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Department of xxx, University of yyy, Country [8-point Book Antiqua, single line spacing, regular]
xxxx@yyyyyy.zz - www.yyyyyy.zz/xxxx

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In: T. Selke, K. Kotta & G. Lock (eds.), Music and environment (Proceedings of the 2nd international conference The Changing Face of Music Education, Tallinn, Estonia, April 23–25, 2009), www.tlu.ee/CFME09

Abstract [11-point Book Antiqua, single line spacing, bold]

Style of Abstract body text: 8-point Book Antiqua, single line spacing, regular, justified (Blocksatz). Without subheadings. max. 200–300 words.

Keywords: Music education, music sociology, music psychology and cognition, music theory pedagogy, teacher preparation, E-learning, aural skills. [8-point Book Antiqua, regular]

Theoretical background(s) / Introduction [12-point Book Antiqua, small caps, Bold, single line spacing, use heading of your choice]

Style of Body text: 10-point Book Antiqua, single line spacing, justified (Blocksatz). According to the tradition of the field of science you come from, please use only one of the two headings (here as examples separated by slash) which would fit more accurately to the content of the section following. Please follow this guideline for the next First headings, too. 

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Tertiary headings are included within the Body text 10-point Book Antiqua, single line spacing, bold, justified (Blocksatz). They may or may not end with a sentence. To format tertiary headings, simply make the first word, phrase or sentence of the paragraph bold.

Aim(s) / Main idea(s) [use heading of your choice]

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This template is prepared for MS WORD 97/2000/XP (.doc or .rtf). To avoid conflicts in formatting please do not use older or newer versions of MS WORD. Your default page size should be A4 (21.0 x 29.7 cm, 8.27 x 11.69 inches). If you usually use US letter, please change it to A4 under "file / page format" (or simply use this template). Please use the margin widths defined below. They have already been set for the present document, so you should not need to refer to them. See the margins of the whole document in table 1 below.

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References

Baroni, Mario (2003). The macroform in post-tonal music. Listening and analysis. In: Musicæ Scientiæ, Vol. VII, 2, 219–240.

Bent, Ian D. & Pople, A. (2007). Analysis. In: Grove Music Online [accessed 17.06.2008] <www.grovemusic.com>.

Burnard, Pamela (2006). Understanding children’s meaning-making as composers. In: I. Deliège, G. Wiggins, (eds.), Musical creativity. Multidisciplinary research in theory and practice, New York: Psycholoy Press, 111–133.

Clarke, Eric F. & Cook, Nicholas (2004). Empirical musicology. Aims, methods, prospects. Oxford: Oxford University Press.

Cogan, Robert & Escot, Pozzi (1976). Sonic design. The nature of sound and music. Englewood Cliffs New Jersey: Prentice Hall.

Elliott, David J. (1995). Music matters: A new philosophy of music education. New York and Oxford: Oxford University Press.

Gardner, Howard (1993). Frames of mind: The theory of multiple intelligences (2nd edition). New York: Basic Books.

Lehmann, Andreas C.; Sloboda, John A. & Woody, Robert H. (2007). Psychology for musicians. Oxford: Oxford University Press.

Popper, Karl (1972). Objective knowledge. Oxford: Clarendon Press.

Ramsden, Paul (2003). Learning to teach in higher education (2nd edition). London: Routledge-Falmer.

Swanwick, Keith (1999). Teaching music musically. London and New York: Routledge.