Music and the Moving Image
The purpose of Music and the Moving Image is to explore the relationship between music and the entire universe of moving images (film, television, music videos, computer games, performance art, and web-based media) through articles, reviews and interviews.
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Ronald H. Sadoff
New York University
The Steinhardt School
Dept. of Music and Performing Arts
35 West 4th St.
New York, NY 10012
Robynn J. Stilwell
37th and O streets, NW
Washington, DC 20057
- Rick Altman, University of Iowa
- Bruce Broughton, University of Southern California
- Royal S. Brown, Queens College, CUNY
- Jon Burlingame, University of Southern California
- Phillip Carli, University of Rochester
- William Cheng, Dartmouth College
- Annabel Cohen, University of Prince Edward Island
- Karen Collins, University of Waterloo
- K.J. Donnelly, University of Southampton
- Lawrence Ferrara, New York University
- Caryl Flinn, University of Michigan
- Krin Gabbard, Stony Brook University
- Claudia Gorbman, University of Washington
- Kathryn Kalinak, Rhode Island College
- Raymond Knapp, University of California Los Angeles
- Martin Marks, Massachusetts Institute of Technology
- Miguel Mera, University of London
- David Neumeyer, University of Texas at Austin
- Carlo Piccardi, Politiecnico di Milano
- Patrick Russ, Film Music Society
- Jeff Smith, University of Wisconsin-Madison
- Philip Tagg, Leeds Beckett University and the University of Salford (UK)
- Elsie Walker, Salisbury University
- Ann-Kristin Wallengren, Lund University
- James Wierzbicki, University of Sydney
- Elisabeth Weis, Brooklyn College and the CUNY
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- All PDFs will include a statement of copyright and a provision that the articles will not be photocopied, distributed, or used for purposes other than the terms agreed to by UIP.
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Rights and Permissions Manager
The purpose of Music and the Moving Image is to explore the relationship between music and the entire universe of moving images (television, film, computer, cell phone, and multimedia) through articles, reviews, and interviews. The editorial board encourages submissions from both scholars and practitioners. Although the journal is presented in English and accessible to the non-specialist, submissions that discuss the relationship between music and moving images in non English-speaking nations and diverse cultures are encouraged.
Submissions are accepted electronically via Google Forms or as email attachments to MamiJournal@nyu.edu. Submissions are reviewed anonymously; thus, author name and contact information should appear in a separate file and not in the manuscript itself. Text files should be formatted as MS Word documents or as documents compatible with MS Word, and all figures, illustrations, and musical example should be presented in separate files, formatted as TIFFs or JPGs at 300 dpi or greater.
Submissions should include a short (50-word) abstract, should be no longer than 10,000words in length, and should conform to The Chicago Manual of Style (16thedition). The order of elements in the submission should be as follows:
- Body Text
- References (optional)
- Tables and Figures
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. Authors are encouraged to approach the editors about interviews before conducting them.
Manuscripts should be submitted electronically via Google Forms or as email attachments to MamiJournal@nyu.edu.
We welcome announcements of newly published books on music for moving images. Please submit full citation to firstname.lastname@example.org.
a. Authors should prepare their manuscripts in accordance with The Chicago Manual of Style (17th ed.). All spelling, punctuation, and word usage should conform to American English, as presented in the Merriam-Webster Collegiate Dictionary (10th ed.).
b. Citations should be presented in the form of endnotes, with sources presented fully upon first mention and abbreviated during subsequent citation.
c. Common reference forms include:
Journal: Randolph Jordan, “Audiovisual Ecology in the Cinema,” Cinephile 6, no. 1 (2010): 25-32.
Book: Royal S. Brown, Overtones and Undertones: Reading Film Music (Berkeley: University of California Press, 1994).
Article in an edited book: Neepa Majumdar, “The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema,” in Soundtrack Available: Essays on Film and Popular Music, ed. Pamela Robertson Wojcik and Arthur Knight (Durham, NC: Duke University Press, 2001), 161-81.
DVD: North by Northwest, directed by Alfred Hitchcock (1959; Burbank, CA: Warner Home Video, 2000), DVD.
Website: Cenneti Beklerken, at 7th Annual Boston Turkish Film Festival, http://www.bostonturkishfilmfestival.org/2008Festival/Events/Cenneti%20Beklerken%20-%20Waiting%20for%20Heaven.htm (accessed 1 April 2011).
d. Films need not be cited in their entirety unless reference is made to a specific source (e.g., a commentary track on a DVD). Films mentioned in the manuscript need only be followed by their release date in parentheses [e.g., Quentin Tarantino's Reservoir Dogs (1992)].
About the Journal
The Executive Editors of Music and the Moving Image are conductor-musicologist Ronald H. Sadoff and Robynn J.Stilwell, Director of the Film Music program at New York University in the Steinhardt School. In collaboration with the Film Music Society, Music and the Moving Image is published by the University of Illinois Press.
For Stage and Screen: A Conversation with Howard Shore
Paul Chihara and Howard Shore
Film Music Editing and Creating a Narrative World: A Conversation with Suzana Peric
Ron Sadoff and Suzana Peric
Resistance Gazes in Recent Music Videos