Instructions for Contributors
1 REVIEW
Submissions are reviewed by two independent assessors who may or may not be members of the Editorial Board. Decisions are usually made within four months, but may take longer. The review process will be anonymous and you are asked to avoid identifying yourself in the submission. We accept submission for review only on condition that that the material is not under review elsewhere. Submitted materials will not normally be returned. Potential contributors requiring advice on any aspect of submission should contact the Editor, Katharine Ellis (k.ellis@rhul.ac.uk).
2 INITIAL SUBMISSION
This may be in the form of either email attachment (sent to k.ellis@rhul.ac.uk) or hard copy (three copies, printed on one side, sent to Katharine Ellis, Department of Music, Royal Holloway, University of London, Egham, Surrey TW20 0EX, UK); in the latter case the text should also be supplied on a PC-readable floppy disc. Hard copy is preferred where there is complex non-text material. Please ensure that computer files do not carry your name (for instance, if using Microsoft Word, change the author details under File/Properties/Summary to 'Anon'). Compliance with JRMA house style is not required at this stage, but if you wish to adopt it from the start refer to the JRMA style sheet (PDF). If you intend to include downloadable sound examples, the relevant extracts may be either emailed in mp3 format or supplied on cassette or CD (three copies required); video clips may also be included and should be supplied either as MPEG clips or on a VHS PAL video cassette (three copies required). Bear in mind that not all readers of JRMA have access to the online version of the journal; sound or video clips should therefore add value rather than being indispensable to an understanding of the article, and to avoid excessive download times they should be kept as short as possible.
3 FOLLOWING ACCEPTANCE
Articles which are accepted for publication following review can only be definitely assigned to a particular issue when the following have been received: (1) the article itself, including any requested revisions, in JRMA house style; (2) an abstract of not more than 100 words; and (3) all ancillary materials (illustrations, notated examples, sound files, etc). By this stage it is essential that you have identified and applied for all necessary copyright clearance, as articles cannot go into production until permission letters have been lodged with the Assistant Editor (ideally they should be submitted along with the final copy); for guidance on copyright see the section on Copyright guidance written specifically for JRMA submissions. You should should avoid making your article longer during final revision, and any increase of more than 5% must be specifically approved by the Editor.
4 STYLE
Please refer to the Style Sheet (PDF).Your attention is particularly drawn to the following: (1) include the first (given) names of all authors of cited material; (2) provide page extents for all cited articles or chapters; (3) first references in footnotes should include a full citation, with subsequent references using a short title, and (4) locations of tables, continuous-tone (halftone) illustrations (called 'Figures' in JRMA), music examples, and other inserted matter should be clearly indicated in the text.
5 FINAL SUBMISSION
This is required in electronic form (email or PC-readable floppy disc) together with hard copy (two copies), sent to the Editor, Katharine Ellis (see above). Hard copy should be printed on one side only of A4 or 8.5" x 11" paper with margins of at least one inch; it should be unbound and unstapled. All material (including footnotes etc.) should be double-spaced. Footnotes should be presented at the end of the text, and should begin on a new page. Captions for all inserted matter should be supplied on a separate page. We need black-and-white glossy photographs (8" x 5") for all continuous-tone illustrations; colour illustrations may be used in the on-line version, in which case you need to supply separate black-and-white and colour glossies. Music examples should be supplied either on disc or as hard copy on separate pages (not embedded in the text); they will be reset by the publishers in house style. If supplied on disc, then Score is the preferred form of software. Alternatively, Sibelius and Finale files may also be submitted. Sound examples should be submitted as mp3s, and video clips in MPEG format. You should avoid making your article longer during final revision, and any increase of more than 5% must be specifically approved by the Editor.
6 PRODUCTION
Copy-editing and production is handled through the Assistant Editor, Ian Rumbold (33 Selly Wick Drive, Selly Park, Birmingham B29 7JG; email IanRumbold@aol.com). You must be prepared to respond promptly to copy-editing enquiries; where this does not happen it may be necessary to hold the the article over to a later issue. We require you to read and correct first (page) proofs only, and again rapid return of proofs is essential. Amendments to proofs should be restricted to the correction of factual or typographical errors. Authors of articles will receive 30 free offprints, and reviewers a gratis copy. It is a condition of publication in the journal that authors grant an exclusive licence to the Royal Musical Association. This ensures that requests from third parties to reproduce articles are handled efficiently and consistently and will also allow the article to be as widely disseminated as possible. You may however reuse your material in other publications provided that the journal is acknowledged as the original place of publication and Oxford University Press as the Publisher.
Copyright Guidance
COPYRIGHT FOR JRMA SUBMISSIONS
In line with most academic journals, the Journal of the Royal Musical Association (JRMA) requires contributors to obtain clearance for any copyright materials reproduced in their articles. The fact that JRMA appears in an on-line version with downloadable sound examples may further complicate the position. The law governing copyright, especially as it refers to non-print media, is far from clear but the following guidance is offered in good faith; of necessity, these guidelines are not comprehensive, but rather a simplification of the law governing copyright. Furthermore, these guidelines are based on English Law only. You should always seek advice when in doubt.
In essence it is necessary to ensure that clearance is gained for the following:
- reproduction and distribution in printed form of copyright textual or graphic material or music;
- reproduction in electronic form and dissemination on-line of copyright textual or graphic material or musical or dramatic works;
- reproduction in electronic form and dissemination on-line of copyright sound material (eg a sound recording); and
- reproduction in electronic form and dissemination on-line of performances of music and/or words (eg a song embodied in a sound recording).
While the owner of the rights in a sound recording may also own or control the rights (eg of the performer) in the performance recorded, it would be wise to get confimation of this from that owner when seeking a clearance, and to make it clear that a licence of both categories of rights is being requested.
Finally you must respect the author's moral rights. This means being careful to ensure that the author and source of any material used are identified sufficiently, and that no material used is subjected to any derogatory treatment.
IS IT IN COPYRIGHT?
There is no restriction on the inclusion of non-copyright materials in either the printed or the electronic version of JRMA, but be aware that there may be rights in performances of public domain works. Terms of copyright in literary, dramatic, artistic and musical works (whether published or not) depend both on when and where the work was first published, and on if and when the author has died and on the residence and nationality of the author. The rules are complicated, but the general rule is:
- copyright expires seventy years after the end of the calendar year in which the author died;
- if a work was unpublished (and this term has a broad meaning including public performance and broadcasting) at the date of the author's death, then the period of copyright protection will be the longer of:
- seventy years after the end of the calendar year in which the author died; or
- fifty years after the end of the calendar year in which the work was first published (in the case of works first published before 1 August 1989) and fifty years from 1 January 1990 (in the case of works first published after 1 August 1989).
In the case of an unpublished document you will need to seek permission from the owner of the document as well as the owner of any copyright in the document.
A new copyright may exist in a new edition of an existing work. If the new edition contains material alterations which suffice to make the totality of the new edition an original work, then the new edition will be a new copyright work. This is so whether or not the existing edition is in the public domain. Copying the existing work will require no consent if it is in the public domain, but that copying must be done from the existing work and not from the new edition. If the existing work is still protected by copyright, then permission for use must be obtained from the rights owner. If the new edition is used and the old edition is still in copyright, permission must be obtained from the owner of the rights in the new edition and, if that owner does not also own the rights in the old edition, from the person who owns the rights in the old edition. Copyright on typography and music setting (engraving) lasts for 25 years from publication.
In the case of sound recordings, copyright in the recording generally lasts for fifty years from release. Release has a wide meaning and includes broadcast and public performance. That means that you do not need permission to reproduce clips from original recordings that were released over 50 years ago; reissues (for instance CD compilations of historical recordings) may however be protected by a new copyright as will sound recordings which have been remastered or digitally enhanced. Rights of performers performing on sound recordings generally last for the same period as the copyright in the sound recording.
As you will gather from the above, a single publication will have multiple copyrights. For a musical score, these typically include the composer, the editor or arranger (if any), and the music setting; in the case of songs and operas the lyrics or libretto will be copyright, too. The publisher will normally handle all these rights. For a recording there will be a number of separate copyrights relating to the performance but they will usually all be handled by the record company, although it may sometimes be necessary to get separate permission from performers; you should check with the record company. Where the work itself is copyright, however, you will have to obtain permission for that separately from the publisher. Material can be considered out of copyright only if all the relevant copyrights have expired.
IT'S IN COPYRIGHT, BUT DO I NEED PERMISSION?
Make sure you do not apply for permission when you do not actually need it! There is one important circumstance under which permission is not required, and you should consider carefully whether it applies in your case.
Where copyright is in force, it is legal to quote brief extracts from books, articles, or musical works for purposes of review or criticism, provided that the source is acknowledged. In this context 'musical works' is believed to include both scores and recordings, and this provision is believed to extend to electronic as well as to print publication. However you must note the following:
- 'brief' is generally understood to mean no more than 5% of the work and, in any event, no more than is necessary for the criticism or review in question (note that individual items in collections, eg songs, count as works in their own right)
- you cannot include the materials just for illustration; the legality of the quotation depends on the presence of critical commentary on it or its use for critical commentary on another work. For instance it might only be legal to reproduce an extract from a recording if you were commenting on the performance or the work recorded. Note that the requirement for critical commentary applies to each relevant copyright.
One simplifying factor is that JRMA normally resets all music examples. This means that copyright on music setting is not an issue.
These provisions do not however apply to illustrations or figures in books, since each illustration or figure is treated as a separate copyright item. You will need to obtain permission to reproduce them from the publishers, or where they are credited to third parties from those third parties.
I NEED PERMISSION, SO WHAT DO I DO?
You need to write to the copyright holder or owner of the rights in the performance, explaining what you want to reproduce and the nature of the publication; you may have to pay a fee. In the case of textual and graphic material there will normally be little problem; publishers and libraries are used to handling such enquiries. You may wish to include or adapt the following when writing:
JRMA (Journal of the Royal Musical Association), which is published by Oxford University Press, is a scholarly journal with a print run of approximately 1250. It is also published in an electronic (web-based) version, accessible only to subscribers to the print version; this is maintained as an electronic archive after initial publication, but is not marketed separately and therefore does not generate additional income. I am therefore seeking clearance for both the printed and the electronic versions of the journal and the uses just described. As a scholarly journal, JRMA does not offer any remuneration to authors and I would therefore ask you to consider reducing or waiving any fees in respect of this permission.
The situation is more complicated in the case of sound recordings, largely because record companies are not yet used to handling such requests. As you will only be reproducing a short extract from a recording, an enlightened company will see this not as undercutting sales but as offering free publicity; to reinforce this, we can provide a link to their catalogue or to a retailer. For this reason it may be advisable, when writing to large companies, to address your letter to the marketing rather than the rights division. Finally you should emphasize that JRMA will be using a streaming technology for the delivery of sound examples, which means that users cannot save the sound files to disc. You may wish to include or adapt the following when writing:
JRMA (Journal of the Royal Musical Association), which is published by Oxford University Press, is a scholarly journal with a print run of approximately 1250. It is also published in an electronic (web-based) version, accessible only to subscribers to the print version; this is maintained as an electronic archive after initial publication, but is not marketed separately and therefore does not generate additional income. The electronic version includes a facility for sound examples, and I am writing to request permission to include and use an extract from one of your recordings as a sound example in the way just described. A streaming technology is used, so that users cannot save sound files; full details of the recording will be given, and the publishers will be happy to include a link to your catalogue or to an appropriate retailer, so that users can easily purchase their own copy of the recording. As a scholarly journal, JRMA does not offer any remuneration to auth
A problem you may run into is being offered permission for the electronic version only on the basis of a fixed-term, renewable license. In this case, contact the Editor.
You may have difficulty in determining exactly who holds the rights for older recordings. The National Sound Archive) (a division of the British Library) has information on this and will be glad to advise. The National Sound Archive may also be able to supply CD copies of recorded extracts for JRMA submissions, with the copying charges paid by the Archive from an educational trust fund (but please note that responsibility for copyright and other rights clearance remains with the contributor).
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