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GUIDELINES FOR CONTRIBUTORS Contributions from North America should be sent as Word file attachments to: CAMBRIDGE OPERA JOURNAL Professor Steven Huebner, email: [email protected] Contributions from Europe should be sent as Word file attachments to: EDITORS: Suzanne Aspden Dr Suzanne Aspden, email: [email protected] University of Oxford, UK Contributions from the rest of the world may be sent to either editor. Electronic submission of all Steven Huebner material is preferred. If size of files is a concern at initial submission, contributors should consult with McGill University, Canada the editors. Contributors are responsible for obtaining permission to reproduce any material in which they do not hold copyright and for ensuring that the appropriate acknowlegements are included in their BOOK REVIEW EDITOR: Marina Frolova-Walker , UK typescript. Books for review should be sent to: EDITORIAL BOARD: Carolyn Abbate Martha Feldman Ellen Rosand Professor Benjamin Walton University of Pennsylvania, USA University of Chicago, Yale University, USA Jesus College Robert Addlington USA Emanuele Senici Jesus Lane University of Nottingham, UK Thomas S. Grey University of Rome, La Sapienza, Cambridge CB5 8BL Stephen Banfield Stanford University, USA Italy UK University of Bristol, UK Arthur Groos Mary Ann Smart Melania Bucciarelli, Cornell University, USA University of California, Berkeley, Essays should normally be no more than about 16,000 words in length. 10,000 words is a normal lower City University London, UK Wendy Heller USA limit, though exceptions can be considered if the subject matter warrants it. Tim Carter Princeton University, USA Marian Smith Music examples and photographs should be scanned at 300dpi. 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This consent does not extend to multiple copying for promotional or commercial purposes. Code 0954–5867/11 $12.00. ISI Tear Sheet Service, 3501 Market Street, Philadelphia, PA 19104, USA, is authorised to supply single Sample footnotes (do not abbreviate journal titles): copies of separate articles for private use only. Organisations authorised by the Copyright Licensing 1 Agency may also copy material subject to the usual conditions. For all other use, permission should be John Whenham, : ‘Orfeo’ Cambridge Opera Handbooks, 3rd edn (Cambridge, sought from Cambridge or the American Branch of Cambridge University Press. 1996), 44–6. 2 Gerald Abraham, ed., The Age of Beethoven, 1790–1830, New Oxford History of Music, 8 (Oxford, Offprints: No paper offprints are provided, but the corresponding author will be sent the pdf of the 1982), 100–6. published article. Print offprints may be purchased at extra cost at proof stage. 3 Curt von Westernhagen, Wagner: A Biography, trans. Mary Whittall, 2 vols. (Cambridge, 1978), II, 77f. Information on Cambridge Opera Journal and all other Cambridge Journals can be accessed at 4 Winton Dean, ‘French Opera’, in Abraham, Beethoven, 137–46. www.journals.cambridge.org 5 Ernest Newman, The Life of Richard Wagner,IV(1947;rpt.NewYork,1981),212–15. 6 Edgar Istel, ‘Beethoven’s Leonora and Fidelio’, Musical Quarterly, 7 (1921), 228–31. 6 CAMBRIDGE UNIVERSITY PRESS 2012 7 K. T. Rohrer, ‘ ‘‘The Energy of English Words’’: A Linguistic Approach to ’s Method Printed in the United Kingdom by Henry Ling Limited, at the Dorset Press, Dorchester, DT1 1HD. of Setting Texts’, Ph.D. diss. (Princeton University, 1980), 33. 8 Rohrer, 249n3. 9 Whenham, Monteverdi: ‘Orfeo’, 57. First proofs may be read and corrected by contributors provided that they can be reached without

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