MUSI 6397: Liszt

1. The task now is to develop an ANNOTATED BIBLIOGRAPHY of printed sources that

contain information on your topic.
2. After I have approved your topic, search for and assemble 15 SOURCES that address the
issue. The more specific the sources, the better, You must include a wide variety of sources,
such as books, articles in journals, articles in encyclopedias, essays [articles] in collections,
prefaces to musical editions, liner notes from CDs, and electronic or on-line sources.
These are rough guidelines
(a) THREE to SIX of the sources should be BOOKS (3-6 books)
(b) At least SIX of the sources should be articles from JOURNALS, articles from MUSIC
ENCYCLOPEDIAS, or essays [articles] in COLLECTIONS. (By essays in collections, I
mean that some books contain essays that are not all by the same author, but are
compilations of articles by different authors on the same subject. These books are usually
edited by one or more persons. It is easy to recognize these types of books: look at the
table of contents. If a different author is listed for each chapter, the book is a collection
of essays.) ONLY TWO of these sources can be from music encyclopedias such as the
New Grove Dictionary of Music and Musicians or Bakers Biographical Dictionary of
Musicians (i.e., you need a minimum of four articles from journals or collections)
(c) Prefaces to musical editions, liner notes from CDs, DVDs, and other audio-visual media.
The best liner notes are usually found with recordings that feature period instruments or
period performance practice.
(d) Consult the reserve list for books that are available at the music library circulation desk.
Just about all the Liszt books that are worthwhile have been put on reserve so that
everyone has equal access to them. Do not ignore them just because they are not
available online.
3. To search for sources, you must consult:
(a) The music librarys on-line catalog (see below).
(b) Bibliographies in printed sources such as our class textbook, the New Grove Dictionary
of Music and Musicians (online and ML100 .N48 2001 in the reference table in the music
library), Bakers Biographical Dictionary of Musicians (ML 105 .B16 2001 in the
reference table in the music library), books about Liszt, books about the general subject
of romantic music, biographies of composers, and more specific books on your topic.
(c) Electronic bibliographies such as RILM, catalogs of area universities, World Cat (all on
line and accessible from the terminals in the music library) and MUSIC INDEX (partly
on CD ROM, entirely in hard copy in the music library, partly available on line). See
below.
(d) Some sources may need to be ordered from inter-library loan if they are not available in
the music library. Make your ILL requests NOW if you expect timely results.

4. After finding the correct number and kind of sources, read enough of them to be able to write
annotations for each of them. Each annotation must include:
a. The CORRECT BIBLIOGRAPHICAL INFORMATION. Consult Kate Turabian, A
Manual for Writers of Term Papers, Theses, and Dissertations (LB2369 .T8 1996 in the
reference table in the music library) or The Chicago Manual of Style (Z253 .U69 in
music reference) for the correct format for each source (article in journal, article in
collection, book, etc.) See below for samples of correct formats.
b. Brief COMMENTARY ON THE SOURCE. State the type of the source, how specific,
general, and relevant it is, the major points that the author makes about your topic, and
how valuable the source might be for further research on the topic. Look through each
source, find what is most important to your topic, and summarize the authors main
points.
Here is an example for the topic, Richard Wagners Idea of the Gesamtkunstwerk
(Total Art Work):
Magee, Bryan. Wagners Theory of Opera. In Penetrating Wagners Ring, edited by
John L. DiGaetani, 69-78. Rutherford, N.J.: Fairleigh Dickenson University,
1978.
Bryan Magees essay is one of many by different authors that are assembled in a
collection devoted to the origins, plots, music, and interpretation of Wagners Ring des
Nibelungen. It summarizes many issues in Wagners music, such as the leitmotiv,
unending melody, and Norse mythology. The idea of the Gesamtkunstwerk is
clearly explained as a combination of all the arts in equal measure. Wagners reliance
on Greek drama to formulate this concept is outlined. The concept is also illustrated
with several examples from the Ring and other music dramas. Since discussion of the
Gesamtkunstwerk is brief, more detailed research would be required.
c. Group the entries in your bibliography by the type of source, and indicate the type of
source above each group.
5. Finally, after completing your annotations, revise your proposal and attach it as a short
introduction at the beginning of your bibliography (approximately 1 to 2 pages).
6. Standards for written work
(a) Handwritten papers will not be accepted.
(b) Your preface must be DOUBLE SPACED; bibliographical entries and annotation should
be SINGLE SPACED, but a double space should appear between entries and between the
entry and its annotation.
(c) All typewritten work must have ONE INCH MARGINS (left, right, top, bottom)
(d) All fonts must be 12 characters per inch (the size you are reading now).
(e) All cartridges, ribbons, and printer settings must produce the darkest, highest quality
typeface possible.

(f) The use of phrases or sentences that are not your own must be enclosed in quotation
marks and be acknowledged with footnotes or proper citations. Plagiarism will result in a
failing mark, or other measures may be taken in accordance with the academic honesty
policies of the University of Houston.
(g) Do not submit papers in bindings or folders: use staples (1st choice) or paper clips.
(h) Headers or footers with your last name are a good way of preventing pages of your
assignment from getting lost.
(i) Pages must be numbered.
PROPER FORMATS OF BIBLIOGRAPHICAL ENTRIES
Proper formats (order of material, punctuation) may not seem very important to you, but for
people who work with many types of sources (such as YOUR INSTRUCTOR and librarians),
THEY ARE ESSENTIAL. Librarians and scholars can look at a properly formatted entry and
immediately tell whether it is a book, an article from a journal or magazine, an article from a
collection of essays, or any other type of source. YOU WILL LOSE MANY POINTS IF YOUR
FORMATS ARE NOT CORRECT!!!!!!!!!!! AND YOU WILL NOT GET A SECOND
OPPORTUNITY TO CORRECT YOUR FORMATS AFTER YOU HAVE HANDED YOUR
ASSIGNMENT IT. PROPER FORMATS ARE PART OF THE ORIGINAL ASSIGNMENT!
It is impossible here to give you all of the formats that you might encounter. That is why you
must consult either Kate Turabians A Manual for Writers or The Chicago Manual of Style, both
of which are available in the music library and in Anderson Library (the call numbers, given
above, are the same in both libraries).
The most common formats are listed below.
1. For a BOOK
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe.
The Norton Introduction to Music History. New York and London: W. W. Norton
& Company, Inc., 1984.
The entry in the bibliography has: (a) a hanging indent; (b) Authors last name, Authors first
name, separated by a comma and followed by a period; (c) Title with proper capitalization,
italicized (most word processors can produce italics; underlining can be used instead, but
only as a last resort), followed by a period; (d) a series title (not always found) in regular
typeface, followed by a period; (e) place of publication followed by a colon; (f) publishing
company followed by a comma; (g) year of publication followed by a period.
The format for the very same source would be much different for a footnote. You will not be
too concerned with footnotes in preparing your annotated bibliography unless you choose to
cite a source in your preface. You will, however, be required to use footnotes in the second
written assignment for this class. Here is the format for a footnote:

Leon Plantinga, Romantic Music: A History of Musical Style in NineteenthCentury Europe, The Norton Introduction to Music History (New York and London: W. W.
Norton & Company, Inc., 1984), 12-13.
Note that (a) the indent is normal; (b) the authors name is in normal order and followed by a
comma; (c) the title is followed by a comma unless the next thing that follows is the
publication information; (d) the series is the same but not followed by any punctuation
because it is immediately followed by the publication information; (e) the publication
information is enclosed in parentheses; (f) the publication information is followed by a
comma; (f) page numbers are listed.
2. For an article in a journal
Bonner, Andrew. Liszts Les prludes and Les quatre lmens: A Reinvestigation. 19thCentury Music 10, no. 2 (Fall 1986): 95-107.
(1) Authors name; (2) articles title in quotation marks, with a period inside the quotation
marks; (3) journals title, italicized; (4) volume number of journal (sometimes each issue has
a separate number, too, which may be cited as above); (5) year in parentheses followed by
colon (above, the Fall refers to issue 2 in volume 10); (6) page numbers (pp. is not used in
citing journals, but is sometimes used in citing other types of sources).
2

Andrew Bonner, Liszts Les preludes and Les quatre lmens: A

Reinvestigation, 19th-Century Music 10, no. 2 (Fall 1986): 99.
3. Articles in The New Grove and essays in collections. This is the instructor's preferred
format for the New Grove. (Consult Turabian for the format of other encyclopedias.)
Doe, Jane. Article Title. In The New Grove Dictionary of Music and Musicians, 2d ed.,
edited by Stanley Sadie and John Tyrrell, 1:45-49. New York and London:
Macmillan, 2001. (1 refers to the volume, 45-49 refers to the pages.)
A collection would have the same format:
Youens, Susan. Schubert and his Poets: Issues and Connundrums. In The Cambridge
Companion to Schubert, edited by Christopher Gibbs, 33-55. Cambridge:
Cambridge University Press, 1994.
3

Susan Youens, Schubert and his Poets: Issues and Connundrums, in The
Cambridge Companion to Schubert, ed. Christopher Gibbs (Cambridge: Cambridge
University Press, 1994), 44-47.
3. Prefaces or Forewords to musical editions.
Mueller, Rena Charnin. Foreword to Les Prludes, by Franz Liszt. Budapest: Editio Musica
Budapest, 1997.

Rena Charnin Mueller, Foreword to Les Prludes, by Franz Liszt (Budapes:

Editio Music Budapest, 1997), iv.
5. Liner notes to CDs., cassettes, LPs, videos. Some liner notes include titles for their essays.
If so, give the title in quotation marks. Some liner notes do not include titles for their
essays. If not, simple write Liner Notes to Title of CD. Some recordings have actual titles
(Symphonic Poems from Russia), some do not (Franz Schubert: The Complete
Symphonies).
Stegemann, Michael. Fritz Wunderlich Sings Lieder by Schumann, Beethoven, Schubert.
Translated by Mary Wittall. Robert Schumann: Dichterliebe, Op. 48. CD
514638A. Musical Heritage Society, 1981.
Jacobson, Bernard. Liner Notes to Johannes Brahms: Symphonie Nr. 4. CD D 103114.
Deutsche Grammophon Gesellschaft, 1981.
Note that the entries include the following information: the recordings number, company of
publication, and year of publication.
Various manuals give different formats for citing sound recordings. The preceding examples
conform to Turabians Manual of Style.
Observe similar rules in converting these bibliographical citations into footnotes.
To find REFERENCES to PRINTED sources (books, articles, etc.) regarding your topic, consult
the following EXTREMELY USEFUL bibliographic tools:
RILM ABSTRACTS
On the Home Page of the Music Library at the University of Houston
(normal rest position on computers in the music library)
(http://info.lib.uh.edu/music/ will get you there)
In the middle column at the bottom of the page,
Select RILM (Rpertoire Internationale de la Littrature Musicale)
Supply your user information if you have not done so already.
Use the keyword subject selectors to search for your topic.
MUSIC INDEX
Music Index from 1976 onward is also available on line; follow the same process as in
RILM. For references prior to 1976, consult the hard copies in Anderson Library, ML118
.M84.
BIBLIOGRAPHIES
Also consult bibliographies at the ends of articles in The New Grove Dictionary of Music
and Musicians and in Bakers Biographical Dictionary of Musicians, copies of which are located

in the reference section and in the reference table. Grove bibliographies can be accessed on line,
following the procedures outlined for RILM. (Call numbers are given above.)
RILM Abstracts and the Music Index will not actually contain the articles, books, and other
materials that are listed, but they will give you the titles of the journals and books where you can
locate them. JSTOR and other databases will include the actual articles. The music library
catalog will link you to JSTOR. Articles in JSTOR do not count as electronic sources. Articles
in JSTOR are usually reproductions of what has already appeared in print media.
To find the journals and books, you must consult the library catalog. Rice University and other
institutions in the area sometimes have materials that we do not, and vice versa. The catalogs for
Rice and other area libraries can be accessed from the UH Library Catalog page
(http://library.uh.edu).