Citation Styles

There are different ways to cite another authors' work:

There are different ways to cite another authors' work: Summarize: "Use when details are irrelevant or a source isn't important enough to warrant more space." Example: Many textbooks have recently written about Indian music (see Miller and Shahriari 2009; Titan, et al. 2009)

There are different ways to cite another authors' work: Summarize: Use "when details are irrelevant or a source isn't important enough to warrant more space." Example: Many textbooks have recently written about Indian music (see Miller and Shahriari 2009; Titan, et al. 2009) Paraphrase: Use "when you can state what a source says more clearly or concisely than your source, or when your arguments depend on the details of your source but not on its specific words. Example: Miller and Shahriari state that the most common drum in South Indian music is the mridangam (2009: 112)

Ways to cite, cont. Direct quote: Use when: "1.) The words constitute evidence that backs up your reasons; 2.) The passage states a view you disagree with, and to be fair you want to state it exactly; 3.) The quoted words are from an authority who backs up your view; 4.) They are strikingly original; 5.) They express key concepts so compelling that the quotation can frame the rest of your discussion." Example: In South India, "the most commonly used drum is called mridangam" (Miller and Shahriari 2009: 112)

Format There are two types citation - one within the text of the paper and one later in the works cited. Below are common types of media and citation style. We will be using the style used for ethnomusicological sources. Books Last name, First Name, (other names). Date of Publication. Title. Place of Publication: Publishing Company. Miller, Terry and Andrew Shahriari. 2009. World Music: A Global Journey. New York: Routledge.

Articles: Last Name, First. Date. "Article Title." Journal Title Volume (Number): Page range. Maira, Sunaina. 1999. "Identity Dub: The Paradoxes of an Indian American Youth Subculture (New York Mix)." Cultural Anthropology 14(1): 29-60. Edited Books: Last Name, First. Date of Publication. "Title of Chapter." In Book Title, ed. Editors names, page #s. Publication location: Publication company

Hall, Stuart. 1992. "Cultural Studies and Its Theoretical Legacies." In Cultural Studies, ed. Lawrence Grossberg, Cary Nelson and Paula Treichler, 277-86. New York:

Films: Producer name. Production Date. Media Type. Title. Publishing Place: Publishing Company. National Fu Hsing Dramatic Arts Academy. [1984] 2004. DVD. What is Chinese Opera? New York: Insight Media.

In-text citations After the summarization/paraphrase/direct quote, insert the following: (Author last name Date of publication: page #) Example: (Miller and Shahriari 2009: 112)

Note: if you mention the name of the author in the text, all that is needed is the date and page #. Example: Miller and Shahriari state that the most common drum in South Indian music is the mridangam (2009: 112) For films, just the author name and date are required.

Plagarism can get you kicked out of school, and you'll have a hard time getting into another school if plagarization is on your record. Its better to over-cite than under-cite. The following count as plagarization: -You use the exact words from the source, but do not place them in quotation marks. -You use ideas or methods from another source but fail to cite it.

Final note: If a direct quote is MORE than 3 lines, it needs to be in a separate section that is indented and single spaced. The parenthetical then appears AFTER the period, not before as normal.

Not surprisingly, many of the singers in the festival were required to perform songs honoring the then dictator of the country, Nicolae Ceauescu. However, like many such festivals, the true motivations were far from lost on the populace. David Kideckel, for instance, discusses means of resistance to Cntarea Romnei: Many people used their forced participation as an occasion for symbolic resistance. High School Teachers and students in Fgra [the site of Kideckel's fieldwork, a city in central Romania] often begged off by feigning injury or claiming lack of talent for singing and dancing. Other institutions edited politically acceptable plays and skits into veiled criticisms of the Ceauescus and state policy. Still others acted, sang, and danced as clumsily as possible in the hope of being eliminated. (1993: 192) Still, as Claudiu Oancea (2007) shows in his interviews with past participants, not all desired to subvert the state system: many were excited at the chance of performing, becoming a state-paid musician, or simply taking a vacation from the farm or factory. Furthermore, despite such forms of resistance in Romania, cultural production under the Ceauescu regime nonetheless remained extremely limited (Verdery 1991). In a short memoire, for instance, Romanian ethnomusicologist Sperana Rdulescu