Guidelines for Contributors

The Musicology Review welcomes essays and reviews from undergraduates, postgraduates and staff. Submissions are invited on subjects in the history, philosophy, analysis, theory, sociology and performance of music. We welcome articles on the Western art-musical repertoire, and on any aspects of the ethnomusicology of Western and non-Western musics. Reviews of books, conferences and recordings are also invited. Suggestions for reviews should be submitted to the editors. Submissions should not have been published previously in part or in whole.

Articles should be submitted as a Word document by email attachment to musicologyreview@gmail.com or on disk or memory key to:

The Musicology Review,
c/o School of Music,
J301 Newman Building,
University College Dublin,
Dublin 4, Ireland

Submitted manuscripts should be typewritten in Times New Roman twelve-point font, and submitted in A4 portrait format. All materials should be 1.5 line-spaced, including notes, extracts, example captions and figure headings. Sub-sections of text should begin on separate lines, and words should not be divided at the end of a line.

Quotations within the main text should be enclosed in single inverted commas; quotations within quotations should be enclosed in double inverted commas. If a quotation constitutes an entire sentence within the text, or if it occupies the entirety of a sentence after a colon, then the final full stop should precede the final inverted comma. Otherwise, full stops should be placed outside quotations ending sentences. Quotations of more than three lines in length should be presented as an extract, and thus indented, offset from the main text by a single-line break above and below, and reduced to ten-point font.

Please present all annotations as footnotes. Submissions should be assembled in the following order: title page, including the author’s name and contact details; text with annotated footnotes; musical examples; example captions; figure headings (if any). Tables should be formatted as Microsoft Word tables and accompanied by captions. Position of all tables, examples and figures should be clearly indicated in the text.

Contributors are requested to keep the quantity of annotations and examples to a necessary minimum. It is recommended that submissions do not exceed 10,000 words. Authors are encouraged to divide their text into numbered and/or titled sections.

The yearbook broadly follows the style guidelines advocated in The Oxford Style Manual. Please note that British/Irish English spellings and idioms are to be adopted throughout, for example bar, crotchet, metre. Notes should in general conform to the following format:

For books (single author)
first footnote: R. Larry Todd, Mendelssohn: A Life in Music (Oxford: Oxford University Press, 2003), 28; bibliography: R. Larry Todd, Mendelssohn: A Life in Music, Oxford: Oxford University Press, 2003: subsequent footnotes: Todd, Mendelssohn: A Life in Music, 6.

For books (multiple authors)
first footnote: Steven E. Gilbert and Allen Forte, Introduction to Schenkerian Analysis (London: Norton, 1982), 82; bibliography: Steven E. Gilbert and Allen Forte, Introduction to Schenkerian Analysis, Norton: London, 1982; subsequent footnotes: Gilbert and Forte, Introduction to Schenkerian Analysis, 101.

For journal articlesfirst footnote: Pauline Fairclough, ‘Mahler Reconstructed: Sollertinsky and the Soviet Symphony’ in Musical Quarterly 85 (2001), 367-90; bibliography: Pauline Fairclough, ‘Mahler Reconstructed: Sollertinsky and the Soviet Symphony’ in Musical Quarterly 85, 2001, 367-90; subsequent footnotes: Fairclough, ‘Mahler Reconstructed’, 380.

For corporate volume articles
first footnote: Jim Samson, ‘Analysis in Context’ in Nicholas Cook and Mark Everist, eds, Rethinking Music (Oxford: Oxford University Press 1999), 35-54; bibliography: Jim Samson, ‘Analysis in Context’ in Nicholas Cook and Mark Everist, eds, Rethinking Music, Oxford: Oxford University Press 1999, 35-54; subsequent footnotes: Samson, ‘Analysis in Context’, 51.

For encyclopaedia/dictionary entries
first footnote: Paul Hawkshaw and Timothy L. Jackson, ‘Bruckner, Anton’ in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians 2nd edition 4 (London: Macmillan 2001), 458-87; bibliography: Paul Hawkshaw and Timothy L. Jackson, ‘Bruckner, Anton’ in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians 2nd edition 4, London: Macmillan, 2001, 458-87: subsequent footnotes: Hawkshaw and Jackson, ‘Bruckner, Anton’, 460-71.

For CDs/DVDs
Classical CD: Edward Elgar, ‘Pomp and Circumstance March No. 2 in A minor’, Enigma Variations, Pomp and Circumstance Marches Nos 1-5, Crown of India Suite, Track 17, London Philharmonic Orchestra/Daniel Barenboim, London 1973, Sony Classical, SBK 48265, Audio CD.
Trad CD: The Fire Aflame, 1992, ‘Seán Ryan’s Reel and The Grand Spey’, Track 13, Matt Molloy/ Seán Keane/Liam O’Flynn, Cork, Claddagh Records, CCF30CD, Audio CD.
DVD: Giacomo Meyerbeer, Les Huguenots, ‘Entr’acte’, Track 22, Berlin 1991, Arthaus Musik, 100156, DVD.

For online articles
first footnote: James Webster, ‘Sonata Form’, in L. Macy, ed. Grove Music Online http://www.grovemusic.com (Accessed 1st May 2008); bibliography: James Webster, ‘Sonata Form’, in L. Macy, ed. Grove Music Online http://www.grovemusic.com (Accessed 1st May 2008); subsequent footnotes: James Webster, ‘Sonata Form’, Grove Music Online.

For other online resources, including images and audio clips, please include the name of the creator (if known) followed by the complete address, including access mode (http, telnet, ftp, etc.) and date of access in parentheses.

Musical examples should be presented as Sibelius documents: handwritten examples will not be accepted. The responsibility for obtaining permission to reproduce extracts, musical scores and illustrations lies with the author. Necessary acknowledgements should be included in example and figure headings.