Music and shared imaginaries
Editorial guidelines - Proceedings
All submissions will be reviewed by an editorial board that will ensure the quality of the volume. The editorial board might reject articles or request changes in order to guarantee the quality of the texts to be published.
The deadline for submission is November 3rd.
All texts must conform to the following editorial guidelines:
1. 3200-word (maximum), including bibliography and notes in Portuguese or English.
2. Please submit in Word format, Arial, 12pt text, 1,5 line spacing, and no space between paragraphs.
3. The header should respect the following sequence: Title (bold and centred) author(s) and institution (optional: e-mail contact).
4. A 10-line abstract and 5 keywords (maximum) should be included before the main text (NB: for texts in Portuguese the abstract should be in English). A brief biography of the author(s) with no more than 5 lines should also be included, before the main text.
5. Footnotes should be presented in size 10pt; they should present complementary information and should not include bibliographic references.
6. Quotations must be enclosed in double quotation marks. If they are longer than three lines, they must be set off from the left margin and from the main text (1-line spacing), and written in a separate paragraph with no quotation marks and using 1 line spacing.
7. Quotes or bibliographic references must be followed by an appropriate reference to the quoted source, for example: (Taruskin 2010, 235), following the Chicago Sciences style (Chicago B, for those using Endnote software).
8. All tables, musical examples and figures must be separately numbered.
9. Complete bibliographic references should be presented at the end of the paper, in alphabetic order. Bibliography must not mention works that are not cited or referred to in the text. Please use the models presented:
Taruskin, Richard. 2010. The Danger of Music and Other Anti-utopian Essays. Berkeley: California University Press.
Herndon, Marcia. 2000. “Epilogue the Place of Gender within Complex Dynamic Musical Systems.” In Music and Gender, edited by Pirkko Moisala and Beverley Diamond, 357-359. Urbana: University of Illinois Press.
Rink, John. 1993. “Schenker and Improvisation.” Journal of Music Theory, no. 37 (1):1-54.
Nettl, Bruno, ed. 1998. In the Course of Performance: Studies in the World of Musical Improvisation. Chicago: University of Chicago Press.
Madrid, Alejandro. 2009. Why Music and Performance Studies? Why Now?: An Introduction to the Special Issue. Trans 13: Revista Transcultural de Música. http://www.sibetrans.com/trans/trans13/art01eng.htm [accessed dd/m/year].
Recording and audiovisual references should be listed in separate lists after the bibliography. Although the formats listed below should be used as reference models, the authors may be free to add information if necessary.
Sting and Edin Karamazov. 2006. Songs from the Labyrinth. CD. Deutsche Grammophon.
Please specify the media format for recordings and audiovisuals: CD, DVD, VCD, MT, MD, etc.