Instructions for Contributors

Editorial Policy

Published three times a year, Nineteenth-Century Music Review welcomes submissions locating music within all aspects of culture in the long nineteenth century (1780s to 1920s). Covering the widest possible range of methods, topics and concepts, the journal especially welcomes interdisciplinary scholarship and work with fi ne visual content. All material submitted for consideration will receive open-minded editorial attention, and articles, once accepted for peer review, will proceed anonymously to two or more readers.

Please see this page for information about reviews of books, CDs and DVDs, scores and electronic resources, as well as the contact details of the reviews editors.

Score Reviews

As well as commissioning short reviews of recent scores, the Score Reviews Editor will also consider the following contribution types, on a case-by-case basis:

● longer review articles, incorporating a particular theme or focus and recordings/weblinks where appropriate (the emphasis being determined by the item or items up for review);

● reviews that include dialogue between the reviewer and the editor—this could take the form of a brief interview, with Q&A between reviewer and editor, conducted e.g. on Zoom, and recorded for publication along with a written review;

● reviews that encompass scores with non-English prefaces, involving some translation and more explanation those for English editions.

If you would like to work in one of these alternative formats, please contact the Score Reviews Editor to discuss your proposal.

Individual Article Submission

Full-length articles should normally be between 8,000 and 12,000 words long, excluding footnotes, and reviews and reports up to 1,500 words long. Please consult the General Editor (Prof Bennett Zon, [email protected]) in cases where you wish to exceed or fall short of these limits. Submitted articles should be entirely double-spaced and the pages sequentially numbered.

General queries and any correspondence about a submission should be sent to the General Editor (Prof Bennett Zon, [email protected]).

For information about submitting a paper, please see Submitting your materials.

Themed Issues

The General Editor encourages proposals from individuals with ideas for themed issues, involving the commissioning of up to five main articles per issue, as well as one or more review articles for coverage of books, CDs, DVDs, scores and digital resources.

Themed issues usually include between four and five articles. Proposers of themed issues work alongside the General Editor, and are designated Guest Editors. Guest Editors are responsible for commissioning, organizing and preparing articles for publication, as well as working closely with review editors to locate suitable material and authors for relevant sections of the journal. Review sections of themed issues are not exclusively thematicized, and tend towards a balance of half themed, and half general material. Articles commissioned for themed issues follow exactly the same process of peer review as general issues, and no guarantee of publication can or should be given to specially commissioned authors.

Those proposing to guest edit a themed issue should initially email the General Editor

(Prof Bennett Zon, [email protected]) with

(1) a statement of 500 words, outlining the thematic nature of the proposed issue, the names (and if available the academic affiliation) of contributing authors along with a working title for their papers and a timetable for submission of work

(2) abstracts of 300 words for each article, each including name of contributor and title of article, outlining the topic and explicitly addressing the novelty and significance of the contribution.

Manuscript preparation

Please present double-spaced copy, allowing ample margins and avoiding justification of right-hand margins and automatic hyphenation. Paragraphs should be indicated with indentations rather than empty lines, and these indentations should be made with tab stops, not by spacing. Captions, music examples, figures and tables should be numbered consecutively and given separately at the end, in that order. The desired location within the text for all exemplifying material should be indicated, normally as an entry within square brackets on a separate line following the end of a paragraph. Please spell out ‘Example’, ‘Figure’ and ‘Table’ in full. Music examples should in all cases give full details of the source or edition from which they are derived.

Contributors who wish to reproduce illustrative material as figures should provide good quality material in separate electronic files. Full details of the source should be supplied, including the full address of the copyright holder if this differs from the latter. Any inclusion of such material will be at the discretion of the General Editor. If the submission is accepted, full-resolution images will be requested at that time. Contributors are responsible for obtaining permission to reproduce any material for which they do not hold copyright and for ensuring that the appropriate acknowledgements are included in the typescript. For information about seeking permission to use copyrighted material, please see here.

Writers should adopt British spelling and style, including all British versions of musical terms. Single inverted commas should be used for quoted material, with double quotation marks reserved for quotations within quotations. Punctuation that is not part of the quoted material should occur outside closing inverted commas. Longer quotations should be set off, indented left without quotation marks. Prose citations should be in English unless the original is of particular interest, unpublished or inaccessible, in which case the original should be accompanied by a translation in parallel text.

Authors should consult recent issues of the journal for guidance on matters of form and style. More detailed information on the style of submissions follows.

We welcome and encourage submissions from non-native speakers of English. However, every effort should be made by non-native speakers of English to have their final draft checked by a colleague who is a native speaker of English. Manuscripts may be sent back to the author(s) if serious language deficiencies remain in the text. Please see below for information on English language editing services.

Copyright

The policy of Nineteenth-Century Music Review is that authors (or in some cases their employers) retain copyright and grant Cambridge University Press a licence to publish their work. In the case of gold open access articles this is a non-exclusive licence. Authors must complete and return an author publishing agreement form as soon as their article has been accepted for publication; the journal is unable to publish the article without this. Please download the appropriate publishing agreement here.

For open access articles, the form also sets out the Creative Commons licence under which the article is made available to end users: a fundamental principle of open access is that content should not simply be accessible but should also be freely re-usable. Articles will be published under a Creative Commons Attribution license (CC-BY) by default. This means that the article is freely available to read, copy and redistribute, and can also be adapted (users can “remix, transform, and build upon” the work) for any commercial or non-commercial purpose, as long as proper attribution is given. Authors can, in the publishing agreement form, choose a different kind of Creative Commons license (including those prohibiting non-commercial and derivative use) if they prefer.

Publishing ethics

Authors should check Nineteenth-Century Music Review's Publishing ethics policies while preparing their materials.

Text conventions

Abbreviations

1. Use <bar/bars> rather than abbreviated forms.

2. Write out all ordinals (thirds, fourth, eighteenth).

3. Avoid such common abbreviations as <e.g.>, <i.e.>, <etc.>, <viz.>. In general,

they can be substituted by literal expansions (<for example>, <and so forth>), although recasting of the phrase may be preferable.

4. Spell out <page/pages> when they occur in main text.

5. Circa to be used thus: <c1738> [italics, no gap to following numeral]

6. For catalogue numbers use form <K32>, <RV189>, <HXV:5> [small caps, no

gaps, no dots].

7. Write out <born> and <died> with dates: <died 1763>, <born 1688>.

8. Write out all instrumental and vocal designations in conjunction with music

examples: <Viola>, <Tenor>, <Bassoon>.

9. Internal contractions are not followed by stops: <Dr>, <Jr>, <Nos>, <vs>, <St>,

<Eds>.

10. Accidentals need only be spelt out in connection with key signatures (<F sharp

major>); otherwise they should take their musical form.

Capitalization

1. Capitalization of English titles (of music and books) should be maximized

[capitalize all words except articles, prepositions and coordinating conjunctions]. For

other languages this should follow the customary style of the language concerned. In French, Italian and Spanish, capitalize the first word only and any proper nouns; in German same as English except do not capitalize proper adjectives [therefore indefinite adjectives such as <andere> remain small].

2. All style-period designations and –isms lower case: <baroque>, <gothic>,

<romantic>, <classical>, <neoclassicism>, <impressionism>. This does not apply when the terms are used as substantives: <the Baroque>, <the Renaissance>, <the Romantics>.

3. <E major> and <E minor> [not normally <E> or <e>, and never <e minor>].

4. Capitalize generic names when they act as proper nouns: <Schubert’s Fourth

Symphony>, but <Schubert wrote nine symphonies>; <the Op. 64 string quartets>, but <the String Quartet Op. 64 No. 5>.

5. Similarly, capitalize tempo designations when they make specific reference rather than acting as generic designations: <the Allegro maestoso first movement>, but <as an allegro finale>.

Hyphenation

1. Hyphens for compound adjectives, <twelve-bar phrase>, <eighteenth-century wickedness>, but not with keys: <in E flat major>, <this E minor section>, <the D major tonality>.

2. Hyphenate other compounds that modify a following noun. For instance, <voice leading> only hyphenated when used adjectivally: <the voice-leading continuity>.

Similarly, <the movement is in sonata form> but <the sonata-form typology>. Note also <double stopping> but <a double-stopped dyad>.

3. Hyphenate compounds ending in a preposition: <copying-out>, <rounding-up>, <build-up>.

4. The following are single words: <semiquaver>, <subdominant>, <stepwise>, <subtext>, <website>, <ongoing>, <countersubject>, <upbow>, <downbow>, <barline>.

Numbers and dates

● One to ten in words, 11 onwards in numerals (except general numbers: in the two hundred years after his death). Reword to avoid starting a sentence with a numeral.

● Use all numerals when dealing with statistical information (e.g. 'There were 84 musicians involved, including 28 string players and 2 percussionists'; 'This represents just 4 per cent of her total output').

● Comma in numbers of four or more digits: 4,000, 32,000.

● Page numbers, etc., to be elided: 56–8, 70–71, 203–7, 416–18, 300–305.

● Years to be elided to two digits: 1994–96. (Except years of birth–death, which are given in full.)

● Bar numbers to be given in full: bars 71–77 (note ‘bars’, not ‘mm.’)

● Dates to be in the form: 4 July 1983.

● Nineteenth century, etc.

● 1940s, not '40s or forties.

Orthography

1. Use <ize> rather than <ise> where these are alternatives.

2. Anglicize plurals of naturalized words: <concertos>, <tempos>, <prima donnas>.

3. <Dickens’s>, <Brahms’s>, <Socrates’s>.

4. Italicize all foreign-language terms except proper nouns and similar words. But assimilated or naturalized words should be roman. Some should lose their accents:

<role>, <debut>, <premiere>, <debacle>, <regime>. Examples of words that need no italics: <a priori>, <ad hoc>, <bona fide>, <in toto>, <laissez faire>, <per cent>, <per se>, <pro rata>, <recto>, <topos>, <verso>, <vice versa>, <vis-à-vis>.

5. Similarly, many familiar musical terms may be given in roman: <accompagnato>, <cantabile>, <da capo>, <dal segno>, <galant>, <obbligato>, <opera buffa>, <opera seria>, <prima donna> [and <prima donnas>], <ripieno>, <secco>, <sinfonia>.

6. All instrumental names, even the less common, should be in roman: <viola d’amore>, <flugelhorn>. This applies to music examples as well as main text.

7. Distinguish between titles given by the composer and acquired names; the former should be italicized, while the latter should have inverted commas. Thus <‘Eroica’>, not <Eroica>.

Punctuation

Apostrophes

● Possessive apostrophe: the singer's part/the singers' parts (singular/plural).

● one month's time/three days hence/two days' grace.

● No apostrophe in plurals: CDs not CD's; 1980s not 1980's; dos and don'ts, not do's and don'ts.

● No apostrophes with common abbreviations: pram, phone, bus, cello.

Commas

● No comma before 'and' in simple lists (e.g. Clarinet, oboe, flute and piccolo were the woodwind used, not … flute, and piccolo …), although a comma can be used when clarification is necessary.

Quotation marks

● Single quotation marks, with double within single.

● No quotation marks around extracted quotations.

● Closing quotation mark within punctuation, unless punctuation is part of the quotation.

● Extract quotations of more than about four lines (50 words).

En-rules, hyphens, etc.

● Spaced en-rule for parenthetical dash.

● Hyphens for compound words, but en-rules joining two parts of equal importance: e.g. Franco-Prussian War (hyphen) but Britten–Pears Foundation (en-rule).

● Hyphens in two-word adjectival phrases: e.g. nineteenth-century symphonies. Note that this is not usually necessary when adverbs are involved: a tightly structured movement.

● Avoid the use of hyphens with phrases of two or more words: e.g. a post-World War Two work should be reworded, rather than amending to post-World-War-Two work.

● Note names to be separated by en-rules, not hyphens.

● Line breaks in poetic quotations in the text (i.e. not displayed) to be closed-up solidus (e.g. 'Twas brillig and the slithy toves/Did gyre and gimble in the wabe').

Spelling

Abbreviations

● Full points after abbreviations but not contractions: etc., vol., ed. but vols, eds, Dr, where first and last letters given.

● No full stops in abbreviations made up of capital letters: BBC, USA, TV (unusual abbreviations to be given in full in parentheses at first occurrence).

● Space after p., no., vol.: see p. 23 not see p.23; op. 23a

● Initials in names not spaced: W.A. Mozart (not W. A. Mozart).

Capitalization

● Capitals for periods (Baroque, Renaissance, Classical).

● Capitals for organ stops (Swell, Solo Tuba).

● Use capitals for movements or groups only when eponymous: e.g. Marxist but communist; symbolism, modernism, Lutheran.

● Capitals for titles of works such as Mahler's First Symphony, Beethoven's Concerto for Violin and Orchestra; but Mahler's symphonies, a concerto by Beethoven.

● Capitals for short titles of movements: Allegro, Adagio, Rondo.

● Capitals for names of keys: G minor, A flat major.

● Capital on geographic division only when part of name: Northern Ireland, South Africa but northern England, the south of France.

Foreign words and phrases

● Where the word is in common English usage, form an English plural: appoggiaturas, concertos, sonatas.

● Foreign words and phrases to be italicised: vis-à-vis, post hoc, schadenfreude.

● Translations of quoted phrases within the text (i.e. not displayed extracts) should follow the original in parentheses with quotation marks. For example: ‘La maison est belle’ (the house is beautiful’). Translations of displayed extracts should be in a footnote (no parentheses, but within quotation marks).

Italics

● See also: Foreign words and phrases; Names of musical works; Bibliographical references.

● Technical terms in common English usage to be in Roman: andante, basso continuo, da capo, forte, a cappella, opera buffa, recitative secco.

● Use Roman for names of instruments.

● Roman for markings for dynamic markings at the beginning of movements.

● Italics for abbreviated musical terms: cresc., mf, ff, rit.

● Italics for titles of publications (except series) – including books (except the Bible, Koran etc.), journals, films, videos, TV/radio programmes – titles of paintings and sculptures.

Names of musical works

● Italics for titles of operas, plays, books, symphonic poems, collections, song cycles, overtures, oratorios, ballets: Le nozze di Figaro, On This Island, Saul, The Rake's Progress.

● Roman for titles of individual songs, arias, madrigals, anthems, motets: 'La ci darem la mano', 'Du Ring an meinem Finger' (note: minimum capitalisation; caps follow German rules).

● Simple, non-descriptive titles of works, movements, etc. to be in Roman: String Quartet, Scherzo, Prelude, Andante (but note general use lower case: that year she wrote a string quartet, two symphonies and a mass).

● Symphony No. 5 in D minor op. 37 OR D minor symphony (no hyphen either way)

● Mozart’s Piano Concerto no. 21, K467.

Catalogue numbers

Mozart: K467

Schubert D. 810

WoO 33

Spelling and terminology

● UK spelling and terminology (e.g. semiquaver rather than sixteenth note)

● '-ize' rather than '-ise' spelling.

● Use encyclopaedia, aesthetic rather than encyclopedia, esthetic, etc.

● No ampersand, except in proper names (such as Faber & Faber).

Illustrations and figures

1. All figures and music examples should be uploaded as separate TIFF or EPS files. JPEG files must be greater than 320 dpi.

2. All figures and music examples must be cited in the manuscript and each file clearly labelled. Figures must not be pasted into the Word file.

3. Line artwork should be supplied in black and white mode at a resolution of 1200 dpi; combination artwork (line/tone) at a resolution of 800dpi; black and white halftone artwork should be saved in ‘greyscale’ mode at a resolution of 300dpi; colour halftone artwork should be saved in ‘CMYK’ mode for printing purposes and ‘RGB’ mode for web only files at a resolution of 400 dpi.

4. Musical examples should be computer-processed wherever possible.

5. Format for captions (all in bold):

• Fig. 1 Caption to the figure

• (a) if more than one example (bracketed)

• Ex. 5 Composer, Title, section; op. 127, mvt ii, bars 13–20

• Table 3 Caption to the table

6. Mentions in the text: (see Fig. 5; see Fig. 5a (not bracketed))

Plural form of Ex. = Exx.

7. Tables to have horizontal rules only (above/below headers and at bottom).

References

1 General points (footnotes/citations)

● Footnotes, not author–date references. To be first name, initials (closed up), surname, book title (place of publication: publisher, date): page numbers.

● Months in citations abbreviated to 3 characters; other months in notes given in full.

● Seasons to be lower case (spring, not Spring).

● Full citation on first mention; author surname and short title thereafter, with a comma before the page no., e.g. Newbould, Schubert, 52.

● No 'p.' in notes (just page number), but textual references have '(p)p. xx'.

● US places of publication to have the state as 2-letter abbreviation (e.g. Cambridge, MA) unless well-known (e.g. New York) or included in the publisher's name (e.g. Berkeley: University of California Press).

● In notes, use 'Ibid.' rather than repeat a short title (but only use if the title is given in the note above; do not use op cit.). Where the page number is the same as in the previous note, there is no need to repeat it.

● References that include a reference to a pressbook should also have a p. for page reference to differentiate the two numbers – e.g. in pressbook 36, p. 31 (not 36, 31).

● Biblical references in text: (Gen. 6: 14)

● Series titles roman.

2 Some example citations

● Oliver Henry, Book Title (Place: Publisher, year): 65–6.

● Oliver Henry, Book Title, rev. 2nd ed. (Place: Publisher, year): 65–6.

● Oliver Henry, Book Title 24 vols, vol. 1, Volume Title (Place: Publisher, year): 65–6.

● Henry, Book Title, vol. 1: 5 (short ref. for subsequent citations).

● James Smith, 'Article Title', Journal 3/5 (Feb. 2001): 38–57.

● Charles Schultz and Christopher Brown, eds, Name of Book (Place: Publisher, year).

● Michael Lee, 'Chapter Title', in Name of Book, ed. Peter Jones and Edward Richards (Place: Publisher, year): 148–92.

● William Gray, ‘Article Title’, Journal 24 (Feb. 1985): 1–10.

● William Gray, Journal (Jan. 1897): 152. Cited in Author, Book Title (Place: Publisher, year): 65–6.

● William Gray, Book Title, vol. 1, Volume Title, trans. John Smith (Place: Publisher, year): 65–6.

● Kenneth William Carpenter, ‘A History of the United States Marine Band’ (PhD diss., University of Iowa, 1970).

● Hilmar-Voit and Andreas Mayer, eds, Franz Schubert: Dokumente 1817–1830, vol. 1, Texte (Tutzing: Hans Schneider, 1993): 181–2.

● [Where there is no author] 'Name of article', Title of Magazine or Newspaper (4 Mar. 2005): 4.

● Alexander Weinman, ‘Haslinger’, in Grove Music Online, www.oxfordmusic.com (accessed 19 Jan 2016) NOTE: do not use URL from search results

3 Quotation marks and punctuation

● The UK English punctuation system is different from the US system - whereas the US system is to have all final punctuation within the closing quotation mark, in the UK system this depends on whether or not the punctuation is part of the original quotation.

● Where just a word or short phrase is being quoted, the quotation mark should come before the punctuation (e.g. She reported that the weather was 'very cold for the time of year'.)

● Where a whole sentence is being quoted, and introduced with a colon, the punctuation comes within the quotation marks (e.g. Wilde had much to say on the matter: 'I can resist everything except temptation.')

● There will inevitably be grey areas under this system: further guidance can be obtained from the Oxford Guide to Style or the new Hart's Rules.

4 Capitalization guidelines

● Titles in English to have important words initial capitals.

● Foreign language titles to follow the rules of that language: All other languages except German and French have minimum caps.

● German has first word and all nouns capitalized.

● In French, the first word only is capitalized, unless it is the definite article, in which case both the article and the noun are capitalized. If an adjective precedes that noun it is capitalized also. Some examples: La Chambre bleue, Les Fleurs du mal, Illusions perdues, L'Eternel Mari, La Tentation de saint Antoine. (Note: no accents on capital letters.)

Sections of the journal

1 Articles

● Title – important words initial capital

● Give author's name and place of writing

2 Review article

● Give title of review, followed by book information as per book reviews.

● Author and place given at end of article.

3 Book reviews

● Headings to be in the form:

● John Smith, Title of Book: The Subtitle (Place: Publisher, year). xv + 352pp. Price

● Author and place of writing given at end of review.

4 CD reviews

● Headings to be in the form:

● Title of CD or generic review title

Composer Overture to Title

Symphony in A major op. 6

Composer Song; Song; Song

[note composer name not necessary if only one and it’s in the title]

Artist’s name pf, Artist’s name bar

Orchestra’s name, Artist’s name cond

Label and number (1 CD: 66 minutes), price

Notes in English and German

● Author and place of writing given at end of review.

● NOTE: copyeditor to style and format what is provided only. Reviews editor responsible for providing content

5 Score reviews

• Headings to be in the form:

Composer’s name, Title of Work, edited by John Smith (Place: Publisher, year). xv + 142pp. Price

• Author and place of writing given at end of review.

• NOTE: copyeditor to style and format what is provided only. Reviews editor responsible for providing content

Style

1. Gaps after all abbreviating dots: <Op. 17>, not <Op.17>; <C. P. E. Bach>, not <C.P.E. Bach>.

2. Figured bass symbols use super- and subscripts; for metres use form <6/4>, <3/8>.

3. <King Felipe V>, not <King Felipe the Fifth>.

4. Where an original-language version of a quotation is deemed necessary, and it is of appropriate length, this should be given in parallel text with the translation rather than in a footnote. The translation should generally follow the original version.

5. Conference reports should include full university or other affiliations of speakers and other significant individuals, using the form of the name found in the language concerned. Where there is no institutional affiliation, place of residence should be given.

6. Avoid numbering of subsections of articles unless there is a clear reason for it.

7. Use the form <Symphony No. 45/i> and <Wq13/iv> when referring to a particular movement in the text. Style for captions: <Symphony No. 45 i> [no comma].

8. Avoid such forms as <‘[t]he’>; it is now generally accepted that there is no need for such precise disclosure.

9. Conference reports and reviews contain no footnotes.

10. In Contributors section, job titles should be capitalized. Any publications mentioned should have full bibliographical details. Unpublished book titles should be in inverted commas, not italics.

11. Authors submitting revisions of material for publication should not include formatting markings, such as crossings-out and colours, to indicate changes.

12. Any acknowledgements at the start of an article or essay should take the form of an initial unnumbered footnote.

Some example spellings

A

a 2 (italic, small space, but only in text; more usually roman in music examples)

a cappella (roman)

a.m.

ad hoc (roman)

ad hominem (italic)

ad libitum (roman)

ad nauseum (roman)

AD/BC (small caps)

adviser

Aesthetic (movement)

African American (hyphen when attrib.)

aide-mémoire

alma mater

analyse

Ancien Régime

anti-clerical (hyphen)

anti-climax

anti-colonial

anti-feminist (hyphen)

anti-Semitic (hyphen)

appoggiatura (rom.)

architectonic

Art Nouveau

Artefact

artwork

auto-da-fé (roman)

auditoriums (not -a)

avant-garde (roman) [hyphen added Sept 16]

B

b. (born, space before year)

B.Mus.

backdrop

Ballets russes

barcarole

bar-line

Baroque

bass line (2 words)

basso ostinato

battlefield (1 wd)

bel canto (roman)

belle époque

bell-harp (hyphen)

Benefit concerts

best-selling (hyphen)

biblical (l.c.)

bi-centennial

bifolio(s)

bipartite

bird-call (hyphen)

bitter-sweet (hyphen)

blackface (minstrel)

bloodstream

Bolshoy

Brahms’s

Break-down (n.)

breakneck

building block (2 wds)

bull's-eye

C

c. (circa - rom.; space after)

cake walk (2 words)

cantabile (roman)

cantante

case studies (2 words)

castrato/castratos (rom)

catch-phrase (hyphen)

cello (no apostrophe)

chanson

Chapter 1 (cap., numeral)

churchgoer (1 wd)

Classical

cliché

co-exist

cognoscenti

con fuoco

concert-goer

concertante

Continent, the (but continental)

contradistinction

contraltos (not contralti)

cooperate (1 wd)

coordinate (1 wd)

counter-attack

counterbalance

counter-claim

counterintuitive

countermelody

counter-narrative

crepe (no acc.)

crescendo (rom) [this has not been consistent, but will be now]

criss-cross

crossover (1 wd)

cross-fertilization

cross-reference (hyphen)

csárdás (cz-)

D

D. [Schubert catalogue: e.g. 'Wehmut' (D. 772)]

DPhil

da capo (rom.)

data=singular noun

day-trip

debut (no acc.)

de rigeur

decor (no acc.)

decrescendo

de-emphasize

dehistoricize

demi-monde

demisemiquaver

de-nature

denouement (no acc.)

diminuendo (roman)

disc (not disk) [change as of 22.10.16. I think this is now standard]

double bass (no hyphen) [change]

downbeat

down-side

E

élan

elite (no acc.)

email

émigré

encyclopaedic

enjambment

Enlightenment

en masse

en route

ersatz

escape route (two words)

et al.

Evangelical

ex gratia

extra-musical

F

fairy-tale

Federation (specifically Australia)

fermata (roman)

fêted

filmmaker (1 wd)

fin de siècle

finger work (2 words)

first-hand (adj.)

flautando (roman)

flautist

fleur de lis

focusing (not focussing)

folk song (2 words)

folklike (1 wd)

folk tunes (2 words)

fortissimo (roman)

fol. and fols (no full stop for plural)

French Revolution

G

galant

grassroots

ground plan (2 wds)

ground-breaking

groundwork

H

habanera

half-way (hyphen)

hand-written (hyphen)

hardback

headdress (1 wd)

head-motive OR head motif

heartrending

hemiola

hemistich(s)

highbrow (1 wd)

highpoint

high water mark (three words)

historic takes 'a' not 'an'

historico-temporal

homoerotic (1 wd)

hourglass (1 wd)

Hullah–Wilhelm (system; en-rule)

hymn tune (2 wds)

hymn-singing (hyphen)

I

ibid. (roman)

Impressionist

Infrastructure

insofar

instrument maker (2 wds)

inter alia

inter-war

in toto

interdisciplinary

interracial (1 wd)

interrelated (1 wd)

J

joie de vivre

Journal des débats

judgement

July Monarch

K

keyword

L

Le Monde musical

left bank

leitmotive or leitmotif (roman)

librettos

lied(er)

Liedertafel(s)

life-long (hyphen)

light-hearted

limelight

lip-service (hyphen)

long-standing

looking-glass (hyphen)

lowbrow

M

macro-narrative

make-up

master plan

medieval

meerschaum

mélange

mélodie

memento mori

messa di voce

Messianic

metre

micro-cultural

micro-history (hyphen)

mid-nineteenth-century (attrib.)

mid-1980s

Middle Ages

middlebrow

Middleground

miking (microphone use)

milieu(x) (rom.)

mindset (1 wd)

mirror-image (hyphen)

misattribution

mise en abyme

mise-en-scène

modern-day (hyphen)

modernism

money making (2 wds)

motif (not motive)

mountain-top

multi-cultural

multi-disciplined

multifaceted (1 wd)

multi-layered (hyphen)

multi-movement (hyphen)

multi-part

multi-racial

music lover (2 wds)

music-making (n.; hyphen)

musico-poetic

Musorgsky [was Mussorgsky]

N

naivety (no acc.)

name day (2 wds)

nation state (2 words)

neck-tie (hyphen)

neoclassical (1 wd)

nonconformist

non-normative

non-verbal

non-Western

north-west (hyphen)

note-head

note value (2 wds)

O

œuvre

offbeat (personality)

off-beat (musical term)

off-set

on-stage (adj.; hyphen)

op. 5, no. 3 (no caps, no comma before op., space before number)

opp. 5, 6, 7 (plural of op.)

opera buffa (ital. as per ODWE)

opéra-comique

opera-goer (hyphen)

opéras comiques

organ builder (2 words)

organ-playing (2 words)

the Orient (but oriental)

oriented (not -ated)

orientalism

ossia

ostinato (rom)

otherworldly (1 wd)

overenthusiastic (1 wd)

over-extended (hyphen)

overripe

P

p.m.

paperback

par excellence

part writing (2 wds)

part-song (hyphen)

passage-work (hyphen)

passim

passing tone (2 wds)

pedalboard (1 wd)

penny-pinching

per cent

per se

persona (roman)

PhD

piano, pianissimo (roman)

pianomaker (1 wd)

pitch level (2 wds)

pizzicato/i (ital)

plainchant

Platonic

Platonism

Platonizing

playlists (1 wd)

poetry-reading (hyphen)

portamento(s) [changed from portamenti]

postcard

post-cadential

post-classical (hyphen)

post facto

post-hierarchical

postmodern (1 wd)

post-Romantic

postscript

post-structural

post-tonal

post-war

pot-pourri

powwow

précis (rom.)

precondition

pre-eminent (hyphen)

pre-empt

prelapsarian (1 wd)

premiere (no acc.)

preoccupy (1 wd)

Pre-Raphelite

prerequisite (1 wd)

present-day (adjective)

pre-war

proactive (1 wd)

programme (v. in the sense of to put something on the programme)

proof-reading (hyphen)

pseudo-Romantic

pseudo-scientific (hyphen)

Q

qua

Quartier Latin

R

Rachmaninoff

raison d'être

ragtag

ragtime

reappraise

re-appropriate

rearrange (1 wd)

re-assess

re-assert

re-assimilate

re-calculate

reconceive

re-create

re-date (hyphen)

re-discover

re-editreed pan

re-emerge

re-enact (hyphen)

re-encounter

re-establish (hyphen)

re-evaluate

re-examine (hyphen)

re-insert

reinvent (1 wd)

reissue

relocate

Renaissance

re-occur

re-read (hyphen)

resumé (no need for CV in parentheses afterwards)

re-think

Revolution (any is upper case)

revolutionary

rework (1 wd)

rewrite

Ring or Ring cycle

Risorgimento (roman)

ritardando (roman)

Rococo

role (no acc.)

roll-call (hyphen)

Romantic

rote-learning (hyphen)

rubato (roman)

S

salon

s/d (shillings/pence; roman, no point)

scale degree (2 wds)

scherzando

scherzo

Schoenberg

Schola Cantorum

secco (rom.)

self-conscious

self-determination

semicircle

semiquaver

semitone

setback

sforzando

shelf-mark (hyphen)

shorthand

showcase (1 wd)

show-pieces (hyphen)

sic

sigh figure (2 words)

sight-read

sight-sing

sleigh bells (2 words)

smoke night (hyphen when att.)

socio-cultural (1 wd)

socio-historic (hyphen)

socio-political (hyphen)

soirée (roman)

soirée musicale (roman)

sol-fa (hyphen)

solfège

solita forma

sol-faists (hyphen)

song cycle (2 words)

songlike (1 wd)

songwriter (1 wd)

sound engineer (2 words)

sound-board (hyphen)

sound-world (hyphen)

South Eastern Europe BUT

South East European

spell-checker

spinto

springboard (1 wd)

sprezzatura

statewide

still-life (n. + adj.; hyphen)

stop-knob (hyphen)

stop-over (n.)

storyteller (1 wd)

storytelling

streetwise (1 wd)

stretto/stretta/strette (rom.)

subculture (1 wd)

subgroup

subheading

subject matter (2 wds)

subsection (1 wd)

subtext (1 wd)

subtitle

sul ponticello

supernumerary

supersede

supertitle

supranationalism

Surrealist

swell-pedal (hyphen)

Symbolist

Symphony No. 5

T

tabula rasa

tempi

tempo rubato (roman)

term time (two words)

test-ground (hyphen)

textbook (1 wd)

the Romantic Child

time-frame (hyphen)

topos

tour de force

towards

tranquillity

travel writing (2 words)

tremolando

tutti

U

underrated (1 wd)

United States (not USA)

uninfluenced

up-bow

unbeamed

URL

Ursatz

Urtext

V

vice-president

virtuosos

vis-à-vis

voice-leading (adj.; hyphen)

vs. (versus; roman)

W

walkabout

wallpaper

website

West, the

Western (polit.)

whole-tone (hyphen)

worldview

word play (2 words)

word-painting (hyphen)

word-set (hyphen)

word-setting (hyphen)

works list (2 words)

World War One (Two)

world-view (hyphen)

worldwide (1 wd)