JSCM Style Sheet

JSCM Style Sheet 1

JSCM Style Sheet

Bruce Gustafson

version: May 2021

Lois Rosow, ed.

Contents

Abbreviations .................................................................................................................2

Preface............................................................................................................................2

1. Spelling, Italicization, Capitalization, and Regularization of Words ............................3

2. Capitalization and Punctuation of Titles ........................................................................8

3. Capitalization, Punctuation, and Style of Names…………………………………… 10

4. References ....................................................................................................................10

5. Abbreviations ...............................................................................................................13

6. Punctuation, Text Style, and Symbols .........................................................................14

7. Formatting of Final Submission ..................................................................................17

8. Format for Headings of Reviews ................................................................................18

9. JSCM Instrumenta .......................................................................................................19

JSCM Style Sheet 2

Abbreviations

CMOS/17 The Chicago Manual of Style, 17th ed. (Chicago: University of Chicago Press,

2017); online version available by subscription at

http://www.chicagomanualofstyle.org/home.html

CMOS/16 The Chicago Manual of Style, 16th ed. (Chicago: University of Chicago Press,

2010); online version available by subscription at

http://www.chicagomanualofstyle.org/16/contents.html

HTML HyperText Markup Language

JSCM Journal of Seventeenth-Century Music

Grove Grove Music Online, available by subscription at

http://www.oxfordmusiconline.com

Preface

JSCM adheres in most cases to the policies enunciated in CMOS/17; references to the

previous edition (CMOS/16) are given for the convenience of readers who happen to

have that edition at hand. The present Style Sheet lists policies that contradict those

in CMOS/17, that specify a particular option offered by CMOS/17, or that are

frequent issues of confusion for authors and editors of JSCM. This Style Sheet is

occasionally revised, and authors should be sure that they are using the most recent

version.

CMOS/17 7.1 (CMOS/16 7.1) recommends Webster’s Third New International Dictionary

or its principal abridged version, Merriam-Webster’s Collegiate Dictionary, for

American English spelling and common usage. For spelling and simple definitions,

the convenient abridged version at http://www.merriam-webster.com often suffices.

On good usage, see CMOS/17 5.250.

Once an article has been accepted for publication,

the author should submit a final text to the editor,

formatted according to the instructions given in

Section 7, below.

JSCM Style Sheet 3

1. Spelling, Italicization, Capitalization,

and Regularization of Words

in an English Sentence

17th century (not used in prose): see seventeenth century

A–B-flat–C motive (en dashes for a series of pitch names that signify motion from one to

the next)

a cappella

“A” section (punctuation is placed outside the quotation marks, primes within)

• This is true in section “A' ”, but not in “B”.

but

• It is in ABA form.

a3, a4 (etc.)

abca (rhyme schemes; upper case letters can be introduced as needed, for instance to show

refrains; the letters can be spaced apart if other symbols are to be introduced—in this

example (vt) for verso tronco)

• abcaD efgeD

• a b(vt) a b(vt)

Act (use arabic numerals, but retain capital A when the word functions as a title, contrary to

CMOS/17 8.184 [CMOS/16 8.182]); for abbreviated citation where meaning is clear

from context, the words “Act” and “scene” may be omitted (compare CMOS/17

13.67 [CMOS/16 13.65])

• as is seen in Act 2, scene 4

• First she proclaims her love (2, 4), then she denounces him (2, 5).

air (English or French)

allemande (prefer as a generic name to allemanda, almain, almand, etc., except for specific

titles, where a distinction is being drawn among types of the dance, or where the

national or chronological category is being emphasized)

alternatim

arabic (numerals)

ballet de cour

bar (prefer measure)

Baroque (referring to the era and its style; noun or adjective)

basso continuo, continuo (prefer simply continuo; not basse continue)

basso seguente

Book 4, Fourth Book (capitalized when standing as the title of a specific book)

• the sonatas in Book 4

• She never published a fourth book.

breve (prefer to double whole note; see semibreve)

brevis, semibrevis, minima, semiminima, fusa

For capitalization of titles of works, their constituent parts, and of names, see Sections 2

and 3.

For articles and reviews in languages other than English, the conventions of the primary

musicological journal in that language will be followed, including the language’s style for

quotation marks. For conventions such as abbreviations in references, etc., see other sections

of this Style Sheet.

JSCM Style Sheet 4

bourrée

BuxWV 196 (neither periods nor spaces between letters)

BWV 196 (neither periods nor spaces between letters)

canary (prefer to canarie or cario; see comments under allemande)

canceled, cancellation

canticle (as a generic word)

Canticles (the Song of Songs from the Bible)

cantor

cantus, superius, altus, tenor, bassus, quintus (parts)

Cantus, Superius, Altus, Tenor, Bassus, Quintus (partbooks)

cantus firmus, cantus firmi (“cantus” is both singular and plural)

canzona, canzonas; canzonetta, canzonettas

capriccio, capriccios

Carnival

castrato, castrati (not italicized, but not castratos)

catalog (prefer to catalogue)

chaconne

choirbook

ciaccona

cibell

Classical (referring to the era and its style; prefer to Classic)

claveciniste (prefer harpsichordist)

clefs, C-clef, G-clef, etc. (if common names of clefs are used, include the identification by

staff line number in parentheses)

• French violin clef (G1)

• treble clef (G2)

• soprano clef (C1)

• alto clef (C3)

• tenor clef (C4)

• baritone clef (F3)

• bass clef (F4)

comédie-ballet

concertato

concerto, concertos

concerto grosso, concerti grossi

consort song

Continent, continent

• the Continent

• the continent of Europe

continuo: see basso continuo

contredanse (prefer “country dance” when appropriate)

copy (prefer “exemplar” when referring to a printed book)

countersubject

couplet (English and French)

courante (prefer to corrente, corant, coranto; see comments under allemande)

crotchet (prefer quarter note)

custos; plural: custodes

da capo aria

JSCM Style Sheet 5

divertissement (in an article that uses the term frequently, anglicize as divertissement)

double (meaning a single variation in French music)

duret

en rondeau (the preceding dance name is in the French spelling and italicized)

• a menuet en rondeau

entrée (in an article that uses the term frequently, anglicize as entrée; may be capitalized as a

generic title [see Section 2])

Ex. 2, Example 2, ex. 2 (space after period; in tables and the like, abbreviate and capitalize;

in prose, spell out, and capitalize when referring to a specific example (contrary to

CMOS/17 8.180 [CMOS/16 8.178]); in citations, abbreviate and use lower case)

• An analysis of Example 3 shows

• See Varwig, par. 2.3, ex. 1.

falsobordone, falsobordoni

fantasia, fantasias (prefer to other spellings as generic term)

Fig., etc.: see Ex., etc.

formula, formulas

G string (no hyphen)

galliard, galliards

gavotte (prefer to gavot, gavotta; see comments under allemande)

gigue (prefer to giga; see comments under allemande; see jig)

God (modern deity)

Gods (a specific group of characters, parallel to Amazons, etc.)

god, gods (ancient deities; see Section 3)

grave (Italian, French tempo marking)

GusC 59 (for Chambonières’s works: no periods, no space)

H 145 (for Charpentier’s works: no period)

harmonic progressions: see I–V–I

harpsichordist (not claveciniste, etc.)

imperial (not capitalized unless part of a proper title)

i/j: see u/v

In Nomine

intermedio, intermedi

I–V–I (harmonic progressions, with en-dashes)

jig (only if referring to the Irish/anglo dance; see gigue)

Kapellmeister (not italicized)

key signature (not hyphenated)

Kyrie, Gloria, Credo, etc.

lacuna, lacunae

lauda, laude

libretto, librettos (for operas, including tragédies en musique); livret is reserved for the

written words associated with ballets for which the “book” differs substantially from

an opera libretto

lied, lieder; Lied, Lieder

lines (of a libretto): see CMOS/17 13.67 (CMOS/16 13.65) for citation of lines

livret: see libretto

LMC 196 (neither periods nor spaces between the letters; requires an initial full citation)

• Meredith E. Little and Carol G. Marsh, La Danse Noble: An Inventory of Dances and Sources [LMC]

(New York: Broude Bros, 1992)

JSCM Style Sheet 6

Louisquatorzian (JSCM does not use this neologism)

LWV 19/6 (neither periods nor spaces between the letters)

maestro, maestro di cappella, maestri di cappella (not italicized); both maestros and maestri

are acceptable, depending on context

Magnificat

major, minor

• in E-flat major

• in C minor

march (prefer to marche, Marsch or marcia; see comments under allemande)

mass (a musical genre)

Mass (a religious service; see also Section 2 on titles)

matins

Medieval (referring to the era and its style; adjective only)

menuet: see minuet

minim (prefer half note; see semibreve)

minuet (prefer to menuet, Menuett, minuetto, minuete; see comments under allemande)

missa brevis

neoclassical

Nunc Dimittis

oeuvre (an anglicized word, no ligature)

œuvre (a French word, use ligature)

onstage (as an adjective)

op. 15 no. 22 (no comma; spaces after periods)

Opéra in Paris (informal name of the Académie Royale de Musique; prefer to Paris Opéra;

omit “in Paris” when the context makes it obvious)

opéra comique

opera seria, opera buffa (opere serie, opere buffe)

opus, opuses

ottava rima (ottave rime)

out-of-tune (adjective), out of tune (adverb)

• out-of-tune notes

• played out of tune

partbook

partita, partitas

partsong

passacaille

passacaglia

passim

pavan, pavans

pitch series: see A–B-flat–C

prelude, unmeasured prelude (not prélude non mesuré)

premiere (noun only; meaning first performance, as an anglicized word)

psalm (a sacred literary genre)

Psalm (a specific item from the Book of Psalms; see also Section 5 on abbreviation)

quaver (prefer eighth note)

recte (no punctuation before corrected word)

Renaissance (referring to the era and its style; noun or adjective)

JSCM Style Sheet 7

repertory (prefer to repertoire)

ricercar, ricercars

rigaudon (prefer to rigodon, rigadoon; see comments under allemande)

RISM (neither periods nor spaces between letters; series may be specified if it is not obvious

in the context; see also Superscripts in Section 6)

ritornello, ritornellos (not ritornelli)

ritournelle

roman (numerals, font)

Romanesca

Romantic (referring to the era and its style; adjective only)

rondeau

rondo

sarabande (prefer to saraband, sarabanda, or zarabanda; see comments under allemande)

scene (see Act)

scherzo, scherzi (not italicized)

scordatura

scudi

Seicento (if a noun; for an adjective, prefer “seventeenth-century” or “… of the Seicento”)

semibreve (in general, prefer whole note; however, breve, semibreve, and minim can be

used by authors as American translations of the Latin terms if they prefer)

semiquaver (prefer sixteenth note)

sesquialtera

seventeenth century (noun), seventeenth-century (adjective) (not 17th in prose)

• in late seventeenth-century style

• in sixteenth- and seventeenth-century France

[sic] (see CMOS/17 7.53 [CMOS/16 7.53])

siciliana (not siciliano; prefer to sicilienne; see comments under allemande)

solo, solos (but soli when paired with tutti)

staff, staves (not stave)

string names: see G string

style brisé

SWV 81 (neither periods nor spaces between letters)

Table (treated the same as Example, q.v.)

tactus

Te Deum (religious text)

Te Deum, or Te Deum laudamus (title of a musical piece)

theater (not theatre)

Thirty Years War

thoroughbass

time signature (not hyphenated)

tragédie en musique (not tragédie lyrique in a seventeenth-century context)

toccata, toccatas

tono (but italicize compound forms, e.g. tono humano)

trio sonata

tutti

u/v (in transcribing original texts, the use of u and v, as well as i and j, can be silently

regularized: see CMOS/17 13.7)

JSCM Style Sheet 8

vespers (a religious service or musical genre; see also Section 2 on titles)

villancico

viola da braccio, viole da braccio

viola da gamba, violas da gamba

violoncello

violone

websites: prefer “on” for site (but “in” for publication) and “at” for URL

• recordings available on YouTube

• articles in JSCM, on the Journal’s website at http://sscm-jscm.org

Western society

Z 746 (for Purcell’s works: space, no period)

zarzuela

2. Capitalization and Punctuation of Titles

(see CMOS/17 8.156–62, 8.193–96 [CMOS/16 8.154–59, 8.188–92])

Musical Works

In the context of English prose (not lists), there are two basic issues involved in deciding

how to treat names of musical works: (1) whether the words in question function as a

title, and if so, (2) whether the title is generic. Titles that apply only to the music in

question are non-generic.

Non-generic titles of large works are italicized. Such titles of small works or excerpts are set

in roman type and enclosed in quotation marks (but see below for textual incipits

functioning as titles of independent pieces); textual incipits that serve as titles are

given with sentence-style capitalization.

• the chorus “Cupid only throws the dart” from the opera Dido and Aeneas

• “Cupid’s Garden,” a country dance published by Playford

In the first example, “chorus” and “opera” are names of genres, not titles; “Cupid

only throws the dart” is a textual incipit functioning as the non-generic title of an

excerpt; Dido and Aeneas is the non-generic title of a large work.

• the “Prelude for the Witches” from Dido and Aeneas

Even though “prelude” is a generic word, it is part of a title that is non-generic and

identifies an excerpt.

Names of genres are capitalized when they are intended to be understood as titles of specific

pieces or sections of works; they are in roman type without quotation marks. (See

Section 1 for policies on italicizing specific genre designations when they are not

serving as titles.)

• a courante is a serious dance

• the second movement, the Courante, is in binary form

• this Concerto was composed or this concerto was composed

The third example illustrates the issue of intended understanding. Capitalized,

“concerto” is to be read as the title of the work; in lower case, “concerto” represents

a genre, one example of which is under discussion. Both are acceptable in JSCM.

Standard tempo markings are capitalized when they represent the titles of specific

movements, or they can be in quotation marks if they refer to how a composer

marked a movement or passage.

• the Allegro follows directly

JSCM Style Sheet 9

• this Minuet is marked “allegro”

Standard names for the movements of a mass are treated as generic titles and are always

capitalized, by tradition.

• the Kyrie from the Missa Sancta Maria de Victoria

Textual incipits functioning as titles of independent pieces are given in italics, with

sentence-style capitalization.

• settings of Ave maris stella and Laudate pueri Dominum

• the anthem Remember not, Lord, our offences

• Tornate, o cari baci from the Seventh Book of Madrigals

Textual incipits used as titles of movements or of excerpts from larger works, including

operatic arias, are in quotation marks (as in the first example above, the chorus

“Cupid only throws the dart”).

Non-generic titles (in English) for masses, including imitation masses, honorific titles, and

descriptive titles are italicized. Mass titles that have essentially generic qualifiers,

such as a number, or are well-known categories of mass are in roman.

• the Pope Marcellus Mass

• his Requiem Mass

Literary Works

When the parts of a book, such as chapter, preface, and appendix, stand as titles of specific

entities, they are capitalized in running text (contrary to CMOS/17 8.180 [CMOS/16

8.178]) but in lower case as elements in citations. When there is a number, it is an

arabic numeral.

• may be found below in Chapter 2

• Hammond, chapter 17, exx. 17.2 and 17.3

• in the second chapter, “Modality and Tonality,”

• the complete text is in Appendix 2

Subtitles are separated from titles by colons, even in languages where periods would be

preferred (unless the whole JSCM article is in that language). The first word of the

subtitle is capitalized.

Languages

(on non-English titles in general: CMOS/17 14.98 [CMOS/16 14.107])

English titles. Modern titles are normally given “headline style”: capitalize all words except

coordinating conjunctions, articles, and prepositions (CMOS/17 8.159 [CMOS/16

8.157]).

German titles. Capitalize first word and all nouns.

French, Italian, Latin, and Spanish titles. Titles are normally given “sentence style”:

capitalize only the first word and proper nouns (CMOS/17 11.6 [CMOS/16 11.3]; see

also CMOS/17 11.39 on German titles and 11.27 on French titles); but post-medieval

titles in Latin may be capitalized headline style (CMOS/17 11.54 [CMOS/16

11.59]).)

An incipit is given in quotation marks when the poetic text is cited without reference to a

musical setting.

JSCM Style Sheet 10

Titles of works from before 1800 may retain original capitalization and punctuation (see

CMOS/17 14.97 [CMOS/16 14.106]).

Words entirely capitalized are given with

initial capital only. In shortening such titles, JSCM does not bracket ellipses.

3. Capitalization, Punctuation, and Style of Names

Character names that are not proper names. Capitalize nouns that are the names of specific

characters or specific groups of characters. Capitalize nouns that are metonyms for

gods if the speaker is a character, but not if the voice is that of the modern author. In

French, use lower case for articles in such names, or use the English translation.

• la Vertu

• then Virtue said

• the Gods of the Underworld enter

• she exclaimed “Help me, o Heavens”

• she asked for help from the heavens

• Couperin’s “la Garnier”

Geographical entities. In English, capitalize articles; in French (CMOS/17 11.26 [CMOS/16

11.29]), use lower case for articles.

• in The Hague

• in le Blanc-Mesnil

Proper names. Treatment of particles (e.g., “de,” “Da,” “von”) varies from language to

language, and there are sometimes exceptions; consult CMOS (CMOS/17 8.7–11

[CMOS/16 8.7–11]). Capitalize an article (“La”).

• Élisabeth-Claude Jacquet de La Guerre

• Johann Wilhelm von Neuberg-Wittelsbach

• Anna Maria De Chiara

When initials replace first names, do not put a space between the initials, but do put

a space before the surname.

• J.J. Froberger

Possessives (singular) are formed by adding both an apostrophe and an “s” to the

name regardless of its final letter (CMOS/17 7.17 [CMOS/16 7.16]).

• Bruhns’s

Institutions. In all languages, capitalize all words other than coordinating

conjunctions, articles, and prepositions.

• Bibliothèque Nationale de France

• Staatsbibliothek Preuẞischer Kulturbesitz

4. References

Nomenclature. JSCM uses “References” as the heading for endnotes (an artifact of the early

history of the Journal, when the “references” included unlabeled appendices as well

In practice, specialists generally follow this guideline for German and English titles, while

modernizing capitalization in romance languages.

JSCM Style Sheet 11

as notes); however, citations of notes, including those found in JSCM, use the

abbreviation “n.”

Placement of endnote numbers. Normally, endnote numbers should appear after the

punctuation that concludes a sentence or a clause (CMOS/17 14.26 [CMOS/16

14.21]). If logic dictates, the endnote number can come at any point in the text (e.g.,

if the endnote pertains to a specific word in a sentence), but only as exceptional

cases.

Order of content. In an endnote containing a citation and a quotation, the citation normally

comes first (contrary to CMOS/17 14.38 [CMOS/16 14.33]).

• Donati, Ars Poetica, 142–43: “Contrà verò quia crudeles olim Caesares, ac reges, vnà cum fortissimis

propugnatoribus religionem nondum adultam conabantur extinguere; in illos vehementer

exardescimus.”

Books, journals. Citation style should follow CMOS/17. See especially CMOS/17 14.123

(CMOS/16 14.128), citation of a book in a series; CMOS/17 14.171 (CMOS/16

14.180), journal citation; and CMOS/17 9.61 (CMOS/16 9.60), truncation of

inclusive page numbers. For journals that use continuous pagination for each

volume, JSCM cites the number of the issue as well as the volume to facilitate

searching online journals.

Authors are cited with complete first name, not merely one or more initials.

If more than one city is listed in the imprint, use only the first (CMOS/17 14.129

[CMOS/16 14.135]).

If the citation is to specific pages of a specific volume of a book, no space follows

the colon (see CMOS/17 14.152 [CMOS/16 14.159]).

On italicized terms within titles and titles within titles, see CMOS/17 8.173.

For early modern works, citation of digital facsimiles is encouraged.

JSCM does not cite paid online subscription services.

• Josef Zuth, Handbuch der Laute und Gitarre (Vienna: Anton Goll, 1926), 219.

• John Henry van der Meer, “A Contribution to the History of the Clavicytherium,” Early Music 6, no. 2

(1978): 247–59.

• Bruce Gustafson, French Harpsichord Music of the 17th Century (Ann Arbor, MI: UMI Research Press,

1979), 3:264–66.

• Giles and Richard Farnaby, Keyboard Music, ed. Richard Marlow, rev. ed., Musica Britannica 24

(London: Stainer and Bell, 1974).

• Georg Rost, Practica Medendi Theologico-Medica (Rostock: Hallervord, 1625), 30; digitized by

Universität Rostock, http://purl.uni-rostock.de/rosdok/ppn793008239

Dissertations. Titles of unpublished dissertations and theses are enclosed in quotation marks

(CMOS/17 14.215 [CMOS/16 14.224]).

• “The Baroque Church Tones in Theory and Practice” (PhD diss., University of Rochester, 1999), 178–

80.

Encyclopedias. The preferred format for well-known encyclopedias is Author, in

Encyclopedia Name, edition number, s.v. “Article Name.” The New Grove

Dictionary of Music and Musicians, 2nd ed., and Grove Music Online should be

treated as different reference works; similarly, Die Musik in Geschichte und

Gegenwart, 2nd ed., and MGG Online are treated as different works. The URL need

not be included (contrary to CMOS), and no hyperlink is given to such sites since

they are accessible only by paid institutional subscription. For continually updating

online encyclopedias, a date is necessary; if a “last modified” date is given, it must

JSCM Style Sheet 12

be cited; otherwise, the posting date is preferable to the date of access.

JSCM does

not follow the citation styles suggested by Grove and MGG; nor does it precisely

follow CMOS (compare CMOS/17 14.232–34 [CMOS/16 14.247–48]).

• David Fuller, in Grove Music Online, s.v. “Suite,” published 2001, section 4.

• Herbert Schneider, in Die Musik in Geschichte und Gegenwart, 2nd ed.,

Personenteil, s.v. “Lully,

Jean-Baptiste,” col. 587.

• Herbert Schneider, in MGG Online, s.v. “Lully, Jean-Baptiste,” last modified November 2016.

For less well-known encyclopedias, full publication details should be given, as for a

book, but using “s.v.,” with the article name, not volume/page numbers; the URL

should be given for online encyclopedias in this category.

Editions other than the first. Use abbreviations.

• 2nd ed.

Facsimile editions. Use the following format: Place: Publisher, date; reprint, Place:

Publisher, date. Do include the publisher of the original edition (see CMOS/17

14.114 [CMOS/16 14.119]).

• Paris: Ballard, 1626; reprint, Geneva: Minkoff, 1990.

Multivolume works subdivided into series. Inclusion of series name is optional, according to

its importance.

• Jean-Baptiste Lully, Thésée: Tragédie en musique, ed. Pascal Denécheau, in Œuvres complètes, ser. 3,

vol. 4 (Hildesheim: Olms, 2010), 12.

• Marc-Antoine Charpentier, Josué, in Œuvres completes, ser. 1: Meslanges autographes, vol. 11 (Geneva:

Minkoff, 1997), 8.

Physical documents reproduced on websites.

Date of posting or access is unnecessary. (See

CMOS/17 14.235 on citing artworks, CMOS/17 14.263 on citing CDs.)

• Peter Paul Rubens, The Fall of Phaethon, oil sketch painted in 1636, Brussels, Musées Royaux des

Beaux-Arts, available on WikiArt,

https://www.wikiart.org/en/peter-paul-rubens/fall-of-phaeton-

1636.

• Claudio Monteverdi, “Tempro la cetra,” in Settimo libro de madrigali, Ensemble “Concerto” and

Cappella Mauriziana, directed by Roberto Gini, Tactus TC 56031103/4, 1989, compact disc; also

available on YouTube, https://www.youtube.com/watch?v=pqaxuHai4Tc

Electronic documents published on websites, and streaming media. Last modified,

recording, and publication dates are preferred to date of access.

• Claudio Monteverdi, “Tempro la cetra” from Concerto: Settimo libro de madrigali, ed. Peter Rottländer,

in the Choral Public Domain Library, last modified October 2018,

http://www2.cpdl.org/wiki/images/2/21/Mont-tem.pdf

• Claudio Monteverdi, “Con che soavità” from Concerto: Settimo libro de madrigali, Jennifer Ellis

Kampani, soprano, and the Voices of Music, video on YouTube [recorded at St. Mark’s Lutheran

Church in San Francisco, March 2015], published by Voices of Music on March 30, 2015,

https://www.youtube.com/watch?v=H811lltfDCc

Ibid., idem, op. cit., loc. cit. (etc.). JSCM does not use these; use the author’s surname and

short title on the second occurrence (see CMOS/17 14.29–30, 14.32–33 [CMOS/16

CMOS recommends that citations of electronic sources include a date of access only if no

date of publication or revision can be determined from the source (CMOS/17 14.12

[CMOS/16 14.7]).

The titles of websites without printed counterparts are given in roman (e.g., WikiArt).

JSCM italicizes the titles of websites derived from printed works—e.g., Grove Music

Online, MGG Online, RISM: Online Catalogue of Musical Sources. (Compare CMOS/17

8.191.) We identify JSCM and JSCM Instrumenta primarily as a journal and a series, and

only secondarily as websites.

JSCM Style Sheet 13

14.24–25, 14.27–28]); do not use the formula “hereafter cited as …” in the initial

citation unless a siglum has been created.

Page and folio numbers. For inclusive numbers, JSCM follows the style recommended by

CMOS (CMOS/17 9.61 [CMOS/16 9.60]:

• Less than 100: use all digits

• 100 or multiples of 100: use all digits

• 101–109 (201–209, etc.): use changed part only

• 110–199: use two digits unless more are needed to show all changes

If another character intervenes, full numbers are given. Space between period and

number(s).

pp. 81–82

pp. 101–2

pp. 241–43

fols. 241r–243v (no superscripts)

5. Abbreviations

numbers (ordinal) see Section 6

proper names see Section 3

publications see prefatory list

state names see Section 6

Unless otherwise specified, use a space before the subsequent word or number.

c. copyright (no space between period and year); copyright symbol may

also be used, for instance in a caption

C1, C3, etc. C clef on the first line, third line (etc.) of the staff

ca. circa (space before year)

CD compact disc (normally do not abbreviate)

died (do not abbreviate in prose; dagger or d. may be used in tables, titles)

• Cardinal Francesco (died 1679) served as archpriest of St. Peter’s

• The Case of Prince Paolo Savelli (†1632)

diss. dissertation (abbreviated in citations only)

ed. editor, edited by, edition (not edn.)

e.g. , exempli gratia (no space after first period, comma after the second)

et al. et alia

F3, F4 F clef on the third line, fourth line of the staff

ff. JSCM does not use f. or ff. for following pages; cite specific inclusive

pages

fol. , fols. folio, folios; in lists, particularly when there is a mixture of

pagination (“p.” and “pp.”) and foliation, “f.” and “ff.” may be

used; see also “page and folio numbers” in Section 4

G1, G2 G clef on the first line, second line of the staff

G2-8va G clef on the second line of the staff, transposed an octave lower than

treble clef (“octave treble clef”)

i.e., id est (no space after first period, comma after the second)

JSCM Style Sheet 14

m., mm. measure(s) (space before number)

MS, MSS manuscript(s) (including citations in all languages, except when part

of a shelf number with words in another style, e.g. “Mus. Ms.

25”)

n., nn. note(s) (endnote, footnote; space before number[s])

no., nos. number, numbers (not nr.); capitalize if used in the title of a piece

• no. 12 in the collection, taken from his Cantata No. 3

p., pp. page(s) (space before number[s]; see “page and folio numbers” in

Section 4)

op., opp. opus, opera (space before number)

(P) copyright for sound recording; try to avoid

par. paragraph(s)

PhD (no periods)

Ps. Psalm (for a specific one; can be followed by a colon and the number

and verses without a space, e.g. “Ps. 100:1–4”)

q.v. quod vide (no space after first period; used after the term being

referenced)

reprint (do not abbreviate)

sc. scene

ser. series

s.v. sub verbo (no space after first period)

trans. translator, translated by (used only in citations)

University (do not abbreviate)

vol., vols. volume, volumes

6. Punctuation, Text Style, and Symbols

Boldface. Do not use to differentiate headings in a Word document; HTML will specify the

style via heading levels.

Captions. Sentence fragments typical of captions have no concluding period. If there is more

than one element, separated by a period, the caption concludes with a period (see

CMOS/17 3.21 [CMOS/16 3.21]).

Carats over numbers. See Schenkerian symbols.

Clef designations. See C, F, and G in Section 5.

Colons. Use lower case for the word following the colon unless it begins two or more

complete sentences (CMOS/17 6.63 [CMOS/16 6.61]).

Commas. Do use serial commas (CMOS/17 6.19 [CMOS/16 6.18]).

• in allemandes, courantes, and sarabandes

Dashes:

• Em dash (—, not --) is not surrounded by spaces.

• En dash (–) means “to,” so is used to connect inclusive page numbers, dates, etc.,

without spaces. See also A–B-flat–C and I–V–I in Section 1. JSCM does not use

en dashes in place of hyphens in compound formulations (contrary to CMOS/17

6.80 [CMOS/16 6.80]).

• Hyphen (-) is used as a meaningless visual marker (e.g., in an ISBN number) and

a link in compound modifiers; see seventeenth century in Section 1. Compounds

JSCM Style Sheet 15

that use adverbs ending in “ly” are not normally hyphenated (CMOS/17 7.86

[CMOS/16 7.82]).

• The book—at least in the reviewer’s opinion—plagiarizes pages 240–43 of 0-8357-1069-6

• largely irrelevant footnotes [no hyphen]

Dates. Do not pair “from” with an en dash. In titles and headings, full dates are used.

• in the 1685–86 season

• from 1685 to 1686

• The History of Music: 1600–1650

Ellipsis. Use Word’s special character (using American keyboard layout, Macintosh: option-

semicolon; Windows: ctrl-alt-period). A space should separate the ellipsis from the

text. If there is a period, it goes before the ellipsis, with no space (see Suspension

points). Normally, ellipses are used to indicate only omitted text within a quoted

passage; opening or closing ellipses should be used only when the grammar or poetic

line of the original has been intentionally fractured (CMOS/17 13.55 [CMOS/16

13.53]).

• “… she concluded.… Then she said little … about it.”

Headings. See Captions; see also Section 2 (for titles).

Italics. If a word or phrase in italics is surrounded by text in roman, the punctuation is

normally roman, including parentheses and brackets, unless the sense of the passage

dictates otherwise (see CMOS/17 6.4 and 6.2 [CMOS/16 6.4]); do not use

underlining to indicate italics.

Keys. See Pitch nomenclature.

Library abbreviations. RISM-style sigla are in italics with a hyphen between country and

library, without punctuation before a shelf number.

• F-Pn VM7-1234

Sigla are used in all citations and references, but not necessarily in prose in the main

text or in captions. They are identified in JSCM’s separate page of “Library

Abbreviations” (found under “JSCM Resources” at the website); that page is

hyperlinked to the siglum in the text. RISM’s sigla are available in a free online

database at http://www.rism.info/sigla.html.

Line breaks. A poetic text may be presented using line breaks in an indented block

quotation. If for some reason run-on notation is preferred, slashes (/) surrounded by

spaces may be used to separate lines.

Musical symbols (within prose). Spell out “sharp,” “flat,” etc., with a hyphen; roman face,

upper case, for keys; italics, lower case, for particular notes (see Pitch

nomenclature); use a slash for meters; when the symbol is part of a composite

symbol such as a continuo figure, the Journal’s technical director will be consulted

regarding HTML possibilities.

• the cadence to E-flat major

• the e-flat is dissonant, as is the g'-sharp

• 6/8

• 4-3 suspension

Note names. See Pitch nomenclature.

Numbers (ordinal). Use 1st, 2nd, 3rd, 4th (not 2d, 3d); do not use superscripts.

JSCM Style Sheet 16

Pitch nomenclature. Follow Grove; italicize pitch names; use Word’s prime symbol (in the

“general punctuation” subset), not the straight apostrophe.

• C two octaves below middle C

• c one octave below middle C

• b one half step below middle C

• c′ middle C

• e′-flat a minor third above middle C (prime follows note name)

• c' one octave above middle C

For notes for which the octave is not specified, keys, and mode letter names, use

upper case, roman letters.

• E-flat major

• F-sharp minor

• The passage returns to C.

Poetry (early modern). English and French are capitalized line by line; German may be

capitalized line by line or sentence style; Italian and Spanish are capitalized sentence

style. Prose translations are capitalized sentence style, even if presented line by line.

Punctuation. In transcribing original texts, archaic punctuation marks (slash for comma or

period, equal sign for hyphen) may be silently modernized. If the archaic

punctuation is retained, spacing should nonetheless follow modern practice.

• Auff Erden/ und ins Himmelssaal/

Punctuation after italics. See Italics.

Quotation marks and apostrophes. Use curly quotes (the Word default), not straight quotes,

in the prose text, but see Pitch nomenclature for primes. Commas and periods go

inside quotation marks except for section names (see “A” section in Section 1).

• “… end of phrase,” (not “… end of phrase”,)

• “… end of sentence.” (not “… end of sentence”.)

Question marks and exclamation points go either inside or outside quotation marks

according to the sense of the passage (which could entail an exceptional period or

comma after the mark). JSCM does not use British-style single quote marks;

American style uses single quotes for quote-within-quote. A space separates adjacent

quotation marks (CMOS/17 6.11 [CMOS/16 6.11]).

• “Introduction to Giovan Battista Giraldi Cinthio’s ‘Discourse or Letter on the Composition of Comedies

and Tragedies,’ ”

RISM sigla. See Library abbreviations.

Schenkerian symbols. Use a carat before the numeral. The technical director will be

consulted on HTML possibilities.

• ^4

Spaces. Use single spaces, not double, after periods; do not space before any punctuation

marks (but see above regarding adjacent quotation marks). In abbreviations with a

period in the middle (e.g., i.e.) no space follows the period; similarly, there is no

space between a volume number and pages in citations of multivolume books (e.g.,

1:234).

State names. In prose, spell out; in bibliographic citations use postal abbreviations (for a list,

see CMOS/17 10.27 [CMOS/16 10.28]).

In JSCM’s current font, the italicized f and prime mark are best separated by a space: f ʹ.

Please note that our software will automatically convert straight apostrophes to curly ones—

hence the requirement that we use the prime symbol instead.

JSCM Style Sheet 17

Superscripts. Use only in automatic endnotes and in quotations and titles preserving old

spelling.

Where relevant, follow institutional practices—for instance, RISM B/1,

1604|7 (as opposed to 1604

), one of the choices offered at https://opac.rism.info.

Suspension points. Use Word’s ellipsis character with no space before (see Ellipsis; contrary

to CMOS/17 13.50 and 13.41 [CMOS/16 11.35]).

Underlining. Do not use; for special formatting needs, consult the editor.

7. Formatting of Final Submission

Once an article has been accepted for publication, the author should submit a final text to

the editor in a Microsoft Word file (not converted to HTML) with any appendices,

tables, examples, figures, and a set of captions in separate files. Only minimal

formatting should be done in Word:

• Line spacing: single, with double line breaks between paragraphs

• Spacing after punctuation: just one space after a colon or period

• Automatic endnotes

• Italics for titles and foreign words (see Section 1)

• Indented block quotations

• Automatic hyperlinks

Do not use boldface or varying font sizes to indicate headings (this will be accomplished

through heading styles in HTML).

Do not use boldface or underlining for emphasis; italics for emphasis may be used

sparingly.

Do not use tabs to create columns; a two-column passage should be formatted as a table

with invisible borders. With regard to horizontal alignment of the columns, keep in

mind that soft line-wrap will depend on each reader’s device and settings; use

separate rows to align material. A table in a separate linked file will be published as

a pdf rather than in HTML; it should nonetheless be submitted as a Word file for

editing.

Avoid superscripts in text to be converted to HTML, with the exception of automatic

endnote numerals, and quotations and titles preserving old spelling.

Do not number the paragraphs (this will happen in the editing process).

Do not add brackets to the endnote numerals (this will happen as part of HTML conversion).

Examples in musical notation (made in programs such as Sibelius or Finale) should be

submitted as individual high-resolution pdf files. Captions should be submitted as a

list in a Word file (not included on the examples themselves).

Regarding audio and video examples, and documents to be reproduced as figures, see the

“JSCM Guidelines for Contributors” at https://sscm-jscm.org/submissions/. For

figures, high-resolution scans in formats such as png or tiff are ideal, but many jpegs

are acceptable; if in doubt, consult the editor. Ideally, original scan should be at least

This guideline reflects current practicalities in HTML software. Superscripts may be used

more freely in attached pdfs, so long as citations are handled consistently throughout the

article.

JSCM Style Sheet 18

1200 pixels wide and at least 300 ppi (at bare minimum, 800 pixels wide and 150

ppi).

The author’s biography should be short: approximately 100 words, maximum 150 words.

Although it will appear as a footnote, it should not be formatted as one. It may be

placed at the end of the typescript (above the endnotes), or it may be sent to the

editor separately, for instance in the body of an email.

Authors are encouraged to divide their texts into titled sections (“chapters”).

Acknowledgments are now placed at the end of the article, as an unnumbered chapter (for

examples, consult articles starting with vol. 21.1).

8. Format for Headings of Reviews

The headings are to be made by the Reviews Editor before sending the item out for review,

based on the information provided by the publisher. The format must be adapted to

the peculiarities of each publication but should adhere as closely as is reasonable to

the models below. JSCM no longer gives list-prices.

Book

Music and Theatre in France 1600–1680. By John S. Powell. Oxford: Oxford University Press, 2000.

[xii, 308 pp. ISBN 0-300-07383-6.]

L’oratorio musicale italiano e i suoi contesti (secc. XVII–XVIII): Atti del convegno internazionale,

Perugia, Sagra Musicale Umbra, 18–20 settembre 1997. Edited by Paola Besutti. Quaderni della

Rivista Italiana di Musicologia 35. Florence: Leo S. Olschki, 2002. [xiv, 604 pp. ISBN 88-222-5153-

9.]

Critical Edition of Music

Melchior Franck. Paradisus Musicus. Edited by Martin Philip Setchell. Recent Researches in the

Music of the Baroque Era 106. Madison, WI: A-R Editions, 2000. [xxx, 290 pp. ISBN 0-89579-464-

0.]

Seventeenth-Century Lutheran Church Music with Trombones. Edited by Charlotte A. Leonard.

Recent Researches in the Music of the Baroque Era 131. Middleton, WI: A-R Editions, 2003. [xxv,

114 pp. ISBN 0-89579-542-6.]

Cesare Borgo: Primo libro di canzonette a tre voci; Giuseppe Caimo: Secondo libro di canzonette a

quattro voci. Edited by Laura Mauri Vigevani. Collana Musica e Musicisti a Milano 1. Milan:

Rugginenti Editore, 2003. [xl, 114 pp. ISBN 88-7665-480-1.]

Jacques Champion de Chambonnières. The Collected Works. Edited by Bruce Gustafson and Denis

Herlin. 2 vols. Art of the Keyboard 12. New York: The Broude Trust, 2017. [xlviii, 206 pp.; xiv, 272

pp. ISBN 978-0-8450-7605-7.]

Heinrich Schütz. Hochzeitsmusiken. Edited by Joshua Rifkin, with the assistance of Hope Ehn, Eva

Linfield, David St. George, and Jean Widaman. In Neue Ausgabe sämtlicher Werke, vol. 29. Kassel:

Bärenreiter, 2016. [liii, 125 pp. ISBN 979-0006-49759-1.]

JSCM Style Sheet 19

Facsimile Edition of Music

Pièces de clavecin ca 1670–1685: fac-similé du manuscrit, Bibliothèque du Conservatoire

Royal/Koninklijk Conservatorium, Bruxelles, Ms 27220. Introduction by David Fuller. Geneva:

Minkoff, 2003. [l, 212 pp. ISBN 2-8266-0964-5.]

Jean Henry D’Anglebert, Pièces de clavecin. Introduction by Denis Herlin. Geneva: Minkoff, 2001.

[xxxii, 134 pp. ISBN 2-8266-0986-6.]

CD/DVD

Giles Farnaby. Farnaby's Dreame, 20 Pieces from the Fitzwilliam Virginal Book. Timothy Roberts,

harpsichord. Les Productions early-music.com, 2003. Compact disc. [EMCCD-7756.]

Seaven Teares: Music of John Dowland. The King’s Noyse. David Douglass, violin; Ellen Hargis,

soprano; Paul O’Dette, lute. Harmonia mundi USA, 2002. Conpact disc. [HMU 907275.]

9. JSCM Instrumenta

The JSCM Instrumenta series comprises individual collections of data, prepared by their

authors in “camera-ready” copy, each presented as a set of pdfs. At minimum each

typically includes an introduction, a main body, and a bibliography; most include

other prefatory material and appendices. Authors submit the files for editing in MS

Word; they then submit the edited files as pdfs. Authors should be aware that some

browsers call attention to the file “title” (derived by default from the file name) as

found on the pdf properties page; every effort should be made to maintain consistent,

clear labeling.

Instrumenta are revised by their authors when new information is discovered; the date of the

most recent revision is given on the contents page (i.e., the sidebar). The revision

might involve the addition of entirely new files, or it might be limited to replacing

existing files with new ones having the same file names. In order to avoid having to

renumber items throughout the volume when revisions are made, each pdf contains

its own pagination and footnote numbers, starting with “1.”

In general, JSCM Instrumenta follow JSCM style, including these formatting conventions:

• Line spacing: single, with double line breaks between paragraphs

• Spacing after punctuation: just one space after a colon or period

• Italics for titles and foreign words (see Section 1)

• Occasional italics for emphasis, used sparingly

• Indented block quotations

JSCM Instrumenta, however, have several distinct formatting conventions:

• Automatic footnotes rather than endnotes

• Pagination in the upper righthand corner of each page

• No paragraph numbers since pagination is stable in pdfs

• Times New Roman font: normally 12-point for body of text (left justified), 11-

point for footnotes, 14-point for title of each pdf (centered but not boldface), and

Some of these are present throughout the series; others have been established starting with

vol. 5 (2019).

JSCM Style Sheet 20

12-point for internal section headings (may be boldface; either centered or left

justified according to the particular organization of the document)

• Superscripts where they are conventionally used since these files will not be

converted to HTML

• Embedded tabular material as needed, created using either tabs or MS Word’s

table function; embedded illustrations as needed (see CMOS 17/chapter 3

[CMOS 16/chapter 3])

• Avoidance of external hyperlinks since pdf software will not permit opening

them in a separate tab: authors should just give URLs for readers to copy and

paste

• Footer on every page of all pdfs (10-point and centered; preceded by a blank

line): author, title, JSCM Instrumenta [no.], URL

• Sidebar serving as title page and table of contents (see existing volumes for

models)

• Indices linked to compiled pdfs as necessary: a simple alphabet might appear in

the sidebar; a more complex index will appear as a linked index page, in

HTML

• Biographical note on the author (100–150 words) as an independent pdf (it

should resemble a scholarly book-jacket blurb rather than a university faculty

bio)

Authors are encouraged to consult the editor during the planning process, before they

generate files, for a discussion of how they envision readers using the volume. Initial

peer review can be based on material analogous to a book proposal, including a

small number of representative files. Once the proposal has been accepted, authors

should alert the editor as soon as possible to any special characters that might require

customizing the search engine.

Library shelf numbers, RISM sigla, and the like may thus be given in their traditional

forms, as developed for printed catalogs, or they may be given in the simplified formats

created for online catalogs, so long as citations for any institution are handled consistently

throughout the volume.

An index page comprising file names of the pdfs in a particular folder can be created

automatically by the technical director; it will then update automatically if new files are

subsequently added.