Submissions. Music in Art includes original scholarly articles on music iconography and the relationship between music and art. Preferred language of articles is English; articles in French, Italian, Spanish, or German may be considered. Papers should be written in clear and grammatically correct language. Passive voice should be avoided.
Submissions (including papers earlier presented at conferences) will be read by two referees who will evaluate the quality and originality of the manuscript, and asses the validity of research methodologies and procedures. Their recommendations will determine whether or not a paper is accepted for the publication. Author warrants that the submitted contribution has not been previously published elsewhere in whole or in part and that no agreement to publish is outstanding. Manuscripts should be submitted electronically in Microsoft Word or WordPerfect, to The Editor at the Research Center for Music Iconography, 365 Fifth Avenue, New York, NY 10016-4309.

Length of the article or a number of illustrations is not limited.

Quotations in languages other than that of the article should be in the main text giving in a translation with the original text provided in a footnote.

Abstract & autobiographical note. Regardless of the language of the article, the author is responsible for providing an English-language summary (250–300 words) and an autobiographical note (not longer than 80 words). The summary—written in a declarative rather than descriptive style—must state directly the key findings and give the content of the essay. Editor reserves the right to edit authors’ biographies for the length and stylistic consistency.

Illustrations should be provided in the highest professional quality, in TIFF or JPEG formats, in a resolution of minimum 300 dpi and a bit depth of 8. Authors should obtain from museums professional photographs made for print reproduction. Ideally, illustrations should not be less than 6.5 inches (16.5 cm) wide. Xerox copies of photographs or low-resolution images taken from the Internet are absolutely unacceptable. Amateur photographs of objects with reflection cannot be reproduced. Drawings and sketches have to be provided camera-ready, with the text typeset in BookAntiqua font. All illustrations must be referenced and discussed in the text [fig. 1].

Copyright. Authors are responsible for obtaining permission to publish each of their illustrations or music examples. Editor or publisher cannot be made responsible for any infringement of copyright. For every illustration included in the article, authors must provide the journal’s editorial office with the licensing agreements obtained from the object’s owner.

For works created on or after 1 January 1978, the term of copyright is the life of the author plus seventy years after the author’s death. If the work is a joint work with multiple authors, the term lasts for seventy years after the last surviving author’s death. For works made for hire and anonymous or pseudonymous works, the duration of copyright is 95 years from publication or 120 years from creation, whichever is shorter. For works created before 1 January 1978, that were not published or registered as of that date, the term of copyright is generally the same as for works created on or after 1 January 1978. The law, however, provides that in no case would the term have expired before 31 December 2002, and if the work was published on or before that date, the term will not expire before 31 December 2047. For works created before 1 January 1978, that were published or registered before that date, the initial term of copyright was twenty-eight years from the date of publication with notice or from the date of registration.

Captions. Each caption must include the name of the collection where the original is held and its inventory number. Measurements of artworks are expressed in millimeters for prints and other works on paper, centimeters for paintings and three-dimensional objects, meters for architectural works. Comments explaining the reproduced work that are included in the caption, come at the end, following the information about the collection owning the work. Article should not include illustrations that are not substantially discussed in the text. All illustrations must be referenced in the text. Captions need to be in the following formats:

1. Claude Gallée (called Claude Lorrain), “Landscape with Psyche outside the Palace of Cupid” (“The Enchanted Castle”; 1664). Oil on canvas, 87.1 × 151.3 cm. London, National Gallery, bought with contributions from the National Heritage Memorial Fund and The Art Fund, 1981, NG6471. [= painting]

2. Roman altar. Woodcut in: Hieroglyphica by Johannes Pierus Valerianus (Basel, 1567). Libr. XLVII, cap. 1, p. 500. [= book illustration]

3. Hazel Brown, Rose of Araby, lyrics and music by Call de Voll (Chicago: Ted Brown Music Co., 1919). [= sheet music cover]

4. Joseph Vimeux, Le Cavalier Hadjoute: Chant Arabe (Paris: Heugel, [1856]). Cover illustration by T. Laval, after Adolphe Mouilleron. [= both sheet music cover and a page of music reproduced together]

5. Roman coin minted in Siscia during Flavius Valens (AD 364-378; AE Quartunica, ∅ = 18 mm, 1.73 g). London, The British Museum, 1992,0904.6. © The Trustees of the British Museum. [= coin]

Names of institutions should be provided in the original language.

Transliteration from languages using non-roman writings system must follow standards recommended by the International Organization for Standardization: Arabic ISO 233-2; Cyrillic ISO 9-1995; Devanagri ISO 15919; Georgian ISO 9984; Greek ISO 843; Hebrew ISO 259; Korean ISO 11941; Persian ISO 233-3; Thai ISO 11940.

Figure references included in the text should be in the following format: [fig. 1]. To avoid redundancy, figures in the text should not be referenced more than one time.

Bibliographic references. It is desirable that the endnote number is included at the end of the sentence, following the punctuation marks. References for publications in non-roman writing systems need to be provided bilingually with both the original version and its transliteration to roman alphabet. The style sheet for Asian languages should follow the practices of the Harvard Journal of Asiatic Studies. Bibliographic references should follow the following format:

¹ Joan Rimmer, “Medieval Instrumental Dance Music”, Music & Letters LXXII/1 (February 1991), 61-68.

² Cristina Santarelli, Iconografia musicale nei musei torinesi. Le Chevalier Errant: Studi sulla musical degli Antichi Stati Sabaudi e del Piemonte 3 (Lucca: Libreria Musicale Italiana, 2003), 102.

³ Daniel Heartz, “A 15th-Century Ballo”, Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. by Jan LaRue (New York: Pendragon Press, 1978), 359-375.

⁴ Guojia jiliang zongju 國家計量總局, Zhongguo gudai du liang heng tuji 中國古代度量衡圖集 (Beijing: Wenwu chubanshe 文物出版社, 1984), pl. 56-62.

Authors should pay attention to: (1) include the first (given) names of all authors of cited material; (2) provide page extents for all cited articles or chapters; and (3) provide for the first reference in footnotes a full citation, with subsequent references using a short title; include the correct name of the publisher, and not only its abbreviation.

Reviews. The journal includes reviews of books and exhibitions. Publishers are encouraged to send to the editor review copies of books. Organizers of music-related exhibitions should send catalogues for a review, and if possible the press kit prepared for the exhibition. Unexperienced reviewers may want to read a classic essay by Gustave Reese, On the art of book reviewing, Notes XXIII/4 (1967), 685-688.

Letters to the editor. Letters to the editors and any other type of interaction of readers with the content of articles are encouraged. Authors of criticized material will have an opportunity to responds. The editor reserves the right to publish letters in excerpted form and to edit them for concision and clarity.

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