Resources & Writings: Annotated Music Bibliography

This partially annotated bibliography is not meant in any way to be an exhaustive bibliography of music. Rather, it is more of a personal document, comprised of sources that have been of interest to me as a composer, teacher, and reader. The annotations in particular are highly personal, and should serve only as subjective recommendations of and reactions to the selected writings.

Edition numbers are up-to-date for the most part, though it is possible a newer version might be available. A few of the listed texts are out-of-print, but any substantial university library should hold most of these in their collection. I welcome comments or suggestions concerning this list; please email me at brandon@brandonhendrix.com.

Updated 31 January 2011

• Boretz, Benjamin, and Edward T. Cone, eds. Perspectives on American Composers. New York:
  W. W. Norton, 1971.
  
  –A collection of articles taken from the journal Perspectives of New Music. Includes articles by Varèse, Babbitt, Sessions, Carter, and others; includes articles about Ives, Varèse, Sessions, Copland, Piston, Carter, and others.

• Brindle, Reginald Smith. Musical Composition. New York: Oxford University Press, 1986.
  
  –Very good book, comparable to Wilkins' book below. Notable chapters:

  • Chapter 2, “First Ideas”: the process of starting a composition
  • Chapter 6, “Vocal Writing”
  • Chapter 7, “Accompaniments”: the varied use of accompaniments (very useful)
  • Chapter 9, “Choral Writing”

• Camphouse, Mark, ed. Composers on Composing for Band. Vols. 1 and 2. Foreword by Gary Green. Chicago: GIA Publications, Inc., 2004.

• Cope, David. New Directions in Music. 7th ed. Dubuque, IO: Brown & Benchmark, 2001.
  
  –This book, as well as Cope's New Music Composition (below), deals with ideas that are rarely discussed.

• —. New Music Composition. New York: Schirmer, 1977.
  
  –Helpful list of “Works for Analysis” at the end of each chapter, with a brief description of each work.

• —. Techniques of the Contemporary Composer. New York: Schirmer, 1997.
  
  –Contains possibly the BEST discussion of metric modulations found anywhere.

• Cunningham, Michael G. Technique for Composers. Bloomington, IN: 2007.
  
  –Although skewed by his obvious dislike for the politics involved in the professional world, it does have a few notable sections:

  • Categorized list of possible composition titles: pp. 14-21
  • Discussion of avoiding augmented and diminished intervals in melodic lines:
    p. 154
  • Considerations and methods to use when setting text: pp. 158-161

• Freeman, Jason, and Akito Van Troyer. Piano Etudes. http://turbulence.org/spotlight/pianoetudes/net.jasonfreeman.pianoetudes.PianoEtudes/wordpress/?page_id=367.
  
  –An interesting site inspired by the open-form composers of the 1950s. Users can interactively create their own compositions from pre-made musical blocks and can then play them back. The site also allows the user to print the composition for performance. The site was originally mentioned in two posts on The Score (a New York Times opinion page) in April and May of 2010.

• Holmes, John L. Composers on Composers. New York: Greenwood Press, 1990.
  
  –A compilation of anecdotes and longer articles written by composers on the subject of other composers.

• Krasilovsky, M. Williams, and Sidney Shemel. More About This Business of Music. 5th ed., rev. and enlarged. New York: Billboard Books, 1994.
  
  –While geared more towards the commercial/popular side of music, its “Appendix 24” (p. 251) is useful for composers. It is called “Some suggestions for getting your music published,” and has several helpful points.

• Magnuson, Phillip. Microcosms: Musical Styles of the Twentieth Century. 2009. http://academic.udayton.edu/PhillipMagnuson/soundpatterns/microcosms/.
  
  –Useful broad survey of the musical time periods, with instructions and exercises on composing music in those styles. Especially interesting in its inclusion of less common styles, such as primitivism, neoclassicism, indeterminism, texturalism, and eclecticism.

• McCutchan, Ann. The Muse that Sings. Foreword by Leonard Slatkin. Oxford, New York, et al.: Oxford University Press, 1999.
  
  –Composers discussing their processes. Includes Corigliano, Tower, Danielpour, and others.

• Read, Gardner. Compendium of Modern Instrumental Techniques. Westport, CT: Greenwood Press, 1993.
  
  –Read's Contemporary Instrumental Techniques and Thesaurus of Orchestral Devices (below) cover similar composers and materials, though presented in slightly different ways.

• —. Contemporary Instrumental Techniques. New York: Schirmer, 1976.
• —. “Prizes Versus Commissions.” Music Journal 7, no. 5 (Sept.-Oct. 1949): 17.
  
  –Questions the value of competitions and commissions, unless they result in a performance.

• —. Thesaurus of Orchestral Devices. Westport, CT: Greenwood Press, 1969.
• —. “What's in a Name?” Music Journal 34, no. 6 (July 1976): 24-25.
  
  –Examines the process of naming compositions.

• Schwartz, Elliott, and Barney Childs, eds. Contemporary Composers on Contemporary Music. New York: Da Capo Press, 1978.
• Sitsky, Larry, ed. Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook. Foreword by Jonathan D. Kramer. Westport, CT: Greenwood Press, 2002.
  
  –An in-depth biography, a list of selected works, and a bibliography are given for each composer. Composers include Cage, Cardew, Cowell, Feldman, Ives, Ligeti, Luening, Stockhausen, Wolff, and several others.

• Wilkins, Margaret Lucy. Creative Music Composition: The Young Composer's Voice. New York, NY: Routledge Taylor & Francis Group, 2006.
  
  –THE book on the art of music composition. Notable discussions:

  • List of styles (many unique and often overlooked) with associated composers: p. 44
  • Textbooks associated with extended techniques of specific instruments:
    pp. 140 ff.
  • Composing for different ensembles: pp. 151 ff.
  • Composing for voice: p. 199
  • Interesting section on creating program notes and being self-critical:
    pp. 261-262

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• Behrman, David. “What Indeterminate Notation Determines.” In Perspectives on Notation and Performance, ed. by Benjamin Boretz and Edward T. Cone (New York: W. W. Norton, 1976): 74-89.
• Boretz, Benjamin, and Edward T. Cone, eds. Perspectives on Notation and Performance. New York: W. W. Norton, 1976.
  
  –A collection of articles taken from the journal Perspectives of New Music. Wonderful miniature “anthology” of writings on music notation. Several of the articles contained within this book are listed here in this bibliography.

• Byrd, Donald. Extremes of Conventional Music Notation. http://www.informatics.indiana.edu/donbyrd/CMNExtremes.htm.
  
  –Interesting list of works that stretch the rules of conventional notation almost to the breaking point.

• —. Gallery of Interesting Music Notation. 2009. http://www.informatics.indiana.edu/donbyrd/InterestingMusicNotation.html.
  
  –A brief gallery of unusual music notation from the works of respectable composers.

• Cardew, Cornelius. “Notation – Interpretation, etc.” Tempo, no. 58 (summer 1961): 20-33.
• Cole, Hugo. Sounds and Signs. London: Oxford University Press, 1974.
  
  –Especially interesting book dealing with topics that are rarely discussed:

  • Psychological reasoning behind the use of very short note values (as in Beethoven's slow sonata movements, e.g.): p. 31
  • Advantages and disadvantages of proportionate notation: pp. 70-72
  • Whether or not all of the dynamics should be the same in a tutti: p. 74,
    3rd par.
  • Different meanings of articulation marks: pp. 82-84
  • Many uses of slurs: pp. 84-86
  • Many reasons why a composer might use irregular beaming: p. 87,
    bottom par.
  • Psychological uses of rests and empty bars at the end of a work: p. 94

• Cope, David. New Music Notation. Foreword by Karel Husa. Dubuque, IO: Kendall/Hunt Publishing Company, 1976.
  
  –Good book with an extensive notation bibliography. It gives the most common notations for techniques, other notations that might be used for those techniques, and works where those notations can be found. An unpublished Gardner Read notation book is listed in the bibliography (does not exist, according to a May 2009 email correspondence with Cope, but its contents were distributed to some of Read's other books). Notable pages:

  • Use of color in scores: pp. 11-12
  • Combined noteheads used with separate accidentals: p. 30
  • Chords on different staves stemmed and beamed together, incomplete ties, and notation for indefinite ring-offs: p. 45
  • Different pause indications: p. 48
  • Different articulations ordered from strongest to weakest: p. 58
  • Articulations that can end a note, listed from smoothest to harshest, and the notation for staggered bowing: p. 60

• G. Schirmer, Inc. The G. Schirmer Manual of Style and Usage. New York: G. Schirmer Publications Dept., 1990.
  
  –Very handy for seeing what publishers might expect. It is not listed for purchase anywhere, though it is available by contacting the publisher directly. Notable pages:

  • Proper metrical placement of clef changes: p. 10
  • The font that G. Schirmer uses: p. 23

• Heussenstamm, George. The Norton Manual of Music Notation. New York: W. W. Norton, 1987.
  
  –Very useful general notation book. Notable pages:

  • Correct and incorrect ways of using rests in different meters in order to show the beat division: pp. 35-37
  • Positioning of ties if the two stems are going in opposite directions: p. 40
  • “Notating Two Lines of Music on One Staff,” including how to notate numerous two-voice unisons: pp. 78-86

• Karkoschka, Erhard. Notation in New Music: A Critical Guide to Interpretation and Realisation. Trans. from the German by Ruth Koenig. New York: Praeger Publishers, 1972.
  
  –Contains interesting thoughts on the problems of notation in the twentieth century. Cope, in New Music Notation, says that this book has several problems. These problems are listed in Cope's text on p. 118. Notable aspects of this book:

  • Lots of musical examples for every stated new notational practice
  • Includes a discussion of the piano notation Equitone, similar in concept to Klavarscribo

• Martino, Donald. “Notation in General – Articulation in Particular.” In Perspectives on Notation and Performance, ed. by Benjamin Boretz and Edward T. Cone (New York: W. W. Norton, 1976): 102-113.
  
  –Good discussion on the confusion of articulations; especially interesting in its discussion of the tenuto dash.

• Read, Gardner. Music Notation: A Manual of Modern Practice. 2d ed. New York: Crescendo Publishing Co., Inc., 1979.
  
  –Standard notation manual (along with Kurt Stone's, below).

• —. Pictographic Score Notation: A Compendium. Westport, CT: Greenwood Press, 1998.
  
  –A useful collection of instrument setup diagrams.

• Rosenthal, Carl A. Practical Guide to Music Notation: for Composers, Arrangers, and Editors. New York: MCA Music, 1967.
  
  –An older book with a few useful pages:

  • How to handle hairpins that cross barlines: p. 8
  • Beaming in 8/8 meter: p. 16
  • Properly indicating note divisions (triplets, septuplets, etc.): p. 31

• Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New York, London: W. W. Norton, 1980.
  
  –Standard notation manual (along with Gardner Read's, above).

• —. “New Music Notation Why?” Musical America 24, no. 7 (July 1974): 16-20.
  
  –Musical America is a journal that is contained within the title High Fidelity and Musical America. A good introductory article for the layman introducing both the need for, and some of the possibilities of, new notation and its standardization.

• —. “Problems and Methods of Notation.” In Perspectives on Notation and Performance, ed. by Benjamin Boretz and Edward T. Cone (New York: W. W. Norton, 1976): 9-31.

• Warfield, Gerald. Writings on Contemporary Music Notation. MLA Index and Bibliography Series, No. 16. Ann Arbor, MI: Music Library Association, 1976.
  
  –THE bibliography for music notation (currently out-of-print and unavailable for purchase anywhere – though I have a copy!).

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• Arts Council of Great Britain. Eye Music: The Graphic Art of New Musical Notation. Great Britain: Arts Council, 1986.
  
  –Very good book dealing with the history of graphic music (currently out-of-print and unavailable for purchase anywhere).

• Boyle, Jeremy, et al. Pictures of Music. http://www.blockmuseum.northwestern.edu/picturesofmusic.
  
  –Much useful information about graphic scores, including history, composers, and examples. The interactive nature of the site makes it particularly interesting.

• Brindle, Reginald Smith. Musical Composition. New York: Oxford University Press, 1986.
  
  –Chapter 13 deals with graphic and text/event scores.

• —. The New Music: The Avant-Garde Since 1945. 2d ed. Oxford, New York: Oxford University Press, 1987.
  
  –Chapter 9 provides info on graphic and text/event scores.

• Cage, John. Notations. New York: Something Else Press, 1969.
  
  –From the bibliography to Cope's New Music Notation: “A rather useless (but often curious) alphabetical (by composer) page by page collection of autograph manuscripts by a very large number of contemporary composers.”

• Johnson, Tom. Imaginary Music. New York: Two-Eighteen Press, 1974.
  
  –An interesting and humorous book of graphic scores, in the same vein as Cornelius Cardew's Treatise score, where each “score” is a play-on-words of the title. Each score is made up of only music symbols (notes and rests for the most part) with occasional lines and other non-descriptive characters.

• The New York Miniaturist Ensemble. Graphic Scores. http://nyme.org/graphic.html.
  
  –An interesting ongoing collection of single-image graphic scores.

• Nyman, Michael. Experimental Music: Cage and Beyond. 2d ed. Foreword by Brian Eno. New York: Cambridge University Press, 1999.
  
  –Includes a discussion of the Fluxus movement, including the composers Feldman, Brown, Wolff, Cardew, and Brecht. Also includes some of their text/event scores.

• Sauer, Theresa. Notations 21. New York: Mark Batty Publisher, 2009.
  
  –Over 300 pages with hundreds of examples of illustrated scores, as well as essays from several composers that explore every facet of their creative processes. Includes scores by Carl Bergstrom-Neilson, Daniel Goode, Karlheinz Stockhausen, Earle Brown, and many others. Released on the 40th anniversary of John Cage's Notations, and written in much the same vein.

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• Adler, Samuel. The Study of Orchestration. 3d ed. New York: W. W. Norton, 2002.
  
  –THE book for orchestration; more thorough than Blatter's Instrumentation and Orchestration. Comes with an optional CD set. Notable pages:

  • How transposing instruments came about: p. 168, paragraph after the bottom example
  • How to notate two voices on a single staff, including why only strings use terms like divisi: pp. 178-179
  • Reduced and condensed scores: pp. 762-765

• Black, David, and Tom Gerou. Essential Dictionary of Orchestration. 2d ed. Los Angeles: Alfred Publishing Co., Inc., 2008.
  
  –Covers ranges, general characteristics, technical considerations, and scoring tips. The harp section, pp. 131 ff., is particularly helpful.

• Blatter, Alfred. Instrumentation and Orchestration. 2d ed. Belmont, California: Wadsworth/Thomson Learning, 1997.
  
  –The beginning of each section gives the instrument name in multiple languages. The fingering chart for three-valved brass is incorrect in some spots in the back of the book.

• Burton, Stephen. Orchestration. Englewood Cliffs, NJ: Prentice-Hall, 1982.
  
  –Notable chapters are “Writing for Orchestra” and “Twentieth-Century Techniques and Instruments.”

• Carse, Adam. The History of Orchestration. New York: Dover Publications, 1964.
  
  –Clearly defines the differences in French and German scoring.

• Dickreiter, Michael. Score Reading: A Key to the Music Experience. Trans. by Reinhard G. Pauly. Portland, OR: Amadeus Press, 2000.
  
  –Notable chapters:

  • “The Look of a Score”: how and why a score looks the way it does
  • “Scores and Their History”: how scores changed during the different style periods
  • “Orchestras and Conductors”: origins of the word “orchestra” as well as historical seating plans

• Freund, Don. Instrument Studies for Eyes and Ears. Bloomington, IN: Trustees of Indiana University, 2006. http://www.music.indiana.edu/som/composition/isfee/.
  
  –Similar to the Hugill site (below), though some of the offered playing techniques vary between the two. In general, the interface of the Freund site is simpler and more user-friendly.

• Hugill, Andrew. The Orchestra: A User's Manual. Andrew Hugill, 2003. http://www.mti.dmu.ac.uk/~ahugill/manual/.
  
  –Similar to the Freund site (above), though the two vary in what playing techniques are demonstrated. A surprisingly useful and thorough site that incorporates videos and sound excerpts in the discussion of individual instruments and instrumental groups, as well as a vast array of other orchestrational issues. The site acknowledges its lack of coverage on extended techniques, though a decent amount of coverage is included. Produced with the help of the Philharmonia Orchestra (London). Notable features:

  • Information on every instrument, often in the form of videos or sound excerpts, displaying ranges, articulations, special effects, extended techniques, and “player's tips and tricks”
  • Coverage of different orchestral groups, displaying their sound in different combinations (much like Read's Orchestral Combinations: The Science and Art of Instrumental Tone-Color)
  • Page showing various seating plans that the Philharmonia Orchestra employs (depending on the piece played)
  • Brief historical discussions of the evolution of the orchestra, arranged by musical time period

• Jacob, Gordon. Orchestral Technique: A Manual for Students. 2d ed. Oxford, New York: Oxford University Press, 1940.
  
  –Notable for its examples of keyboard works transcribed for other instruments. Very useful exercises, and an interesting last chapter, “General Remarks.” Other aspects of this book are outdated, such as giving instructions as to what line or space to place percussion instruments on in the treble and bass clefs(!).

• Kennan, Kent, and Donald Grantham. The Technique of Orchestration. 6th ed. Upper Saddle River, NJ: Prentice-Hall, 2002.
  
  –Notable chapters and pages:

  • Chapter 10: “Scoring Chords for Orchestra”
  • Chapter 11: “Problems in Transcribing Piano Music”
  • Description of how different woodwind doublings sound: p. 212

• Mathews, Paul, ed. Orchestration: An Anthology of Writings. New York: Routledge, 2006.
  
  –Collection of writings ranging from the early 19th century (Czerny, Berlioz, Stravinsky, etc.) to the late 20th century (Ives, Reich, Boulez, etc.). Includes a bibliography which is usefully categorized by orchestrational topics.

• Munrow, David. Instruments of the Middle Ages and Renaissance. London: Oxford University Press, 1976.
• Perone, James E. Orchestration Theory: A Bibliography. Music Reference Collection no. 52. Westport, CT: Greenwood Press, 1996.
  
  –Bibliographic list of orchestration treatises as well as treatises dealing with specific instruments.

• Piston, Walter. Orchestration. New York, London: W. W. Norton, 1955.
  
  –Notable pages:

  • Many ways of indicated a divisi passage: p. 127 (leaves out the “mixed” method, where both opposing and unopposing stems can occur in the same measure)
  • Difficulties in translating “snare drum” into other languages: pp. 303-304
  • Diagram that shows how the harp pedals work: p. 325

• Polansky, Larry. New Instrumentation and Orchestration: An Outline for Study. Oakland, CA: Frog Peaks Music, 1986.
  
  –A rather odd book in terms of format, but very helpful in its outline approach which lists techniques and scores for the various instruments.

• Read, Gardner. Orchestral Combinations: The Science and Art of Instrumental Tone-Color. Lanham, MD: Scarecrow Press, 2004.
  
  –A listing of almost every musical combination possible (violin with flute in unison, e.g.), with a description of the sound that the combination creates, and the exact point in which it occurs in a specific score.

• —. Style and Orchestration. Forward by Nicolas Slonimsky. New York: Schirmer, 1979.
• Shatzkin, Merton. Writing for the Orchestra: An Introduction to Orchestration. Englewood Cliffs, NJ: Prentice Hall, 1993.
  
  –Extremely useful orchestration text, notable for its “lists” of information, constant reference to specific works, and its “factors that make passages relatively easy” for various instruments. It also provides extensive listening lists for instruments and ensembles at the end of each chapter. Notable pages and chapters:

  • Terms defined, like “orchestration,” “instrumentation,” “transcription,” etc.:
    p. 2
  • Easy-to-understand guide to writing multiple stops: pp. 13-16
  • Concept of divisi vs. non divisi: pp 34-36
  • Ledger lines vs. octave signs: p. 48
  • Sticking on mallet percussion: pp. 106-108
  • Vibraphone pedal and motor: pp. 125-126
  • Very good harp writing discussion: pp. 156-167
  • Differing ways of writing harp glissandi: p. 160
  • “Historical Survey of Scoring Techniques” chapter: pp. 179-270
  • Brief mentioning of German vs. French scoring (unlike Carse (see earlier entry), Shatzkin does not call the other type “French”): p. 206
  • Listing of some of the new effects introduced in 19th-century scores (removing mutes gradually, scordatura violin, combination of muted and open strings, bells up for brass, etc.), as well as specific works: pp. 233-234
  • “Guidelines for Scoring” chapter: pp. 271-308 (includes a discussion of balance and blend as well as a list of orchestral transcriptions of piano works)
  • Brief discussion of the title page (the cover): pp. 319-320
  • “Preparing the Score and Parts” chapter, including a discussion of notating two clefs on one staff (p. 327) and using a brace to show that two or more staves have similar dynamics, articulations, etc. (pp. 334-338)
  • Fingering charts for all instruments: pp. 347-357
  • Foreign terms, including a discussion of pitch names: p. 358

• Stiller, Andrew. Handbook of Instrumentation. Illustrations by James Stamos. Berkeley, CA: University of California Press, 1985.
  
  –Very thorough coverage of all instruments (borderline extreme), including those that are unusual or obsolete. Very useful appendix that lists foreign-language equivalents of instrument names and instrument-specific terms.

• Wagner, Joseph. Orchestration. New York: McGraw-Hill, 1959.
  
  –The text is usually good, although a few things are outdated (showing the use of the trill symbol for percussion rolls, e.g.). Notable chapters:

  • Chapter 10: reference chart of keyboard idioms and patterns (in-depth and very useful)
  • Chapter 16: like chapter 10, but with a focus on the woodwind section
  • Chapter 35: particular keyboard idioms and how they can be scored for orchestra
  • Chapter 36: list of published orchestral transcriptions of music for keyboard instruments

• Zaslaw, Neal. “When is an Orchestra not an Orchestra?” Early Music 16, no. 4 (Nov. 1988): 483-495.
  
  –Good article discussing the definition of the term “orchestra.”

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• Art of the States. http://artofthestates.org/.
  
  –A great introduction to the music of American composers. Art of the States provides free recordings of works by many composers, including extensive program notes and links to related websites of composers, performers, publishers, and record labels.

• Choral Public Domain Library. http://www3.cpdl.org/wiki/.
  
  –The CPDL, or ChoralWIKI, is a very useful site of over 11,000 scores (from over 1,500 composers) focusing on choral and vocal music, especially from the Renaissance and Baroque eras. Features intuitive search options, including the ability to take into account certain performance considerations when searching for scores.

• International Music Score Library Project. http://imslp.org/wiki/Main_Page.
  
  –The IMSLP, also known as the Petrucci Music Library, is possibly the largest free sheet music collection available on the web. Over 83,000 scores and 1,500 recordings from over 4,500 composers are represented. The library consists mostly of scans from older editions, and allows submissions from contemporary composers. It is significant for its inclusion of all of the public domain works of J. S. Bach, Beethoven, Brahms, Chopin, Corelli, Debussy, Fauré, Handel, Palestrina, Ravel, Satie, Schubert, Schumann, Scriabin, and a large percentage of works by Mozart, Liszt, and others. The site provides a page of other useful sites here.

• Variations Prototype: Online Musical Scores. http://www.dlib.indiana.edu/variations/scores/.
  
  –A project of the Cook Music Library at Indiana University, the link above was apparently a prototype that was replaced by “Variations2” in 2005 (which is only available to current IU faculty and students). The older link above is still useful, however, and consists of public domain scores in a very neat, scrollable format. Each work features a table of contents which allows the viewer to move throughout the work.

• Werner Icking Music Archive. http://icking-music-archive.org/index.php.
  
  –Consisting mostly of early music scores, the WIMA contains ready-to-print sheet music, most of which are in .pdf format. The scores are electronically typeset by contributors, often accompanied by their typesetting files.

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• Blood, Brian. Music Dictionary. Page from Dolmetsch Online. Haslemere, England: Dolmetsch Musical Instruments, 2009. http://www.dolmetsch.com/musictheorydefs.htm.
  
  –Perhaps the most complete music dictionary in the world; also includes general words that one may come across while looking at music-related sources (scores, websites, CD liner notes, etc.).

• Brown, E. Douglas and Lydia Crowe. Pronouncing Dictionary of Music and Musicians. 2d ed. Ames, IA: WOI Radio at Iowa State University, 2002. http://iowapublicradio.org/dictionary/.
  
  –Extremely extensive (nearly 2000 pages), including a detailed guide to their pronunciation nomenclature. Especially useful when combined with the Fradkin text (below). The Fradkin text contains fewer musical terms, but much more extensive prefatory material.

• Duckles, Vincent H., and Ida Reed. Music Reference and Research Materials. 5th ed. New York: Schirmer, 1997.
  
  –Standard reference text; especially useful when used in conjunction with the Mixter and Sampsel texts (below).

• Fradkin, Robert A. The Well-Tempered Announcer: A Pronunciation Guide to Classical Music. Bloomington, IN: Indiana University Press, 1996.
  
  –Especially useful when combined with the Brown website (above). While the Brown site contains many more words, the Fradkin text includes more extensive prefatory material. It is mainly a guide to the pronunciation of composer names and the titles of works, though other terms are thrown in as well (words that a radio announcer, for example, may encounter, such as certain foreign city names in which a composer may have been born). Many languages are covered, and extensive pronunciation guides are included.

• Goldsmith, John A., John Komlos, and Penny Schine Gold. The Chicago Guide to Your Academic Career: A Portable Mentor for Scholars from Graduate School through Tenure. Chicago, IL: The University of Chicago Press, 2001.
  
  –A guide that covers the academic journey, from choosing the right graduate school to beginning to look for a job. Though certain practicalities such as creating a resume are not covered, it does provide hints as to the whole process.

• Harper, Georgia K. Copyright Crash Course. 2007. http://copyright.lib.utexas.edu/.
  
  –Comprehensive guide to all issues pertaining to copyright, including many external links.

• Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 2d ed. Upper Saddle River, NJ: 1999.
  
  –Though lacking a glossary of terms, this is a very useful handbook of information. It presents terms and concepts in a very clean format, with easy-to-understand material and many music examples.

• Kupferberg, Herbert. The Book of Classical Music Lists. New York: Penguin Books, 1988.
  
  –Interesting compilation of humorous and informative facts.

• Mixter, Keith E. General Bibliography for Music Research. 3d ed. Warren, MI: Harmonie Park Press, 1996.
  
  –Provides listings of sources for cross-disciplinary research. Nice companion (along with Sampsel) to the Duckles text.

• Moxley, Joseph M. Publish, Don't Perish: The Scholar's Guide to Academic Writing and Publishing. Foreword by Robert Boice. Westport, CT: Praeger Publishers, 1992.

• Pallay, Steven G. Cross Index Title Guide to Classical Music. New York: Greenwood Press, 1987.
  
  –Useful alphabetical listing of composition titles followed by their composer.

• Randel, Don Michael. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: The Belknap Press of Harvard University Press, 2003.

• Rogers, Michael R. Teaching Approaches in Music Theory: An Overview of Pedagogical Approaches. 2d ed. Carbondale, IL: Southern Illinois University Press, 2004.

• Room, Adrian. A Dictionary of Music Titles: The Origins of the Names and Titles of 3,500 Musical Compositions. Jefferson, NC: McFarland, 2000.

• Ross, Alex. The Rest is Noise: Listening to the Twentieth Century. New York: Picador, 2007.
  
  –The Pulitzer Prize finalist gives us a fascinating account of the history of the twentieth century as told through its music.

• Sampsel, Laurie J. Music Research: A Handbook. New York: Oxford University Press, 2009.
  
  –Manual for music research which is more current, but also more selective, than Duckles. Nice companion (along with Mixter) to the Duckles text.

• Schuetze, George C. Convergences in Music & Art: A Bibliographic Study. Warren, MI: Harmonie Park Press, 2005.

• Schwartz, Elliott, and Daniel Godfrey. Music Since 1945. New York: Schirmer, 1993.

• Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations. 7th ed. Chicago: The University of Chicago Press, 2007.

• Weiss, Piero, and Richard Taruskin. Music in the Western World: A History in Documents. Belmont, CA: Wadsworth Group/Thomson Learning, 1984.

• Wingell, Richard J. Writing About Music: An Introductory Guide. Upper Saddle River, NJ: Prentice-Hall, 2002.
  
  –Includes, among other things, an interesting discussion on writing program notes.

• Wingell, Richard J., and Silvia Herzog. Introduction to Research in Music. Upper Saddle River, NJ: Prentice-Hall, 2001.

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