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Submission Guidelines and Editorial Criteria Last Updated 14 November 2014

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Submission Guidelines and Editorial Criteria Last Updated 14 November 2014 nova série | new series ISSN 0871-9705 http://rpm-ns.pt Submission Guidelines and Editorial Criteria last updated 14 November 2014 1. Submission Guidelines a) Articles may be submitted at any time to: [email protected] b) Articles that have been published elsewhere or that are currently under consideration by another journal will not be considered. c) Article length should be between 5,000-10,000 words, including footnotes and references. However, both longer and shorter articles may also be considered. d) Articles should be submitted in electronic form, as e-mail attachments. Figures, tables, and musical examples should be provided as separate files. e) Please include, in separate attachments, a covering file including the title of the article submitted, the author’s name and institutional affiliation (if any) and full contact details including an e-mail address; a short abstract in English (maximum 250 words), including at least five keywords, and a biographical note of the author (around 60 words). f) Because the peer review process is anonymous, the author’s name should not appear on any of the documents other than the covering file and the biographical note. g) The authors are responsible for obtaining copyright permission for all the documents they propose for publication. h) If the article is accepted for publication, the authors are required to format a final copy following the RPM style sheet. j) Proofs will be supplied electronically and should be returned as soon as possible. Please note that proofs are not intended for revisions. The final copy submitted to us at the beginning of the production process therefore needs to be complete and correct. For more information please contact: [email protected] 2 2. Editorial Criteria Format Articles in the Portuguese Journal of Musicology are published in PDF format. Authors may submit their articles in MS Word or other readable text format. All images should be created with a resolution of at least 300 dpi in TIFF or JPEG format. Musical examples should be provided either as FinaleTM or SibeliusTM files (in which case TIFF or JPEG images should also be supplied) or scanned copies for resetting. Submissions should be carefully proofread and conform to the following rules: a) Keep formatting to a minimum. Use Times New Roman 11-point type for the main text, 10-point type for extended citations and 9-point type for footnotes. Avoid bold type and underlining. Paragraphs should not be indented. Please make sure that the text contains no hidden or extra returns, tabs, or spaces. b) Footnote numbers should follow punctuation signs without a space and should not be put in brackets. Any acknowledgements should take the form of an initial unnumbered note. c) Type and usage of quotation marks in the main text, footnotes, appendices, captions and bibliographic references follow the norms of the language of the submission. Italics should be used for titles. d) Every extended citation should be in a paragraph of its own, indented and preceded and followed by a blank line. Omissions within citations should be indicated with three ellipsis points enclosed in square brackets. Short citations should be embedded within the text, and enclosed in quotation marks. Depending on disciplinary practices, quotations should be given in the original language whenever possible. If a translation is deemed necessary, it should follow the original quotation and enclosed in square brackets. e) Pairs of numbers (for bars, pages, years, etc.) should observe the following format (i.e., one or two digits in the second number of the pair, omitting unnecessary zeroes): bb. 20-8; pp. 100-3; Louis Hector Berlioz (1803-69). f) References to systems of tonal organization, tonalities, scale degrees, and pitches follow the accepted usage of the language of the submission. g) Captions to examples, tables and figures should give a brief description of the item in question, along with a full citation that includes, as needed, shelfmarks, call numbers, bar numbers and page numbers. h) Locations of all examples, tables, and figures should be clearly indicated in the text: e.g. <Set Example 1 about here>. Portuguese Journal of Musicology, new series ISSN 0871-9705 http://rpm-ns.pt 3 Bibliographic References Please check the current issue carefully for models of layout and house style. Bibliographic references are given either in footnotes using continuous numbering throughout the text, or in the author-date system, according to disciplinary practices. With footnotes, a full reference using small caps for the author’s surname should be given the first time a work is cited. An abbreviated form, consisting of surname and short-form title, should be used thereafter, followed by a reference to the place of the first quotation enclosed in round brackets. Such potentially ambiguous terms as ‘ibid.’, ‘loc.’ or ‘cit.’ should not be used. When two or three places of publication, two or three editors or two dates of publication must be mentioned, hyphenate, e.g.: ‘Oxford - New York’, ‘Colibri - CESEM’, and ‘1953-4’. With more than three places of publication or three editors, mention only the principal place or the first editor, and ‘etc.’ Volume numbers of books and periodicals are shown in arabic numerals (the form as in for instance, 6/1 is to be used for ‘volume 6, number 1’). References to page numbers in books and journals are always preceded by p. or pp. Avoid such uses as pp. 10 ff.; instead give a terminal page number: pp. 10-4. When first citing articles in periodicals and books, give the full pagination, not just the first page number. If the author-date system is to be used, references cited should be carried within the text—as in (CASTELO-BRANCO 1991, 31)—and the complete list included at the end of the text, alphabetically by author and chronologically for each author. The reference list should adopt the style of the Journal with the proper adaptations. There should not be included references that are not cited or mentioned in the text. Capitalize titles of works in English using headline style (i.e., every word capitalized except articles, conjunctions, prepositions, and the words ‘to’ and ‘as’). Capitalize titles of works in Latin and romance languages—Portuguese, Spanish, Italian and French—using sentence style (i.e., only the first letter of the first word of the title and subtitle and any proper nouns are capitalized). With German, use the modified sentence style wherein all nouns are also capitalized. For titles of periodical publications and collections always use headline style. Books 1 Owen REES, Polyphony in Portugal c. 1530 – c. 1620: Sources from the Monastery of Santa Cruz, Coimbra, Outstanding Dissertations in Music from British Universities (New York - London, Garland, 1995). 2 REES, Polyphony in Portugal (see note 1), pp. 260-4. Revista Portuguesa de Musicologia, nova série ISSN 0871-9705 http://rpm-ns.pt 4 Using the author-date system: FERREIRA, Manuel Pedro (1986), O som de Martin Codax: Sobre a dimensão musical da lírica galego-portuguesa (séculos XII-XIV) (Lisboa, Imprensa Nacional-Casa da Moeda) (FERREIRA 1986, 19-22) Articles in Journals and Multi-Authored Volumes 1 João Soeiro de CARVALHO, ‘Performance Culture in Maputo: Categories of Expressive Modes in the Changing of an African Society’, Revista Portuguesa de Musicologia, 12 (2002), pp. 253- 63, at p. 257. 2 CARVALHO, ‘Performance Culture in Maputo’ (see note 1), p. 257. 3 Michel HUGLO and Manuel Pedro FERREIRA, ‘O processional português de Chicago’, Revista Portuguesa de Musicologia, 14-5 (2004-5), pp. 53-78, at pp. 73-4. 4 HUGLO - FERREIRA, ‘O processional português’ (see note 3), pp. 73-4. 5 Paulo Ferreira de CASTRO, ‘Nacionalismo musical ou os equívocos da portugalidade’, in Portugal e o Mundo: O encontro de culturas na música, edited by Salwa El-Shawan Castelo- Branco (Lisboa, Dom Quixote, 1997), pp. 155-62, at p. 159. 6 CASTRO, ‘Nacionalismo musical’ (see note 5), p. 159. Using the author-date system: CASTELO-BRANCO, Salwa (1991), ‘Cultural Policy and Traditional Music in Portugal since 1974’, in Music in the Dialogue of Cultures: Traditional Music and Culture Policy, edited by Max Peter Baumann (Berlin, International Institute for Comparative Music Studies and Documentation), pp. 95-107 (CASTELO-BRANCO 1991, 98-9) Theses and Dissertations 1 Rui Vieira NERY, ‘The Music Manuscripts in the Library of King D. Joao IV of Portugal (1604-1656): A Study of Iberian Music Repertoire in the Sixteenth and Seventeenth Centuries’ (Ph.D. dissertation, University of Texas at Austin, 1990). 2 NERY, ‘The Music Manuscripts’ (see note 1). Portuguese Journal of Musicology, new series ISSN 0871-9705 http://rpm-ns.pt 5 Using the author-date system: CASTAGNA, Paulo (1991), ‘Fontes bibliográficas para a pesquisa da prática musical no Brasil nos séculos XVI e XVII’, 3 vols. (Master’s thesis, Escola de Comunicações e Artes da Universidade de São Paulo) (CASTAGNA 1991, 3, 29) Online Articles and Resources See the format of the preceding examples, followed by web address (URL) enclosed in angle brackets and date of last access enclosed in round brackets: Mário Vieira de CARVALHO, ‘Politics of Identity and Counter-Hegemony: Lopes-Graça and the Concept of “National Music”’, Music & Politics, 6/1 (2012) <http://quod.lib.umich.edu/m/mp> (accessed 13 January 2013). Portuguese Early Music Database (PEM) <pemdatabase.eu> (accessed 21 July 2014). Manuscripts Names of repositories and collections should be given in full when first occurring, along with shelfmark; an abbreviated form (if possible using the RISM sigla) should be used for subsequent references, and mentioned alongside the full reference: First reference: Portugal, Coimbra, Biblioteca Geral da Universidade, MM 12 [P-Cug MM 12], or [Coimbra MM 12].
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