Guide: How to cite a Music or recording in Elsevier Harvard (with titles) style

Guide: How to cite a Music or recording in Elsevier Harvard (with titles) style

Cite A Music or recording in Elsevier Harvard (with titles) style

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Use the following template to cite a music or recording using the Elsevier Harvard (with titles) citation style. For help with other source types, like books, PDFs, or websites, check out our other guides. To have your reference list or bibliography automatically made for you, try our free citation generator.

Key:

Pink text = information that you will need to find from the source.
Black text = text required by the Elsevier Harvard (with titles) style.

Reference list

Place this part in your bibliography or reference list at the end of your assignment.

Template:

Author Surname, A., Year Published. Title. Publisher, City.

Example:

The New Yorker, 2015. Man of Steel - The New Yorker [WWW Document]. URL http://www.newyorker.com/magazine/2002/08/05/man-of-steel (accessed 4. 29. 15).

In-text citation

Place this part right after the quote or reference to the source in your assignment.

Template

(Author Surname, Year Published)

Example

Process art had political overtones. By getting rid of the pedestal (“the biggest move of the century,” according to Serra) and using cheap, easily available materials like scrap metal and fabric, sculptors were rejecting hierarchy, authority and received wisdom of all kinds.

“That's when I left the whole studio idea behind,” he said. “It was a real sea change for me. I began to think about declaring or dividing the space of a room, and about the spectator walking through and around a piece in time, rather than just looking at an object. The spectator became part of the piece at that point—not before.

Although he would continue to set sculptures into natural landscapes, as he had done with the Pulitzer piece, Serra preferred to work in urban settings.

It was a terrific opportunity to triumph on his own turf, and to demonstrate the contempt he felt for artists like Noguchi and Calder, whose public sculptures failed, in his view, because they had nothing to do with the contexts in which they were placed. (“At best,” Serra said, “they are studio-made and site-adjusted. They are displaced, homeless, overblown objects that say, 'We represent modern art.' “)

Serra thought that in time people would come around to “Tilted Arc.” People, after all, were an essential part of it—his intention was to bring them into the sculptural experience. “It will . . . encompass the people who walk on the plaza in its volume,” he said. “The placement of the sculpture will change the space of the plaza. After the piece is created, the space will be understood primarily as a function of the sculpture."

The work was “site-specific,” he said. “To remove the work is to destroy the work."

"Abstraction gives you something different. It puts the spectator in a different relationship to his emotions. I think abstraction has been able to deliver an aspect of human experience that figuration has not—and it's still in its infancy. Abstract art has been going on for a century, which is nothing.” (The New Yorker, 2015)

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