GUIDESHEET FOR CONTRIBUTORS
1. HARMONIE PARK PRESS, the Publisher, generally follows the principles found in The Chicago Manual of Style, 15th edition (2003), which may be consulted for points not covered here.
2. Sample footnotes:
1. Frederick Neumann, “The French Inégales, Quantz, and Bach,” Journal of the American Musicological Society 18, no. 3 (fall 1965): 315. [or: 18/3]
2. The New Grove Dictionary of Music and Musicians (1980), s.v. “Schubert, Franz,” by Maurice J. E. Brown.
3. John Rowe Parker, A Musical Biography (New York: Stone and Fovel, 1825; reprint, Detroit: Information Coordinators, 1975), 39.
4. Thomas Tomkins, Musica Deo Sacra: I, ed. Bernard Rose, Early English Church Music, 5 (London: Stainer and Bell, 1965), 20.
5. Robert Marshall Copeland, “The Life and Works of Isaac Baker Woodbury, 18191858” (Ph.D. diss., University of Cincinnati, 1974), 68.
3. Sample bibliography:
Beattie, John W. “Suggestions as to Content and Procedures in Music Education Courses.” Yearbook of the Music Supervisors National Conference (1932), 211-16.
Copeland, Robert Marshall. “The Life and Works of Isaac Baker Woodbury, 1819-1859.” Ph.D. diss., University of Cincinnati, 1974.
Neumann, Frederick. “The French Inégales, Quantz, and Bach.” Journal of the American Musicological Society 18, no. 3 (fall 1965): 313-58.
The New Grove Dictionary of Music and Musicians (1980). S.v. "Schubert, Franz," by Maurice J. E. Brown.
Parker, John Rowe. A Musical Biography. New York: Stone and Fovel, 1825. Reprint, Detroit: Information Coordinators, 1975.
Pratt, Waldo S. “New Ideals in Musical Education.” Atlantic Monthly, December 1900, 826-32.
Tomkins, Thomas. Musica Deo Sacra: I. Edited by Bernard Rose. Early English Church Music, 5. London: Stainer and Bell, 1965.
4. Music symbols:
We have only a few musical symbols to use within the text; call for specifics. If your writing concerns specific musical pitches, use the following system (with italics): C' C c c' ( = “middle C”) c” c"'.
5. Double-spaced typescripts are generally preferred, to give room for changes and editor’s markings.
6. Titles of works:
a. Capitalization of foreign titles is sometimes a problem. Capitalize the first word of titles and proper names in all languages. In German, all nouns are capitalized, as in Denkmäler deutscher Tonkunst. In French, capitalize until the first noun, unless the first word is a conjunction, as A la venue de Noël, Premier Livre d’orgue, Le Boeuf sur le toit. All other words are lowercase. In Italian and Spanish, lowercase everything except the first word and proper names, as Le nozze di Figaro, Le nuove musiche, Los primeros Mexicanos. Native style in Romance languages is inconsistent; our goal, nonetheless, is to be consistent. For details, consult the Chicago Manual, 9.4.
b. In English, capitalize the first word and all other words except articles, conjunctions, and prepositions, and capitalize the first word of a subtitle, as An Application of the History of Ideas to Music: A New Appraisal. Reminder that the following are prepositions (hence, lowercase in titles): across, after among, between, during, since, through; the following are adverbs (uppercase): about, around, behind.
c. The manner of citing titles of musical compositions, as explained in the Chicago Manual, is favored. Generic titles, such as Sonata in E Major, op. 31, no. 4, and Symphony No. 3 in E Major, op. 46, are left in roman type. (Note the lowercase “op.”and “no.”) Shorter works such as songs are quoted, such as “I Left Thee Where I Found the Tree,” except that a logical method is to lowercase titles that are also first lines of text in English, such as “I left thee where I found the tree,” versus e.g. “Packington’s Pound,” which is not poetry text. Longer multi‑movement works are in italics, such as Die schöne Müllerin, Messiah, The Rite of Spring, or Le Sacre du printemps.
d. Another method, however, is to italicize all titles, whatever the length. If in doubt, consult the Chicago Manual, 7.149‑53, or write us.
e. For newspapers, omit the article but include the city, as in New York Times. For journal titles, omit the article, as in Musical Quarterly, Musical Times, Diapason.
7. Newspapers, newsmagazines, and the Modern Language Association favor no final comma in a string of nouns, whereas the Chicago Manual and this Publisher prefer the final comma. Example: For health, we should eat apples, oranges, and grapes.
8. Reverse the order of the name of an author or composer only in an alphabetical listing. Otherwise, last name last. For dates, use the form 1781‑89 and 1803‑06 rather than 1781‑1789, 1803‑1806.
9. Manuscript production.
The author will receive advance notice prior to the start of production. At this time, the author may submit any changes or added copy necessary. Upon start of production, several pages of typeset copy will be sent for layout approval. Routing: author, book editor (for a multi‑author festschrift or collection), editor, typesetter. This routing will be repeated at least once more to double check corrections.
The author is responsible for proofreading typeset pages. Upon completion of typesetting, the author will receive a complete set of proofs for final approval before camera‑ready copy is sent to the printer. The proofs would include all corrections, title pages, placement of illustrations, contents, etc.
10. Music examples and/or illustrations.
The author will be responsible for furnishing either handset or typeset music examples. A sample should be submitted to the Publisher for quality and style approval. (If the author is not able to provide typeset music examples, contact the publisher.) Typeset musical examples may be furnished on floppy or zip drive, PC or Mac, as TIFF files or MS Word documents, 6½ inches wide, text in Times Roman; also provide a complete set of laser (or good quality) printouts.
The author will be responsible for furnishing original or reprinted photos to be included in the publication. As xerox copies tend to lose detail and appear dirty at times, they will not generally be approved. Please do not attach paper clips or write directly on the backs of the photos as these marks may reproduce in the final printing. Write all art descriptions on separate paper. Only glossy or high quality reproductions will be accepted. If slides are sent, the costs to create a glossy will be charged to the author. If photos are scanned, please scan at a minimum of 350 dpi and send as a TIFF file.
BE SURE to include any copyright permissions where necessary. Author is responsible for permission fees.
11. Biographical sketch.
Please send to the series editor, sometime during the typesetting phase, a biographical sketch about a paragraph long; this will be added as an end‑page or on back cover (author’s choice).
12. Index.
The author is responsible for the Index, to correspond with the typeset copy. In a festschrift, the author of each essay is asked to highlight the term(s) on the printout that should be considered for compilation of the Index.
13. Camera‑ready copy.
If the author wishes to propose camera‑ready copy, the copy is subject to layout approval. Running heads, pagination, chapter headings, and typefaces are all matters to be taken into consideration. The author would agree to proofread, revise, and correct the manuscript until it is ready for print.
14. Electronic files.
Text may be furnished on floppy or zip drive, PC or Mac, with footnotes or endnotes. Also please provide a printout of complete text, everything (including notes) double-spaced.
15. Send manuscript proposals to Dr. Susan Parisi, 2134 Music Building, University of Illinois, 1114 West Nevada Street, Urbana, IL61801 (Include list of contents, sample chapters, and short bio.)
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