Footnotes appear within your paper, at the bottom of each page, to provide citations for works cited on that page. They allow the reader to see a citation without having to flip to the end.
Endnotes come in a group at the end of the paper or chapter. They may be preferable when footnotes would take up too much space on the page. Make sure to check with your professor to see which style they prefer.
Jacobs School of Music departments that use Turabian require footnotes rather than endnotes for doctoral dissertations and documents.
13. Massimo Ossi, Divining the Oracle: Monteverdi’s seconda prattica (Chicago: University of Chicago Press, 2003), 34.
14. Oliver Strunk, ed., Source Readings in Music History, rev ed., ed. Leo Treitler (New York: W. W. Norton, 1998), 102–7; Bruno Nettl, “Improvisation, Extemporization,” in The New Harvard Dictionary of Music.
Microsoft Word will do some of the note formatting for you. Follow these steps:
Author / Author-Title
If you are citing a work multiple times, include the full citation only the first time. Subsequent citations include only the (1) last name of author and page number, or (2) last name of author, shortened title, and page number. Make sure to check with your professor to see which style they prefer. The second method has the advantage of reminding the reader of the title of the work, and is essential if you are citing more than one work by the same author or composer. The shortened title is composed of up to four distinctive words from the full title.
13. Massimo Ossi, Divining the Oracle: Monteverdi’s seconda prattica (Chicago: University of Chicago Press, 2003), 34.
14. Mary Rasmussen, “The Case of Flutes in Holbein’s The Ambassadors,” Early Music 23, no. 1 (February 1995): 115.
15. Ossi, Divining the Oracle, 37.
16. Rasmussen, “Case of Flutes,” 117.
Ibid.
Ibid. can be used as an abbreviation of a note when the same source was cited in the preceding note. In your note, Ibid. is not italicized. If the page numbers are the same, they need not be repeated.
13. Massimo Ossi, Divining the Oracle: Monteverdi’s seconda prattica (Chicago: University of Chicago Press, 2003), 34.
14. Ibid., 41.
15. Ibid., 43.
16. Ibid.