期刊名称：MUSICAE SCIENTIAE
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
As predicted at the outset, this journal, created in 1997, has regularly published two issues every year (Spring and Autumn). Since 1998, it has also taken on the task of publishing an annual Special Issue, dedicated to a specific theme.
ESCOM’s meetings, symposia and various activities have all made apparent the need to open debate on certain key questions that touch on the very core of scientific approaches to music. The year 2000 seemed a good moment to attend to this need and so the first Discussion Forum was born. The readership of MUSIC?SCIENTI?has showed itself to be very receptive to this set of initiatives.
Due to the developing vigour of activities coupled with a growth in the number of tasks, it became urgent, at the start of 2001, to strengthen the Editorial Team at the level of Associates, Consultants and aides, to widen further its competences
complete new list of ESCOM members who have agreed to support the activities of MUSIC?SCIENTI?in the coming years. On behalf of the committee, I wish to express my heartfelt gratitude to all of them.
It is doubtless useful to state for the benefit of future authors that, thanks to this ensemble of new pathways, a new editorial policy has been defined, that moves toward the acceleration of processing of articles submitted for publication. According to today’s forecasts, the process of evaluating texts, in the first instance, should now not exceed 12 to 14 weeks; delay to publication, as is customary, will be dependent upon the status of the evaluation and the extent of revisions required, but in the case of positive evaluation, should not exceed a maximum of 12 to 18 months. I thank the authors who have, up until now, put their trust in MUSIC?SCIENTI? the nature of these new arrangements should serve to encourage new contributions.
Finally, some colleagues who have collaborated in the development of the journal during the years 1997-2000 are no longer able to continue their editorial activities owing to an increase in professional duties. May they be remembered for their support and devotion during this difficult period of the launching of this journal.
Irène Deliège
Editor
Instructions to Authors
Information for authors
MUSICAE SCIENTIAE (the Journal of the European Society for the Cognitive Sciences of Music) publishes empirical, theoretical and critical articles directed at increasing understanding of how music is perceived, represented and generated. Any systematic work within the domains of psychology, philosophy, aesthetics, music analysis, musicology, cognitive science, education, artificial intelligence, modelling and neuropsychology that advances that aim will be considered for acceptance.
Contributions will be published in one of three languages, French, German, or English, with abstracts presented in all three languages as well as in Italian and Spanish. Articles should be submitted as either Reports (between 1000 and 2000 words in length) or as Papers (between 5000 and 7000 words); both categories of article must be accompanied by abstracts of between 200 and 250 words in length.
Material and text should be submitted on diskette (3.5" Mac or MSDOS/Windows format, WORD 5.1 or RTF format) or by e-mail as attachments to the editor at
escom.musicaescientiae@gmail.com
Together 4 hardcopies 4 hardcopies of the text, tables and figures must be sent to the editor. Figures should be submitted on separate sheets as camera-ready or good quality laser printed hard copy. All submissions on diskette and hard copy should be sent to the editor,
Ir鑞e D萀IEGE
CRFMW
5 quai Banning
B-4000 LIEGE (Belgium)
Submissions must be in one of the following languages: English, French or German. An abstract in the author original language, as well as a translation in English, are required. Materials submitted must not have been published elsewhere nor should they be presently under review for publication in any other journal. In particular circumstances, the Editorial Committe may decide the republication ?possibly in translated form ?of articles published earlier, if these are likely to clarify concerns of current research.
Submissions in hard copy must be typed double-spaced throughout (including references, figure captions, footnotes and tables), with margins of 2.5-4 cm on all sides. All submissions (electronic or hard copy) must take the following form:
- pages should be numbered consecutively throughout, page 1 consisting of the title of the article and the authors' names and affiliations, with the name and complete address for correspondence at the bottom of the page.
- page 2 should consist of an abstract of between 200 and 250 words summarising the principal hypotheses, methodologies, findings and conclusions of the article
- the full text of the article should start on a separate page; references, footnotes, table captions and figure captions should follow the main body of the text in the order given, each category of ancillary material starting on a new page, with Tables and Figures following, each on a separate page.
All references should be provided according to the guidelines of the American Psychological Association, as per the following examples:
Franc鑣, R. (1958). La perception de la musique. [The perception of music (W.J. Dowling, trans.). Hillsdale, NJ: Erlbaum, 1988] Paris: J. Vrin.
Meyer, L. B. (1967). Music, the arts, and ideas. Patterns and predictions in twentieth-century culture. Chicago: The University of Chicago Press.
Longuet-Higgins, H. C. (1962). Letter to a musical friend. Music Review, 23, 244-48.
Papousek, H. (1979). From adaptive responses to social cognition: The learning view of development. In M. H. Bornstein and W. Kessen (eds), Psychological development from infancy: Image to intention (pp. 251-67). Hillsdale, NJ: Erlbaum.
Editorial Board
Editor
Irène DELIÈGE Universit?de Liège, Belgium
Associate Editors
Mario BARONI Universit?degli Studi di Bologna, Italy
Eric F. CLARKE University of Sheffield, UK
Nicholas COOK Royal Holloway, University of London, UK
David J. HARGREAVES University of Surrey-Roehampton, UK
Patrik N. JUSLIN Uppsala University, Sweden
Andreas C. LEHMANN Hochschule für Musik Würzburg, Germany
Richard PARNCUTT Karl-Franzens-Universität Graz, Austria
Gottfried SCHLAUG Harvard Medical School, Boston, USA
John SLOBODA Keele University, UK
Petri TOIVIAINEN University of Jyväskyl? Finland
Geraint A. WIGGINS City University, London, UK
Consulting Editors
Eckart Altenmüller Hanover University, Germany
Simha Arom CNRS, Laboratoire Langues-Musiques-Sociétés, Villejuif, France
Warren Brodsky Ben-Gurion University of the Negev, Israël
Annabel J. Cohen University of Prince Edward Island, Canada
Darrell Conklin City University, London, UK
Eugenia Costa Giomi University of Texas, Austin, USA
Lola Cuddy Queen's University, Kingston, Ontario, Canada
Jane Davidson University of Sheffield, UK
Célestin Deliège Conservatoire Royal de Liège, Belgium
Steven M. Demorest University of Washington, USA
Nicola Dibben University of Sheffield, UK
Hugues Dufourt CNRS, Universit?de Paris I-Sorbonne, France
Alf Gabrielsson Uppsala University, Sweden
Heiner Gembris University of Paderborn, Germany
Michel Imberty Universit?de Paris X-Nanterre, France
Christian Kaden Humboldt-Universität, Berlin, Germany
Reinhard Kopiez Hannover Hochschule für Musik, Germany
Fred Lerdahl Columbia University, New York, USA
Daniel J. Levitin McGill University, Montreal, Canada
Kengo Ohgushi Kyoto City University of Arts, Japan
Marta Olivetti-Belardinelli University "La Sapienza", Rome, Italy
Aniruddh Patel The Neurosciences Institute, San Diego, USA
Dirk-Jan Povel Nijmegen Institute for Cognition and Information, The Netherlands
Andrzej Rakowski Fryderyk Chopin Academy of Music, Warszawa, Poland
John Rink Royal Holloway, University of London, UK
Jean-Claude Risset CNRS, Laboratoire de Mécanique et d'Acoustique, Marseille, France
Jaan Ross University of Tartu and Estonian Academy of Music (Tallinn), Estonia
Herman Sabbe University of Ghent and University of Brussels, Belgium
Albrecht Schneider University of Hamburg, Germany
Catherine Stevens University of Western Sydney, Australia
Bill Thompson University of Toronto, Canada
Suk Won Yi Seoul National University, Korea
Johan Sundberg Royal Institute of Technology (KTH), Stockholm, Sweden
Sandra Trehub University of Toronto, Canada
Maris Valk-Falk Estonian Academy of Music, Tallinn, Estonia
Oliver Vitouch Universität Klagenfurt, Austria
Aaron Williamon Royal College of Music, London
Marcel Zentner Universit?de Génève, Switzerland
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