期刊名称：CAMBRIDGE OPERA 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
Containing lively and provocative essays, Cambridge Opera Journal has a well-established reputation for publishing first-rate scholarship on opera in all its manifestations. The Journal not only contains material on all aspects of the European canon, it has now widened its scope to publish high-quality essays on American opera and musical theatre, on non-Western music theatres, and on contemporary works. Carefully researched and often illustrated with music examples and pictures, articles adopt a wide spectrum of critical approaches. As well as major articles, each issue generally includes reviews on recent publications of importance in the field
Abstracting&indexing Arts & Humanities Citation Index
British Humanities Index
Current Contents - Arts & Humanities
Humanities International Index
International Bibliography of Theatre & Dance
International Index to Music Periodicals
MLA International Bibliography
Music Index
Periodicals Index Online
RILM Abstracts
Instructions to Authors
Editorial Policy
Cambridge Opera Journal has an established reputation for publishing the best opera scholarship.Carefully researched and often illustrated with music examples, articles range widely across the whole opera repertoire and a wide variety of disciplines from musicology to literature, theatre and history, avoiding narrowly musicological or philological modes of enquiry. As well as major articles, each issue generally includes a review article on a recent publication or publications of importance in the field.
1. Submissions
Contributions from North America may be sent to Professor Steven Huebner at the following address:
Professor Steven Huebner
McGill University
555 Sherbrooke West
Montreal, Quebec H3A 1E3
Canada
huebner@music.mcgill.ca
Contributions from Europe may be sent to Dr Suzanne Aspden at the following address:
Dr Suzanne Aspden
Faculty of Music
University of Oxford
Oxford OX1 1DB
UK
suzanne.aspden@music.ox.ac.uk
Contributions from the rest of the world may be sent to either editor.
Submission of a paper will be taken to imply that it is unpublished and is not being considered for publication elsewhere. Authors of articles published in the journal assign copyright to Cambridge University Press (with certain rights reserved) and you will receive a copyright assignment form for signature on acceptance of your paper.
The return of contributions cannot be guaranteed unless return postage is provided.
Contributors are responsible for obtaining permission to reproduce any material in which they do not hold copyright and for ensuring that the appropriate acknowledgements are included in their typescript. Books for review should be sent to:
Dr Marina Frolova-Walker
Faculty of Music
11 West Road
Cambridge CB3 9DP
UK 2. Text preparation
Essays should normally be no more than about 18,000 words in length. 10,000 words is a normal lower limit, though exceptions can be considered if the subject matter warrants it. Authors should indicate the word count with the original submission. Manuscripts should be double spaced throughout (including footnotes, etc.) and should be typed on one side of the paper with ample margins. Contributors with word processors are requested to underline rather than use an italic font, and to avoid justification of right margins, automatic hyphenation and bold face type.
Footnotes should be numbered consecutively and be typed, double spaced, on separate pages at the end. Musical examples, figures, tables, etc. should be supplied on separate sheets. Contributors who wish to reproduce photographs should provide good black and white prints, full details of the source and the full address of the copyright holder if this differs.
When an article has been accepted for publication, the author is strongly encouraged to send a copy of the final version on computer disk (Apple Macintosh or IBM compatible PC) together with the hard copy typescript, giving details of the wordprocessing software used (Microsoft Word or Word Perfect).
However, the publisher reserves the right to typeset material by conventional means if an author's disk proves unsatisfactory. Authors should send a brief (one-paragraph) biography with the final copy of the manuscript.
Photographs will not normally be considered unless they are an intrinsic part of the contribution, and their inclusion will always be at the discretion of the editors. The full address of the copyright holder should be provided.
Punctuation should follow standard British practice. Single quotation marks should be used with double reserved for quotations within quotations. Punctuation that is not part of the quoted material should be outside closing quotation marks, as should footnote indicators. Longer quotation should be indented left without quotation marks and double spaced. Prose citations should be in English unless the original is of particular importance, unpublished or inaccessible, in which case the original should be follow by a translation in square brackets. Verse citations should be in the original language followed by a prose translation in square brackets.
Dates should be on the following model: c. 1740, 1840s, 5 February 1943. References should be to: Act I scene 2, op. 1 no. 2 in E major, Ex. 12 and Exx. 12-14, Fig. 3 and Figs. 6-9, motif(s) and leitmotif(s).
Sample footnotes (do not abbreviate journal titles):
1 John Whenham, Claudio Monteverdi: 'Orfeo', Cambridge Opera Handbooks, 3rd edn (Cambridge,1996), 44-6.
2 Gerald Abraham, ed., The Age of Beethoven, 1790-1830, New Oxford History of Music, 8 (Oxford, 1982), 100-6.
3 Curt von Westernhagen, Wagner: A Biography, trans. Mary Whittall, 2 vols. (Cambridge, 1978), II, 77f.
4 Winton Dean, 'French Opera', in Abraham, Beethoven, 137-46.
5 Ernest Newman, The Life of Richard Wagner, IV (1947; rpt. New York, 1981), 212-15.
6 Edgar Istel, 'Beethoven's Leonora and Fidelio', Musical Quarterly, 7 (1921), 228-31.
7 K. T. Rohrer, ' "The Energy of English Words": A Linguistic Approach to Henry Purcell's Method of Setting Texts', Ph.D. diss. (Princeton University, 1980), 33.
8 Rohrer, 249n3.
9 Whenham (see n. 1), 57.
3. Proofs
Typographical or factual errors only may be changed at proof stage. The publisher reserves the right to charge authors for correction of non-typographical errors.
4. Offprints
25 offprints of each article and review article and a copy of the issue will be supplied free to the first named author. Extra copies may be purchased from the publisher if ordered at proof stage.
(Last updated 21/10/2008)
Editorial Board
Editors
Dr Suzanne Aspden
Faculty of Music
University of Oxford
Oxford
OX1 1DB
UK
suzanne.aspden@music.ox.ac.uk
Professor Steven Huebner
Schulich School of Music
McGill University
555 Sherbrooke West
Montreal, Quebec H3A 1E3
Canada
huebner@music.mcgill.ca
Review Editor
Dr Marina Frolova-Walker
Faculty of Music
11 West Road
Cambridge
CB3 9DP
mf263@cam.ac.uk
Editorial Board
Professor Carolyn Abbate
Princeton University, USA
Professor Tim Carter
University of North Carolina at Chapel Hill, USA
Dr David Charlton
Royal Holloway, University of London, UK
Dr Thomas S. Grey
Stanford University, USA
Professor Arthur Groos
Cornell University, USA
Professor Rebecca Harris-Warrick
Cornell University, USA
Professor Wendy Heller
Princeton University, USA
Professor Mary Hunter
Bowdoin College, Maine, USA
Prof. Dr Silke Leopold
University of Heidelberg, Germany
Dr David Levin
University of Chicago, USA
Professor Roger Parker
University of Cambridge, UK
Professor Pierluigi Petrobelli
Istituto di Studi Verdiani, Italy
Professor Howard Pollack
University of Houston, USA
Dr Curtis Price
Royal Academy of Music, UK
Professor Ellen Rosand
Yale University, USA
Dr Emanuele Senici
University of Rome, La Sapienza, Italy
Professor Reinhard Strohm
University of Oxford, UK
Professor Richard Taruskin
University of California, Berkeley, USA
Professor James Webster
Cornell University, USA
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