Athens Conf Proceedings Guidelines

8/3/2019 Athens Conf Proceedings Guidelines

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Revisiting the Past, Recasting the Present:

The Reception of Greek Antiquity in Music, Nineteenth Century to the Present

Conference Proceedings

Guide for Contributors

GENERAL INFORMATION AND GUIDELINES:

Online publication

The conference proceedings will be published online under the auspices of the Hellenic

Music Centre and will obtain an ISBN number. The publication will be available on the

conference website (www.athensconf2011.gateweb.gr), the Hellenic Music Centre

website (www.hellenicmusiccentre.com) and the website of Polyphonia Journal

(www.polyphonia.gr).

Language

All papers should be submitted in the conference official language: English. Non-native

speakers are encouraged to have their paper checked by an English native speaker. Please

use British, not American spelling.

Structure

The first page should include the paper‟s title (without quotation marks), the full name(s)

of the author(s) (in capitals) and their affiliation(s). These should appear in three separate

lines. An abstract of the paper should follow. Authors may use the abstract already

submitted or a revised version of it. The fully-edited text of the paper should follow,

which may be extended and revised. However, it is preferable that your paper does not

exceed 7,000 words in length.



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Permissions – Copyright

If the paper has already been accepted for publication (in any language) by another

publisher, the author should obtain permission from that publisher.

Authors should obtain permission to publish copyrighted materials (manuscripts, images,

musical scores, etc.) prior to submission of their text.

Deadline of submission

Please submit your paper by 1 March 2012 to both e-mail addresses:

[email protected], and

[email protected]

Editing procedure

Authors should follow the instructions below concerning format, style and other technical

specifications. For any additional format changes and other corrections authors will be

notified personally by e-mail.

TECHNICAL SPECIFICATIONS:

Word processing

Please use Microsoft Word (PC or MAC) and save your document in .doc (not .docx)

format.

Page layout

Please use A4 (21 X 29,7 cm) page format. Page margins should be as follows: top (2,54

cm), bottom (2,54 cm), left (2,54 cm), right (2,54 cm).

Please do not insert page numbers, neither headers nor footers.

Font size – Paragraph style

Font size: Please use Calibri font, size 16 for the title; size 14 for the author‟s name; size

13 for the affiliation; size 10 for the abstract; size 12 for the text; size 10 for the

footnotes; and size 11 for captions and tables.

mailto:[email protected]

mailto:[email protected]



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Alignment: Please use centred alignment for the title, the author‟s name, captions, tables,

musical examples, images etc.; justified alignment for the abstract; left alignment for the

text and the footnotes.

Line spacing: Please use line spacing 1,15 for the text and single line spacing for the

footnotes.

Tabs: Please set the tab stop to 0,6 cm.

STYLE:

General guidelines

In most matters, the conference proceedings follow the guidelines of the Oxford Manual

of Style, so please refer to it for areas not covered in these notes. For matters of spelling,

please consult the Oxford English Dictionary. Please follow the main points provided

below.

Notes

Please use footnotes, not endnotes. Place the number of the note as a superscript after any

punctuation or quotation mark (e.g. antiquity,1).

References

Please use footnotes to provide full reference details. Do not provide a separate

bibliographical section.

Examples of reference citation:

Monographs:

o Lawrence Kramer, Classical Music and Postmodern Knowledge (Berkeley:

University of California Press, 1995), 56.

Translated/edited books:

o Richard Buckle, Diaghilev, trans. Tony Mayer (Paris: Lattès, 1980).

o Ludmila Korabelnikova, Alexander Tcherepnin: The Saga of a Russian Émigré

Composer , ed. Sue-Ellen Hershman-Tcherepnin, trans. Anna Winestein

(Bloomington and Indianapolis: Indiana University Press, 2008).



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Multi-author/editor publications: For more than three authors/editors of a publication, use

„et al.‟ after the first name.

o Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents

(London: Hutchinson, 1969). (Please note: for two persons, no comma before

„and‟).

o Don Yeates, Maura Shields, and David Helmy (eds.), Systems Analysis and

Design (London: Pitman Publishing, 1994). (Three persons: use comma before

„and‟).

o Rosemary Stewart et al. (eds.), Managing in Britain and Germany (London:

Palgrave Macmillan, 1994).

Edited volumes:

o Robert Craft (ed.), Stravinsky: Selected Correspondence, 3 vols. (London: Faber

and Faber, 1982 ‒ 1985).

If you want to refer to a particular volume and page number:

o Robert Craft (ed.), Stravinsky: Selected Correspondence, ii (London: Faber and

Faber, 1984), 56.

Editions other than the first:

o Vladimir Jankélévitch, Ravel (2nd edn., Paris: Seuil, 1995).

Reprints:

o François-Auguste Gevaert, Histoire et théorie de la musique de l’antiquité, 2 vols.

(Gand: Annoot-Braeckman, 1875, 1881; repr. Hildesheim: Olms, 1965).

Series title:

o Lorenzo Frassà (ed.), The Opéra-comique in the Eighteenth and Nineteenth

Centuries (Speculum Musicae, 15; Turnhout: Brepols, 2011).

Articles in journals/periodicals/newspapers:

o Michael Strasser, „The Société Nationale and its Adversaries: The Musical

Politics of L’Invasion germanique in the 1870s‟, 19th-Century Music, 24/3,

(spring 2001), 225‒ 251.

o David Rieff, „The Agency that Has Had a Bad War‟, Guardian (London), 10 June

1999, 19.



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Note that only the London newspaper The Times has a definite article: otherwise New

York Times, Daily Telegraph.

Articles/chapters in books/dictionaries/encyclopaedias:

o Steven Huebner, „Ulysse Revealed‟, in Tom Gordon (ed.), Regarding Fauré

(Amsterdam: Gordon and Breach Publishers, 1999), 207 ‒ 238.

o David Brown, „Taneyev, Sergey Ivanovich‟, in Stanley Sadie and John Tyrrell

(eds.), The New Grove Dictionary of Music and Musicians, xxv (2nd edn.,

Macmillan: London, 2001), 66.

Unpublished dissertations/theses/papers:

o Robert J. Fusillo, „The Staging of Battle Scenes on the Shakespearean Stage‟,

Ph.D. diss. (University of Birmingham, 1966), 33.

o Patrick Collinson, „The Puritan Classical Movement in the Reign of Elizabeth I‟,

Ph.D. thesis (University of Oxford, 1971).

o Laura Swift, „The Hidden Chorus: Echoes of Genre in Tragic Lyric‟, D.Phil.

thesis (University of Oxford, 2007).

o Olga Digonskaya, „Shostakovich in the 1930s: Loyalty or Protest?‟, paper given

at the 40th Baltic Musicological Conference „Poetics and Politics of Place in

Music‟, Vilnius, 17– 20 October 2007.

On-line sources (publications, dictionaries, etc.):

o Steve Sohmer, „The Lunar Calendar of Shakespeare‟s King Lear‟, Early Modern

Literary Studies, 5 (1999), 2 <http://purl.oclc.org/emls/05-2/sohmlear.htm>,

accessed 28 January 2000.

o David Brown, „Taneyev, Sergey Ivanovich‟, in Grove Music Online

<http://www.grovemusic.com>, accessed 28 January 2000.

Manuscripts ‒ Archival material

Give details of location and archive, followed by the document‟s full details in roman

without quotation marks.

o Basel, Paul Sacher Stiftung, Igor Stravinsky Collection, Box 36/III, Letter from

Pierre Souvtchinsky to Igor Stravinsky dated 11 November 1946.



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Page range

Page numbers should be cited in full in every case: 1‒ 9, 16 ‒ 53, 126 ‒ 279, 1023 ‒ 1798.

Incomplete reference data

Use „n.p.‟ for no place, „n.d.‟ for no date. For archival materials that have not been

catalogued, instead of reference number please use: „not catalogued‟.

Where a volume has no author (it may be anonymous or a compilation by an editor)

begin the reference with the title, unless it is commonly identified by the editor ‟s name.

Repeated references

Please use „ibid.‟ (note the full stop, not italics) for a repeated reference that immediately

follows a reference to the same work.

For citation of a reference cited within longer distance do not use „op. cit.‟. Use a short

reference with the author‟s name and the title (or, if the title is too long, the first words)

followed by the page reference (e.g. Apel, Keyboard Music, 29 ‒ 34).

Transliteration

General

For transliteration of Cyrillic please use the ALA-LC System without diacritics. For

transliteration of Greek, please use the ALA-LC System. Both are accessible online on

the Library of Congress website: http://www.loc.gov/catdir/cpso/roman.html.

Quoted text

When quoting text in a language other than English, please provide the text in the original

language first (NOT transliterated), followed by an English translation. For short

quotations (please see below for details), the translation should be placed in parentheses

after the original. For longer quotations, which are indented, the translation should appear

below the text in the original, and one line should separate the two.

Names

For those names that appear in The New Grove Dictionary of Music and Musicians

please use the transliteration of names as they appear in that person‟s main entry. E.g.

Yannis Constantinidis (not Kōnstantinidēs); Nikolaos Skalkottas (not Scalcotas, although

http://www.loc.gov/catdir/cpso/roman.html

http://www.loc.gov/catdir/cpso/roman.html



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the latter also appears as an option on the online version of The New Grove). However, in

references names should appear exactly as in the respective publication.

Titles

Titles of non-English literary, musical and art works, and titles of books, articles,

periodicals, etc. that are not in English should be transliterated. A translation into English

should follow in parentheses (not italicized) in all cases except for periodicals, followed

by date of publication or completion. For example (used in the main text): „In Vesna

sviashchennaia (The Rite of Spring, 1913) we find ...‟. Thereafter you may use either the

original or translated title but be consistent. Also (used in a footnote): Vladimir

Dukelsky, „Diagilev i ego rabota‟ (Diaghilev and his Work), Vertsy, 3 (1928), 251-255.

Please note that for titles in English, the first letter of all main words should be

capitalized. However for titles in other languages, only the first letter of the first word

should be capitalized, and other words should start with a capital letter only if they do so

in the original language (e.g. Traité de rythme, de couleur, et d’ornithologie; but Les

Troyens and Die Harmonie der Welt ). This rule also applies to titles of articles, books,

periodicals, etc. that appear in footnotes.

Words

Italicize non-English words unless they are in common English usage (for example, elite,

genre). The abbreviations „ibid.‟ and „et al.‟ are not italicized. Words in Cyrillic, Greek and so on should be italicized and transliterated.

Ancient Greek names

Give familiar names in their traditional English (Latinised) form: Aristotle, Hercules,

Aeschylus, Achilles, Ulysses, Oedipus. Please note that when forming the possessives of

names from the classical world that end in an „s‟ or „z‟ sound, the final „s‟ is omitted: e.g.

Achilles‟ not Achilles‟s. However, in all other cases of nouns ending in an „s‟ or „z‟

sound please use the final „s‟ (Skalkottas‟s).



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Quotations

Short quotations should be presented in the text within single quotation marks („ ‟).

Longer quotations (more than 60 words long) should be indented, single-spaced, font size

11 and without quotation marks.

For verse quotations run into prose text, use a vertical | (not a solidus / ) with space either

side to indicate the division between each verse.

Quotations within quotations need double quotation marks: „Stravinsky stated that “music

is, by its very nature, essentially powerless to express anything at all” in his

Autobiography‟.

When omitting words from quotations, you should indicate this by means of three full

stops within brackets: [...]. Ellipses without brackets may imply that the full stops appear

in the original.

Use square brackets [ ] (not parentheses) to interpolate any of your comments or notes.

Parentheses – Brackets

Use the parentheses symbols as usual. In case of a parenthesis within a parenthesis, use

double parentheses (...(... ... ...)... ...) and not square brackets [.... (...) ....].

Use square brackets only for comments, corrections, interpolations, and parenthetical

notes: „He [Debussy] told Caplet not to do so‟. „The “Heroica” [sic] Symphony‟. „Satie

declared that his work represented “a return to classical simplicity with modern

sensibility”‟ [my italics].

Capitalization

Use capitals for the names of people, places, nationalities, days of the week, months (but

not seasons), festivals, holidays, wars (use either „the First/Second World War‟ or „World

War I/II‟), treaties (the Treaty of Rome), institutions and organisations, unique events

(the October Revolution), historical periods, cultural schools and movements, titles of

rank (Tsar Alexander II, King George VI) empires (the British Empire), titles and

subtitles of works and parts of books and so on when referred to specifically (Chapter 2,

Part IV, Figure 8, Act III). For references in other languages, use the proper capitalization

system in those languages.



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Capitalize the title of a movement: the Andante of Mozart‟s Symphony, but use lower -

case and single quotation marks to indicate a tempo mark: the „lento‟ gives way to a

spirited „vivace‟. For the general use of the terms, use lower-case initial letters, no

quotation marks and italics: the allegro character of the piece, the allegro-andante-

allegro structure.

Italics & Roman

Use italics for titles of books (except for books in the Bible), names of journals,

encyclopaedias, dictionaries, periodicals and newspapers, plays, art works, movie titles,

operas, named symphonic works (Symphonie fantastique, Petite suite), song cycles and

collections, technical terms (a cappella, basso continuo, da capo, allegro).

Use roman in quotation marks for single songs, arias, individual movements, pieces

within a suite (the „Rigaudon‟ from Le Tombeau de Couperin) and „popular‟ names

(those not furnished by the composer) of works with a genre title („Moonlight‟ Sonata,

„Jupiter‟ Symphony). Use roman without quotation marks for generic titles and terms and

genre titles like Symphony, Sonata, Quartet, Trio, Mass and for variations when

„popular‟ titles are used (Enigma Variations). Use roman for overtures: Hebrides

Overture, but use italics when the title is a part of an opera or literary source Overture

Oresteia, Overture A Midsummer Night’s Dream. „Ibid.‟ and „et al.‟, are written in roman type, while „sic‟ and „c.‟ (circa) are italicized.

Dates and numbers

For dates please follow the British format: 24 January 2009 (no „th‟ or punctuation).

Abbreviate months in references only (24.1.09).

Beware old-style dates. If necessary, use N.S. and O.S. (new- and old-style) for

clarification.

Write nineteenth century rather than 19th century (use the abbreviated form only in notes,

reference, and tabular matter), hyphenated as an adjective: nineteenth-century music

history. Similarly, write 25 per cent (two words, no point) instead of 25% and first,

second, third instead of 1st, 2nd, 3rd.

Use 1870s or 1930s but prefer Seventies or Sixties to ‟70s or ‟60s.



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Word can manage numerals one above the other for time signatures and figuring, but

otherwise indicate e.g. 6-4 chords in a passage in 3/4.

In plays and operas Act II scene iv.

Abbreviations

For upper and lower case abbreviations use: Ph.D., Sun., Feb., Dr, Mr, Mrs, Ms, Mme

and Mlle.

Avoid abbreviations such as „e.g.‟, „i.e.‟ and „etc.‟; use expressions such as „for example‟,

„that is‟ and „and so on‟ instead.

Write „manuscript‟ instead of „MS‟ in the text, but in references and captions write „MS‟

for manuscript, „MSS‟ for manuscripts and „arr.‟ for arrangement.

Circa. Use „c‟. (italics with dot): c.1830. With a span of dates c. must be repeated before

each date if both are approximate: c.1830 ‒ c.1832.

When abbreviating first names, please write: J. S. Bach, G. B. Shaw (with spaces).

Acronyms

Acronyms take no points: BBC, UNESCO, while titles of books, plays and journals

produce italic abbreviations: JAMS ( Journal of the American Musicological Society).

Please, write USA, UK without points.

Titles of works

For italicization see Italics & Roman.

Catalogue numbers: Use a comma after the title and before the catalogue number

(Fauré‟s Prométhée, Op. 82); use initial capital letters in „Op. 1 No. 1‟ (no comma

between the two elements).

Musical examples – Tables – Images

Please insert musical examples, tables and images into the text. To ensure high quality of

reproduction, please use high resolution (400 dpi) for the iconographic material. All

material should be numbered in Arabic numbers and should have caption, which should

be placed below the respective element. Their alignment should be centred.



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References to musical pitch

We encourage the use of musical examples rather than musical notation run into the main

text. However, in certain cases a single note or short sequences of pitches are more

conveniently expressed in the text in letters according to the system devised by

Helmholtz. Thus a cello is tuned C-G-d-a, and a violin g-d'-a'-e''. Special subjects may

require special terminology, which should be explained.

Musical symbols – Key signatures

Please avoid the use of any musical symbols, since these often cause serious problems in

the text format. Use F sharp minor (upper case, no hyphen) instead of F# minor and E flat

major instead of Eb major. If it is absolutely necessary to use symbols (to indicate

rhythmical patterns, or else), please use a font (such as Opus Text) that would not cause

formatting problems in the text. Use abbreviations of dynamics, such as pp, mf , ff

(italics).

Athens Conf Proceedings Guidelines

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