23 Chicago Notes and Bibliography
Notes
When using the notes and bibliography style, a superscript note reference number is provided at the end of the referenced content. This directs the reader to a numbered footnote (at the bottom of the page) or an endnote (at the end of the document).[1] Consider the following paragraph, where the superscript numbers refer to like-numbered footnotes which will appear at the bottom of the page.
Beard and Gloag state that criticism does not always form part of musicology as it is generally done in the context of professional journalism.1 In more recent writing, we are often reminded of the ever-changing stance of musicology with respect to its subject matter and the emergence of a “post-critical” attitude in connection to canonical works.2 In the context of indeterminate delineations such as these, it is worth reflecting on Guido Adler’s original prescription for the discipline, made in 1898: “The highest goal to which I aspire in the study of art is to work on behalf of art through the knowledge of art.”3
When the source is first cited, a full-form reference is provided. In full-form references:
- the first item is the number which ties to the reference number in the text
- author names are written in the order in which they usually appear
- publication information for books is given in parentheses
- elements are separated by commas.
Referring to the paragraph above, the box below shows is how the full-form references will appear in the footnotes.
1. David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2016) 62. https://www.taylorfrancis.com/books/mono/10.4324/9781315647463/musicology-key-concepts-david-beard-kenneth-gloag.
2. Truman See, “On Inaudible Violence and the Postcritical Musicology: Rehearing Schubert’s ‘Heidenröslein,’” The Journal of Musicology 40, no. 2 (2023): 181. https://doi.org/10.1525/jm.2023.40.2.180.
3. Qtd. in Kevin C. Karnes, “History, Historicism, Historiography,” in The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, ed. Paul Watt, Sarah Collins and Michael Ellis (Oxford: Oxford Academic, 2020) https://doi.org/10.1093/oxfordhb/9780190616922.013.1.
A short-form note is used for all subsequent citations of the same source. This typically uses just the surname of the author(s), a shortened title sufficient to identify the original (unless it is already a short title) and the page number(s) relevant to the reference.
Below are examples of short-form notes using the same references from above.
4. See, “On Inaudible Violence,” 187–88.
5. Beard and Gloag, Musicology, 240.
6. Karnes, “History, Historicism, Historiography” 16–17.
Bibliographies
The format for citations in your bibliography are slightly different from your footnotes or endnotes. In bibliographies:
- all references have a hanging indent
- the first author’s name is inverted (the surname comes first, followed by the first name and other names)
- specific page references are not included
- full page range of articles and book chapters is included
- key elements of author, title and publication information are separated by full stops.
The box below shows a bibliography relating to the examples above.
Bibliography
Beard, David, and Kenneth Gloag. Musicology: The Key Concepts. New York: Routledge, 2016. https://www.taylorfrancis.com/books/mono/10.4324/9781315647463/musicology-key-concepts-david-beard-kenneth-gloag.
Karnes, Kevin C. “History, Historicism, Historiography,” in The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, edited by Paul Watt, Sarah Collins and Michael Ellis, 15–32. Oxford: Oxford Academic, 2020. https://doi.org/10.1093/oxfordhb/9780190616922.013.1
See, Truman. “On Inaudible Violence and the Postcritical Musicology: Rehearing Schubert’s ‘Heidenröslein.’” The Journal of Musicology 40, no. 2 (2023): 180–212. https://doi.org/10.1525/jm.2023.40.2.180.
- Unless specifically instructed to do so by your lecturer or tutor, do not use endnotes. ↵
