how to put song title in essay

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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 !

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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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Crafting Song Titles and Artist Names: A Guide for Writers

When writing about music, accurately presenting song titles and artist names is essential for clarity and professionalism.

Table of Contents

Formatting Song Titles

Capitalization rules.

Song titles should follow specific capitalization rules, typically capitalizing the principal words. Learn how to format song titles correctly to maintain consistency and readability.

Quotation Marks or Italics?

Discover when to use quotation marks and when to italicize song titles in your writing, depending on the citation style or context.

Artist Names

Handling individual artists.

Learn how to write the names of solo artists correctly, including their stage names and real names, and when to include additional information.

Collaborative Artists

Understand how to credit multiple artists in songwriting collaborations and feature songs accurately.

Song Titles in Text

Incorporating song titles.

Explore methods for seamlessly incorporating song titles into your writing, ensuring they fit within the flow of your content.

Citing Song Titles

Citation styles.

Get an overview of common citation styles like APA, MLA, and Chicago and how they differ in citing song titles in academic or professional writing.

Real-World Examples

Analyzing song references.

Analyze real-world examples of how song titles and artist names are written in various contexts, from articles to essays.

Summarize the key takeaways from this guide, emphasizing the importance of accurate song title and artist name presentation.

Frequently Asked Questions: Writing Song Titles and Artist Names

The choice between italics and quotation marks depends on the citation style you're using or the context of your writing. In general, italics are often used for longer works (albums, movies), while quotation marks are suitable for shorter works (songs, articles). Always check the specific guidelines of the style you're following.

Song titles within a sentence should typically be enclosed in quotation marks and follow capitalization rules (e.g., "Bohemian Rhapsody" by Queen is a classic rock anthem). Ensure the title seamlessly integrates into the sentence's structure.

When including song titles in titles or headings, use appropriate capitalization and formatting based on your style guide. It's common to use title case (capitalizing principal words) for titles and headings.

Individual artists' names, including stage names and real names, should be written following standard capitalization rules. If an artist has a stage name, it can be presented as "Stage Name (Real Name)" on the first mention.

When crediting multiple artists or songwriters, ensure that each contributor is acknowledged. List their names as per the standard format, separating them with commas and using "and" before the final contributor's name (e.g., "Song Title" by Artist A, Artist B, and Artist C).

Citing song titles in academic or professional writing depends on the citation style you're using (e.g., APA, MLA, Chicago). Each style has specific guidelines for formatting citations. Refer to the relevant style guide for detailed instructions on citing songs.

While it's generally best to use the full song title on the first mention, subsequent mentions can use abbreviations or shortened versions as long as it doesn't compromise clarity. Ensure that readers can easily identify the song being referred to.

Some song titles may intentionally use unconventional capitalization or formatting for artistic or branding reasons. In such cases, follow the artist's intended presentation while maintaining consistency within your writing.

Including song lyrics in your writing may require permission from the copyright holder. If you have permission, format song lyrics as block quotes with appropriate citation, following the guidelines of your chosen citation style.

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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 319,196 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

You Might Also Like

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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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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Home / Guides / Citation Guides / APA Format / How to Cite a Song in APA

How to Cite a Song in APA

Understanding how to cite songs in APA is crucial for projects that study pop culture, sociology, and a variety of other topics. This guide will show you how to cite songs following the guidelines for APA 7th edition.

Guide Overview

Citing a song, citing an album, citing a classical music album, citing an album that has been reissued or re-recorded.

• In-text citations

Reference list entry structure:

Songwriter last name, F. M. (Copyright year). Song title [Recorded by F.M. Last (performer’s name/musical group)]. On Album title [Medium of recording]. Record label name.

Note:  If the songwriter and performer are the same person , leave out the bracketed data [Recorded by _______] following the song title.

Turner, A. (2013). Do I wanna know? [Recorded by Arctic Monkeys]. On AM [Album]. Domino Records.

In-text citation structure & example:

(Songwriter last name, Year)

(Turner, 2013)

Citing a song retrieved online

Songwriter last name, F. M. (Copyright year). Song title [Recorded by F.M. Last (performer’s name/musical group)] [Lyrics]. Retrieved from URL

Reference list entry example:

Simon, P. (1972). Me and Julio down by the schoolyard [Lyrics]. Retrieved from https://youtu.be/JVdlpZ4M-Hw

Recording Artist or Group. (Date). Album title in sentence case [Album]. Record label name.

Reference list entry examples:

Abdul, P. (1992). Forever your girl [Album]. Virgin Records US.

King Gizzard and the Wizard Lizard. (2019). Infest the rat’s nest  [Album]. ATO Records.

(Recording artist last name, Year)

(Abdul, 1992)

(King Gizzard and the Wizard Lizard, 2019)

For a classical music album, write the name of the composer as the author and the individuals/group who recorded the album in square brackets after the album title. At the end of the reference, include the original date of publication.

Composer last name, F. M. (Date). Album title in sentence case.  [Album recorded by group/last name, F. M.]. Recording label. (Original work published date)

Hopkins, A. (2011). And the waltz goes on. [Album recorded by A. Rieu & Johann Strauss Orchestra]. Decca. (Original work published 1725)

For albums that have been rerecorded or reissued, include the original publication, write a slash, then include the date of the version you are using.

(Composer last name, Year)

(Hopkins, 1725/2011)

Include the original date of publication in paratheses after the recording label.

Recording Artist or Group. (Date). Album title in sentence case.  [Album recorded by group/last name, F. M.]. Recording label. (Original work published date)

The Rolling Stones. (2015). Sticky fingers [Album]. UMe. (Originally published 1971)

(The Rolling Stones, 1971/2015)

APA Formatting Guide

APA Formatting

• Annotated Bibliography
• Block Quotes
• et al Usage
• In-text Citations
• Multiple Authors
• Paraphrasing
• Page Numbers
• Parenthetical Citations
• Reference Page
• Sample Paper
• APA 7 Updates
• View APA Guide

Citation Examples

• Book Chapter
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• Website (no author)
• View all APA Examples

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To cite a song or music video in APA style, you need to have basic information including the name of the composer, title of the song or music, company name, and publication date. The templates for in-text citation and reference list entry of a song or music video, along with examples, are given below:

In-text citation template and example:

In parenthetical citations, use the composer’s surname and the publication year.

Composer’s Surname (Publication Year)

Beyoncé (2013)

Parenthetical

(Composer’s Surname, Publication Year)

(Beyoncé, 2013)

Reference list entry template and example:

Songwriter F.M. (Copyright year). Song title [Recorded by F.M. Last (performer’s name/musical group)]. On Album title [Medium of recording]. City, State of label: Record label name.

Beyoncé. (2013). Ring off. On Beyoncé: Platinum Edition [MP3 file]. Los Angeles, CA: Parkwood; Columbia.

To cite lyrics in APA format, you need to have basic information including the name of the composer, title of the song, company name, date, and URL. The templates for in-text citation and reference list entry of lyrics, along with examples, are given below:

(Composer’s Surname, Publication Year, timestamp)

(Beyoncé, 2019, 02:36)

Beyoncé. (2019). Don’t jealous me. On Beyoncé: Platinum Edition [MP3 file]. Los Angeles, CA: Parkwood; Columbia.

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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!

Articles Blog Copyright © by mahmed. All Rights Reserved.

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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/.

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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Do You Underline Song Titles in Writing? Correct Formatting

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.

Unveiling the Correct Formatting for Song Titles in Writing

Understanding the role of italics and quotation marks in song titles, when to use italics for song titles: expert recommendations, diving into the rules of quotation marks for song titles, the importance of consistency: choosing between italics and quotation marks for song titles, quotation marks, a quick guide to formatting song titles in different writing styles, avoiding common mistakes: do’s and don’ts when underlining song titles in writing, frequently asked questions, insights and conclusions.

When it comes to writing, it’s important to ensure that we adhere to the correct formatting for song titles. Properly formatting song titles not only adds professionalism to your work but also helps readers easily identify and understand the references you make. In this post, we will explore the correct ways to format song titles in your writing.

1. Quotation marks: When mentioning a song title within a sentence, it should be enclosed in quotation marks. For example, “Yesterday” by The Beatles is a timeless classic that still resonates with audiences today.

2. Italics: When referring to a complete album or an outside source (such as a book or a movie) that contains various songs, italicize the album or source title. For instance, “The Dark Side of the Moon” by Pink Floyd is considered one of the greatest albums of all time.

3. Capitalization: Capitalize the important words within the song titles, such as nouns, pronouns, adjectives, verbs, and adverbs. Note that conjunctions, articles, and short prepositions (e.g., “and,” “the,” “in”) are usually not capitalized unless they are the first or last words of the title.

Remember, consistency is key! Ensure that you follow the same formatting style throughout your writing. By correctly formatting song titles, you will convey a sense of professionalism while providing clarity and accuracy to your readers. So next time you include a song title in your writing, be sure to use quotation marks or italics and capitalize accordingly – your writing will flourish with correctness and precision.

When it comes to song titles, the use of italics and quotation marks can sometimes be confusing. Understanding the role of these formatting options is key to ensuring your song titles are properly punctuated . So, let’s dive right in and unravel the mystery behind italics and quotation marks in song titles!

1. Italics: Using italics in a song title is common when referring to standalone albums, EPs, and song collections. Italicizing the title helps distinguish it from the rest of the text and adds a sense of emphasis. For example: – Back to Black by Amy Winehouse. – The Dark Side of the Moon by Pink Floyd.

2. Quotation Marks: Quotation marks are typically used for individual song titles when they are part of a larger composition. It helps indicate that the specific song is a part of a larger work, such as an album or a musical. For instance: – “Bohemian Rhapsody” by Queen is a mind-bending masterpiece found on their album “A Night at the Opera.” – “Hey Jude” by The Beatles is a timeless classic present on their album “The Beatles (White Album).”

Using italics for song titles can be a bit tricky, but with some expert recommendations, you can navigate this rule like a pro. Italics are commonly used in writing to indicate titles of longer works, such as books and films. However, when it comes to song titles, the rules tend to differ slightly. Here are some key instances when italics should be used:

• Become familiar with the genre: Different music genres may have specific guidelines for italicizing song titles. For classical music, it is customary to italicize the names of individual pieces, like symphonies and concertos. On the other hand, pop, rock, and rap songs typically employ quotation marks instead.
• When including song titles in written works: When writing an essay, article, or any written piece that refers to specific songs, it is recommended to use italics. This helps differentiate the title from the rest of the text, making it stand out and indicating that it is a title of a song.
• Titles within lyrics or scripts: In song lyrics or theatrical scripts, it is common to italicize song titles when they are mentioned or directly quoted. This allows for easy identification and distinction between the dialogue or narrative and the actual song title.

Remember, the use of italics for song titles should be consistent throughout your writing. By following these expert recommendations, you can ensure proper formatting and enhance the overall readability of your work. Whether you’re an aspiring writer or a music enthusiast, knowing when to use italics for song titles will greatly contribute to the clarity and professionalism of your compositions.

Song titles are often a blend of creativity and linguistic expression, offering a unique identity to musical compositions. Quotation marks play a crucial role in correctly citing and distinguishing these titles, ensuring clarity and accuracy in writing. Understanding the rules of using quotation marks for song titles is essential, whether you are an aspiring songwriter, a music enthusiast, or a writer who wants to reference songs in your work.

To help you navigate this aspect of punctuation, here are some important rules to keep in mind:

• Use quotation marks to denote a single song title, such as “Hello” by Adele.
• Italicize or underline album titles, for example, Abbey Road by The Beatles.
• When writing a title within a title, enclose the inner title in single quotation marks. For instance, “Bohemian Rhapsody” is featured in the album ‘A Night at the Opera’.

Understanding the rules of using quotation marks in song titles will ensure that you correctly attribute and emphasize the names of songs. By following these guidelines, you can confidently incorporate song titles into your writing, be it essays, articles, or any other literary masterpiece. So, dive into the world of quotation marks and let your words resonate harmoniously!

When it comes to formatting song titles, the consistency of using either italics or quotation marks is of utmost importance in conveying your message effectively. By maintaining a consistent style throughout your writing, you provide clarity to your readers and enhance the overall aesthetics of your work. So, the question arises: should you use italics or quotation marks for song titles? Let’s dive into the intricacies of both options to help you make an informed decision.

Using italics for song titles is a popular choice among many writers. It conveys a sense of sophistication and is generally preferred in formal writing. When you use italics, you indicate that the title is a standalone literary work, whether it is a song, an album, or an opera. By italicizing song titles, you give them a distinct visual presence, making them easily identifiable.

• Advantages:
• Elevates the overall aesthetics of your writing
• Clearly distinguishes song titles from regular text
• Indicates the importance of the title as a standalone work
• Disadvantages:
• May appear overly formal in certain contexts
• Not universally recognized as the standard format

Conversely, using quotation marks for song titles is a more commonly accepted practice in informal writing. Quotation marks serve to enclose titles, emphasizing their significance as individual creative works. By using quotation marks, you create a clear distinction between the title and the surrounding text , allowing your readers to quickly identify the song.

• Universally recognized as a standard formatting option
• Suitable for both formal and informal writing
• Emphasizes the importance of the title as a standalone work
• Can sometimes blend in with the surrounding text
• Requires careful formatting to avoid confusion or ambiguity

Ultimately, the choice between italics and quotation marks for song titles depends on the context and your personal style preferences. As long as you maintain consistency throughout your writing, either option can effectively convey the importance of the song titles you include. So, pick your style and let the rhythm flow seamlessly in your writing!

When it comes to formatting song titles, different writing styles might have specific guidelines to follow. Whether you are writing an academic paper, a book, or a blog post, it’s important to understand the various formatting options available. Here is a quick guide to help you navigate formatting song titles in different writing styles.

In academic writing, the standard practice is to italicize song titles. Italicizing helps distinguish titles from regular text and emphasizes their importance. Additionally, it’s important to capitalize the principal words in the title, such as nouns, verbs, adjectives, and adverbs. However, conjunctions, articles, and prepositions shouldn’t be capitalized unless they are the first or last words in the title. For example:

– “Bohemian Rhapsody” by Queen – “Imagine” by John Lennon

On the other hand, in journalistic writing, song titles are often placed within quotation marks. Quotation marks help indicate that the words are the exact title of a song. Similarly to academic writing, capitalization rules apply here as well. However, it is important to note that shorter song titles are commonly written in headline style capitalization, where all major words are capitalized.

In the world of writing, underlining song titles can be a tricky task. It’s important to follow certain guidelines to ensure that your written work maintains a professional and polished appearance. To save you from making common mistakes, we’ve compiled a list of essential do’s and don’ts when it comes to underlining song titles.

Do’s: 1. Use italics instead of underlining: In modern writing, it is preferred to use italics to denote song titles. Italicizing provides clarity and adds emphasis. For example: “Bohemian Rhapsody” by Queen. 2. Capitalize important words: When writing song titles, capitalize all significant words, including nouns, verbs, adjectives, adverbs, and conjunctions. The only exception is short articles (e.g., “a,” “an,” “the”), prepositions, and coordinating conjunctions unless they are the first or last word in the title. For instance: “Stairway to Heaven,” “Love Will Tear Us Apart.”

Don’ts: 1. Avoid underlining: Although it was common in the past, underlining song titles is now considered outdated. This practice is usually reserved for handwritten texts or when formatting options are limited. Stick to the more visually appealing italics instead. 2. Do not enclose in quotation marks: While quotation marks are suitable for short story, poem, or article titles, they are not used for song titles. So, avoid enclosing song titles in quotation marks unless they are part of a larger work (e.g., album or film title) or if you are referring to the lyrics within a sentence, in which case the song title should remain italicized.

By adhering to these simple guidelines, you will ensure that your writing shines when it comes to underlining song titles. Remember, the goal is to maintain consistency and present your work with clear and pleasing formatting. So, next time you find yourself in a song title conundrum, follow these do’s and don’ts to navigate your way through smoothly.

Q: When writing an article or paper, should song titles be underlined? A: No, song titles should not be underlined. The preferred formatting for song titles is to italicize them.

Q: Why is italicizing song titles the correct formatting? A: Italicizing is the accepted style for emphasizing titles of larger works in writing. Song titles fall under this category and should be treated accordingly.

Q: Can I use quotation marks instead of italics for song titles? A: While quotation marks can be used for shorter works like individual song tracks, it is best to reserve them for other purposes in academic or professional writing. To maintain consistency, it is recommended to italicize song titles throughout your paper.

Q: Are there any exceptions when it comes to italicizing song titles? A: Yes, there are a few exceptions to the rule. If your paper follows a specific style guide , such as MLA or APA, always refer to the guidelines provided by the respective style manual. Some guides may require placing song titles within quotation marks instead of using italics.

Q: Do I need to italicize or underline song titles in handwritten documents? A: Traditionally, underlining was used to indicate titles of larger works in handwritten documents before typewriters and computers became prevalent. However, with modern technology, it is best to stick to the convention of italicizing song titles, even in handwritten work.

Q: Should I capitalize every word in a song title when writing it in italics? A: According to standard capitalization rules, you should capitalize the principal words in a song title, which include nouns, verbs, adjectives, and adverbs. However, conjunctions, articles, and prepositions of fewer than four letters should remain lowercase unless they are the first or last word in the title.

Q: What about citing song titles in an academic or research paper? A: When citing song titles in the text of your paper, it is recommended to use quotation marks around the title. For example, “Yesterday” by The Beatles, or “Bohemian Rhapsody” by Queen. However, when creating a works cited or bibliography page, follow the style guide requirements for the appropriate formatting.

Q: Can I use italics for song titles in other forms of writing, like blog posts or social media updates ? A: Absolutely! Italicizing song titles is a universally recognized way to format them in any form of writing, including blog posts, social media updates, or even personal emails. It helps to maintain consistency and clarity in your writing across different platforms.

Q: Are there any other important formatting rules to remember when dealing with song titles? A: One important rule to remember is to use title case when writing song titles. In title case, the principal words are capitalized, while minor words like articles, conjunctions, and prepositions are typically lowercase, unless they are the first or last word in the title.

Q: What is the purpose of formatting song titles correctly in writing? A: Properly formatting song titles helps to enhance the readability and professionalism of your writing. It demonstrates attention to detail and adherence to established style conventions, making your work more polished and credible.

In conclusion, it is important to remember the correct formatting for song titles when writing. Instead of underlining, use italics or quotation marks for clarity and consistency.

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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 …

Supported by

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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