Citation Standards

The requirements for publications are based on the Harvard style of referencing.


The editorial board chooses the full bibliographic citation as footnotes, using numbers for the corresponding place in the text where the citation is used. The standardized rules for a full bibliographic description includes the obligatory information for the name of the author cited, the title of the work, place of publication, name of publisher, year of publication and the page on which the citation appears.

The Latin term “Ibid” is used for the consequential citation of one and the same source, following which the exact pages are given; the Latin “Op. cit.” for the repeated citation of a source described earlier; as well as “loc. cit.” when an original is frequently cited, but in different publications.

References are located at the end of the work and display full citations for sources used in the assignment. Citations follow this format: name of the author(s), year published, title, where published, publisher, pages used. Citations are listed in alphabetical order by the author’s last name. If there are multiple sources by the same author, these are listed in chronological order.



1.Harvard Reference List Overview


Chusid, Martin. Schubert’s Dances for Family, Friends and Posterity, Hillsdale: Pendragon, 2013.

Boyadjieva, Vesela. Древноруската православна партитура като изображение на обратната перспектива (The Old Russian Orthodox Score as an Image of the Inverse Perspective). Sofia: Ci-eM, 2015.


2.Citations for Books with Two or More Authors


Litschauer, Walburga & Deutsch, Walter.SchubertunddasTanzvergnügen. Wien: Holzhausen, 1997.

Dubovsky, I., Evseyev, S., Sposobin, S. & Sokolov, V. Учебник гармонии (Harmony Tutorial). Moscow: Musica, 1983.


3.Citations for Chapters in Edited Books


Brodbeck, David. ‘Dance Music as High Art: Schubert’s Twelve Ländler Op.171 (D 790).’ In: Walter Frisch (ed.) Schubert Critical and Analytical Studies. Lincoln: University of  Nebraska Press: 1986, pp. 31-47.

Martynov, Vladimir. ‘Строчное пение’ (Strochnoe Penie). In: История богослужебного пения (History of Liturgical Singing). Moscow: RIO Federal’nyh Archivov, Ruskie Ogni, 1994.


4.Citations for Print Journal Articles


Ross, Nathan. (2015). On Truth Content and False Consciousness in Adorno’s Aesthetic Theory. Philosophy Today, 59(2), pp. 269-290.

Djudjev, Stoyan. ‘Проблеми във връзка с живота и творчеството на Йоан Кукузел’ (Issues Concerning the Life and Work of John Kukuzelis). In: Elena Toncheva & Svetlana Kuyumdjieva (eds.). Muzikalni horizonti, 1981, №18-19, pp. 14-29.


5.Citations for Journal Articles Found on a Database or on a Website


Spitta, Philipp. Johann Sebastian Bach. His Work and Influence on the Music of Germany,1685-¬1750. Vol. 3. (trans.Clara Belland  & J. A. Fuller – Maitland). London: Novello, Ewer & Co., 1885, pp. 46-61. Available at: (accessed on 12 March 2017).


6.Citations for Conference Proceedings


Boyadjieva, Vesela. (2015) The Strictness of Palestrina Style. In: Integral Music Theory. [online] Sofia: “Prof. Pancho Vladigerov” National Academy of Music, pp. 24-36.

Kholopova, V.N. Музыкальное содержание: наука и педагогика. Материалы 1 Российской научно-практической конференции 4-5 декабря 2000 г. (Musical Content: Science and Pedagogy. Proceedings of the 1st Russian Scientific and Practical Conference. Moscow, December 4-5, 2000) Moscow-Ufa: Regional Publishing Center of Ufa State Institute of Arts, 2002.


7.Citations for Artwork


Bussotti, Sylvano. Questo fauno, Programme du concert-création, Musée d’Orsay du 28.01.1999. Paris: Musée d’Orsay, 1999.


8.Citations for Musical Score


Bussotti, Sylvano. Questo fauno, Ritrovamento de ‘L’Educazione di Pan’ del Luca Signorelli (1998), Teatro dell’ascolto, lezione per voce parlante, voce di basso, flauti, violino e pianoforte. Testo, musica, immagine di S. Bussotti. Genazzano: B. O. B., 1998.


9.Citations for Music or Recordings


Jackson, Michael. (1982). Thriller. [CD] West Hollywood: Epic.

Kaskade, (2015). Never Sleep Alone. [Online] Burbank: Warner Bros/Arkade. Available at: (accessed on 7 April 2015).


10.Citations for Religious Texts

To cite any type of religious text, such as the Bible, Torah, Quran, use the following format: Title (Year published). Where published: Publisher, pages used.


New American Standard Bible, (1998). Anaheim: Foundation Publications, Inc., pp. 332-340.


N.B. In-text-quotation (footnotes) for texts in English follow the same principle.



Bulgarian Standard Citation.



 Referring to a book without concrete citation:

Кърклисийски, Томи. Музикално-жанров анализ. Ч. 2. Жанрът „Концерт за оркестър“ в музиката на ХХ век. София: Хайни, 2011.


Citation with a specific page number:

Мурдаров, Владко и др. Официален правописен речник на българския език. БАН, Институт за български език „Проф. Любомир Андрейчин“. София: Просвета, 2012, с. 124.


Citation of other responsible authors:

 Далхауз, Карл. Музикална естетика. Прев. П. Куюмджиева. Пловдив: Пигмалион, 2004.

 Articles in Collections, Encyclopedias and Dictionaries:

Видински, Васил. Експериментална рецепта за култура. – В: Култура, медии, публичност. Сборник от конференцията, посветена на 50-годишнината на вестник „Култура”. София: УИ „Св. Климент Охридски”, 2010, с. 38.

Стоянов, Веселин. За българския музикален стил. – В: Баларева, Агапия (съст.). Българските музикални дейци и проблемът за националния музикален стил. София: БАН, 1968, с. 89.

Букурещлиев, Михаил. Стоян Джуджев. – В: Енциклопедия на българската музикална култура. София: Наука и изкуство, 1967, с. 226.

Utz, Christian. Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis – Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough. – In: Ans Licht gebrachtZur Interpretation neuer Musik heute. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 53. Mainz: Schott, 2013, S. 40 – 66.

 Articles in Magazines:

Холопов, Юрий. Музикално-теоретичната система на Хайнрих Шенкер. – В: Музикални хоризонти, 1978, № 12, с. 14.

Найденова, Горица. Езикът и музиката във възгледите на Стоян Джуджев. – В: Българско музикознание, 2009, № 1, с. 3 – 20.

 Internet Sources:

Кастальский, Александр. О моей музыкальной карьере и мои мысли о церковной музыке. – В: Русская духовная музыка в документах и материалах. Москва: Языки русской культуры, 1998. (посетен на 20 февруари 2014).

Квадратная хоральная, готическая и квадратная русская нотация. – В: Большой энциклопедический словарь. Москва: Музыка, 1998.  (посетен на 25 август 2014).

О’Loughlin, Niall. Music in Slovenia. – In: The Musical Times. 1993, Vol. 134, No. 1801,  p. 130 – 133. Doi: 10.2307/1193855
Musical Forms and Genres (without author).  (посетен на 11 юли 2013).

 Frequent Citation of Originals through another source:

Из писмо на Димитър Ненов до Иван Стайков. Цит. по: Божикова, Милена. Димитър Ненов и екзистенциализмът. – В: Българско музикознание, 2011, № 3 – 4, с. 97.

Dahlhaus, C. Was heisst Improvisation? – In: Improvisation und neue Musik. Hrsg. von R. Brinkmann. Mainz: 1979. Цит. по: Малцев, С. Психологически аспекти на музикалната импровизация. – В: Музикални хоризонти, 1987, № 20, с. 3. 

 Recurrent abbreviated citations:

Кърклисийски, Томи. Критично-аналитични…, с. 32.


N.B. Translated quotations should be given in original language as footnotes.


Published on 31 May 2017