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Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
  • The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
  • The submission file is in OpenOffice, Microsoft Word, or RTF document file format.
  • Where available, URLs for the references have been provided.
  • The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables are placed within the text at the appropriate points, rather than at the end.
  • The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines.

Author Guidelines

Submission of an article will be taken to imply that it represents original, unpublished work not under consideration for publication elsewhere.

Word count

  • Articles: 3000–6500 words; at most two pages of musical examples. Please provide an abstract (ca. 100 words), summary (ca. 400 words), keywords (5–10), and a short biography (profession, degree, employment, institution, full postal, and e-mail addresses, ca. 100 words).
  • Reviews: 1000–1500 words.
  • Defended Theses: ca. 800 words.

Tehnical details

  • Please send an electronic version (via e-mail; digital formats .docx or.doc) of your contribution (font 'Times New Roman', 1.5 spaced text).
  • Music examples, tables, plates and appendices should be clearly marked with the author's name and the music example numbers. Digital formats: .pdf, .tiff or .jpg (high resolution). Please contact the editors before supplying other illustrations in digital form.
  • Authors for whom English is a second language should have their manuscript edited before submission to improve the English.
  • Use justified mode. Avoid word divisions and hyphens at the ends of lines. Do not use boldface type. Also do not use tabs below headings, tables... Avoid abbreviations if possible. Avoid Columns, tables or musical examples in the body text.

Spelling and quotations

  • We prefer spellings to conform to the new edition of the Concise Oxford English Dictionary and to follow the Oxford Dictionary for Writers and Editors. Use –ize, in preference to –ise, as a verbal ending (e.g. realize, specialize, recognize, etc.). Note however, several words end correctly in –ise (e.g. exercise), note also analyse (English spelling), analyze (American spelling).
  • Use full points after abbreviations (p.m., e.g., i.e., etc.) and contractions where the end of the word is cut (p., ed., eds, ch.). Omit full points in acronyms (USA, BBC) and after contractions which end in the last letter of the word (Dr, Mr, St, edn, eds); note especially: vol. vols; no. nos; ch. chs etc.
  • Use double quotation marks (" ") for quoted material within the text; single quotation marks (' ') should only be used for quotes within quotes and to emphasize the words used ironically, metaphorically, or figuratively in any way. Do not use leader dots at the beginning or at the end of a quotation unless the sense absolutely demands it. For ellipsis within a quotation use three leader dots for a mid-sentence break [...], and four if the break is followed by a new sentence [....].
  • Quotations longer than three lines should be indented, no quotation marks, no spacing.
  • Use a single (not a double) space after a full point, and after commas, colons, semicolons etc. Do not put a space in front of a question mark, or in front of any other closing punctuation mark.
  • Please keep capitalization to a minimum. When possible, use lower case for government, church, state, party, volume etc.; north, south, etc. are only capitalised if used as a part of a recognised place name, e.g. Western Australia, South Africa; use lower case for general terms, e.g. eastern France. Music companies should be upper case and Roman, e.g. London Symphony Orchestra.
  • Note names, and flats, sharps and naturals should be indicated with words (D; B-flat; C-sharp).
  • Dates and centuries: either 10 July 1990 (no comma), on 10 July, or on the 10th July; 1990s (not spelt out, no apostrophe); either 20th century or twentieth century, but must be consistent troughout the article.


  • Please provide references as footnotes (not endnotes).
  • Please use references with footnotes in a way:

– Deryck Cooke, The Language of Music, London, Oxford University Press, 1959.
– Theodor W. Adorno, Mahler. A Musical Physiognomy, transl. by Edmund Jephcott, Chicago and London, The University of Chicago Press, 1992.

– Hermann Danuser, "Zur Kritik der musikalischen Postmoderne", Neue Zeitschrift für Musik, 12, 1988, 5.
– Michel Foucault, Pierre Boulez, "Contemporary Music and the Public", in: John Rahn (Ed.), Perspective on Musical Aesthetics, New York – London, W. W. Norton & Company, 1994, 84.
After the first citation, use abbreviated citation (Deryck Cooke, op. cit.; Ibid.). Use Abbreviation Cf. (instead of 'to compare').

  • Please use references with Works Cited in a way:

– Cooke, Deryck: The Language of Music. London: Oxford University Press, 1959.
– Adorno, Theodor W.: Mahler. A Musical Physiognomy. Transl. by Edmund Jephcott. Chicago and London: The University of Chicago Press, 1992.

– Danuser, Hermann: "Zur Kritik der musikalischen Postmoderne", Neue Zeitschrift für Musik, 12, 1988, 4–9.
– Foucault, Michel; Pierre Boulez: "Contemporary Music and the Public", in: John Rahn (Ed.), Perspective on Musical Aesthetics. New York – London: W. W. Norton & Company, 1994, 83–89.


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