Submission Preparation ChecklistAs part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
- La submission non è stata precedentemente pubblicata, né proposta a un'altra rivista (oppure si fornisce una spiegazione all'editor nei commenti).
- Il file di submission è in un formato OpenOffice, Microsoft Word, RTF, o WordPerfect.
- Dove possibile, sono stati fornite le URL dei riferimenti
- Il testo ha spaziatura singola; usa un font 12 punti ; impiega il corsivo invece della sottolineatura (eccetto con gli indirizzi URL); e tutte le illustrazioni, figure, e tabelle sono posizionate all'interno del testo nei punti appropriati, piuttosto che alla fine.
- Il testo aderisce alle richieste stilistiche e bibliografiche riassunte nelle linee guida dell'autore, che si trova nella pagina di informazioni sulla rivista.
Only articles written in English will be accepted. Articles that do not meet the journal's guidelines, editorial rules and idiomatic standards will be returned to the authors. Approved articles are edited in the layout of the journal, following proofreading as well as a written authorisation from the author.
1. British English
Authors must submit their texts according to the norms and spelling of British English. They should use the ‘-ise’ suffix consistently and thoroughly.
2. Character styles
Accents must be retained in foreign words.
Bold text and underlining should be avoided.
Italics should be used for emphasis only if absolutely necessary. Book and journal titles, newspapers, films, plays, musical works and stage directions should be italicised. Foreign words or phrases should be italicised, except when appearing within quotes.
Spacing: use only one space between words and after punctuation.
Full stops are not necessary after chapter titles, headings and captions. (If a whole sentence is in parentheses, the full stop or other punctuation at the end of the sentence goes before the closing parenthesis.)
Commas should be used sparingly, for clarity, to avoid ambiguity or to divide a sentence. They should be omitted before the final ‘and’ or ‘or’ in lists (unless the meaning is ambiguous).
Hyphens (-) should be used in compound words (self-made man). Use hyphens in dates only when these are adjectival: in seventeenth-century England (but: in the seventeenth century).
Spaced en dashes (–) should be used for parenthetical comments. Use unspaced en dashes (–) between years (1915–1918), page numbers (pp. 156–168) and between different names (Boulez–Cage) and cities (Bern–Paris–New York) in bibliographic references and citations.
Parentheses can be used for simple interpolations.
Parentheses with square brackets should be used for editorial notes, translations in the text or interpolations in quotations, access dates for websites.
Quotation marks should be single (‘ ’). Use single quotes to mark off terms and phrases which are used metaphorically or which seem somewhat misleading.
At the end of quotations, full stops, commas, colons and semicolons go after the end quote. If the end of the quotation does not correspond to an end in the original sentence use an ellipsis in square brackets before the end quote ‘as in this example […]’.
Use double quotation marks (“ ”) for quotes within quotes and official denominations (Conservatorio di Musica “Benedetto Marcello”).
Superscript footnote markers in the text should always follow punctuation. At the end of a quotation they go after the pair ‘quote-punctuation’.
Do not introduce hyphens to spread words across lines and turn off the auto-hyphenation facility in Word.
5. Places, proper names, abbreviations, corporate bodies
Place names and common proper names should follow the English spelling (Germany, Italy; Munich, Rome; Schoenberg), except when appearing in bibliographic citations, archival references and official denominations.
Abbreviations (acronyms, initialisms etc.) should be used consistently in the article. At the first appearance abbreviations go in parentheses after the full name: Bibliothèque nationale de France (BNF). Subsequently in the same article the abbreviation should replace the full name.
Full names of corporate bodies in non-widespread languages should be provided with an English translation in square brackets at the first appearance in the article as in the example: Hrvatska akademija znanosti i umjetnosti (HAZU) [Croatian Academy of Sciences and Arts]. If an official English name exists, this can be used in place of the original.
6. Dates, decades, centuries
Dates should be written as follows: 15 March 1992
Decades should appear without an apostrophe: 1950s
Centuries should be written out in full: in the nineteenth century
7. Figures and illustrations
All electronic copies of figures and illustrations (including music examples) must be saved separately from the text, clearly labelled and numbered consecutively within the article (Fig_1.tif, Fig_2.eps, Fig_3.jpg). Authors should supply images in the program in which they were created.
Please do not copy and paste figures and illustrations into the text file.
Authors should clearly indicate where they would like the figure to appear in the text in square brackets, for example: [insert Figure 2 about here – portrait] [insert Figure 6 about here – landscape]. Figures will be placed as close to the indicator as possible.
Images (JPG or TIF) should be provided at their original size (1:1) and at 300 dpi resolution (dpi = dot per inch = pixel/inch).
Music examples must not be embedded in the text. We need each example saved and labelled separately. Authors can supply: the original files (preferably Finale); vector PDF or EPS files with fonts embedded; 600 to 1200 dpi resolution TIF files.
Tables can normally be inserted in the text as Word tables and (as far as possible) not delivered as separate files.
Captions and source lines should be added to the text below the insert instruction (electronic file names must match the caption exactly).
Copyright lines should be added when necessary.
Captions should be brief and informative. They should be placed with an insertion instruction at the point in the text where the captioned item is to appear.
8. Music symbols within the text
Please download and use the Bach font (developed by Yo Tomita) for all music symbols within the text:http://www.mu.qub.ac.uk/tomita/bachfont/
It is responsibility of the Authors to seek written or email permission for any work in copyright, and also to settle any relevant fees, which can take considerable time to process. Start the application process early, as soon as you know which material you want to include.
Authors must provide copies of all the relevant copyright permission documentation, remembering to note the figure number to which the permission applies.
Authors should inform us of any special conditions for usage (sizing restrictions, cropping/manipulation restrictions, specific credit lines required, approval of proofs prior to publication, etc.) when submitting figures.
Quotations must be an exact reproduction of the original in both spelling and punctuation.
Quotations of less than 50 words can be worked into the main body of the text and should be clearly defined with opening and closing quotation marks.
Quotations of 50 words or more should be set as a separate, indented, paragraph and without quotation marks.
Notes or editorial comments within quotations should appear in square brackets.
Any omission within quotations should be indicated by an ellipsis in square brackets: […].
Translations of foreign language quotations should be provided in English in the main body of the text. The original quotation should be supplied in a footnote.
11. References and Bibliography
Bibliographic citations should appear in footnotes.
Bibliographic and archival descriptions should follow the reference description appearing in catalogues, inventories and normalised title pages. Only capitalise the first word and all proper nouns in titles, except for German titles.
Complete bibliographical indications must be given at the first appearance in footnotes, according to the following examples:
Peter Kivy, Music alone: philosophical reflections on the purely musical experience, Ithaca and London: Cornell University Press, 1990.
Jean-Louis Leleu, La construction de l'idée musicale: essais sur Webern, Debussy et Boulez, Genève: Contrechamps Editions, 2015.
Michel Chion, Audio-vision: sound on screen, ed. and trans. by Claudia Gorbman, New York–Chicester: Columbia University Press, 1994.
Theodor W. Adorno, Kranichsteiner Vorlesungen, hrsg. von Klaus Reichert und Michael Schwarz, Berlin: Suhrkamp (Nachgelassene Schriften, Abteilung IV: Vorlesungen, Bd. 17), 2014.
Musical listening in the age of technological reproduction, ed. by Gianmario Borio, Farnham: Ashgate (Musical cultures of the twentieth century, 1), 2015.
A handbook to twentieth-century musical sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge and New York: Cambridge University Press, 2004.
Medien und Archive: Beiträge zur Rolle moderner Archive in Information und Dokumentation, hrsg. von Gerhard Mantwill, Pullach bei München: Verlag Dokumentation, 1974.
Claude Debussy, Correspondance: 1972–1918, édition établie par François Lesure et Denis Herlin et annotée par François Lesure, Denis Herlin et Georges Liébert, Paris: Gallimard, 2005.
Phillip Murray Dineen, ‘Gestural economies in conducting’, in: New Perspectives on Music and Gesture, ed. by Anthony Gritten and Elaine King, Aldershot: Ashgate, 2011, pp. 131–158.
Gian Francesco Malipiero, ‘Ai direttori d’orchestra (risposte postume)’, in: Gian Francesco Malipiero, Il filo d’Arianna. Saggi e fantasie, Torino: Giulio Einaudi editore, 1966, pp. 285–296: 290.
Melissa Dobson and Stephanie Pitts, ‘Classical cult or learning community? Exploring new audience members' social and musical responses to first-time concert attendance’, Ethnomusicology Forum, 20, 2011, pp. 353–383: 355.
Paul Zukofsky et al., ‘A Preliminary Inventory of Schoenberg Correspondence’, Journal of the Arnold Schoenberg Institute, 18–19, 1995–1996, pp. 9–752.
David Matarrita-Cascante, ‘Beyond growth: reaching tourism-led development’, Annals of Tourism Research, 37/4, 2010, pp. 1141–1163: 1155.
Albrecht Wellmer, ‘La promessa di felicità: perché deve essere infranta’, trad. Alessandro Cecchi, Civiltà musicale, XVIII/1–2, n. 48–49, 2003, pp. 171–188: 179.
Robert Brussel, ‘Claude Debussy et Paul Dukas’, La Revue musicale, VII/7, 1 May 1926 (special issue: La Jeunesse de Claude Debussy), p. 101.
Frances Cumming, ‘Tax-free savings push’, Sunday Mail, 4 April 1999, p. 1.
Alex Ross, ‘Hold your applause: Inventing and reinventing the classical concert’, Royal Philharmonic Society Lecture, 8 March 2010. Available: http://alexrossmusic.typepad.com/files/rps_lecture_2010_ alex-ross.pdf [1 October 2014]
Massimo Mila and Luigi Nono, Nulla di oscuro tra noi. Lettere 1952–1988, a cura di Angela Ida De Benedictis e Veniero Rizzardi, Milano: Il Saggiatore, 2010.
Letter from Massimo Mila to Luigi Nono, 25 February 1960, in: Massimo Mila and Luigi Nono, Nulla di oscuro tra noi. Lettere 1952–1988, a cura di Angela Ida De Benedictis e Veniero Rizzardi, Milano: Il Saggiatore, 2010, p. 22.
Robert Johnston, Access courses for women, e-mail to NIACE Lifelong Learning Mailing List (email@example.com), 22 August 2001.
At the second and following appearances, bibliographical indication must be provided in shortened form:
Kivy, Music alone, p. 103.
Leleu, La construction de l'idée musicale, p. 48.
Chion, Audio-vision, pp. 17–19.
Adorno, Kranichsteiner Vorlesungen, pp. 12, 14, 57.
Musical listening, pp. xviii–xix.
A handbook to twentieth-century musical sketches, pp. 89–130.
Medien und Archive, p. 34
Debussy, Correspondance: 1872–1918, p. xv.
Dineen, ‘Gestural economies in conducting’, p. 132.
Malipiero, ‘Ai direttori d’orchestra (risposte postume)’, p. 286.
Dobson–Pitts, ‘Classical cult or learning community?’, pp. 382–383.
Zukofsky et al., ‘A Preliminary Inventory of Schoenberg Correspondence’, pp. 188, 191.
Matarrita-Cascante, ‘Beyond growth’, pp. 1144–1176.
Wellmer, ‘La promessa di felicità’, p. 188.
Cumming, ‘Tax-free savings push’, p. 1.
Ross, ‘Hold your applause’.
Mila to Nono, 25 February 1960, in: Mila–Nono, Nulla di oscuro tra noi, p. 23.
Johnston, Access courses for women.
12. Archival sources and material
Archival institutions should be cited as follows:
Venezia, Fondazione Giorgio Cini, Fondo Alfredo Casella, L.4547.
Venezia, Archivio Luigi Nono, 18.01.03.
Basel, Paul Sacher Stiftung, Sammlung Pierre Boulez, Mappe J, Dossier 2a.
Scores can be cited as follows:
Luciano Berio, Altra voce, für Altflöte, Mezzosopran und live electronics, Wien: Universal Edition, 1999, UE 35958.
Giuseppe Verdi, La traviata, Melodramma in tre atti/Melodrama in three acts, libretto by Francesco Maria Piave/libretto di Francesco Maria Piave, ed. by Fabrizio Della Seta, Chicago and Milan: University of Chicago Press and Ricordi (The Works of Giuseppe Verdi/Le opere di Giuseppe Verdi, Series I: Operas/Serie I: Opere teatrali, 19), 1997.
If score is a figure source, it should be cited beneath the caption as follows:
Source: Luciano Berio, Altra voce, für Altflöte, Mezzosopran und live electronics, © 1999, by Universal Edition AG, Wien, UE 35958.
In case of different dates of copyright, publication and print, score descriptions should indicate them all.
Edited recordings can be cited as follows:
The Dave Brubeck Quartet, Time out (LP), Columbia Records, CS 8192, 1959.
Concentus Antiqui, Musiche vocali e strumentali dal Duecento al Seicento (LP), Edipan, DX-MA 51, 1976.
40 anni di musiche per il Piccolo Teatro: 1947–1987 (CD), Fonit Cetra, CDC 34, .
Gian Francesco Malipiero, Symphonies No. 9 “dell’ahimè”; No. 10 “Atropo”; Sinfonia dello Zodiaco, Moscow Symphony Orchestra, Antonio de Almeida (CD), Marco Polo, 8.223697, 1994.
Voices of the rainforest  (CD), Smithsonian Folkways Recordings (The Mickey Hart collection), HRT 15009, 2010.
Arturo Benedetti Michelangeli, The complete Warner recordings (14 CD), Warner Classics, 0 825646 154883, 2015.
Nino Rota, Il Casanova di Federico Fellini (LP), Cam, SAG 9075, 1976.
Nino Rota, Il Casanova di Federico Fellini  (CD), Cam, 493094-9, 2003.
Citation of a film in the text:
La dolce vita (Federico Fellini, 1960).
Citation of the original film in a footnote:
Federico Fellini, La dolce vita (1960).
Citations of specific editions of films in VHS or DVD go as follows:
Federico Fellini, La dolce vita  (VHS), Domovideo, 1988.
Federico Fellini, La dolce vita  (DVD), Gruppo A. Mondadori, 2013
René Clair, La beauté du diable  (DVD), Paramount home entertainment France, 2010.