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1. Avoid describing the artwork in second person (you can see, you can hear…). It sounds too conversational for formal writing; it also sounds as if you’re telling the reader what he or she perceives. (Maybe they don’t see or hear it.) You may use the first person (I) as you are writing an account of your observations. If you can do so without making it sound too pedantic or overly formal, you can say, "the viewer" or "one" from time to time.
   
   
   
2. Use past tense throughout; you are describing past action. Be consistent in your use of verb tense. Proofread carefully so that you don’t mix past and present-tense verbs in the same account.
   
   
   
3. Watch spacing: one space after a comma or semicolon, two spaces after a period or colon. Put periods and commas inside quotation marks, colons and semicolons outside quotation marks. Question marks should be placed outside of quotation marks unless they are part of the quotation itself.
   
   
   
4. Separate dependent clauses, interjections, parenthetical elements, several adjectives modifying a noun individually, or elements in a series (like this sentence) with commas!
   
   
   
5. Be careful with the use of possessives--do not confuse them with plural forms, especially those of proper names. Watch how you use apostrophes: its = possessive, it's = it is (contractions are not appropriate in formal writing). Know the difference between there, their, and they're. Also: to, too, and two.
   
   
   
6. Use active verbs!!! Do not overuse the verb "to be." Too many sentences using "It was. . ." not only kill your prose, they can kill your reader.
   
   
   
7. Refer to a musical composition as a piece, work, or composition when dealing with it in its entirety. Use movement, portion, or section when discussing smaller segments. Only call a piece a song if it is a vocal composition and is specifically titled as such.
   
   
   
8. Do not name all the movements of a symphony or sonata, etc., when giving the title. Only do so when referring to specific instances within a particular movement.
   
   
   
9. Do not make judgements on behalf of other audience members. Exceptions would include obvious, extended applause or if the audience pelted the performers with rotten produce. The primary objective of this report is to relate the perceptions and reactions of the writer.
   
   
   
10. Avoid overgeneralizations: "The piece had much staccato and legato. . .its pace was active and static." Try to cite specific locations of significant events or trace the development of certain musical ideas throughout the piece.
    
    
    
11. Treatment of titles of musical compositions:

• titles of pieces that are generic forms (Symphony, Sonata, Concerto, String Quartet, Overture) should not be underlined, merely capitalized. Include Key, Opus numbers, etc., as indicated on the program
  
• underline other titles: Aftertones of Infinity, Intégrales (Use italics on word processing programs which include this feature: Octandre)
  
• use quotation marks for song titles or selections from operas or other vocal works: "Tu se morte" from Monteverdi's Orfeo
  
  

Be sure to consult your concert program for the proper spelling of foreign names and musical terms!!!

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Last modified: December 3, 2001