Mission Statement / Submission Guidelines
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 (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 as email attachments or CD-ROMs. 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, and all figures, illustrations, and musical examples should be presented in separate files, formatted as JPEGs or TIFFs at 300 dpi or greater.
Submissions should include a short (50-word) abstract, normally should be no longer than 10,000 words in length, and should conform to The Chicago Manual of Style (16th ed.). The order of elements in the submission should be as follows:
3. Body Text
6. References (optional)
The journal will be pleased to consider submissions consisting of edited interviews, provided such submissions are properly documented and include contextual introductions. Authors are encouraged to approach the editors about interviews before conducting them.
Submit files to:
Prof. Ronald H. Sadoff
New York University
Department of Music and Performing Arts Professions
a. Authors should prepare their manuscripts in accordance with The Chicago Manual of Style (16th 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 JournalThe Executive Editors of Music and the Moving Image are conductor-musicologist Gillian B. Anderson and Ronald H. Sadoff, 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.
Music and the Moving Image XII
Conference at NYU Steinhardt, May 26th - 28th, 2017
CALL FOR PAPERS
The annual conference, Music and the Moving Image, encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, video games, iPhone, computer, and live performances) and that of music and sound through paper presentations. This year, we invite abstracts that focus on the role and function of sound design as well as all other topics. Abstracts or synopses of papers (250 words) should be submitted to: email@example.com by no later than December 15th, 2016.
The program committee includes James Deaville of Carleton University (Editor of Music in Television: Channels of Listening), Eric Dienstfrey of University of Wisconsin-Madison (“The Myth of the Speakers: A Critical Reexamination of Dolby History” in Film History), and Vasco Hexel of Royal College of Music / Cambridge University (Hans Zimmer and James Newton Howard’s The Dark Knight: A Film Score Guide), and coeditors of Music and the Moving Image, Gillian B. Anderson (Haexan; Pandora’s Box; Composing for the Cinema, Music for Silent Film 1892-1929: A Guide); and NYU faculty, Ron Sadoff (The Moon and the Son: An Imagined Conversation; Chuck Jones: Memories of Childhood). The conference will run prior to the NYU/ASCAP Film Scoring Workshop in Memory of Buddy Baker (May 30 – June 9, 2017).
MaMI Conference website: http://steinhardt.nyu.edu/music/scoring/conference/
E-mail firstname.lastname@example.org for more information.
Conference fee: $185.00 — students: $85.00; NYU Housing Available
Edited by Gillian B. Anderson & Ronald H. Sadoff
Expanded Second Edition
Mehrnaz Saeed-Vafa and Jonathan Rosenbaum
Edited by Stephen Tropiano
What Happened to Women in the Silent Film Industries?
Jane M. Gaines
Interviews and Dialogues
Cáel M. Keegan
Chaplin to Kerouac to Iggy Pop
American Film Noir in the 1950s