期刊名称：BLACK MUSIC RESEARCH JOURNAL
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
Begun in 1980, BMRJ is published in the spring and fall of each year and includes articles about the philosophy, aesthetics, history, and criticism of black music. Most issues are devoted to a single theme. BMRJ is available by subscription.
Instructions to Authors
Manuscript Preparation
The CBMR uses the author/date method of documentation. For details on the preparation of the reference citations and reference list, consult the Documentation section.
The author's manuscript, including indented quotes, reference list, notes, appendixes, and discography, should be entirely double-spaced with margins of at least one inch on both sides and the top and bottom of each page.
Manuscripts should average 25-5 pages in length. Authors should contact the CBMR office if their manuscript lenght differs significantly from that average.
Type should be a minimum of eleven characters per inch (font size should be 10 or 11 point). Authors should underline text to be typeset in italic (please do not print in italic or bold italic font as it is easy to miss in copyediting and typesetting). For text to be typeset in bold, a boldface font may be used.
The title of the article should appear centered, using headline-style capitalization. It should be followed by the author's by-line in the following format: Mary J. Doe. Affiliation information is presented in the brief biographical statement, not as a part of the by-line.
Avoid beginning the article with a subhead immediately following the by-line. There should be at least one paragraph of text between the by-line and any succeeding subhead.
CBMR style can accommodate a small number of epigraphs at the head of the article.
Quotations of fewer than six typewritten lines should be placed in quotation marks and treated as regular text. Longer quotations (six or more typewritten lines) should be double-spaced and indented inch from both the right and left margins.
The reference list, notes, discography, musical examples, and author's brief biography should be placed at the end of the manuscript. Please do not insert musical examples or other illustrations within the body of the text. References to the figures, tables, and examples should be placed in the text as described in the Illustrations section below. Authors whose manuscripts may contain text presented in any format other than paragraph-style should submit sample pages for stylistic consideration early in the project.
Authors should provide a brief (1 sentence) biographical sketch, focusing on their academic appointment or current employment (if applicable) and their publication history, especially in areas relevant to black music research or the topic of the article. Book titles should be followed by publisher and date in parenthesis, e.g., Jazz Dance (Macmillan, 1964).
If used, acknowledgments may not exceed six typeset lines. It is CBMR policy to place acknowledgments at the end of the text, preceding the References List.
Manuscripts submitted to the Center are sent to members of the Editorial Advisory Committee for review. When necessary, their recommendations may be forwarded to the author for use in the preparation of a revised manuscript.
Following are clarifications of a few matters of CBMR editorial policy. For matters not explicitly treated here or for more detail—for example, principles of punctuation, formation of possessives, capitalization, hyphenation, alphabetization, treatment of titles of musical works, treatment of titles in foreign languages, quotation of text by other authors, and documentation—consult The Chicago Manual of Style, 14th edition (Chicago: University of Chicago Press, 1993).
Dates and Time
The month-day-year method of indicating dates, as discussed in the Manual (see section 8.36, alternative method), will be used. For example:
June 10, 1967, was a date to remember.
In April 1940 . . .
Decades identified by centuries should be expressed in figures or spelled out in lower case letters. For example:
the 1920s (not 1920's)
the twenties (not the 20's or the 20s)
References to particular centuries should be spelled out (e.g., "the twentieth century" not "the 20th century".
The abbreviations "A.M."and "P.M." indicating division of the time of day, should be set in caps with no space within the abbreviation.
Abbreviations
| A&R |
Artists and repertoire |
| ca. |
circa |
CD
|
compact disc |
| comp. |
compiler |
| ed. |
editor or edition |
| Ex. |
Example |
| ips |
inches per second |
| LP |
long-playing [record] |
| m. |
measure |
| min. |
minutes |
| mm. |
measures |
MS
|
manuscript |
| n.d. |
no date |
| no. |
number |
| n.p. |
no publisher or no place |
| op. |
opus |
| pt. |
part |
| pl. |
plate |
| R&B |
rhythm and blues |
| R&R |
rock and roll |
| rev. ed. |
revised edition |
| rpm |
revolutions per minute |
| sec. |
seconds |
| sect. |
section |
| trans. |
translator |
| vol. |
volume |
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Writing Style
For numbers that appear in text, the procedure outlined in the Manual (sect. 8.3) should be used: "The following are spelled out in ordinary text . . . : Whole numbers from one through ninety-nine; [or] Any of the whole numbers followed by hundred, thousand, hundred thousand, million, and so on. For all other numbers numerals are used."However, "at the beginning of a sentence any number that would ordinarily be set in numerals is spelled out, regardless of any inconsistency this may create: One hundred ten men and 103 women will receive advanced degrees this quarter"
The above rule holds true for ordinal numbers as well, with most numbers larger than one hundred being given in figures, e.g., 128th. Note that, for ordinal numbers that include "second" and "third," CBMR style uses "nd" and "rd" respectively, for example, 122nd or 123rd.
When inclusive numbers are used, the second numbers should be written completely, for example, pages 40-4 and 182?99. However, when the range refers to date, the first two digits of the second year should be omitted, e.g., 1957?8.
As a general rule, abbreviations should not begin a sentence, but should be spelled out. Some exceptions to this general rule might be words that are used almost exclusively as abbreviations (e.g., titles such as Mr., Mrs., Ms., or Dr.)
Proper names of peoples according to nationality, race, tribe, religion, and other such groupings are capitalized (e.g., "African-American, Englishman" or "Negro" . But "designations based only on color, habitat, customs, size, or local usage are often lowercased" Manual, sect. 7.34). For example:
black Americans
white
nonwhites
Terms such as "African American" or "Latin American" are not hyphenated when they are used as nouns and hyphenated when they are used as adjectives.
For capitalization of the titles in the references list, see Reference List.
For titles within the text, a headline style of capitalization is used: capitalize all words except articles (e.g., "the" "a" "an" prepositions (e.g., "nto" "by", and coordinating conjunctions (e.g., "and,""or". The first and last words of the title and subtitle are always capitalized, regardless of their part of speech.
In text, the complete title of a book is set in italic type (underlined in the manuscript) with an imbedded title in quotation marks; the title of a journal article is enclosed in quotation marks with any imbedded title in single quotation marks.
Titles of newspapers should carry some identification of the city of origin. If the city is not a part of the proper name of the paper (e.g., Chicago Tribune), then it should be inserted as an editorial addition (e.g., The [Indianapolis] Freeman).
In a list of three or more items in a series, a comma should be used before the conjunction joining the last two elements (e.g., blues, jazz, and bebop).
The possessive case of singular nouns are formed by adding 's. Plural nouns are formed by adding just an apostrophe. For example:
Hodges's life
Adams's music
Hendrix's style
Tillis's career
National Association of Negro Musicians' meeting
In matters of grammar and style, authors are asked to avoid the use of double prepositions, clichés, and colloquialisms. For example:
"This article was revised a number of times."
is preferred to
"This article went through a number of revisions."
To the most logical extent possible, sentences should not end with prepositions.
When two or more exact synonyms are available, it is preferable to use the shorter word, e.g., use "disfranchisement" rather than "disenfranchisement."
The letter-by-letter system of alphabetizing should be used. For example, the alphabetization of MacMillan, McArthur, Macauly, and Mason would appear
Macauly
MacMillan
Mason
McArthur
Long dashes (em-dashes) used as punctuation in text should be typed as two hyphens with no additional space on either side.
CBMR style follows the revised Manual style of setting the titles Jr., Sr., and III without a comma, e.g., John Smith Jr. or Primous Fountain III.
Designations of Keys, Pitches, and Sections
A key should be indicated by a capital letter and the mode of the key in lower case letters, e.g., C or C minor. Designations for sharp, flat, or natural should be spelled out and preceded by a hyphen, e.g., E-flat major.
Individual pitches are shown in lower case italic type and are shown in manuscripts by an underline, e.g., d or d#.
Letter references to structural parts are shown in upper case roman type, e.g., the A section.
Musical Examples and Illustrative Matter
All illustrative matter should be placed at the end of the manuscript.
Photographs and tables may be used as illustrative matter. If the author chooses to use photographs as illustration for the article, the photographs should be submitted with the manuscript. Black-and-white glossies are preferred.
Tables should be prepared on a separate page at the end of the manuscruipt. The point at which they should be inserted into the text should be clearly marked, for example, [Example 10 here].
Authors are requested to carefully select musical examples that accompany articles, including only those examples that clearly and succinctly illustrate the discussion. Handwritten musical examples should be prepared with black pen on white manuscript paper. Care should be taken to ensure the clarity of the notation.
Musical examples and other illustrations may be either re-engraved or reproduced from originals. Authors should indicate clearly what portion(s) is(are) being referenced. If the editor chooses to reproduce musical examples from originals, authors may be requested to supply original art. The CBMR assumes all engraving costs up to $300 per article. For articles containing a large number of musical examples, the CBMR will obtain a quote from an engraver before proceeding. This will allow the author to determine how best to handle the examples that exceed the publication budget.
Authors must secure and provide the editor with permission in writing to reproduce copyrighted material. All reprint permission fees are the responsibility of the author.
Musical examples are referenced as follows:
In text: In Example 1 . . .
Parenthetically: (see Ex. 1).
Measure numbers within musical examples are referenced as follows:
In text: measure 10
Parenthetically: (m. 10) or (mm. 32?3)
Captions should be placed above the examples in the following format:
Example 1. "Song to the Dark Virgin,"Florence Price, mm. 15-8.
Approximate placement of illustrations should be indicated parenthetically in the text as a separate paragraph. For example:
(Example 10 about here)
Documentation
Note that CBMR style uses a References List (a list of the books, articles, and primary source of materials cited within the text of the article) rather than a conventional bibliography.
Notes
A note may be used as an explanation or elaboration of a point in the text, but authors are encouraged to include all substantive materials in the text and to carefully consider the necessity for any material to be included in a note. CBMR style does not encourage the use of lengthy footnotes; and notes that are deemed necessary should be stated as succinctly as possible. Notes may contain reference citations as documentation (see Reference Citations below).
In cases where the citation of a record label and number may prove awkward or disruptive within the text, this information may be moved to a note.
Notes should appear as endnotes and be double-spaced.
Reference Citations
Reference citations within text should include within parenthesis the author's last name, the year of publication, and the page number(s), e.g., (Smith 1993, 10), (Smith 1993, 10?1), or (Standifer and Reeder 1972, 51). For references with three or fewer authors, all authors should be listed. For references with four or more authors, the first author followed by et al. may be used.
When page numbers are inclusive, both numerals should be written out in full, e.g., 183-84, not 183. When reference citations for the same publication appear in close proximity, without intervening citations for different publications, the page number alone in parentheses is sufficient; for example,
Integral to that process were the qualities of language of slaves on Colonel Loyd's plantation, where Douglass heard the singing referred to My Bondage and My Freedom ([1855] 1970), the principle text for his commentary on slave music. In the language Douglass described, slaves sang "the most pathetic sentiment in the most rapturous tone, and the rapturous sentiment in the most pathetic tone"(57). Again one thinks of the blues when reading Douglass's description of slave song: "In the most boisterous outbursts of rapturous sentiment, there was ever a tinge of deep melancholy"(76).
When two or more works by different authors are shown in reference citations, they should be separated by a semicolon, e.g., (Smith 1984, 10; George 1944, 15).
Documentation of newspaper articles or columns should be treated in the same format as documentation of books and journal articles; each source should be listed in the reference list with a citation given in the text. For anonymous newspaper articles, the first few words of the title of the article, with headline-style capitalization, is used in place of the author's name. For example:
("Jazz Musicians Plan"1985).
For a book with no known author, the title may be given in the text followed by the date in parentheses; or a shortened form of the title and the date, both in parentheses, may serve as the reference citation. For example:
the book Jubilee Songs (1872) . . .
(Jubilee Songs 1872) . . .
For citations that refer to one volume within a multivolume work, the volume number is separated from the page number(s) by a colon, e.g., (Smith 1993, 4:194).
A citation that includes reference to a footnote in the original source should be formatted as follows: author, date, page number, and note, e.g., (Smith 1996, 10 n6).
Reference citations that appear following a quote are placed between the close quote and the following punctuation or word. For example:
research(Smith 1973, 10), following . . .
research(Smith 1984, 10).
However, if the quotation demands its own punctuation (for example, a question mark or exclamation point), that punctuation is placed before the quotation mark and the sentence is closed, following the reference citation, with a period. For example:
. . . in this(Myers 1972, 482?83).
A reference citation that follows a block quote should always follow the terminal punctuation. For example:
[Varèse] took for himself, and encouraged in others, absolute freedom in composing. Inevitably, while I was studying with him, I began to think as he did and to compose music which was performed; music which was applauded by the avant-garde, such as were found in the International Composers?Guild. As a matter of fact, I was so intrigued by what I learned from Mr. Varèse that I let it get the better of me. I became its servant, not its master. (Still 1975, 115)
Reference List
It is preferable that authors' first names be given in full, except in cases where individuals are known only by their initials. When first names must be supplied (e.g., "John Tasker"for "J. Tasker" , the supplied portion should be presented in brackets (as, for example, J[ohn] Tasker).
When there are two or more authors in a citation, the names of the second and succeeding authors should appear separated by commas and not reversed (e.g., Standifer, James A., and Barbara R. Lundquist).
If the second author has the same last name as the first author, the names should be repeated (e.g., Stearns, Marshall, and Jean Stearns.)
If no author is given, the reference-list entry for an article is presented in the following order: title of the article with sentence-type capitalization; year of publication; title of the journal or newspaper; month and day of publication; and section and page number, separated from the date by a colon. For a book, the order should be as follows: title, date, and publication information.
The Reference List uses a "down" style of capitalization for the titles of materials. Only proper names and the first word of the title and of the subtitle are capitalized. However, the titles of journals in which articles appear as series titles use headline-style capitalization.
The titles of journals should be given in full and not abbreviated.
The subtitle of a book or journal article should be separated from the title by a colon, not by a semicolon.
In the reference list, when the title of a book or journal article includes the title of another publication within it, the imbedded title should be set in quotation marks (e.g., William Grant Still: "Songs of separation")
Publishers' names should be listed in full; however, an initial "The" and the abbreviations "Inc." "Co."and "Ltd" should be omitted.
For consistency, the names of publishers that contain "and" and "amp" should be standardized as "and" (e.g., "Harper and Row" or "Boosey and Hawkes".
When the name of a state follows that of a city in the Reference List, the standard form of abbreviation should be used, as opposed to the two-letter form for use with zip-code addresses, e.g., "Ill.""Okla." "W.Va"(see Manual, 14.17).
When a book or journal article is forthcoming or in-press and the projected year of publication is not known, the abbreviation "n.d" should replace the date in the citation. The statement " Forthcoming"or "In press"should replace the publication information of the book or the inclusive page numbers of the article.
Reference information for a reprint publication should appear as follows: author; reprint date; title; original publication information, including original publication date; and reprint publication information.
Deren, Maya. 1983. Divine horsemen: The living gods of Haiti. London: Thames and Hudson, 1953. Reprint, New York: McPherson.
When citing a very old publication (i.e., seventy-five years or older), the original publication date is enclosed in brackets and followed by the reprint date; only the reprint publisher is needed following the title.
Trotter, James M. [1878] 1968. Music and some highly musical people. New York: Johnson Reprint Company.
For a multivolume work that is still in progress, the year of the first volume is followed by a dash, e.g., 1981?
If a work is part of a series, the series title and number follows the book title in roman type and headline capitalization.
For serial publications, such as scholarly journals and magazines, volume number and issue number should be provided. The month and day of the issue should be included in parentheses following the issue number.
If newspaper articles that include a by-line are used, they should be given in the reference list in a format similar to journals, however, the month and day of the newspaper replaces the volume and issue number. Page information sufficient to locate the article (e.g., sections, if applicable) should be included.
For online sources, the URL and the date the author accessed the Web page should follow the author, date, and name of the Web page.
For printed music, the citation should include the author, title, and publication information in the same format as for a book. Information about the instrumentation of the work should be enclosed in parenthesis following the title. See Sample List of Printed Music for examples.
If a score is available only in a manuscript facsimile, the publication information should be replaced by a statement of the form in which it can be obtained and the source from which the score is available (e.g., "Facsimile. Available from the composer".
If a score is unpublished, the publication information should be replaced by the name of the archive or repository that holds it.
For sound recordings, the composer and title of a recorded composition are given in the same format as for a book or article. Optionally, the names of the performers and their instruments may follow the title. The name of the record label and the label number follow the names of the performers if they are included. If the date of the recording is available, it follows the label number, separated by a comma. Other pertinent information (such as "Compact disc" or "Audiocassette" should be added to conclude the citation. See the Sample Discography for examples.
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Sample Reference List
Bilby, Kenneth M. 1985. The Caribbean as a musical region. In Caribbean Contours, edited by Sidney W. Mintz and Sally Price, 181-18. Baltimore: Johns Hopkins University Press.
Buselli, Mark. 1996. Duke's use of visual imagery. http://netdirect.net/~mbuselli/duke.html; accessed March 27, 2001.
Charters, Samuel B., and Leonard Kunstadt. 1981. Jazz: A history of the New York scene. Garden City, N.Y.: Doubleday, 1962. Reprint, New York: Da Capo Press.
Cuney-Hare, Maud. 1936. Negro musicians and their music. Washington, D.C.: Associated Publishers.
Davis, Ronald. 1980. A history of music in American life. Vol. 2, The gilded years, 1865?920. Huntington, N.Y.: Kreiger.
de Lerma, Dominique-Ren 1981 Bibliography of black music. Westport, Conn.: Greenwood Press.
DjeDje, Jacqueline C. 1978. American black spiritual and gospel songs from southeast Georgia. Monograph no. 7. Los Angeles: University of California, Center for Afro-American Studies.
Feinstein, Sascha. n.d. Misterioso. Black Music Research Journal (in press).
Gossip of the stage. 1906. The [Indianapolis] Freeman November 24: 6
Hughes, Langston. 1926. The Negro artist and the racial mountain. The Nation 122 (June 23): 693?94.
Ivey, Donald. 1981?982. Willis Patterson's "Anthology of art songs by black American composers." Black Music Research Journal 2: 106?26.
Jazz musicians plan 20th anniversary festival. 1985. Chicago Tribune May 2: sect. 5, 8.
Johnson, Claude Joseph. 1984. Interview with the author. Atlanta, Ga., December 19?0.
Jones, A. M. 1954. African Rhythm. Africa 24: 26?7.
——? 1959. Studies in African music. Vol. 2. London: Oxford University Press.
Jubilee Singers. Scrapbooks. Held in Special Collections Department, Fisk University Library, Nashville, Tenn.
Jubilee Songs: As sung by the Jubilee Singers of Fisk University, Nashville, Tennessee, under the auspices of the American Missionary Association. 1982. New York: Biglow and Main.
Kimball, Richard. 1969. Jacket notes, The eighty-six years of Eubie Blake. Columbia Records C2S 847.
Mattis, Olivia. 1999. Essays, Roldán y Gardes, Amadeo. In International Dictionary of Black Composers, edited by Samuel A. Floyd Jr., 2:958?62. Chicago: Fitzroy Dearborn Publishers.
Maultsby, Portia K. 1974. Afro-American religious music: 1619?861. Part 1—historical development. Part II—computer analysis of one hundred spirituals. Ph.D. diss., University of Wisconsin–Madison.
Merriam, Alan P. 1959. African music. In Continuity and change in African cultures, edited by William R. Bascom and Melville J. Herskovits, 49-6. Chicago: University of Chicago Press.
Oliver, Paul. 1980. Blues. In The new Grove dictionary of music and musicians, edited by Stanley Sadie, 2:812?19. London: Macmillan.
Toussaint, Allen. 1999. In International Dictionary of Black Composers, edited by Samuel A. Floyd Jr., 2:1137-145. Essays by Timothy Rommen. Chicago: Fitzroy Dearborn Publishers.
Rogers, Jack. 1981. Letter to the author, June 23.
Simeon, Omer. 1955 Oral history interview, August 18. Held at the William Ransom Hogan Jazz Archive, Tulane University, New Orleans, La.
Smith, Peter. 1978. Telephone conversation with the author, April 15.
Southern, Eileen. 2001?002. Swanson, Howard. The New Grove Dictionary of Music Online, edited by L. Macy. (Accessed December 12, 2002.)
Stearns, Marshall, and Jean Stearns. 1964. Jazz dance: The story of American vernacular dance. New York: Macmillan.
Tischler, Alice. 1981. Fifteen black American composers: A bibliography of their works. Detroit Studies in Music Bibliography, no. 45. Detroit: Information Coordinators.
[Varèse, Louise]. 1925. Program notes, International Composers?Guild Concert. February 8. ICG Programs. Held in the Music Division, New York Public Library, New York City.
Volosinov, V. N. 1973. Marxism and the philosophy of language. Translated by Ladislov Matejka and I. R. Titunik. New York: Seminar Press.
wa Mukuna, Kazadi. 1995. Ethnomusicology and the study of Africanisms in the music of Latin America. Paper read at the Africanía: I Coloquio Internacional de Estudios Afroiberoamericanos, Universidad de Acal May 24-7, Acal de Henares, Spain.
Wilkinson, Christopher. n.d. Jazz on the road: Don Albert's musical life. Music of the African Diaspora, no. 3. Berkeley: University of California Press; Chicago: Center for Black Music Research. In press.
Wolfe, Charles. 1980. Rural black string band music. Black Music Research Newsletter 4, no. 2: 3?.
Sample List of Printed Music
Anderson, T. J. 1973. Beyond silence (a cantata for tenor, B-flat clarinet, trombone, viola, cello, and piano). Facsimile. New York: American Composers Alliance.
Ellington, Edward Kennedy ("Duke". 1946. Come Sunday. Lead sheet (copyright deposit copy). Library of Congress.
Joplin, Scott. 1974. The ragtime dance (chamber orchestra). From The red back book, edited by Gunther Schuller. New York: Multimood Music.
Logan, Wendell. 1978. Duo exchanges (B-flat clarinet and percussion). Facsimile. Available from the composer.
Matthews, Artie. 1913. Pastime rag, no. 1: A slow drag (piano solo). St. Louis: Stark Music.
Nuñes-Garcia, Jose Mauricio. 1977. Requiem mass, edited by Dominique-Ren de Lerma. New York: Associated Music Publishers.
Smith, Hale. 1974. Velvet shoes (medium voice and piano). In The valley wind, 13-6. New York: Edward B. Marks.
Swanson, Howard. 1950. Sonata (piano solo). New York: Weintraub.
Sample Discography
Davis, Miles. Bitches brew. CBS CGK 26. Compact disc.
Fitzgerald, Ella. You'd be so nice to come home to. The Smithsonian collection of classic jazz. Smithsonian Institution/Columbia Special Products P6 11891.
Walker, George. Sonata. Natalie Hinderas, piano. Desto DC-7102/3 (ca. 1971).
Warwick, Dionne. Hot! Live and otherwise. Arista AC9-8111. 2 vol. Audiocassette.
Wilson, Olly Woodrow. Akwan. Columbia M 33434 (1975).
Instructions to Authors
styleguide.pdf
Editorial Board
· Dr. Horace Maxile, Editor
Baylor University
· Dr. Gayle Murchison, Associate Editor
The College of William and Mary
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