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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
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!
Free sheet music databases
Sheet Music Consortium
Art Song Central
CAIRSS for Music
Sheet music databases downloads for a fee
Musicnotes Download Sheet Music. From $5.25. With Over 110,000 Available Songs.
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
Musicals and Musical Theatre
Internet Broadway Database records of productions from the beginnings of New York theater until today.
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.
Choral Public Domain Library is an archive of choral sheet music and includes a wiki with texts and translations of the availble works.
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.
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.
American Choral Directors Association (ACDA)
Sigma Alpha Iota International Music Fraternity for Women
Can you think of other categories? Email the music librarian with your suggestions.
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.
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)
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.
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.
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
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
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
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.
TIMELINE FOR RECITAL PAPER
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 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)
TITLE OF RECITAL PAPER
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
(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.
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.