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Proper Formatting of Song Titles in Written Documents

Learn when to use italics and quotation marks to write clearly

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What to Know

• Refer to the style guide specified by your employer, client, or teacher.
• In the absence of a style guide, the general rule is to use quotation marks for song titles and italicize CD or album titles.
• Don't use underlining in place of italics unless you are using a typewriter or writing titles by hand.

This article explains the proper formatting of song titles in written documents and includes examples.

How to Format Song Titles in Written Documents

For matters of style when punctuating and formatting titles of any kind, turn first to the style guide prescribed by your employer, client, or teacher. In the absence of a style guide, use the following guidelines:

• Put quotation marks around song titles : For best appearance in professionally typeset material, use proper typographical quote marks and apostrophes ( curly quotes ).
• Set CD/album titles in italics : In typeset material, watch out for fake italics . That's not a grammar rule but it is a good design and printing rule.
• Do not use underlining (in place of italics) unless you're using a typewriter or writing titles by hand.

In desktop publishing and word processing software, create character styles to quickly format song titles and other types of titles used throughout a document.

Example References to Song Titles and Albums

Here are two examples of text that includes song titles and album titles:

• Trace Adkins' first #1 single “(This Ain’t) No Thinkin’ Thing” is from his 1997 CD  Dreamin’ Out Loud . 
• The title cut from Toby Keith’s How Do You Like Me Now? was the most-played country song of 2000. Other favorites from the same album include “You Shouldn’t Kiss Me Like That” and “Country Comes to Town.”

When the song/album is the same : In the second example, although “ How Do You Like Me Now? ” is the song title, it is also the album title and in that context is treated as the album title, using italics. It would be just as correct to write: My favorite song on the How Do You Like Me Now? album is “How Do You Like Me Now?”

Punctuation in titles : When a song title ends in a question mark, exclamation point, or other punctuation, that punctuation goes inside the quotation marks because it's part of the song title. The beginning portion of the Adkins song title in parentheses is contained in the quotation marks the same as the other part of the song title.

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Do You Use Quotation Marks or Italics for Song and Album Titles?

by Liz Bureman | 40 comments

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Are you making any playlists for the new year? I love music, and when I write about a song or album, I know when to use quotation marks and when to use italics. Do you? Are song titles italicized? Let's discuss. 

I love music. I've been teaching myself to play guitar, and I can stumble my way through four or five songs without wanting to poke holes in my eardrums, but my main appreciation for music is when other people play it. I'm an avid Spotify user, and I take a lot of pride in my ability to make kickass playlists. One of my girlfriends has even given me the green light to create her hypothetical wedding reception playlist.

Not everyone writes out the titles of their favorite songs or music albums regularly, so it's no surprise I sometimes hear people ask, “Are song titles italicized?”

The answer is no.

Here's how it works:

Song Titles in Quotation Marks

Song titles are always surrounded by quotation marks, like *NSYNC's “Bye Bye Bye,” or “A Whole New World” from Disney's Aladdin .

Anytime you write out the title of a song, you'll put that song title in quotation marks according to standard grammar rules. Think of a song as a shorter work like a short story. Short story titles are always in quotation marks. 

Album Titles in Italics

Musical album titles, on the other hand, are always italicized. For example, while I will openly admit to loving Journey's power ballad song “Faithfully,” I think pretty much every song on their Greatest Hits album should be sung at karaoke nights across the country.

When you write out an album title, you'll put it in italics.

It may help to remember that the music album is a longer work, like a novel. Titles of books are also written in italics in most major style guides. 

Are Song Titles Italicized in Classical Music?

Classical music isn't typically arranged into an album, per se, but the general rule still applies. The shorter songs and movements would be in quotation marks. If it is a full length longer composition, like a full sonata, concerto, or opera then use italics for titles indicating the full work.

For example: The aria “Der Hölle Rache” is probably the most famous piece in Mozart's opera The Magic Flute . 

Other Italics Questions

Of course, lots more media have titles than just songs and albums. There are books , short stories, podcasts, TV shows, episodes . . . the list goes on and on. Want more italics advice? Check out our ultimate title-writing guide for answers to all your italics conundrums.

Do you have any tricks for remembering when to use quotes and when to use italics? Tell us in the comments .

Imagine your favorite musical artist or group is discussing the set list for an upcoming show that has the potential to go viral. What will they play to appeal to fans, old and new?

Take fifteen minutes and write about the hypothetical conversation the ladies of the group had in determining the songs they would play for the show. Post your conversation in the Pro Practice Workshop , and leave notes for other writers brave enough to publish as well. Not a part of a writing community yet? Join us !

Liz Bureman

Liz Bureman has a more-than-healthy interest in proper grammatical structure, accurate spelling, and the underappreciated semicolon. When she's not diagramming sentences and reading blogs about how terribly written the Twilight series is, she edits for the Write Practice, causes trouble in Denver, and plays guitar very slowly and poorly. You can follow her on Twitter (@epbure), where she tweets more about music of the mid-90s than writing.

40 Comments

It was blowing up a storm when we started to practice, but that don’t stop Effie.  He thinks you gotta play no matter what.  If the tornado sirens go off down in town and one of our old ladies calls to tell us so, he’ll say, “Ya’ll can go get in your fraidey holes if you want to.  Me, I’m playing my fiddle.”

Well, you can’t go to the storm cellar with your tail between your legs, so we stay, me and Vander and Larry, even though Larry, who plays the washtub, lost his house in the tornado of ’96 and he shakes when the sky rumbles.  And then Effie’ll start in on some song like “When The Roll Is Called Up Yonder,” just to put his spin on how things might turn out if a twister does find us.

So we’re playing, me on the bass, and we’re looking out the window, where you can see the sky turning the color of a two-day bruise, and Larry’s sweating and Vander’s got his eyes shut like he does when he plays mandolin, and Effie, truth be told, is a flat-out bully.  So he’s getting the show list together and acting like everything’s business as usual.

“I think we should start with “Sitting On The Front Porch,” he says.  Crowd pleaser, every time.  And then, “Baby’s Little Shoes.” And then “Walking With Clementine” for the old folks.  We’ll finish with “God Bless the U.S.A,” since the veteran’s home is bringing a bus.

Lightning is hitting closer, the sky like the Fourth of July.  Larry’s done sat down, turned all pale as fresh milk.  Larry’s a big man.  He can’t button his overalls up all the way on the side, so when he doubles over and then falls out of the fold-up chair, none of us knows what to do.

“I ain’t doing mouth-to-mouth,” Effie says, while the rest of us are trying to right him. 

Larry comes to soon enough, just as the hail starts.

“My new truck,” he says, and shakes his head. You know when people say you’re green at the gills? Well, Larry is.

All our trucks are parked outside, and all of ‘em are getting blasted.  I see my old Dodge, the one I’ve had since May left me, the hail, big as cotton bols hitting it, and it makes me sick.

And then I remember Effie’s truck.  His is in the carport.  Well, sure it is, I think.

Vander, who preaches every other Sunday over in the Cavanaugh bottoms, says, “Shit fire,” and hits the wall.  We are in the town hall of Rudy, a little Craftsman house donated by Mayor Giles Walker’s family when he passed, and the photos of the veterans shake when he does it.

The rain flashes down.  Pounding everything, soaking through my back windshield that was shattered by the hail.

“Mercy sakes,” is all I can say.

Larry stands up, grabbing my arm to do it.  He’s about as wide as he is tall, and he’s near about pulls me down.

“I’m off like a prom dress,” he says, “so don’t try to stop me.”  And then he turns to Effie.

“You’re about as helpful as a boar with teats,” he says, you know that? You act like you’re the bread and butter of The Frog Bayou Boys.”  He points to me.  “But Columbus here, he might not play as good as you like, but he’s the one got the news folks out here to do that story calling us the best band in the River Valley.  And he books every show, and when you get drunk, let’s just be honest here, when you get drunk, you can’t play worth shit.”

Effie came after Larry.  Effie’s a little action figure of a man, but he fights mean, and it took Vander and me to stop him.

We were holding Effie by his scrawny arms, and he was kicking, his cowboy boots flying off the wood floor, so that we were mostly holding him up.

“You are a liar and a snake,” Larry Brammel.  “A liar and a snake.  You’re going to go straight to hell with gasoline drawers on, and when you do, I’ll play my fiddle on your grave.”

Vander stepped in.  “Ya’ll cut it out.  Nobody’s dying,” he said.  “Effie,” he said, and pointed, “you and Larry need to quit showing your butts. That show on Saturday pays $100, plus they feed us.  We ain’t had a show like that since we played that Red, White and Bluegrass gig for the rich ladies who wanted to dress up in thousand dollar boots and wear tight jeans and drink beer in front of their husbands.”

And then Vander bowed up, like I never seen him do before.  “And Effie, we ain’t playing “Walking With Clementine.” The old folks can do without it for one dang night.  I wrote my own song and I want to sing it.  It’s called “She Broke My Heart And Stole My Wallet.” That’ll get ‘em going,” Vander said. 

I’d known Vander thirty-two years, and that was the first I’d heard of his songwriting.  His new girlfriend, the one who brought over the Mexican casserole when Vander’s wife died, was likely the inspiration for this new tune.

Word was, she was over in Branson now, hooked up with a cowboy singer who wore a Bolo tie and colored his hair.

Effie face was red.  He looked hotter than blue blazes, like he might catch fire at any minute.  And then he backed down, his shoulders falling.  He looked at all of us, me and Larry and Vander, and then he said, “Fine, that’s fine with me.  I been carrying you ya-hoos for way too long.”

Larry cuffed him on the arm, and then they shook hands, and the rain fell, and the thunder roared, but nobody moved for a minute. 

Effie had a bottle in his fiddle case, and he went to get it.  “Ain’t nobody driving till the rain stops,” he said.  “And that includes you, Larry.”

And then we sat down, and passed the bottle until Vander started singing.  “I loved a girl from Minnesota.  Loved her with a passion true.  And then stole my dad burn wallet, took it out and followed you.  You must be a handsome cowboy.  You must look like Johnny Cash.  But when I find my little Cindy, I will tell her that she’s trash.”

We were laughing then.  And Effie brought out his fiddle, and I picked up my bass, and Vander his mandolin.  Larry drug out the washtub, and we got back at it, the Frog Bayou Boys, just as good as new.

Wow, Marla, if you’re not from those parts then you’ve got one wild imagination, girl! Well done, and then some. The phrasing, the way you used the anarchic terminology, and even the names were spot on, perfect. Beautiful!

 Thank you, Yvette.  I can’t take credit.  I live with these people and these voices.  It’s like music to me.  We get teased A LOT but I wouldn’t trade the dialect or the cadence for anything. 

I love this!!!  The gig, the music, the attitudes.  And the dialogue is genuine county-folk!  Good work, Marla!

You’re so nice.  I love the music we have in the South, the twangy, ball-your-eyes-out stuff that connects us all and makes us feel less alone.  And I know men like these, I’ve heard them play, so writing this was easy.

Great writing Marla. I agree with the others you really have that dialect (which I’m also familiar with) down pat.  

Thank you, Mariaanne. Where are you from?

I live in Lynchburg Va now but was originally from Norfolk.  The accent you are writing sounds like an Appalachian accent to me. Where are you from?

Mariaanne, I live in Lynchburg, too! We have two crit groups here and would love for you to join us. Email me at charmainetdavis at yahoo dot com.

Charmaine – I can’t believe it.  Will you please email me?  [email protected].  I’d love to join you.  When and where do you meet?  

I had a playlist for my wedding that included  “One Day My Prince Will Come” and “If You Wish Upon a Star.”  Since I’m still single, it’s “The Impossible Dream.”

It depends if you’re writing for American or British publications. In the US, song titles are always “Jumping Jack Flash” but in the UK they’re often ‘Midnight Rambler’. It’s caused me no end of headaches writing for both.

They punctuate dialogue differently in the UK too don’t they?  I think the way they do it makes more sense actually but I don’t like to think about it too much or I get confused. I imagine it’s hard to write both ways.  

Agreed. The UK punctuates more logically. I had points knocked off of college papers for employing that punctuation, & tried to defend it with no success. Ha! Punctuation Wars – my kind of rebellion!

I’m in the US. In high school, I got marked off for spelling aluminum as “aluminium.” The teacher actually asked if I was British.

Ten years later, I’d still argue I was technically correct.

sorry so long to reply. Yet, after recent happenings, I can only hope that we can just get back to debating language. God Bless us All. Thanks for replying Eric Foster!!

Does also apply to other works that have a part/whole relationship? I’m thinking specifically of “short stories” and The Collection They Come in or “poems” and Chap Books.

I can’t make any italics work in this application, so I’ll indicate italics with [i] at the beginning and at the end of each title I intend to be italicized.

My practice:

The state-of-the-art bus pitched only slightly with the dips and rolls of Interstate 35 — not like those death-traps they used to ride in the ’40s and ’50s — on the way up to Fort Worth and Billy Bob’s.  He walked down the aisle toward his stateroom with the practiced sea-legs of an old salt, noticing that his harp-player, Mickey, had gone to sleep and was droolin’ in his lap. 

“HEY MICK YOUR FLY’S OPEN!”  he barked in that sargeant’s voice he could assume on a moment’s notice.  Mickey jumped awake and then amiably shot him the bird.  He laughed in his baritone voice and walked on into his quarters. 

Billy Bob’s.  Let’s see — that crowd likes the ’70s stuff off the concept albums, sprinkled ’round the edges with the early Nashville songs.  Let’s do, let’s do — he got his legal pad and licked the point of his stubby pencil — Let’s do “Bloody Mary Mornin'” and “Walkin'” from [i]Phases and Stages[i].  Follow that with “Hello Walls” from [i]And then I Wrote[i].  He sat before the big window and watched the country roll by, remembering.  Remembering. 

The world was a different place when I got started.  I’m an extrememly lucky man, he thought.  All the close shaves — I could easily have gone the way of Hank.  All  the little one-horse planes I’ve flown in, I also could have had the same end as Jim Reeves, or Patsy, God love ‘er. 

Gotta do “Crazy” tonight in honor of Patsy.  That’s another’un offa [i]And Then I Wrote[i].  Sold that’un for fifty dollars when my kids needed shoes, and I’d do it again too. 

He picked up the old spanish guitar with the hole in it where his right hand had worn through the wood over the decades, and began to strum it.  Key of E.  Began to sing just a little bit, soft and low:  “In___ the twighlight glow I see__ her . . .”  And then stopped.  All those years.  All those songs.  All those changes.  Phases and stages.

Yes, I’m lucky, it’s still hard to believe just how lucky.

Gotta find a spot for “Blue Eyes” tonight too.  [i]Red-Headed Stranger[i].  

Sometimes, he realized, I look in the mirror and that’s who I see.

Wow!  I love this.  The part about the hole in the guitar is gold.  And I love your main character.  I’d go hear him, in a heartbeat. 

Thank you all for your kind comments.   The piece is about Willie Nelson, I just didn’t name him.  All of the album and song titles are real, as is the hole in his guitar;  just look closely the next time you see him playing on tv and you’ll see it.  I had a lot of fun writing this!

I’ve always been amused by Willie’s “holy” guitar. He’s such a kook.

I forgot DISQUS doesn’t allow italics. Sorry about that John. Way to make it work 🙂

That was really well done John.  It’s kind of sad to hear him thinking about old times but he seems to be a pretty happy guy overall.  I like the hole in the guitar too as well as the guy drooling in his sleep.  Gross but probably about right.  

Good article. Quick and to the point. Thanks!

Not kickass playlists if they have Journey in them lol…

It will really depend on how are you going to use those kind of quotations in your writing but I what I have observed, this kind of thing was being used by most writing especially if when they emphasized a title on their writing.

I was going to ask about the title of a composition and the movements but after reading the program magazine I realized that italics are used for both.

I think I have been doing that correctly. I was worried.

Her hand twisted the edge of her shirt as the smell of sawdust filled the air. The crowd’s noises dimmed, her heart beat louder in her ears and her palms dampened as she climbed the stage stairs. Though she had practiced long hours she was nervous anticipating singing “China Girl” from John Cougar Mellancamp’s, (italics American Fool italics), album.

You should try djing. It’s easy if you can already make a good playlist. If you’re already a good selector, all you have to do is pre-cue the next song in your headphones then drop it on the 1. Really easy stuff. You can buy the app, djay, for ios devices and log in with your spotify account for access to your playlists and stuff. We need more female djs.

My first concert experience was of one that I would not easily forget, it was Summer Jam hosted by Hot 97. The concert had a majority of middle class rappers playing their hot singles. I came there for a select few: 50 Cent, Fabolous and Young Thug. The other performing artists were mainly for the female demographic, like Fetty Wap and Ty Dolla $ign. What I really enjoyed about this concert is they did not only play songs from this current generation, they reached out to other generations as well. The biggest example of this is seeing 50 Cent preform. He played hits from his Get Rich or Die Tryin’ album all the way up to his recent The Kanan Mixtape. I was going ballistic when I heard him preform a new track “I’m the Man” and decided to take us back to 2003 with “In da Club” immediately after. The artists I came for did not disappoint.

And if you are writing dialogue, I do not recall seeing two double quotation marks at end of dialogue. Maybe I am wrong. For instance, “Baby, you know I love Ted’s “Stranglehold,”” he fired back. I have seen a single followed by a double quotation at end of dialogue after the comma or period. So maybe that’s why the King’s English prefers single over double?

This saved my essay. Thanks Liz!

Dear Liz, I was looking for some advice about quote/italics for song/movie/book titles and got totally side-tracked by your Journey reference. When I rule the world, I promise you will get your wish. Journey will be piped directly into people’s heads so they can all become happier and more well rounded. Tee Hee. Keep up the good work. 😉

The Excavators play Brady Wilkenson’s 8th Birthday Bash!

This past Saturday afternoon was Brady Wilkensen’s birthday party, and he could think of no better live entertainment than his father’s heavy metal band, The Excavators. When Brady suggested the idea, his dad felt honored, albeit unsure whether the mothers of his son’s 8-year-old classmates and friends would appreciate the lyrical content of his band’s hits, especially “Rotting Flesh” and “Glory Hole” off their latest album (i) In it for the Lingue Hall. (i)

Instead of becoming the third grade parents’ worst nightmare, Mr. Wilkensen figured he’d tone things down quite a bit to become more palatable to the kids and their discerning parents. He got the members of the Excavators together, sure, but instead of “Rock My Grave,” the afternoon’s selections included “Punk Rock Teacher” and “All My Friends Headbang” off their pseudo EP (i) Songs for the Peanut Gallery (i).

The party was to be held at Bringadown Hall, in a posh country club in the suburb where Brady and his family resided. Mr. Wilkenson figured that his band had better revamp their look for this gig as well. Instead of their usual studs and leather, the Excavators came to the party dressed in red t-shirts, jeans, and letter jackets that evoked high school in the ’70s.

The band decided to even craft some improv tunes on the subject of the party’s goings-on and present them to Brady and his guests at the end of the show. “Pizza on my Face, What a Disgrace!” did so well among Brady’s friends that the Excavators decided to include it on their upcoming album, (i) Smells like Burnt Crust (i).

Rather than the utter disgust that would have been sure to follow had the band performed its signature material, (i) Songs for the Peanut Gallery (i) was lauded by parents and children alike as a “too-cool-for-school crowd pleaser.”

Brady bragged from that day forward that he had the coolest dad in town, and his 8th birthday party became the epitome of birthday bash success in the eyes of the entirety of Willten Elementary School’s student body, whether they’d attended the party or heard about it from a friend-of-a-friend’s brother.

“Whew,” Mr. Wilkenson said to his wife when the party was over, “that was a good call!”

Thanks Liz, good info!

Here’s my sentence in question: “They just ran out the back door singing it to the tune of ‘Row, Row, Row Your Boat’.” It is dialog, and according to what I’m reading, I should use double quotes around the song and at the end of the sentence. Correct?

thanks for the help!

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Music enthusiasts are often confused about how to format song titles properly in written documents such as essays, research papers, and articles. While some people might think that formatting song titles is not essential, it is a crucial element in writing that can change the meaning or context of a song. The following guidelines will help you correctly format song titles in written documents.

1. Capitalization:

The first letter of every word in a song title should be capitalized, except for articles, conjunctions, and prepositions that are shorter than four letters.

Example: “Sweet Child O’ Mine” by Guns N’ Roses.

2. Italicize:

Song titles should be italicized when they appear in a written document, such as when they appear in a sentence or a paragraph. The only exception to this rule is when the document is handwritten.

Example: “Bohemian Rhapsody” by Queen is one of the most popular rock songs of all time.

3. Quotation Marks:

When a song title is part of a larger work, such as an album, an opera, or musical theater, use quotation marks to distinguish the song title from the rest of the work. Example: “Don’t Stop Believin'” is a song from the album, “Escape” by Journey.

4. Punctuation:

When referencing a song title, place a comma before and after the title.

Example: The song, “Time After Time,” was a hit for Cyndi Lauper.

5. Acronyms:

If the title of the song consists of an acronym, all letters must be capitalized, and the acronym should also be placed in quotation marks.

Example: “YMCA” by the Village People.

In conclusion, proper formatting of song titles in written documents is crucial in expressing the correct information to the reader. Failure to adhere to these guidelines may result in misinterpretation of song titles and changing the context of the song. By following these simple guidelines, music lovers, students, and authors can confidently format song titles in written documents.

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How do I format a quotation of song lyrics?

Format a quotation of song lyrics the same way you would format a quotation of poetry. If the quotation consists of fewer than four lines, run it into the text, placing quotation marks around the lines and separating the lines from each other with a forward slash with a space on either side of it. 

Bob Dylan famously sang that “[t]he answer, my friend, is blowin’ in the wind / The answer is blowin’ in the wind.” Work Cited Dylan, Bob. “Blowin’ in the Wind.” Bob Dylan , 2018, www.bobdylan.com/songs/blowin-wind/.

If the quotation consists of four or more lines, set the quoted lines apart from the text as an extract.

In “Blowin’ in the Wind,” Bob Dylan asks: How many roads must a man walk down Before you call him a man? Yes, ’n’ how many seas must a white dove sail Before she sleeps in the sand?

Dylan, Bob. “Blowin’ in the Wind.” Bob Dylan , 2018, www.bobdylan.com/songs/blowin-wind/.

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23 How to Quote Song Lyrics in an Essay in APA Style

When writing essays in fields like music education, psychology, sociology, or other disciplines that may analyze song lyrics, you’ll often need to incorporate direct quotations or paraphrases to support your arguments and deepen your analysis. Understanding how to properly attribute these sources is essential to both academic integrity and effectively guiding your reader back to the original work. The American Psychological Association (APA) style provides the framework for formatting these citations while ensuring you give credit where credit is due.

Additionally, if you find yourself overwhelmed with the task of incorporating citations or formatting your paper according to APA guidelines, consider seeking assistance and ask professionals to do my paper on DoMyEssay to ensure accuracy and adherence to academic standards.

While there’s no single section in the APA manual devoted entirely to musical sources, you can intelligently adapt the principles for citing various source formats to fit this particular purpose. This involves a careful understanding of both APA’s conventions and the unique nature of musical works, where elements like composer, lyricist, performer, and the date of a particular release all contribute to the full picture.

In-Text Citations

Short Quotations : Integrate shorter lyrical excerpts directly into your text using quotation marks, providing a seamless flow within your writing and allowing the lyrics to speak directly to the reader. Separate line breaks with a single forward slash ( / ) and stanza breaks with two ( // ).

Joni Mitchell explores themes of freedom and constraint in her song “Big Yellow Taxi,” where she poignantly sings, “They paved paradise / And put up a parking lot” (Mitchell, 1970, track 4). 

This technique lets the song’s imagery resonate clearly, strengthening your argument by using the artist’s own words as direct evidence. Furthermore, short quotations can be particularly impactful when they capture a powerful metaphor or a striking turn of phrase unique to the songwriter. 

The bitter irony of “Don’t it always seem to go / That you don’t know what you’ve got ’til it’s gone” (Mitchell, 1970, track 4) underscores the song’s larger message about the fleeting nature of what we take for granted.

Block Quotations : For lengthier lyrical segments (typically four lines or more), set them apart as block quotations to emphasize their significance, help with visual clarity, and signify a deeper level of analysis. Indent the entire block from your main text. Consider this example:

They took all the trees

Put ’em in a tree museum

And they charged the people

A dollar and a half just to see ’em

(Mitchell, 1970, track 4)

By using a block quotation, you invite the reader to pause and carefully consider the extended lyrical passage, potentially uncovering deeper meanings, nuances, or its connection to the larger themes of your work. Block quotations can also highlight shifts in tone within a song or reveal the development of an idea across several verses. In Mitchell’s case, the block quote emphasizes the absurdity and commercialization of a world where nature is commodified, adding a layer of social commentary to the environmental focus of “Big Yellow Taxi.”

Citation Components : An in-text citation for song lyrics generally includes the songwriter(s) last name, copyright year, and either track number (for recordings) or page/line number (for printed scores). For example, a direct quotation from “Big Yellow Taxi” would be cited as (Mitchell, 1970, track 4). Paraphrases follow the regular APA pattern of (Author, Year), allowing you to rephrase the song’s message in your own words while still giving credit to the original idea. Remember that consistency in your citations adds a layer of professionalism and clarity to your essay writing , demonstrating your respect for intellectual property and guiding your reader effectively.

Reference List Entries

Your reference list, found at the end of your essay, provides a comprehensive and detailed guide to all the sources you’ve used. For song lyrics, this is where you meticulously list full publication information, allowing a reader to easily locate the exact music you analyzed. Here’s the basic structure, with examples and additional considerations:

Recorded Music : Start with the songwriter(s), copyright year, song title, and recording artist. Then, specify the album title, medium of the recording (vinyl, CD, digital, etc.), location of the record label, and the label itself.

Mitchell, J. (1970). Big Yellow Taxi [Recorded by Joni Mitchell]. On Ladies of the Canyon [LP record]. Burbank, CA: Reprise Records.

If the songwriter and recording artist are the same, you can omit the bracketed “[Recorded by…]” portion. Sometimes, you might need to differentiate between various editions or re-releases of an album, especially if bonus tracks or alternate versions are involved. Since different versions could contain lyrical changes, it’s important to be detailed to ensure a reader can locate the precise source you used. Also, be aware that original publication dates and recent re-releases can differ, so make sure to list the date relevant to the version you’re citing.

Printed Scores : For printed sheet music, whether it’s a full score or a simplified arrangement, focus on the publication details. List the songwriter(s), year of publication, song title, the type of score (vocal, instrumental, choral, etc. – if relevant), the city and state where the publisher is located, and the publisher’s name.

Dylan, B. (1963). Blowin’ in the Wind [Vocal score]. New York, NY: Warner Bros. Publications.

Printed scores can vary widely, from simple piano-and-vocal arrangements to comprehensive orchestral scores. Specifying the score type clarifies the exact version you used for analysis and can be particularly helpful if your arguments focus on instrumentation, harmonies, or other musical elements beyond just the lyrics themselves. Additionally, some scores include notes on historical context or performance practice relevant to specific genres or time periods, giving you additional insights for your analysis.

With a bit of careful attention and by understanding the core principles of APA, you can successfully integrate song lyrics into your academic writing, giving proper credit, strengthening your analysis, and enhancing the overall scholarly impact of your work!

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• Writing Tips

How to Cite a Song or Album in MLA Referencing

3-minute read

• 7th April 2021

If you write about music in your work, you might have to cite a recording. But how do you cite a song or album in MLA referencing ? This post will explain the basics.

To cite a song or album in MLA referencing , simply give the artist’s last name or the band’s name in brackets in the relevant part of the text:

Her latest album has a strong environmental theme (Sturgeon).

“Wildlife in America” (Shearwater) comments on US culture.

And to cite a specific part of a song, you can add a timestamp :

The middle eight in “Air and Light” (Sturgeon 2:14–2:29) is truly haunting.

In the above citation, for example, we are citing a section that runs from 2 minutes 14 seconds to 2 minutes 29 seconds into the song.

Musical Recordings in an MLA Works Cited List

All references contain certain core elements in MLA style. And for a musical recording, each entry should include some or all of the following:

• Artist or band name – For individual artists, give their surname first, followed by their first name (e.g., Young, Neil). For artists who don’t follow this naming convention (e.g., U2 or Lady Gaga), just use the full name they are known by.
• Song title – If you are citing a specific song, give the title in quotation marks.
• Album title – Give the name of the album you are citing (or that the song you are citing comes from) in italics.
• Version – If relevant, include information on the version of the song next (e.g., if there are different versions of a song on different albums).
• Publication details – The name of the publisher (i.e., the record label that released the album or song) and the year the recording was released.
• URL – If you accessed the recording online, include the URL. For songs accessed via a streaming platform, give the platform name in italics.
• Format – If it is relevant to your work, you can optionally add the format of the recording at the end of your reference (e.g., CD, vinyl, MP3).

You won’t always need all of this! For many references, the artist’s name, song and/or album title, the publisher, and the year of publication will be enough. But whatever you cite, make sure to include enough information in the Works Cited list to guide readers to the exact version of the recording you have used.

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Example References

Below, you can see example references for an album, a song on an album, an album accessed via a streaming platform, and a single song accessed online:

Talk Talk. The Colour of Spring , EMI, 1986.

Song on an Album

Shearwater. “Animals in America.” Jet Plane and Oxbow , Subpop, 2016.

Album on a Streaming Service

Sturgeon, Jenny. The Living Mountain , Hudson Records, 2020. Spotify , https://open.spotify.com/album/7Kt6kaJ8dGIo6cngVA7dcB

Single Song Online

Benin City. “Freaking You Out.” Bandcamp , https://benincity.bandcamp.com/track/freaking-you-out

Make sure to add a hanging indent for each line after the first in all references.

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How to Quote a Song in a Paper (with Formatting & Examples)

Last Updated: April 29, 2024 References

This article was co-authored by Marissa Levis and by wikiHow staff writer, Jennifer Mueller, JD . Marissa Levis is an English Teacher in the Morris County Vocational School District. She previously worked as an English director at a tutoring center that caters to students in elementary and middle school. She is an expert in creating a curriculum that helps students advance their skills in secondary-level English, focusing on MLA formatting, reading comprehension, writing skills, editing and proofreading, literary analysis, standardized test preparation, and journalism topics. Marissa received her Master of Arts in Teaching from Fairleigh Dickinson University. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been viewed 318,976 times.

Depending on the type of paper you're writing, you may need to use a song as a reference – either a specific recording, or the composition of the song itself. The format of your citation will be somewhat different depending on whether you are using Modern Language Association (MLA) style, American Psychological Association (APA) style, or the format in the Chicago Manual of Style. You'll also need a brief, in-text citation to point the reader to the more complete citation at the end of your work. [1] X Research source

• The performer could be a single individual or a band. If you're using the name of a single person, use "last name, first name" format.
• For example: Knowles-Carter, Beyoncé.

• If there are multiple writers, list them all in the order they appear in the copyright information for the song. If the song has lyrics, there may be both a composer and a lyricist.
• For example: Knowles-Carter, Beyoncé and James Blake.

• For example: Knowles-Carter, Beyoncé and James Blake. "Freedom."

• For example: Knowles-Carter, Beyoncé and James Blake. "Freedom." Lemonade , Parkwood Entertainment, 2016.

• For example: Knowles-Carter, Beyoncé and James Blake. "Freedom." Lemonade , Parkwood Entertainment, 2016. Online, www.beyonce.com/album/lemonade-visual-album/, accessed January 9, 2017.

• Use the name you used in your full citation. Just use the first or primary name if there is more than one artist in the full citation. Include the title or a title phrase if you're citing more than one work by that artist.
• For example: (Knowles-Carter, "Freedom")

• For example: Knowles-Carter, B., & Blake, J.
• If there are multiple writers and their roles are identified, you can put these in parentheses after their names. For example: Knowles-Carter, B. (Lyricist), & Blake, J. (Composer).

• For example: Knowles-Carter, B., & Blake, J. (2016).

• You also may want to include the name of the performing artist if they are known by a stage name or are otherwise not immediately identifiable by their last name.
• For example: Knowles-Carter, B., & Blake, J. (2016). Freedom [Recorded by Beyoncé].

• For example: Knowles-Carter, B., & Blake, J. (2016). Freedom. On Lemonade [CD].

• Include state or country information if the city is not well-known. Otherwise, simply include the name of the city.
• For example: Knowles-Carter, B., & Blake, J. (2016). Freedom. On Lemonade [CD]. New York City: Parkwood Entertainment (2016).

• For example: (Knowles-Carter & Blake, 2016, track 10)

Using Chicago Style

• For example: Knowles-Carter, Beyoncé, and James Blake.

• For example: Knowles-Carter, Beyoncé, and James Blake. Freedom .
• If the performer of the song is someone different from the songwriters, include this information immediately after the title of the song or album by listing their first name and last name.
• If the performer is more important than the songwriter or composer, you may want to list their name first. Use your best judgment depending on the focus of your paper.

• If you can't find the recording number on the physical copy of the recording itself, look on www.discogs.com. Make sure you have the listing for the same recording as the one you're referencing.
• For example: Knowles-Carter, Beyoncé, and James Blake. Freedom . On Lemonade . Parkwood Entertainment, 88985336822, 2016. [11] X Research source

• For example: For example: Knowles-Carter, Beyoncé, and James Blake. Freedom . On Lemonade . Parkwood Entertainment, 88985336822, 2016, CD.

• For example: (Knowles-Carter 2016).
• To provide a pinpoint citation to a specific song, include the track number. For example: (Knowles-Carter 2016, track 10).

Community Q&A

• If you're using Chicago style, list audio recordings separately in a discography that is separate from your main bibliography. [14] X Research source Thanks Helpful 0 Not Helpful 0
• When you access music online, you may have difficulty finding the information you need for your citation. Try looking up the song on a website such as www.discogs.com, which will have publication information. [15] X Research source Thanks Helpful 0 Not Helpful 0

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Expert Interview

Thanks for reading our article! If you’d like to learn more about citations, check out our in-depth interview with Marissa Levis .

• ↑ http://pitt.libguides.com/citationhelp
• ↑ https://blog.apastyle.org/apastyle/2011/12/how-to-cite-recorded-music-in-apa-style.html
• ↑ http://www.ubishops.ca/wp-content/uploads/APAguide6thofficial.pdf
• ↑ http://libguides.depauw.edu/c.php?g=73436&p=472435
• ↑ https://www.discogs.com/Beyoncé-Lemonade/release/8486714
• ↑ http://www.press.uchicago.edu/books/turabian/turabian_citationguide.html
• ↑ http://www.easybib.com/guides/citation-guides/chicago-turabian/how-to-cite-a-musical-recording-chicago-turabian/

About This Article

To cite a song using APA, start by putting the last name of the songwriter or composer, followed by their initials. Then, add the copyright year in parenthesis, and the title of the song. Next, start a new sentence with the word “on,” followed by the italicized name of the album and the medium you heard it on. End the citation with the location, the name of the recording company, and the recording year. For more information on citing songs, including in-text citations for MLA and Chicago style, read on! Did this summary help you? Yes No

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University Library, University of Illinois at Urbana-Champaign

Citing Sources in the Performing Arts

• Getting Started
• Journal Articles, Magazines, and Reviews
• Dissertations and Theses
• Dictionaries and Encyclopedias
• Music Scores
• Recordings and Performances

Additional Formatting Tips for Chicago/Turabian Style

• Citation Practice
• Additional Formatting Tips for MLA Style
• Journal Articles and Periodicals
• Dictionaries and Encylopedias (Grove Online)
• Audio and Visual Media
• Additional Formatting Tips for APA Style

Music & Performing Arts Library

Below, you will see examples of how to format titles of different types of works, as well as how to cite materials in languages other than English. For more information on how to read these examples, see the Getting Started page of this LibGuide (see the  tabs to the left .)

Examples of Work Titles and Non-English Text

• Titles of Songs, Operas, and Similar Works
• Titles of Instrumental Works

Non-English Text

Larger works.

The titles for larger works (such as symphonies, oratorios, operas, and other longer compositions) are written in italics and follow the standard conventions for capitalizing words in a title.

• Rhapsody in Blue
• Handel’s  Messiah

Smaller Works

The titles for smaller works (such as movements, arias, songs, or shorter works) are presented in quotation marks.

• “All You Need Is Love” (a song by the Beatles)
• “So What” (a composition by Miles Davis)
• “The Star-Spangled Banner” (the national anthem of the United States)

Smaller Parts of a Larger Work

When writing the title for a smaller work and also giving the larger work it is a part of, list the smaller work in quotation marks first and then the larger work in italics. Separate them with the word "from".

• “Oh, What a Beautiful Mornin’ ” from  Oklahoma!
• “Wohin?” from  Die schöne Müllerin
• “La vendetta, oh, la vendetta” from  The Marriage of Figaro
• the “Anvil Chorus” from Verdi’s  Il  Trovatore

See Also:  CMoS 8.194 - Titles of Operas, songs, and the like

Instrumental works.

Instrumental works are often known by a generic name, such as symphony, quartet, sonata, etc. These names are capitalized, but are not in italics or quotation marks. More specifically:

• If a work has an alternative title, it should be written in italics.
• If a movement has an alternative title, it should be written in quotation marks.
• If the alternative title is written alongside the generic name, it should be written in parenthesis.

Words such as "number" or "opus" are abbreviated and are not capitalized. Other letters referring to the catalog of a composer's works (i.e., BWV for works by Bach) are also abbreviated, but are capitalized. Opus and catalog numbers should have a comma before them. If a work has both an opus number as well as a catalog number, write the opus number first followed by the catalog number.

• Concerto no. 2 for Piano and Orchestra; the second movement, Allegro appassionato, from Brahms’s Second Piano Concerto; two piano concertos
• Ives’s Piano Sonata no. 2 ( Concord, Mass., 1840–60 ) - or - Ives's  Concord  Sonata
• Bartók’s Concerto for Orchestra (or  Concerto for Orchestra )
• Bach's Mass in B Minor
• Carter's  Figment , for solo cello
• Dvořák's String Quartet no. 12 ( The American ) - or - Dvořák's  The American  String Quartet
• Air with Variations (“The Harmonious Blacksmith”) from Handel’s Suite no. 5 in E
• Bach's  St. Matthew Passion , BWV 244
• Beethoven's Symphony no. 5 in C minor, op. 67
• Schubert's  Winterreise , op. 89, D. 911

See Also: CMoS 11.6 - Titles of Works From Other Languages

Cmos 11.8 - italic versus roman type for titles from other languages, cmos 14.99 - translated titles of cited works.

• << Previous: Recordings and Performances
• Next: Citation Practice >>
• Last Updated: Apr 1, 2024 11:56 AM
• URL: https://guides.library.illinois.edu/MusicCitations

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Mastering the Art of Incorporating Song Titles in Your Essays

When it comes to writing essays, incorporating song titles can add depth and context to your work. However, knowing how to correctly format and use song titles is crucial. In this guide, we'll explore the ins and outs of writing song titles in essays.

Table of Contents

The Importance of Proper Formatting

Why correct formatting matters.

Properly formatting song titles in your essays serves several essential purposes. It not only adds clarity and professionalism to your work but also distinguishes the titles from the rest of the text.

Standard Practices for Song Titles in Essays

Italicizing song titles.

The most common practice for including song titles in essays is to italicize them. This convention helps set the titles apart and ensures that they are easily recognizable.

Examples for Clarity

For instance, if you're discussing the song "Imagine" by John Lennon, you should write it as: In his song "Imagine," John Lennon explores...

Capitalization Rules

Proper capitalization.

When writing song titles, it's important to capitalize the principal words. This includes nouns, pronouns, verbs, adjectives, and adverbs. Articles, conjunctions, and prepositions are usually in lowercase unless they are the first or last word of the title.

Applying Capitalization Rules

In the song title "Blowin' in the Wind," you would capitalize 'Blowin'' and 'Wind,' but 'in' and 'the' are in lowercase.

Dealing with Quotation Marks

Quoting song titles.

In certain cases, you may need to use quotation marks instead of italics to emphasize song titles, especially if you're using a style guide that recommends this format.

Handling Song Lyrics

Quoting song lyrics.

When quoting lyrics within your essay, use quotation marks for lyrics. Additionally, follow the conventions for citing lyrics accurately.

Adhering to Citation Styles

Mla, apa, chicago, and more.

Different citation styles (MLA, APA, Chicago) may have slight variations in rules for song title formatting. Always consult the specific guidelines of the style you're using.

Maintaining Consistency

Regardless of the style, maintain consistency in formatting throughout your essay. Whether you italicize or use quotation marks, be uniform.

Final Checks

Proofreading and review.

After completing your essay, proofread it to ensure that all song titles and lyrics are correctly formatted. Consistency in formatting contributes significantly to the professionalism of your work.

Frequently Asked Questions: Writing Song Titles in Essays

The standard practice for including song titles in essays is to italicize them. This helps distinguish them from the rest of the text.

In some cases, style guides recommend using quotation marks for song titles instead of italics. Check the specific guidelines you're following.

Capitalize the principal words in the song title, including nouns, pronouns, verbs, adjectives, and adverbs. Articles, conjunctions, and prepositions are usually in lowercase unless they begin or end the title.

If your essay discusses a song title within another title, such as an album or movie title, use quotation marks for the song title and italics for the larger work.

While citation styles like MLA, APA, and Chicago have specific guidelines, the standard practice of italicizing or using quotation marks for song titles remains consistent across these styles. Refer to the style guide you're using for specifics.

Yes, you can include song lyrics in your essay, but they should be enclosed in quotation marks and properly cited following your chosen citation style.

Yes, proofreading is essential to ensure all song titles are correctly formatted and consistent throughout your essay. Consistency enhances the overall quality of your work.

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Writing Strong Titles

by acburton | Apr 25, 2024 | Resources for Students , Writing Resources

You’ve finished your paper, and all that’s left is your title. What do you name the essay you’ve just worked tirelessly on, for days, sometimes even weeks to put together? Should it be long or something shorter? Should you prioritize grasping your readers attention or encapsulating the major themes of your essay? These are all questions that the Writing Center is here to help with!

First Things First: Why Do We Need Titles?

Titles serve as the first point of contact between readers and your written work. They serve to inform readers about what your work will be about and clarify how it is relevant to others’ work or research. All of these things work to engage readers, compelling their curiosity and interest!

What Approaches Can I Take to Create Effective and Engaging Titles?

1. Hook Your Reader

Students often start with this consideration when working to formulate the title of their paper. To ‘hook your reader’, think about what you find most interesting about your own research and something new or enticing that you will be sharing. Convey this to your reader.

2. Keep it Concise, but Make it Informative

An essential aspect that works alongside ‘hooking’ your reader is making sure that your title is concise. While “one-part” titles can prioritize being creative or descriptive (check out our example below!), “two-part” titles, those that may use a colon to present two parallel ideas, can run the risk of being too long to grasp and hold your reader’s attention. A good rule of thumb is to aim to keep your “two-part” titles no longer than two lines. Whichever you choose, either “one part” or “two part”, you’ll want to be sure that your title serves as one method for your reader to predict what your paper will be about. While you don’t want to give everything away, your title shouldn’t be too far off from what your paper will demonstrate.

3. Consider Your Audience

Much like you did when writing the work that you are now striving to title, consider your audience. The words and phrases you choose to incorporate should be reflective of the discipline you are writing for and should not include terminology that, whoever may be reading it, won’t be able to grasp. Contemplate if using more general language would be more effective for your reader (especially if your work may be attractive to readers outside of your discipline) or if more precise or specific language is more appropriate for your goal (e.g., an academic publication or journal).

4. Incorporate Keywords

One of the simplest ways to get started on your title is by incorporating keywords. Think about it; what does your work focus on? What terms are being used often? How are they being used (e.g., in comparison or in contrast to other terms)? Incorporating keywords into your title not only serves to provide you a great place to start, but can also help get your work to a wider audience! Take the time to think about how you might get your work to show up in search engines when curious readers want to know more about a subject.

5. Reflect the Tone of Your Writing

Depending on the genre or discipline, your title should aim to follow the style, tone, or slant of the work it precedes. For example, if you are writing non-scholarly work for the Humanities, you may find that a more lighthearted, fun, or inventive title may work for the topic at hand. In contrast, STEM papers may focus on using specific language, or a tone that lets the reader know that their work is contemplative, veracious, or, in other words, no laughing matter. Take note, again, of your audience and what it is that you want your reader to feel or take away as they navigate your writing.

Below, you’ll see how these considerations work alongside your decision to create those one or two-part titles discussed earlier.

For a Compelling, Thoughtful Title, You Might Try…

A “one-part” title that prioritizes either..

• Example: “ RENT’ s Tango With Your Emotions”
• Example: “An Analysis of Modernism in Larson’s Melodramatic Musical”

STEM papers or reports traditionally have a descriptive title. Creative projects, like short stories, often have creative titles.

A “two-part” title:

• Creative Introductory Clause: Descriptive, Specific Topic
• Example: “RENT’s Tango With Your Emotions: An Analysis of Modernism in Larson’s Melodramatic Musical”

Although seen much more often in STEM writing, scholarly work in the Humanities, Arts, or Social Sciences may have a two-part title.

How Do We Format Essay Titles?

Formal titles follow Title Case Formatting ; this type of formatting includes capitalizing the first word, the last word, and every significant word in between. For example:

• T ransgressive T ekken : P layer E xpression and P articipatory C ulture in the K orean B ackdash

Helpful Hint!

To write stronger titles, avoid starting with a question. While this may draw your reader in, it may also leave them feeling disinterested in reading further to find the answer. Similarly, avoid exaggerating your work through your title. Be honest with your reader on what to expect going forward. Visit us at the Writing Center for help brainstorming a fantastic title or polishing up an existing one!

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How to Include Song Lyrics in an Essay and Properly Quote Them

Song lyrics can add depth and meaning to an essay, whether you are analyzing a piece of music, exploring the themes of a song, or discussing the influence of a particular artist. However, it’s important to properly quote song lyrics to give credit to the original artist and comply with copyright laws. This step-by-step guide will show you how to quote song lyrics in your essay in a way that is both effective and legal.

Firstly, it’s important to choose an appropriate lyric that aligns with the topic of your essay. Make sure the lyric enhances your argument or supports the points you are trying to make. Once you have selected the lyric, enclose it in quotation marks. For example, if you are writing about the power of love, you might choose the lyric: “What’s love got to do, got to do with it?”

Next, indicate the artist’s name and the song title. This helps your reader identify the source of the lyric and gives credit to the original artist. You can use the em or strong tags to emphasize the artist’s name and song title. For example, you could write: According to Tina Turner in her song “ What’s Love Got to Do with It ?”.

If you are quoting multiple lines of a song, consider using the

tag to set the lyrics apart from the rest of your essay. This helps to distinguish the lyrics and makes them stand out to your reader. Additionally, it’s important to include the line breaks and punctuation as they appear in the song. This preserves the original formatting and ensures accuracy. For example, you could write: “What’s love got to do, got to do with it? What’s love but a second-hand emotion?” – Tina Turner, “ What’s Love Got to Do with It ?”

Remember, when quoting song lyrics, always give credit to the artist and song title, and make sure to follow proper formatting and punctuation. By properly quoting song lyrics, you can enhance your essay and give your reader a greater understanding of your analysis and interpretation.

Table of Contents

Understand the Copyright Laws

When quoting a song lyric in your essay, it is important to understand and adhere to the copyright laws to avoid any legal issues. Copyright laws protect the rights of the original creators of a work, including song lyrics. Here are some key points to keep in mind:

• Fair Use: Fair use is a legal doctrine that allows limited use of copyrighted material without permission from the rights holder. However, it is important to understand that the definition of fair use can vary depending on the purpose and nature of the use, the amount of the quote, and the effect on the market for the original work.
• Public Domain: Song lyrics may be in the public domain if the copyright term has expired or if the lyrics were never protected by copyright. It is important to check the copyright status of the song before including lyrics in your essay.
• Attribution: When quoting a song lyric, it is important to give proper attribution to the original artist. This includes mentioning the artist’s name and the song title. If possible, include additional information such as the album or release date.
• Obtaining Permission: In some cases, it may be necessary to obtain permission from the rights holder to quote a song lyric. This is particularly true if you plan to use a substantial portion of the lyrics or if you intend to use the lyrics for commercial purposes. Contact the rights holder or their authorized representative to obtain permission.

It is important to note that this guide does not provide legal advice. If you have specific questions or concerns about copyright laws, it is recommended to consult with a legal professional.

Choose a Relevant Song Lyric

When it comes to selecting a song lyric to quote in your essay, it is important to choose a relevant and meaningful line that adds value to your argument or enhances the overall message of your essay. Here are some steps to help you choose a fitting song lyric:

• Consider your essay topic: Think about the main theme or message of your essay. Are you discussing love, identity, or social justice? Select a song lyric that relates to your topic and helps reinforce your argument.
• Identify key words or phrases: Look for words or phrases in the song lyrics that align with your essay topic. These can be powerful metaphors, descriptive language, or emotional expressions that resonate with your readers.
• Research the song: Do some background research on the song and artist to gain a deeper understanding of the meaning behind the lyrics. This will help ensure that your chosen lyric fits well within the context of your essay.
• Avoid clichés: While popular song lyrics can be impactful, it is best to avoid overly clichéd lines that have been quoted extensively in other works. Choose a lyric that is unique, thought-provoking, and adds a fresh perspective to your essay.

By following these steps, you will be able to choose a relevant song lyric that complements your essay and engages your readers. Remember to properly cite the lyric according to the citation style guidelines provided by your instructor or institution.

Decide on the Quotation Style

After selecting the song lyric you want to quote in your essay, it is important to decide on the appropriate quotation style to use. The style you choose will depend on the citation format and guidelines specified by your instructor or the publication you are writing for.

There are various citation styles commonly used, including MLA (Modern Language Association), APA (American Psychological Association), and Chicago/Turabian. Each style has its own set of rules and guidelines for citing sources, including song lyrics.

1. MLA Style:

If you are using MLA style, the general rule for citing song lyrics is to enclose them in quotation marks and provide the artist’s name, the song title in italicized format, the album name (if applicable), the version or recording label (if necessary), and the release year. For example:

“I’m just a soul whose intentions are good” (Buffalo Springfield).

2. APA Style:

When using APA style, song lyrics should be presented in quotation marks and the artist’s name, the song title in italicized format, the album name (if applicable), the version or recording label (if necessary), and the release year should be provided. For example:

“I’m just a soul whose intentions are good” (Buffalo Springfield, 1966).

3. Chicago/Turabian Style:

If you are using Chicago/Turabian style, song lyrics are cited using an endnote or footnote. In the note, the artist’s name, the song title in italicized format, the album name (if applicable), the version or recording label (if necessary), and the release year should be included. For example:

1. Buffalo Springfield, “For What It’s Worth,” album title, version or recording label, 1966.

It is important to consult the specific guidelines of the citation style you are using to ensure that you provide all the necessary information and format the citation correctly. Additionally, if you are using lyrics from a song that is not well-known or easily accessible, you may need to provide additional information, such as the songwriter’s name or the URL of the song lyrics website.

Integrate the Song Lyric into Your Essay

Once you have selected a relevant song lyric to quote in your essay, it is important to integrate it smoothly into the rest of your writing. This ensures that the quote feels organic and flows seamlessly within your essay.

Here are some tips for properly integrating a song lyric into your essay:

• Provide context: Before quoting the song lyric, provide some context to your reader. Explain why you have chosen this specific lyric and how it relates to your essay topic or argument.
• Use quotation marks: Enclose the song lyric in quotation marks to indicate that it is someone else’s words. This helps to distinguish it from your own writing.
• Cite the source: After the quoted lyric, include the artist’s name, the song title, and the album or year of release in parentheses. This gives credit to the original creator and allows your readers to find the source if they are interested.
• Explain the significance: After quoting the lyric, explain its significance within the context of your essay. Discuss how it supports your argument or contributes to the overall theme of your writing.
• Provide analysis: Analyze the song lyric and discuss its meaning or impact. Consider the lyrics’ symbolism, imagery, or literary devices used. This demonstrates a deeper understanding of the song and its message.
• Connect to the broader discussion: Relate the quoted lyric back to your thesis or the main points of your essay. Show how it adds value to the larger topic and contributes to the overall discussion.

By following these steps, you can seamlessly integrate a song lyric into your essay. Remember to maintain a balance between quoting and analyzing, and ensure that the song lyric enhances your argument or provides valuable insight to your readers.

Use Quotation Marks and Citations

When quoting a song lyric in your essay, it is important to use quotation marks and provide proper citations to give credit to the original artist and songwriter.

Here are the steps to follow:

• Place the lyric in quotation marks: Start by enclosing the song lyric you are quoting in double quotation marks. For example, if you are quoting the line “I will always love you” from the song “I Will Always Love You” by Whitney Houston, write it as: “I will always love you”.
• Indicate the song title: After the lyric, include the title of the song in italics. For example: “I will always love you” (italicized).
• Note the artist: Next, mention the name of the artist or band who performed the song. In our example, it would be Whitney Houston.
• Provide the album’s name (optional): If relevant, you can also include the name of the album the song appears on. For example, if “I Will Always Love You” is from the album “The Bodyguard Soundtrack”, you can mention it.
• Add the year of release (optional): If you want to provide additional information, you can include the year the song was released. For instance, if “I Will Always Love You” was released in 1992, you can mention it as well.

Here is an example of how a properly quoted song lyric in an essay would look:

Remember, using quotation marks and providing proper citations not only shows respect for the original artist, but it also helps avoid plagiarism and gives readers the necessary information to locate the song.

Provide Context for the Song Lyric

When including a song lyric in your essay, it’s important to provide context so that the reader understands the significance of the lyric and its connection to your argument or analysis. Contextualizing the song lyric can help support your points and make your essay more cohesive. Here are a few ways to provide context for the song lyric:

• Introduce the song: Begin by briefly introducing the song that the lyric is from. Mention the title of the song and the name of the artist or band. This provides basic information for the reader and also helps them locate the song if they are interested in listening to it.
• Explain the meaning: Provide a brief explanation of the meaning behind the song or the message it conveys. This can help the reader better understand the lyric in its intended context.
• Discuss the relevance: Explain why the song lyric is relevant to your essay topic or argument. Connect it to the broader themes or ideas you are exploring and explain how the lyric supports or enhances your point.
• Provide historical context: If the song lyric is from a particular time period or is associated with a social or cultural movement, provide some background information to give the reader a better understanding of the historical context of the lyric.
• Use quotations or excerpts: Include a short excerpt of the song lyrics to give the reader a sense of the words and their impact. Enclose the lyric in quotation marks and provide a citation to give credit to the artist and the song.

By providing context for the song lyric, you not only ensure that the reader understands its significance but also enhance the overall quality of your essay. Context can help you effectively incorporate the song lyric into your analysis and make your arguments more persuasive and compelling.

Analyze the Song Lyric in Relation to Your Essay

Once you have properly quoted the song lyric in your essay, it’s important to analyze it in relation to the topic and purpose of your essay. By doing so, you can provide a deeper insight and understanding of the lyric for your readers.

Here are some steps to help you analyze the song lyric:

• Explain the meaning: Start by explaining the meaning of the song lyric in your own words. Consider the overall theme and message conveyed by the lyric. Is it about love, heartbreak, social issues, or personal experiences?
• Explore the emotions: Discuss the emotions evoked by the song lyric. How does the lyric make you feel? Does it convey joy, sadness, anger, or any other powerful emotions? Explain why the lyric has such an impact on you and its relevance to your essay.
• Analyze the language: Analyze the language used in the song lyric. Look for any poetic devices, such as metaphors, similes, personification, or symbolism. Discuss how these devices contribute to the overall meaning and effectiveness of the lyric.
• Consider the context: Consider the context in which the song lyric was written. Look into the artist’s background, the music genre, and the time period. Understanding the context can provide valuable insights into the meaning and intention behind the lyric.
• Relate it to your essay: Finally, relate the song lyric to the main theme or argument of your essay. Explain how the lyric enhances your understanding of the topic and supports your overall analysis. Use the lyric as a supporting example or evidence to strengthen your points.

Analyzing the song lyric in relation to your essay not only adds depth to your writing but also demonstrates your critical thinking skills. It allows your readers to see the connection between the song and your essay, creating a cohesive and well-supported piece of writing.

Conclude with a Personal Interpretation

In conclusion, including a personal interpretation of the song lyric in your essay can provide a unique perspective and enhance the overall analysis. This final section allows you to express your own thoughts and feelings about the lyric and its significance. Here are a few steps to help you effectively conclude your essay with a personal interpretation:

• Reflect on the meaning of the lyric: Take some time to think about the message and emotions conveyed by the song lyric. Consider how it relates to your own experiences and beliefs.
• Analyze the impact of the lyric: Evaluate the effect that the lyric has on the overall song and its intended audience. Think about the themes and ideas it explores and how they resonate with you.
• Offer your personal perspective: Share your own interpretation of the lyric and explain why it resonates with you. Discuss any personal connections or experiences that relate to the theme or message of the song.
• Provide supporting evidence: Back up your personal interpretation with examples from the lyric itself or other relevant sources. Cite specific lines or phrases that support your viewpoint.

Ultimately, the personal interpretation section should bring together your analysis and reflection on the song lyric, allowing you to express your own thoughts and emotions. Keep in mind that this section should not dominate the essay but rather serve as a meaningful conclusion to your analysis.

Question and answer:

What is the correct way to quote a song lyric in an essay.

The correct way to quote a song lyric in an essay is to use quotation marks around the entire lyric line and include the songwriter’s name, the song title, and the album or source where the song can be found.

Can I use a song lyric as the title of my essay?

It is generally not recommended to use a song lyric as the title of your essay, as it may give the impression that your essay is primarily focused on the song itself rather than the broader topic you are writing about.

What if I want to include a longer excerpt from a song in my essay?

If you want to include a longer excerpt from a song in your essay, you can format it as a block quotation by indenting the entire excerpt on both sides and using a smaller font size. However, it is important to only include longer excerpts if they are directly relevant and contribute to the overall point or argument of your essay.

Do I need to provide the songwriter’s name and the album for every song lyric I quote in my essay?

Yes, it is important to provide the songwriter’s name and the album or source where the song can be found for every song lyric you quote in your essay. This helps give proper credit to the songwriter and allows your readers to easily locate the song if they are interested.

Can I alter or modify song lyrics when quoting them in my essay?

When quoting song lyrics in your essay, it is generally recommended to preserve the original wording and not alter or modify the lyrics. However, if you need to make slight changes for grammatical or stylistic reasons, you can use square brackets [ ] to indicate any modifications you have made.

What if I don’t know the songwriter’s name or the album of the song?

If you are unsure of the songwriter’s name or the album of the song you are quoting, you can do some research to try and find this information. If you are unable to find the specific details, you can mention this in your essay or use a generic reference such as “unknown songwriter” or “unreleased song” to acknowledge the lack of information.

Can I use song lyrics as evidence or support for my arguments in an essay?

Yes, you can use song lyrics as evidence or support for your arguments in an essay, as long as they are relevant to your topic and help strengthen your points. However, it is important to provide proper analysis and interpretation of the lyrics to explain how they contribute to your argument.

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Do You Underline Song Titles in Essay Papers?

Forest time.

When you are writing an essay, different types of resources demand different forms of punctuation. While major works such as novels and journals often are underlined or italicized, minor works such as songs, articles and poems follow their own set of rules. The proper way to punctuate a song title really depends on which composition style you are adhering to.

Explore this article

• Chicago Manual of Style

1 APA Style

The American Psychological Association publishes one of the most frequently used sets of publication guidelines. APA guidelines most often are used by students of the social sciences, such as sociology and psychology, but they also can be used by students in other scientific disciplines. According to the Online Writing Library at Purdue University, APA style calls for song titles to be enclosed in quotation marks when referred to in the body of an essay. Do not underline song titles if you are adhering to APA guidelines.

2 MLA Style

Modern Language Association citation and publication style is used primarily for English and literature classes, but it also is commonly used by students in other areas of the humanities, such as history. According to the Writing Center at the University of Richmond, MLA style calls for many music and film titles to be underlined or italicized, but not the titles of songs. Instead, song titles should be enclosed in quotation marks.

3 Chicago Manual of Style

The Chicago Manual of Style publishes a guide to publication and style usage that frequently is used as the basis for properly formatting essays in college classrooms. Conveniently, the Chicago Manual of Style publishes its complete guide online and also maintains an active site where students may ask questions and receive answers from Chicago style experts. As with APA and MLA styles, the proper way to punctuate the title of a song in Chicago style is to enclose it in quotation marks.

If you are a student of journalism or communications, it is likely that your professor has asked you to adhere to Associated Press publication style while writing essays. In AP Style, the titles of almost all works -- including the titles of songs -- should be enclosed in quotation marks. No titles should be underlined when using AP style to write an essay.

• 1 Purdue OWL: APA In-Text Citations
• 2 University of Richmond Writing Center: MLA Documentation
• 3 Chicago Manual of Style Online: Q + A Capitalization, Titles

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How Do You Indicate Song Title When Writing? Clear Instructions

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

Different ⁣Ways to⁤ Indicate Song Titles in Writing

Using quotation marks to‍ highlight song titles, using italics to emphasize song titles, capitalizing the first letters of each word​ in a song ⁣title, including the ⁤song⁤ title in parentheses, providing⁢ contextual information ⁣with song titles, guidelines for writing song titles in academic papers, maintaining consistency in ‍indicating song titles, frequently asked⁤ questions, wrapping up.

One commonly used way to indicate‌ song‌ titles⁣ in​ writing is to use quotation marks. This helps to⁣ distinguish the title from the surrounding text and gives ‍it prominence. ‍For example, you could write, ⁤”I just listened to one of my all-time ⁢favorite ‌songs, ‘Bohemian Rhapsody’ by⁤ Queen.” ​By enclosing the song ⁤title⁢ in quotation marks, it becomes clear ⁣to the reader that you ‌are referring to a specific⁣ piece‍ of music.

Alternatively, you can also italicize⁢ song titles to ⁣set them apart. ⁢This method is ‌particularly useful when writing in a format that⁢ does not support quotation ‍marks,⁤ such as some social ​media platforms or⁢ handwritten notes. For instance, you‌ could‌ write, “I​ can’t ‍get ‍enough of the ​catchy tune *Shape ⁢of ⁤You* by Ed ‌Sheeran.” By italicizing ⁣the song title, it adds ⁢emphasis and ensures that the reader recognizes it as a distinct title.

Another way‍ to denote song ⁢titles​ is by capitalizing the principal words. This method ‌is often ​used for longer song⁣ titles or when quotation marks or italicization cannot be used. For example, you could⁤ write, “Have you ever heard ‘Dancing Queen’ by ABBA? It’s an absolute classic!” By ⁤capitalizing the​ principal words, such⁢ as ​nouns, ‌verbs, adjectives, and adverbs, the title ⁣stands out ‍and​ is easily recognizable.

Moreover, ⁣you can also use a combination of capitalization and⁣ quotation‌ marks ⁢to⁣ indicate song titles. This‍ method is useful when you want to ‍provide special distinction to a specific song within a⁣ sentence or a paragraph. ‍For example, you ⁣could ‌write, “I​ have been⁤ humming that unforgettable melody, ‘Happy’ by Pharrell Williams, all day long.” By capitalizing the principal words⁤ and enclosing the title in quotation marks, it‍ ensures that the song title is clearly indicated.

Ultimately,‌ there are various ⁣ways to indicate‌ song titles in writing, including the ‍use of quotation marks, italics, capitalization, or a combination of ⁣these methods. It’s crucial⁣ to be ⁢consistent in your approach throughout your⁤ writing‌ so‍ that readers can easily identify‍ and differentiate the song titles from the rest of the text. Whether you choose to enclose‌ titles in quotation marks, italicize them, capitalize principal words, or ⁣use a combination ‍of formatting styles, the ⁣goal is⁤ to make the ‌song‌ titles ⁢clear and distinguishable within the ⁣context of ⁤your writing.

When ⁢it ⁢comes to writing, using‌ quotation ⁢marks can help distinguish‍ the titles​ of ⁢songs​ and make‌ them stand out.​ Quotation​ marks​ are​ a ⁢simple yet effective way to⁣ convey that⁢ you are referring to⁤ a specific ‍song title. Here’s a guide on how to make your song titles shine ⁣with ‍quotation⁣ marks:

1. Enclose the song title in double ‌quotation marks: “Song Title”. This clearly indicates that you‌ are⁢ referring to⁢ the title of ⁢a song, making it easier for readers ⁣to identify and distinguish⁤ it from the rest of⁢ the text. 2. Use⁤ italics within the quotation‌ marks: “ “Song Title” “. By adding italics to ​the text within the quotation ​marks,⁣ you ⁢give the song title ⁤even more emphasis and make it‌ visually distinctive, capturing the reader’s attention.

Italics are a valuable ⁣tool for adding emphasis and ‌visual distinction to ‍your writing, especially ‍when it comes to ​song titles. By using italics,⁤ you ⁤can ‍make song titles stand out in your ⁣text, helping readers identify ​the exact‍ name of⁣ the song ‍and enhancing‍ the overall reading experience. So, how can you‌ effectively use italics to emphasize song titles? ⁢Let’s explore a few guidelines:

1. Consistency: When using italics⁣ for song titles, ​consistency is key. Ensure that you consistently apply‍ italics for all ‌song titles​ throughout your work‍ to maintain ⁣clarity and uniformity. 2. ‍Use HTML tags:‌ In HTML, you can‍ easily ‌format text using the “ ” tags to insert italics. Simply⁢ enclose the song title within⁤ the opening and closing tags, like “ Song Title “, and‌ watch⁢ the magic happen.

Now that you know the⁤ basics, it’s time to explore a few specific use cases:

– ⁤Song titles within a sentence: When incorporating a ⁣song title ‍within ‍a sentence, use italics to set it apart ​from the surrounding text. For example, “In her latest ⁣single, Dream on a Cloud , the artist ⁢expresses⁣ deep ​emotions⁤ through poignant lyrics.” -‍ Song titles as‌ headings⁣ or subtitles: If you’re writing ‌a review, a ⁢blog post, or an article ⁤specifically about ‍a‌ song, consider using ⁤the song title as a heading or a subtitle. This​ will not​ only ⁤catch the reader’s attention but also allow the title ​to shine. Remember to format the heading⁢ in a larger and bolder font to maximize ‌readability‌ and‌ impact.

is ⁣a common practice in the music ⁣industry. This technique not ​only enhances the visual​ appeal​ of the title but also helps in conveying the artistic⁣ intent ⁤and separating ⁢each‌ word for easier reading.‍ Here are some⁣ reasons why capitalization is important in song​ titles:

1. Visual Impact: Capitalizing the first letter⁤ of each ‌word in a song title instantly⁤ makes it stand out. It adds ⁣a ⁤touch of professionalism, elevating the overall‍ aesthetics​ and making ​the title ⁢visually appealing. 2. ‌Clarity and Readability: By ⁣capitalizing each ​word,⁣ it​ becomes easier⁣ for readers‍ or⁣ listeners to identify⁢ and comprehend the individual words in the title. This ⁢is especially helpful in longer ⁤titles or when words are unfamiliar or unique. 3. ‌Artistic⁤ Expression:⁤ Song ​titles often carry significant meaning ⁤ and convey ⁤the‌ emotions ‍or⁣ themes explored in the⁣ lyrics.⁤ Capitalizing ‍each word can lend ⁤a sense ⁢of importance to the title, emphasizing the artistic ‌expression behind it. 4. Industry Standard: ‌Capitalization of song titles has become an ‌industry standard, making it easier to⁤ recognize ⁤and ​categorize ⁤songs‍ across various platforms and‍ databases.⁣ This consistency aids in ‍organizing music libraries and⁤ searching for⁢ specific songs. 5. Promotional Purposes: A well-crafted, capitalized song‍ title is ‌more ⁣likely to catch the attention of‌ potential listeners ⁤and stand out among a ‍sea of other ‌songs. It‍ can pique ⁤curiosity ​and‍ generate​ interest, ‌giving the artist or band a ‌competitive edge.

One‌ popular practice ‌in the music industry is⁣ ​within the album or‍ track‌ listing.⁤ This simple addition provides ‌a convenient ⁢way ⁣for⁣ listeners to ⁤identify and refer to specific songs, especially when discussing them with others. By encasing the⁣ title ‍within parentheses,‌ it⁢ stands out ⁤from ‍the rest of the text and ⁤serves as a sort​ of visual cue. This ‍convention ⁢has become prevalent ⁢across⁤ various music⁣ genres and formats, allowing fans to easily ​locate‍ their favorite songs and create playlists based⁣ on individual tracks.

Music has⁣ always ​had a way of​ capturing the ‍essence of moments and emotions. When it⁣ comes to providing contextual information, song titles can be a ⁤powerful tool. They have the ability to set⁣ the ​tone, convey a message, or even tell a story just by ⁢their⁤ mere presence.⁣ By ⁤using song⁢ titles strategically, we can add depth‍ and meaning to various forms of content.

One way⁤ to utilize ⁤song titles⁤ is⁤ in ⁢written articles or blog​ posts. Incorporating them⁣ into headings or subheadings ​can ‌instantly grab the reader’s⁤ attention and give them a glimpse ‍of what to expect. For example, if you’re writing an⁢ article ‍on traveling, using a song title like “Wanderlust Boulevard” can convey a⁢ sense ⁣of adventure and inspire⁤ curiosity ‌in your⁤ audience. Additionally, song titles can‌ serve as creative hooks within the content itself,​ highlighting ⁤key⁢ points or providing ‌relevant examples .‍ This​ approach not only ​engages the reader but​ also adds a unique ⁤flair to the overall tone of the piece.

Another medium where song titles can offer‍ contextual⁣ information is in ⁣visual content, such as presentations or infographics. Incorporating song‍ titles into ⁣slides or graphics ⁣can⁣ enhance the⁢ overall theme or message‍ you’re trying to convey. Using ‌bold and larger fonts ​for the song titles can draw ⁤the viewer’s⁣ attention and​ create a‌ visual hierarchy. Whether you’re ​presenting ‍data about climate⁣ change and using a title like ‍”Earth’s Anthem” or showcasing​ the success ​of a business with a title like “Chart-Topping Growth,” song titles ‍can help reinforce ⁣your key ⁤points and make your content more ​memorable.

Incorporating song titles‍ into‌ various forms ​of content can provide a unique‍ way to engage your ⁢audience, convey emotions, and add a touch of creativity. From ‍written‍ articles to visual presentations, ‌the power of song titles lies in their ability to capture the essence of a moment or⁣ concept in⁢ just a few words.⁢ So, ‌next ‌time ‌you’re creating content, consider⁤ how song titles can ‍help ‌provide that extra dose of contextual information ‍and⁤ captivate your audience in a way that resonates with their emotions and interests.

Writing song titles in academic ⁢papers can be a ⁣tricky task, ​as‌ there‌ are specific guidelines to‍ follow. To ⁤ensure ‍consistency and⁢ accuracy, here are some essential guidelines to consider when including⁤ song titles:

1. Capitalization: When writing a⁣ song⁢ title in your academic paper, capitalize the ​principal​ words of the title. This includes nouns, pronouns, verbs, ⁤adverbs, ‍and ⁣adjectives. However, do not capitalize articles⁣ (a,⁤ an, ​the), prepositions (in, on, of), or‌ conjunctions (and, but, or) ​unless they are the first word ‍in ‍the title.

2. Quotation Marks: Enclose‍ song titles⁢ in quotation marks to ⁣indicate that‌ it is a title. This convention allows readers to identify ‍the title ⁢clearly and distinguishes it from the rest of the text.‌ Make‌ sure to place quotation marks at the ⁤beginning and end of the song title. For ⁢example:⁤ “Bohemian Rhapsody” or “Imagine”.

3. ‍Italics: Another option is to ‌italicize the song titles ⁤instead of using quotation marks. Italicizing​ is commonly⁣ used in academic⁢ papers ​and can help differentiate the ​song title from the surrounding ⁤text. Ensure consistency in your ‍paper by either italicizing⁢ or ⁤using quotation marks throughout the text, ⁤depending on your preferred style.

4. Punctuation: Maintain proper punctuation within⁣ the song title. Place any⁤ necessary punctuation marks (e.g., commas, exclamation points) ⁤inside‍ the quotation⁢ marks ⁤or italics. However, if the‍ punctuation is not ⁣part of the song title itself, it‍ should ⁢be placed outside the quotation marks or italics.

Remember‌ to consult‍ the specific formatting ⁣style ⁣guide recommended by⁤ your academic institution or instructor.⁣ Following⁢ these‌ guidelines ⁣diligently will enhance the professionalism of your academic paper and ‌contribute⁤ to overall clarity ⁢and readability.

When it comes to indicating ⁤song titles,‌ consistency is key. Whether you’re a ​writer, a blogger, or simply someone who loves sharing ‍music, using a ⁤unified style ​for song titles can greatly enhance the ⁢readability and aesthetics of your content. Here are some ⁢tips and guidelines to help you maintain ⁤consistency⁣ in ​indicating song titles:

• Italicize or underline: One common practice⁢ is to italicize or⁤ underline song titles to make them stand out. This​ helps distinguish ⁢them⁣ from regular text and indicates ‌that they‍ are specific works of art.
• Capitalize important words: When formatting song titles, capitalize⁣ all important words, ‍such as⁤ nouns, pronouns, verbs,​ adjectives, and ⁣adverbs. However, ⁢articles, conjunctions, and‍ prepositions should‍ be lowercase unless ⁢they are the first ⁣or last ‍word ⁣in​ the title.
• Use quotation marks: Another option is to enclose ​song titles in quotation marks. This style is particularly useful when you’re working with a platform⁣ or‌ medium where it is challenging ‍to apply italics or underlining, ‍such as social ‍media posts or handwritten notes.

By‍ adhering to a⁣ consistent ⁤style ⁢for ⁤indicating ⁤song titles, ​you ⁣provide⁣ clarity and structure to your content. ‌Not only does this⁣ make it easier for readers to identify and search for specific ⁣songs, but it also‍ showcases your⁢ attention to detail. Remember, not only enhances the visual appeal​ of your work but​ also portrays your professionalism⁤ in the‍ music-loving community.

Q: How should ⁤I indicate a ​song title⁣ when ‍writing? A:⁣ When​ writing about songs or‍ including⁣ song titles‍ in your ​writing,‍ it’s important to follow certain formatting guidelines to ​ensure clarity and accuracy. Here’s how you can indicate song titles effectively:

Q: Should song titles ​be ⁤italicized or put in quotation marks? A:‍ Generally, song titles are written in quotation marks. For ⁢example, “Bohemian ​Rhapsody.” However, if you’re creating a formal piece of writing⁤ (such as a research paper) that⁢ requires consistent use of italics for emphasis, you can‍ also ⁢italicize song titles ⁣instead.

Q: Do I⁣ need to ⁣capitalize⁢ every word in a song title? A: In ⁤song titles, it’s common‌ to capitalize the first letter⁢ of each major word. Major words include‌ nouns, pronouns,‍ adjectives,‌ verbs, and adverbs; articles ⁣(a, an, ​the), conjunctions (and,⁣ but, or), and ⁤prepositions (in, on,⁢ at) are⁢ typically not ⁤capitalized unless they are ‍the first or last‌ word of the title. Examples include “Sweet Child o’‌ Mine” and “Love Me Do.”

Q: What if a song title includes punctuation marks ⁢or special characters? A: Punctuation marks and special ⁣characters in song ​titles should be treated and ⁤written exactly as​ they ⁤appear. ⁣This includes apostrophes, hyphens, exclamation points, question​ marks,⁣ and any other ​unique symbols. ‍For instance, “Livin’⁢ on a Prayer” and “Hey,⁣ Jude” should ⁣be ‌written exactly like that.

Q:‍ How should I format a‌ song title within a sentence? A: When including ⁢a song⁤ title within a‍ sentence, you should still enclose ‌it in‍ quotation marks. Additionally, proper ‍punctuation and capitalization should be maintained. ⁤For example, “John dedicated ‌his performance to his‍ favorite song, ‘Bohemian Rhapsody.'”

Q: ⁣What should I do if the ​song title is in a language other than English? A: Song titles ⁣in languages other than English⁢ should​ still ⁤follow the same formatting rules as⁢ mentioned ⁢earlier. Therefore, they should be‍ written in ⁤quotation marks ‍with correct capitalization. However, remember ‌to ‍preserve any​ special ⁣characters ⁤or ⁢diacritical marks ‌that may⁤ be present ⁣in the ⁤original title.

Q: Are there any exceptions to these ⁢formatting guidelines? A: Yes, ‍there ‌are a few exceptions. ⁢Some musical compositions ⁤that are divided‌ into smaller parts, such as movements ​in symphonies or classical pieces, are⁤ often italicized instead of being put in quotation marks. However, it’s always best to consult a style guide or follow ‌the specific ​guidelines provided by your instructor or publisher.

Remember,⁢ properly indicating​ song‍ titles in ‌your writing gives ‌your‌ readers a clear understanding and ​maintains consistency ​throughout your⁢ work. ‌Following these​ guidelines‍ will​ help you accomplish just that!

In conclusion, ‌properly indicating ⁢song titles when ​writing is⁤ crucial ‍to maintain clarity and consistency. Whether ‍you italicize, underline, or ⁣use quotation marks, following⁣ a specific⁢ style​ guide will ensure your readers understand ⁤and appreciate your⁣ musical references. So go ahead, write with ⁣confidence, and ⁣let ​the music flow‍ in ​your writing.⁢

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Last year, a jury considered whether Ed Sheeran had copied Marvin Gaye’s classic “Let’s Get It On.”

But the courtroom didn’t hear Gaye’s sensuously sung original recording:

Instead, the jury was played a bare, electronically recreated track with a robotic voice:

It brought up a curious question …

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What Is a Song?

Is it simply the music flowing out of your earphones? According to the law, the answer is a bit more complicated.

By Ben Sisario

Ben Sisario has been covering music and copyright for more than a decade, including trials involving Ed Sheeran, Led Zeppelin and the song “Blurred Lines.”

For most music fans, a song is a simple thing to define: It’s the melodies, the lyrics, the grooves that come out of your speakers.

It’s a much thornier question when it comes to copyright law, one that has been tested in a series of high-profile lawsuits over the last decade, involving stars like Ed Sheeran, Led Zeppelin, Pharrell and Robin Thicke. Is songwriting defined by what you hear on a recording, or the notes inked long ago on a piece of sheet music? Where does a composer’s work end, and a performing artist’s begin?

In other words, what, exactly, is a song, in the eyes of the law?

In many music copyright disputes, one of the main issues is originality, or how the law sets a boundary between creative expression that is the property of a single artist versus material in the public domain. Last year, a federal jury in New York heard hours of expert testimony about whether a syncopated four-chord sequence in Marvin Gaye’s “Let’s Get It On” was distinctive enough that Sheeran’s song “Thinking Out Loud” infringed on it — or whether, as Sheeran’s lawyers contended, those parts are generic “building blocks” that no musician can own. The jury ruled in Sheeran’s favor , finding that he and a co-writer had created their song independently and not copied from Gaye’s 1973 classic.

But a key question running through that trial was about something even more fundamental: whether the core of “Let’s Get It On” — and what is protected by its copyright — is determined by the sounds we hear on its original recording, or the notes written on yellowing sheet music stored at the Library of Congress.

That issue was at the center of an appeals court’s decision four years ago regarding Led Zeppelin’s “Stairway to Heaven,” and it is being considered in another appeal related to Sheeran and “Let’s Get It On.” Many experts believe it’s an underexplored question that gets to the heart of how copyright law intersects with music.

“This is the deep, existential, metaphysical question at the center of music copyright: We don’t even know what it is,” said Jennifer Jenkins, a law professor at Duke.

It is also an important question for an industry that in recent years has poured billions of dollars into deals for song catalogs, partly on the faith that their underlying copyrights offer robust protection against infringement. That may be challenging for older songs, because of a quirk in the law that can restrict how a song is defined and, therefore, just what its author owns.

How does a song get copyright protection?

There is a key date related to this issue: Jan. 1, 1978, when the last major revision of United States copyright law took effect.

Since then, songwriters have been able to register a composition with the Copyright Office by submitting a recording; all the melodies, chords and lyrics on it are considered evidence of their work. But earlier songs were subject to the Copyright Act of 1909, which required that songwriters submit transcribed sheet music, known as deposit copies.

For a century, these deposit copies were little more than receipts in a copyright paper trail. But since the “Blurred Lines” case a decade ago, when Pharrell and Thicke were found to have copied Gaye’s “Got to Give It Up” and ordered to pay more than $5 million in damages, these once-obscure documents have taken on a greater significance.

The judge in that case ruled that, under the 1909 law, the deposit copy for “Got to Give It Up” (1977) determined the “scope” of that song’s copyright. In other words, only the notes on its paper submission counted as representing Gaye’s songwriting creation, and any other elements that were on the song’s recording but not the deposit copy — like percussion and studio atmospherics — were not part of the underlying composition. (A separate copyright applies to the recording.) The jury, instructed to consider only what was on Gaye’s deposit copy, found that “Blurred Lines” had copied from it.

These deposit copies can be minimal, sometimes featuring just a vocal melody and indications of chords. The one for “Taurus,” a 1967 piece by the psychedelic rock band Spirit, which Led Zeppelin was accused of copying on “Stairway to Heaven,” is a single-page sketch of barely 100 notes, and a lawyer representing Michael Skidmore, a trustee of the trust that owns rights to “Taurus,” argued that it was not even an accurate transcription.

The deposit copy for “Let’s Get It On” is five pages but omits elements like piano, drums and guitar — including the wah-wah opening guitar lick that has been a Pavlovian call to the dance floor at many a wedding — that are part of the signature sound of Gaye’s original track.

The judge overseeing Sheeran’s trial, citing an appeals court’s detailed decision in the Led Zeppelin case, ruled that the absence of those elements from the “Let’s Get It On” deposit copy meant that lawyers for the plaintiffs — family members of Ed Townsend, Gaye’s co-writer and producer — had to restrict their arguments to the vocal melody and the chord pattern. That restriction likewise applied to Alexander Stewart, a music professor at the University of Vermont, who testified as an expert witness for the plaintiffs.

“Every time I opened my mouth and said the word ‘bass line,’ I was cut off,” Stewart said in an interview. “It was hard to make any cogent argument.”

Following a ruling by the judge, Gaye’s recording was never played for jurors. Instead, they heard an electronic realization of the deposit copy, submitted by the defense. It included bare piano chords and a robotic-sounding vocal — an oddly cold interpretation of one of pop music’s supreme erotic anthems. As the track played, quizzical expressions came over a few jurors’ faces.

Some scholars say the legal distinction between a composition in a deposit copy and what appears in a finished recording is a sign that the law has not kept up with how pop music has been made for decades. Very often, songs are created in the recording studio, and the line between composing, producing and performing can be fuzzy.

“It is completely divorced from actual music-making practice,” said Joseph P. Fishman, a professor at Vanderbilt Law School.

Jenkins, of Duke, said these cases point to one of the basic complexities of applying copyright — a concept originally made for books and other written material — to music.

“Music is first and foremost an auditory art form, but for most of copyright’s history it’s been defined as something you see,” Jenkins said. “There’s this disconnect, where the signifier — that written thing — is what a composer owns, but the signified is what the song actually is. It’s what we’re listening to.”

Is a whole song on the sheet music?

Exactly why deposit copies have gone from obscure legal formalities to hot topics in some of the biggest music lawsuits of the last decade is unclear. One theory is that historically, most accusations of infringement have involved the most prominent elements of a song, like the hook, vocal melody or lyrics — things that even the plainest sheet music would highlight.

But as pop music has evolved, and techniques like sampling have become standard, it has also become more common for background elements and secondary parts to be in dispute. Many recent cases, like those over “Blurred Lines” and Katy Perry’s “Dark Horse,” have focused on these aspects. (To some observers, the “Blurred Lines” verdict seemed to give the Gaye estate control over a loose rhythmic groove , though lawyers argued that it involved specific notes on a deposit copy.)

David Pullman, an investor whose company Structured Asset Sales is bringing the Sheeran appeal — he is best known for creating “Bowie bonds,” backed by David Bowie’s music royalties, in the 1990s — said he believes that many current artists borrow too much from popular old songs. “It’s easier to take a shortcut and infringe,” Pullman said in an interview, “than write a song that’s original.”

The history of the Sheeran case, now before the U.S. Court of Appeals for the Second Circuit, is complex. Structured Asset Sales, which owns an 11.11 percent interest in “Let’s Get It On,” filed its own suit over “Thinking Out Loud” after a judge blocked the company from joining the Townsend family’s original action.

Structured Asset Sales’ suit was dismissed by a district court judge shortly after Sheeran won at trial last year. In its appeal, the company argues that a deposit copy does not necessarily define the scope of a song’s copyright under the 1909 law, and that the material on the sheet music only needs to be sufficient to identify it, despite the law’s reference to a “complete” copy. In court papers, Hillel I. Parness, a lawyer for the company, argued that expert witnesses should be able to interpret deposit copies for the jury, as happened at a trial involving the singer Michael Bolton in 1994.

Sheeran’s lawyers argue that the deposit copy rule is clear from the law, and is supported by longstanding guidance from the Copyright Office. At oral arguments last month, Donald S. Zakarin, a lawyer for Sheeran, also warned that straying from a deposit copy’s notation could lead to problems of “subjectivity” when defining a musical work that is in dispute.

“Future authors,” Zakarin said, “are going to be subjected to, ‘No, no, no, I intended to have that bass line. I know it’s not there, but I intended it.’”

In an informal survey of about a dozen intellectual-property experts, most said Sheeran’s side had the stronger argument about deposit copies under the 1909 law. “It’s a lousy rule,” said Fishman. “But that does seem to have been the rule at the time.”

But this rule, as set down in the Skidmore v. Led Zeppelin appeal, has at least one prominent skeptic in Paul Goldstein, a professor at Stanford Law School who is the author of a widely cited copyright treatise.

“Where I disagree with Skidmore,” Goldstein wrote in an email, “is in its assertion that the fact the copyright was secured by deposit of a copy of the musical work implies that the deposit copy defines the scope of copyright in the work to the exclusion of any other relevant evidence.” That evidence, he said, could include things like drafts and correspondence around a song’s creation.

Goldstein pointed to another possible source of evidence: sound recordings submitted to the Copyright Office as a supplemental registration. Under that theory, a songwriter with a deficient deposit copy of an old song could, since 1978, submit a recording of it to cover any additional elements — bass lines or guitar solos, for example — absent from the original registration.

This workaround was suggested by the Copyright Office and the Justice Department in an amicus brief filed in the Led Zeppelin appeal. It was apparently little known at the time, though Structured Asset Sales’ court papers note that in 1988, the music publisher for the Rolling Stones’ song “Sympathy for the Devil” submitted that track’s 1968 studio recording to cover a new “arrangement.”

Pullman, of Structured Asset Sales, said that discussion of this workaround during the Led Zeppelin appeal led him to submit the recording of “Let’s Get It On” as a new registration in 2020, to cover any compositional elements not on the deposit copy — which could be more ammunition in a dispute against Sheeran’s “Thinking Out Loud.”

Could it work? So far that issue has not been tested by the courts.

Credits: Rob Verhorst/Redferns, via Getty Images (Marvin Gaye photograph); Let’s Get It On: written by Marvin Gaye and Ed Townsend; Taurus: written by Randy Wolfe, a.k.a. Randy California (music sheets)

Produced by Alicia DeSantis , Sean Catangui , Jolie Ruben , Josephine Sedgwick and Tala Safie .

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

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How an Arizona highway inspired the lyrics to one of Gordon Lightfoot's most popular songs

One of Gordon Lightfoot’s biggest singles owes its title to a road sign that happened to catch the Canadian songwriter’s eye as he drove along State Route 74 in the northern part of metro Phoenix.

“Carefree Highway" was the second single from Lightfoot’s “Sundown” album, a 1974 release that topped the U.S. album chart.

The title track topped Billboard’s Hot 100. “Carefree Highway” peaked at No. 10, with both songs hitting No. 1 on Billboard’s Easy Listening chart.

The singer, who died May 1 at 84, recalled the inspiration for the title in an interview with Crawdaddy a year after the single hit.

“I thought it would make a good title for a song,” he said. “I wrote it down, put it in my suitcase and it stayed there for eight months.”

There’s a video on YouTube of him introducing “Carefree Highway” live in Reno, Nevada, where he says, “I used to write things down on pieces of paper while traveling around. You know, I’d write down a line or a title. And this one almost got left in the glove compartment of a car in Phoenix, Arizona.”

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'Carefree Highway' isn't actually about that Arizona highway

But the song isn't about that specific strip of Arizona highway.

It’s a state of mind with Lightfoot “picking up the pieces of my sweet shattered dream” while haunted by the memory of a former flame, although he also tells us, “I'll be damned if I recall her face.”

In the chorus, he laments the way that carefree highway “let me slip away on you.”

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Who was Ann in 'Carefree Highway'?

In that interview with Crawdaddy, Lightfoot talked about the inspiration for the woman in that song, a girlfriend he had at 22.

Her name was also Ann.

“I can still give you her last name but I’m not going to,” he said.

The writer added, “It pleases him that nobody is ever going to know everything.”

Lightfoot also shared his memories of “Carefree Highway” in the liner notes to “Songbook,” a career retrospective released in 1999 on Rhino Records.

“There was a real Ann,” he wrote. “It reaches way back to a time when I was about 20 or so. It's one of those situations where you meet that one woman who knocks you out and then leaves you standing there and says she's on her way.”

He heard from Ann after a concert at Massey Hall in Toronto many years later, Lightfoot added.

“She stopped by to say hello,” Lightfoot wrote. “I don't think she knew that she is the one the song was about, and I wasn't about to tell her.”

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Is there a real Carefree Highway?

As for that fateful stretch of road, Carefree Highway — officially designated State Route 74 in Arizona — was commissioned in 1964 and stretches for 30 miles from U.S. 60 just south of Wickenburg to Interstate 17 in north Phoenix. It serves as a bypass around the oft-congested stretches of U.S. 60 through the northwest suburbs of the Valley.

Reach the reporter at  [email protected]  or 602-444-4495. Follow him on Twitter  @ EdMasley .

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