degree


      This guide is designed to give students general information concerning the preparation of the recital paper written in conjunction with the master’s recital in the course MUS 5102—Music Research and Writing.



      All theses necessary for partial fulfillment of graduate degrees must be approved by the graduate student’s committee and be submitted to the person designated by the graduate program three weeks before commencement. Exceptions must have prior approval of the program director and dean.  Specific thesis requirements include the following:



      I. Copies and Library Instructions — At least 3 copies of each recital paper are required.

      Two copies need to be deposited in the Dulaney-Browne Library, and one copy must be submitted to the Coordinator of Graduate Studies. Each graduate student must pay a binding fee for each copy of the paper. The Dulaney-Browne Library will bind the copies of the papers, using the same binding, cover, and spine format for all graduate papers (OCU blue with gold type). 



      II. Paper — All copies of theses will be submitted on letter-size, acid-free, 20-pound, 25 percent rag paper. Type is to be on one side only.



      III. Binding — The original copy (not two photocopies) should be bound. (Note: Do not bind rough drafts of the paper. Make sure that the paper is in its final condition before binding.)



      IV. Margins — 1 ½ inch left and 1 inch top, bottom, and right margins.



      V. Word-Processing — Use only 12-point Times New Roman font. The final copy should be printed using a printer that will produce letter-quality copies. Musical examples should be generated using computer software or may be photocopied and inserted into the text.



      VI. Arrangement — Normally, the recital paper will be arranged as follows:


      Front matter — use lower case Roman numerals to number all front matter; however, do not print a number on the Title page

      1.Title page

      2.Approval page (signature page)

      3.Table of Contents

            4. Preface, Acknowledgement, or Foreword (if any)

            5. List of Musical Examples (if any)

            6. List of Tables (if any)

            7. List of Figures (if any) 

            8. List of Illustrations (if any)


      Text of paper — use Arabic page numbers and print a number on the first page

            9. Text (May be subdivided into Introduction, Parts, Chapters, and Sections, as necessary)


      Back matter — continue on using Arabic page numbers


           11. Bibliography



      VII. Footnotes and Bibliography — The footnotes used in the recital paper are primarily source citation footnotes; however, provided they are used sparingly, substantive comments may also be included in footnotes.  Source citation footnotes are used to cite the authority for statements in the text, such as specific facts or opinions as well as exact quotations, and to make cross-references.


      Footnotes should be arranged in numerical order at the foot of the page, and all those to which references are made in the text page must appear on the same page as the references to them. Numbering of footnotes will start over at the beginning of each chapter. The acceptable form for footnotes and the bibliography may be found in Kate Turabian’s A Manual for Writers 7th ed. or The Chicago Manual of Style, 15th ed. (2003).



      VIII. Text Notes — Be sure to indent and single space long quotations. In this case, do not use quotation marks.  



      IX. Academic Honesty — In the case of serious, documented violation of the Academic Honesty policy in theses work, a student will be dismissed from the university, subject to normal academic appeals processes. 



      X. Each student is responsible for completing the Thesis Submission Form, as well as ensuring that each office has provided a signature acknowledging either receipt of the thesis, or receipt of the completed form.  

       XI. Signatures should be received in the order stipulated on the form, with the Registrar’s Office receiving the final copy of the Thesis Submission Form, which includes all signatures.



      XII. Failure to provide the completed form to the Registrar’s Office will delay the posting of the degree and the release of the diploma.






      1. Student and applied teacher determine recital program (48-53 minutes of performing



      2. Research topic chosen in consultation with the applied teacher (related in some manner to

      the recital program).


      3. Recital program and research topic are submitted to the student’s Graduate Committee

      for approval; this proposal must include the following: recital program with each

      selection (or group) timed and including a total timing for entire program, paper title,

      abstract (brief synopsis—a paragraph or two), table of contents or outline, and proposed



      4. Recital date is set.


      5. Schedule, with the Graduate Coordinator, the Comprehensive Review to occur at least 15 days prior to the recital; according to the University Catalog, the Comprehensive Review “is administered by the student’s Committee…and will take the form of a preview recital and oral examination on the Recital Paper. The…review for the Composition major will take the form of submission of tape recordings of recital rehearsals as well as an oral examination concerning various aspects of the paper project.”  This means, therefore, that the paper must be written and in its final draft form at the time of the review.  Students must submit the final draft to the committee members at least one week prior to the review. 



      Some helpful advice: 


      Matters of academic writing style are the responsibility of the writer. The writer should not depend upon the graduate faculty to correct grammar, spelling, punctuation, footnote or bibliography format, and other such basic components of the paper. The faculty readers reserve the right to return the first draft unread if ten or more errors are found on the first five pages. If students lack confidence in this preparation, they should seek the assistance of the University’s Learning Enhancement Center in Room 235 of the Walker Center.


      Become familiar with the format for scholarly work as presented in the above-cited reference works.

      Do not “drop in” quotations. Prepare the quotations by including the author’s name (Example: According to musicologist Halsey Stevens, “Bela Bartók...”)


      A dash in printing is created on the word-processor by using a double hyphen, preceded and followed by no space.


      Inform yourself of parts of speech so that you can capitalize titles correctly: articles, prepositions, “to” used as part of an infinitive, and coordinating conjunctions (“and,” “but,” “or,” “nor,” “for”) are not capitalized.


      Spell out the century when referring to an era: “twentieth century;” and hyphenate the two words if they are used as an adjective: “twentieth-century music.” Do not refer to individuals by their first name: Aaron Copland is either “Copland” or “the young Copland”— not “Aaron.”


      Please use italics for titles. Use them consistently in your footnotes and bibliography. 


      A comma is customarily used following the year in dates: “on June 19, 1997, a tornado....”  

      Titles of large compositions (such as song cycles, musical shows, oratorios, symphonic works) are italicized.  Titles of individual movements within these larger works appear within “quotation marks.”  (Examples:  “Du Ring an meinem Finger” from Frauenliebe und Leben or “People Will Say We’re in Love” from Oklahoma!)



      For New Grove Dictionary entries, determine the author of the article (identified by initials at the end of the article) and use the following format.  Include the edition number if using an edition other than the first:


      Footnote:  The New Grove Dictionary of Music and Musicians, 2nd ed. s.v. “Theremin,” by Richard   Orton.


      Bibliography:  Chicago style suggests that dictionaries and encyclopedias be cited in footnotes.  If the article is deemed central to your thesis, you may include it in the bibliography as follows:

      The New Grove Dictionary of Music and Musicians, 2nd ed. S.v. “Theremin,” by Richard Orton.



      If you wish to cite material from Grove in Oxford Music Online, please use the following format.  As with print versions, articles should normally be cited in footnotes only:


      Footnote:  Grove Music Online, s.v. “Theremin,” (by Richard Orton), http://www.oxfordmusiconline.com (accessed Oct. 5, 2001). [Note: In the preceding parentheses, enter the date you accessed the source.]


      Bibliography: Grove Music Online, S.v. “Theremin,” by Richard Orton. http://www.oxfordmusiconline.com (accessed Oct. 5, 2001). [Note: In the preceding parentheses, enter the date you accessed the source.]


      Avoid using first person pronouns — “I,” “me,” etc.



      The following are some musical conventions preferred here:


       C major (no hyphen, lowercase “major”)

       C minor (uppercase key, no hyphen, lowercase “minor”)

       D-flat (lowercase “flat”)



       Use “theater,” not “theatre”

       Use italics for non-English musical instructions

       sixteenth note

       sixteenth-note passage (*sixteenth-note is an adjective in this situation)

       subdominant and submediant (one word)

       m. 1 = measure 1

       mm. 2-6 = measures 2 through 6

       op. 3, no. 4 (these abbreviations are preferred)


      For further information on abbreviations and musical conventions, see Chapter One in:


      Holoman, D. Kern.  Writing About Music: A Style Sheet, 2nd ed.  Berkley:  University of California Press, 2008.


      This book is available in the reference section of the main library and in full-text on Ebrary.



      In musical examples, make sure to give credit to the composer in each example 

      and indicate the work and measure number. If all examples are by the same 

      composer and from the same work, this could be indicated in a footnote. Then, 

      composer and work could be omitted from each succeeding note:


      Example 1.  Brahms, “Vergebliches Ständchen,” mm. 5-9.


      Musical examples are numbered consecutively throughout the paper — do not  

      begin numbering again in new chapters as with footnotes.


      Check your reference guide with regard to numbers (i.e., whether to use numerals  

      or to spell out).








       (Sample title page)
















      Your Name

      Previous Degrees


      Oklahoma City University


      Date (Month and year only)













      This paper is presented in partial fulfillment of the requirements for the Master of Music Degree in_________________










      (Sample signature page)










      Approved by the Graduate Committee









            Professor xxxxxxxx




            Professor xxxxxxxx   




            Professor xxxxxxxx




            Professor xxxxxxxx










       (These should appear in alphabetical order by last name, and the title “Professor” is used with each.)


      Instructions from the music office about pre-submission


      The students will leave four copies of the paper (printed on the good paper) and the thesis submission form on Audrey’s desk in the office of the dean.

      Faculty will sign all five documents in that location.


      Thesis Submission

      Frequently Asked Questions

      Where can I find a copy of the thesis submission form?

      The official copy of the form is on the Registrar’s starnet site at here:

      What are the current prices?

      Binding is $8.00 per copy, ($32.00 for the minimum 4 required copies). Extra pockets for CD/DVDs or programs are $5.00 each per copy.

      Where can I find the correct paper?

      The guidelines require “white, letter-size, acid-free, 20-24 pound, 25-100 percent rag content paper.” You should be able to find this with the resume paper or business and resume paper at office supply stores and copy shops. Rag content will generally be listed as 25%, 75%, or 100% cotton. Be sure to check for “acid free” as well.

      What do I need to bring to the library?

      You need to have a copy of the thesis submission form completed and signed by your academic and thesis advisors, at least 4 complete copies of your thesis (including the signature page signed by the members of your thesis committee), and at least $32.00 to cover the cost of binding these 4 copies. Cash or checks only. The library does not have the capacity to accept credit cards.

      When will the bound thesis be ready?

      Theses are sent away to be bound once per month, so they are usually ready 5 to 10 weeks after they are submitted.

      Can I have extra copies bound?

      Yes, extra copies can be bound for the same price as the required copies ($8.00 each).

      Can I have the extra copies shipped to me?

      Yes, we currently charge $5.00 shipping and handling for each thesis mailed to a U.S. address. If you would like to have extra copies mailed to an overseas address, please check with the library’s administrative assistant in room 107 for the current mailing costs to that address.

      Does the binding need to be complete before my diploma will be issued?

      No, you just need to turn in the signed thesis submission form to the registrar’s office and complete all other requirements for the degree.















































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