期刊名称：MUSICAL Quarterly
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
About the Journal
The Musical Quarterly, founded in 1915 by Oscar Sonneck, has long been cited as the premier scholarly musical journal in the United States. Over the years it has published the writings of many important composers and musicologists, including Aaron Copland, Arnold Schoenberg, Marc Blitzstein, Henry Cowell, and Camille Saint-Saens. The journal focuses on the merging areas in scholarship where much of the challenging new work in the study of music is being produced.
Regular sections include 'American Musics', 'Music and Culture', 'The Twentieth Century', and an 'Institutions, Industries, Technologies' section which examines music and the ways it is created and consumed. In addition, a fifth section entitled 'Primary Sources' features discussions on issues of biography, texts, and manuscripts; reflections on leading figures; personal statements by noted performers and composers; and essays on performances and recordings. Along with discussions of important new books, MQ publishes review essays on a wide variety of significant new music performances and recordings.
Abstracting and Indexing Services
The Musical Quarterly is covered by the following abstracting/indexing services:-
Academic Abstracts
Academic Index
Academic Search
Annual Bibliography English Language & Literature (ABELL)
ISI Arts & Humanities Citation Index
Book Reviews Index
British Humanities Index
Expanded Academic Index
IBZ: internationale Bibliographie der Zeitschriften-literatur
ISI: Current Contents, Arts & Humanities Index, Research Alert
Humanities Index
Human Resources Index
Magazine Index Plus
Magazine Index: General Periodicals
Magazine Search
Music Articles Guide
Music Index
Newspaper & Periodicals Abstracts
Periodicals Contents Index
Reader's Guide to Periodical Literature
Recent Published Articles
RILM Abstracts
Instructions to Authors
Information for Authors
The Musical Quarterly, a peer-reviewed journal, welcomes well-written essays directed at scholars, musicians, and discerning general readers. The journal invites articles exploring the connections between contemporary culture and musical life and the significance of music in society and politics, current approaches to the history and analysis of music, and the interconnections between the history of art and literature and the history of music.
Authors should strive for clarity and elegance of expression. They should attempt to fit their contributions into one of the journal's regular sections:
- American Musics
- Institutions, Technology, and Economics
- Music and Culture
- Texts and Contexts
- The Twentieth Century and Beyond
For more information, contact the editorial office at the address below or by e-mail.
MANUSCRIPT PREPARATION
Manuscripts should be typewritten with wide margins on 8.5 x 11-inch bond paper. All material should be double-spaced, including notes, extracts, poetry, example captions, and figure legends. Do not type notes in smaller type. Do not divide words at the ends of lines. Each section of the manuscript should begin on a separate line. Assemble the sections in the following order:
- title page (with author's name and address, telephone and fax numbers, and e-mail address)
- text
- notes
- musical examples
- example captions
- figure legends
Acknowledgments should appear as the first unnumbered note. Ordinarily, contributions should not exceed 50 standard typewritten pages.
In general, the journal follows the recommendations of The Chicago Manual of Style (15th edition). Notes should take the basic form shown in the following examples (for specific details, see chapter 16 of The Chicago Manual of Style).
For books:
- 1. Joseph Kerman, Musicology (London: Fontana, 1985), 110.
For journal articles:
- 2. Adrian Jack, "Edgard Var¨¨se," Music and Musicians 24 (1975): 30.
For specific instructions on style, contact the editorial office (address below).
The journal encourages the submission of suitable illustrations. Photocopies are acceptable for first review, but high-quality glossy prints or high-resolution electronic files in TIFF format (preferred) must accompany the final manuscript. For useful information on preparing your figures for publication, see http://dx.sheridan.com. On a separate page within the manuscript file, please provide a legend for each figure. Illustrations will be cropped and sized by the publisher.
Musical examples should be legible, including any accompanying text. Electronic files should be provided whenever possible. Provide captions on a separate page within the manuscript file.
Authors are responsible for obtaining permission to reprint extracts and reproduce illustrations and musical examples (see below). Permission must be obtained for both print publication and online publication for the life of the work. The signed original of each permission form should be supplied with the final manuscript. All necessary credits and acknowledgments should be included in the figure legends and example captions. If sufficient permissions are not received for an article, publication will be delayed until such permissions are secured. For more information on obtaining permissions or for a copy of Oxford University Press's standard permission request form, please contact the editorial office.
MANUSCRIPT SUBMISSIONS
Authors should submit manuscripts and editorial correspondence to the editorial office.
All books for review should be sent to:
- Editor
The Musical Quarterly
President's Office
Bard College
Annandale-on-Hudson, NY 12504, USA
Submitting manuscripts
The electronic file should be prepared accurately, consistently, and simply, avoiding the use of special fonts or elaborate formatting for aesthetics. Paragraphs should be formatted the same way throughout. Notes should be typed as endnotes in regular text format; do not use software footnote or endnote features. The lowercase "ell" (l) and the numeral one (1), and the capital "oh" (O) and the numeral zero (0), should be used corrected, not interchangeably.
The electronic file is considered final material. Any inconsistencies and typographical errors in the electronic file that must be changed in proof may be charged as author's alterations.
COPYRIGHT FOR MUSIC JOURNAL SUBMISSIONS
In line with most academic journals, Oxford journals require contributors to obtain clearance for any copyright materials reproduced in their articles. The fact that our journals appear in an online version, some 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 confirmation 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 the journal, 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.
New editions: 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.
Sound recordings: 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.
Multiple copyrights: 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.
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?
In most cases the best place to start applying for permission is with the music publisher. Publishers of most music published in the UK can be found by searching on the web site of the Music Publishers Association http://www.mpaonline.org.uk.
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: "The Musical Quarterly, which is published by Oxford University Press, is a scholarly journal with a limited print run. It is also published in an electronic (web-based) version, accessible only to authorized users. I am therefore seeking clearance for both the printed and the electronic versions of the journal for the life of the work. As a scholarly publication, the journal 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."
Sound recordings: 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 onl
Editorial Board
Editorial Board
ASSISTANT EDITOR
ASSOCIATE EDITORS:
Byron Adams
Christopher H. Gibbs
Bryan Gilliam
Elaine Sisman
Michael P. Steinberg
Judith Tick
EDITORIAL ADVISORY BOARD:
John Adams
Milton Babbitt
William Bolcom
Martin Chusid
Robert Craft
Allen Forte
H. Wiley Hitchcock
Anthony Newman
Vivian Perlis
Ned Rorem
Charles Rosen
Mark Swed
Christoph Wolff
Maury Yeston
EDITOR EMERITUS:
P. Wittke
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