 |
|||||||||||||
 |
|
 |
|||||||||||
 |
|||||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
||||
 |
 |
 |
 |
 |
|||||||||
 |
||
 |
 |
 |
 |
||
 |
||
 |
||
 |
||
 |
||
 |
||
 |
||
 |
||
 |
||
 |
||
 |
||
Call for Papers / Submission Guidelines
Music and the Moving Image
Mission Statement
The purpose of the journal, Music and the Moving Image, is to explore the relationship between music and the entire universe of moving images (television, film, computer, telephone, and multimedia) through articles, reviews and interviews. The editorial board encourages submissions from scholars and practitioners. Although the journal will be in English, accessible to the interested nonspecialist, submissions that discuss the relationship between music and moving images in diverse nations and cultures will be encouraged.
Call for Papers
The new peer-reviewed journal, Music and the Moving Image, is dedicated to the relationship between the entire universe of music and moving images (film, television, music videos, computer games, performance art, and Web-based media). Those interested in seeing the type of article the executive editors would like to consider are encouraged to look at American Music 22.1 (Spring 2004) or Film International 13 (2005): 1.
Submission Details. Submissions should include a short (50-word) abstract, be between 10 to 30 double-spaced, typed pages (3,300 to 10,000 words), and follow the latest edition of The Chicago Manual of Style. Authors should submit four copies of their manuscripts, which cannot be returned. If the article is accepted for publication, electronic copy will be required.
The journal will be pleased to consider submissions consisting of edited interviews, provided such submissions follow the standard format outlined below, are properly documented, and include contextual introductions. When appropriate, authors are encouraged to approach the executive editors about interviews before submission.
The author's name, mailing address, and e-mail address should appear only in the cover letter, as submissions are reviewed anonymously. Page numbers should appear at the top right of all pages after the first. All parts of the article - including endnotes, quotations, song texts, bibliographies and discographies, appendices, and captions for illustrations - must be double spaced on one side of the sheet only, on either A4 or 8.5 x 11-inch paper, with ample margins. Texts should be submitted in MS Word. Musical examples, figures, tables, and illustrations must be numbered and presented on separate sheets, with the desired location clearly indicated in the main text; a musical example or other insertion cannot be made part of a sentence in the text. Image files should be set at 150 dpi resolution and submitted in TIFF format. Submissions not conforming with these instructions may have to be returned to the author for correction, prior to consideration.
Manuscripts should be submitted to:
Prof. Ronald H. Sadoff, New York University, Dept. of Music and Performing Arts
35 West 4th St., Rm 777H, NY, NY 10012
The executive editors are conductor-musicologist Gillian B. Anderson and Ronald H. Sadoff, Director of the Film Music program at New York University. The Book Reviews Editor is CUNY Professor and Author Royal S. Brown. In collaboration with the Film Music Society, Music and the Moving Image is published by the University of Illinois Press -- http://www.press.uillinois.edu/journals/mmi.html -- and sponsored by New York University’s Dept. of Music and Performing Arts Professions in the Steinhardt School. Rick Altman, Bruce Broughton, Jon Burlingame, Annabel Cohen, Karen Collins, Royal Brown, Phillip Carli, Lawrence Ferrara, Caryl Flinn, Krin Gabbard, Roselee Goldberg, Claudia Gorbman, Katherine Kalinak, Raymond Knapp, Susan McClary, Martin Marks, Miguel Mera, Sergio Micelli, Catherine Moore, Ira Newborn, David Neumeyer, Jon Newson, Carlo Picardi, Roy Prendergast, Patrick Russ, Barry Salmon, Jeff Smith, Robynn Stilwell, Philip Tagg, Theodore Van Houten, Ann-Kristin Wallengren, and Elisabeth Weis are on the editorial board.
