Author Guidelines

GENERAL INSTRUCTIONS

Papers should be submitted by e-mail to the Editorial Board of the Musicology journal via e- mail: [email protected]

Texts should be typed in MS Word program or equivalent, font Times New Roman, font size 12, line spacing 1.5, margins 2.5 (top and bottom, left and right). The fonts must also be supplied if the author needs to use alphabets that utilize specific glyphs. Double quotation marks should be used for quoted material within a text (for example, “ ”), while single quotation marks should be used for quotes within quotes (for example ‘’). Between years and page numbers, the en dash should be used (–).

The maximum size of a submitted article (in sections Main Theme and Varia) is 40,000 characters (with spaces), including an abstract (up to 600 characters), keywords (up to 5 words), a summary of up to 2,000 characters, as well as examples, appendices, and illustrations. The List of References is not counted in this maximum word count. Scientific reviews (in the section Critics and Polemics) and texts in the occasional sections, such as In Memoriam, Jubilee, etc., should be at most 9,000 characters (with spaces).

By submitting a manuscript, authors warrant that their contribution to the journal is their original work, that it has not been published before, that it is not under consideration for publication elsewhere, and that its publication has been approved by all co-authors, if any, and tacitly or explicitly by the responsible authorities at the institution where the work was carried out.

Authors are exclusively responsible for the contents of their submissions and the validity of the experimental results. They must ensure they have all parties’ permission to make the data public.

Authors wishing to include figures already published elsewhere must obtain permission from the copyright holder(s) and include evidence that such permission has been granted when submitting their papers. Any material received without such evidence will be assumed to originate from the authors.

Authors must ensure that only contributors who have significantly contributed to the submission are listed as authors; conversely, all contributors who have significantly contributed to the submission are listed as authors.

The deadline for submission of papers is 1 February (for the first volume) and 1 June (for the second volume) of the current year. Manuscripts are pre-evaluated by the Editorial Board to check whether they meet the basic publishing requirements and quality standards. They are also screened for plagiarism.

Authors will be notified by e-mail when their submission has been received. Only contributions that conform to these instructions will be accepted for peer review. Otherwise, the manuscripts will be returned with observations, comments, оr annotations from the authors.

Anonymous reviewers assess the manuscripts, so authors should remove any information within their texts that could be used to identify them.

 

II CONTENT AND FORMAT OF ТHE PAPER IN THE SECTIONS

MAIN THEME AND VARIA

MANDATORY SECTIONS OF THE PAPER 

1. Information about the author
2. Title, abstract, keywords, and summary
3. Main text
4. List of References

 

DESCRIPTION OF THE PAPER SECTIONS

AUTHOR INFORMATION

The author information page should include the following elements:

1. Full name of the author(s) and their affiliation in both Serbian (Cyrillic) and English (title, full name of the institution, city, country).
2. Contact information (e-mail address).

 

TITLE, ABSTRACT, KEYWORDS, AND SUMMARY

This section contains the following elements:

1. TITLE OF THE TEXT IN ENGLISH (font size 16, Small caps, centred)
2. TITLE OF THE TEXT IN SERBIAN (Cyrillic) (font size 16, Small caps, centred)

If necessary, a note (marked with an asterisk) can be included with the title, providing information about the project and financial or professional support for creating the text.

3. ABSTRACT AND KEYWORDS IN ENGLISH
4. ABSTRACT AND KEYWORDS IN SERBIAN (Cyrillic)

Title АBSTRACT: (font size 12, Small caps, centred) ABSTRACT length: up to 600 characters with spaces KEYWORDS: up to 5

The ABSTRACT should provide a brief overview of the research methodology and the most significant research findings presented in the text to be included in reference databases. Do not use citations in the abstract.

KEYWORDS should be listed on a separate line at the end of the abstract. They must be relevant to the topic and content of the text. A correct list of keywords ensures the paper is indexed accurately in reference databases.

 

SUMMARY IN ENGLISH (if the paper is in Serbian) or SUMMARY IN SERBIAN (Cyrillic) (if the paper is in English)

Font size 12, Small caps, centred:

NAME SURNAME TITLE (SUMMARY)

Length: up to 2,000 characters with spaces

The SUMMARY explains the main directions and flow of the research, the methodologies applied, assumptions, and conclusions.

 

MAIN TEXT

Font: Times New Roman, size 12 Line spacing: 1.5

Margins: 2.5 (top and bottom, left and right)

Chapter titles: SMALL CAPS, centred Subchapter titles: Italic, centred

The main text should begin on the fourth page. The author divides the text into sections (chapters, subchapters, paragraphs, etc.).

Authors wishing to include examples and figures must send them as separate files. However, a list of them with all relevant details should be included at the end of the text. For example:

Example 1. Wailing over a mother, rendered by Erža Gašparovská (b. 1931), transcribed by Soňa Burlasová, 1977, Selenča (Bačka region, Vojvodina). Source: Burlasová 2009, 20–21.

Figure 1. Hymn and lament for Cyprus, p. 2 (Michaelides, 1975).

These attachments should be numbered according to the order in which they appear in the text. Each of them should be stated in the text clearly (for example: “see Example 1”, or “see Illustration 3”).

 

ILLUSTRATIONS, MUSICAL EXAMPLES, DRAWINGS, ETC.

Attachments should be of high technical quality. They should be submitted as follows: drawings in Line art format with a resolution of 600 dpi; and illustrations with a minimum resolution of 300 dpi. All illustrations should be provided in JPG or PNG format. The same applies to musical examples when they need to be presented as visual illustrations (e.g. original manuscripts, old editions). Otherwise, musical examples should be transcribed in a music notation program (Finale, Sibelius, etc.) and submitted in PDF, JPG, and PNG formats.

Tables should be attached in Word format at the end of the main text.

 

LIST OF REFERENCES 

The Editorial Board of Muzikologija – Musicology has chosen to apply the Author-Date System of The Chicago Manual of Style (18).

Any reference to monographs, articles or other sources (except archival references) should be indicated in the text by giving the author’s surname and the year of publication in parentheses, e.g. (Samson 1998). If you are quoting part of a text, it is necessary to indicate the exact page number, e.g. (Samson 1998, 50). If there are references to several publications written by the same author/s and published in the same year, these should be differentiated using alphabet letters a, b, c (e.g. 2010a). If you are referencing several publications written by different authors at once, it is necessary to respect chronological order, e.g. (Samson 1998; Rice 2007; Cross 2008). If there are three or more authors/editors of a publication, the abbreviation “et al.” is used in the text (e.g., Narin et al. 2005).

Footnotes should only be used for essential observations, as well as archival sources citations. They should be marked with Arabic numerals in font size 10 without space.

LIST OF REFERENCES (font size 12, Small caps, centred)

The List of References is placed after the main text and must only consist of sources mentioned in it, written in alphabetical order of the authors’ surnames. References should be cited in Latin script, and the ISO 09 standard for transliteration should be used if the publications are in Cyrillic. After the Latin bibliographic entry, a slash should be placed, and the entry should be given in the original script. References in Serbian and other Slavic languages written in Cyrillic should be listed according to the following rule: Latin script (Latin transliteration) / Cyrillic original. In cases where multiple publications by the same author appear in the reference list, their order should be chronological (from the oldest to the most recent).

Depending on the type of publication, each reference should contain the following information:

 

LIST OF REFERENCES

SINGLE AUTHOR (IN ALPHABETICAL ORDER):

Alexander, Jeffrey C. 2012. Trauma. A Social Theory. Cambridge: Polity Press. IN THE TEXT: (Alexander 2012, 37–38)

 

TWO OR MORE AUTHORS OR EDITORS INSTEAD OF AUTHOR:

Knocke, Heinz, and Kai Michael Neuhold. 2015. Siegfried Bethmann. Ein Leben für die Musik. Norderstedt: Books on Demand.

IN THE TEXT: (Knocke and Neuhold 2015)

Elscheková, Alica, and Oskár Elschek. 1982. Slovenské ľudové piesne a nástrojová hudba. Antológia. Bratislava: Osvetový ústav.

IN THE TEXT: (Elscheková and Elschek 1982)

Vesić, Ivana, and Vesna Peno. 2017. Između umetnosti i života. O delatnosti udruženja muzičara u Kraljevini SHS/Jugoslaviji. Beograd: Muzikološki institut SANU. / Весић, Ивана и Весна Пено. 2017. Између уметности и живота. О делатности удружења музичара у Краљевини СХС/Југославији. Београд: Музиколошки институт САНУ.

IN THE TEXT: (Vesić and Peno 2017, 57)

Milanović, Biljana, Melita Milin, and Danka Lajić Mihajlović, eds. 2020. Music in Postsocialism: Three Decades in Retrospect. Belgrade: Institute of Musicology SASA.

IN THE TEXT: (Milanović et al. 2020)

 

EDITOR OR TRANSLATOR ALONG WITH AUTHOR

Adorno, Theodor W. 2007. Philosophy of Modern Music. Translated by Anne G. Mitchell, and

Wesley V. Blomster. London and New York: Bloomsbury Academic. IN THE TEXT: (Adorno 2007, 111)

Prokofiev, Sergei. 1998. Selected Letters of Sergei Prokofiev. Translated, edited, and with an introduction by Harlow Robinson. Boston: Northeastern University Press.

IN THE TEXT: (Prokofiev 1998)

Vasiljević, Miodrag A. 2003. Narodne melodije s Kosova i Metohije. Edited by Zorislava M. Vasiljević. Beograd and Knjaževac: Beogradska knjiga and Nota. / Васиљевић, Миодраг А. 2003. Народне мелодије са Косова и Метохије. Приредила Зорислава М. Васиљевић. Београд и Књажевац: Београдска књига и Нота.

IN THE TEXT: (Vasiljević 2003)

 

BOOK CHAPTER 

Cross, Jonathan. 2008. “Paradise Lost: Neoclassicism and the Melancholia of Modernism.” In Rethinking Musical Modernism, edited by Dejan Despić and Melita Milin, 55–64. Belgrade: Institute of Musicology SASA.

IN THE TEXT: (Cross 2008)

Andree Zaimović, Vesna, Ljerka V. Rasmussen, and Danijela Š. Beard. 2020. “‘What Would You Give to Be in My Place?’: A Conversation with Goran Bregović.” In Made in Yugoslavia, edited by Danijela Špirić Beard and Ljerka V. Rasmussen, 248–254. New York and London: Routledge.

IN THE TEXT: (Zaimović, Rasmussen, and Špirić Beard 2020, 251)

Kokanović Marković, Marijana, and Vera Merkel Tifentaler. 2019. „Školovanje i umetničko delovanje Petra Stojanovića u Beču (1896−1904).” In Na marginama muzikološkog kanona. Kompozitorska generacija Petra Stojanovića, Petra Krstića i Stanislava Biničkog, edited by Biljana Milanović, 67–83. Beograd: Muzikološki institut SANU. / Кокановић Марковић, Маријана и Вера Меркел Тифенталер. 2019. „Школовање и уметничко деловање Петра Стојановића у Бечу (1896−1904).” У На маргинама музиколошког канона. Композиторска генерација Петра Стојановића, Петра Крстића и Станислава Биничког, уредник Биљана Милановић, 67–83. Београд: Музиколошки институт САНУ.

IN THE TEXT: (Kokanović Marković and Merkel Tifentaler 2019)

 

JOURNAL ARTICLE

 Lajić Mihajlović, Danka, David Pokrajac, and Saša Spasojević. 2022. “Gramophone Records of the Singer Mijat Mijatović: From (Re)Construction of Discography to the Study of Recorded Music.” Muzikologija – Musicology 32: 41–81. https://doi.org/10.2298/MUZ2232041L.

IN THE TEXT: (Lajić Mihajlović et al. 2018)

Moody, Ivan. 2023. “Stravinsky and Maritain: Philosophies of Work.” Muzikologija – Musicology 34: 33–43. https://doi.org/10.2298/MUZ2334033M.

IN THE TEXT: (Moody 2023)

Meinhart, Michelle, and Jillian C. Rogers. 2023. “Theorizing Trauma and Music in the Long Nineteenth Century.” Nineteenth-Century Music Review 20 (1): 3–32.

IN THE TEXT: (Meinhart and Rogers 2007, 5)

 

NEWSPAPERS AND PERIODICALS 

Krstić, P[etar]. J. 1931. „Prvi popularni kamerni koncert.” Pravda, 3. novembar, 5. / Крстић, П[етар] Ј. 1931. „Први популарни камерни концерт.” Правда, 3. новембар, 5.

IN THE TEXT: (Krstić 1931, 5)

 

LEXICOGRAPHY ENTRY

„Vasiljević, Miodrag”. 1984. In Leksikon jugoslavenske muzike 2, edited by Krešimir Kovačević, 493–494. Zagreb: Jugoslavenski leksikografski zavod „Miroslav Krleža”.

IN THE TEXT: (Kovačević 1984)

 

BOOK REVIEW

Radovanović, Bojana. 2024. “The Routledge Companion to Applied Musicology, edited by Chris Dromey. New York and London: Routledge, 2024. ISBN 978-0-367-48824-6.” Muzikologija – Musicology 36: 225–230.

IN THE TEXT: (Radovanović 2024)

Vasić, Aleksandar. 2024. “Snežana Nikolajević i Branka Radović ALEKSANDAR VUJIĆ OD A DO Š: KOMPOZITOR, DIRIGENT, PIJANISTA. Beograd: Kamerni orkestar „Simfonijeta”, 2023. ISBN 978-86-901126-3-0”. Muzikologija – Musicology 36: 231–234. / Васић, Александар. 2024. “Снежана Николајевић и Бранка Радовић АЛЕКСАНДАР ВУЈИЋ ОД А ДО Ш: КОМПОЗИТОР, ДИРИГЕНТ, ПИЈАНИСТА. Београд: Камерни оркестар „Симфонијета”, 2023. ISBN 978-86-901126-3-0”. Музикологија – Musicology 36: 231–234. IN THE TEXT: (Vasić 2024)

 

INTERVIEW

Kaufmann, Jonas. 2024. “I Could Sing Parsifal Many Times Every Year, but I Don’t ... It’s Too Precious to Just Use It as a Vehicle to Make Money.” Interview by Mark Pullinger. Gramophone, April 5.

https://www.gramophone.co.uk/features/article/jonas-kaufmann-interview-i-could-sing-parsifal- many-times-every-year-but-i-don-t-it-s-too-precious-to-just-use-it-as-a-vehicle-to-make-money

IN THE TEXT: (Kaufmann 2024)

Maraš, Svetlana. 2022. “Radio Art as a Place of Freedom: Interview with Svetlana Maraš.” Interview by Marija Maglov. INSAM Journal of Contemporary Music, Art and Technology 9, 18–24.

IN THE TEXT: (Maraš 2022)

Double T. 2024. “Experience of Refugee Dancer.” Interview by Marija Dumnić Vilotijević. Belgrade: Institute of Musicology SASA, December 18.

IN THE TEXT: (Double T 2024) 

 

THESIS OR DISSERTATION

Radovanović, Bojana. 2021. „Glas i tehnika/tehnologija u savremenoj muzici.” PhD diss., Univerzitet umetnosti u Beogradu.

IN THE TEXT: (Radovanović 2021)

Tsekouras, Ioannis. 2016. “Nostalgia, Emotionality, and Ethnoregionalism in Pontic Parakathi Singing.” PhD diss., University of Illinois at Urbana-Champaign.

IN THE TEXT: (Tsekouras 2021)

 

ELECTRONIC SOURCES

If a publication is available in multiple formats, specify the version you used. For books and articles accessed online, provide the publication’s electronic address – URL (be sure to include the date of access). If there are no marked page numbers, indicate the section title, chapter, or another identifier.

 

ENCYCLOPEDIA

Kallis, Vasilis. 2014. “Michaelides, Solon.” Grove Music Online. Accessed May 8, 2024. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/ omo-9781561592630-e-0000018581.

IN THE TEXT: (Kallis 2014)

 

WEBSITE CONTENT

Historical Archives of Belgrade. n.d. “Newer Editions”. Accessed July 12, 2024. https://www.arhiv-beograda.org/en/publications/newer-editions.

IN THE TEXT: (Historical Archives of Belgrade, n.d.)

 

VIDEO AND PODCAST

Gavrielidis, Giotis, and Thanasis Stylidis. 2010. “Antartiko Santas – Giotis Gavrilidis – Thanasis Stylidis || Giampolhs.” Radio Trapezounta Boston. YouTube video, 3:05. Posted August 16, 2021. Accessed July 12, 2024. https://www.youtube.com/watch?v=6bW6UJvf_mc&list=PLMDnuMtnrWGDB8mvjaMQy_11F pWyGKKRY.

IN THE TEXT: (Gavrielidis and Stylidis 2010)

 

Gavrielidis, Giotis, Lampis Pavlidis, and Thanasis Stylidis. 2010. “Discography: Yambolis – A Musical Journey (2010).” Radio Trapezounta Boston, 34 YouTube videos. Updated 14 May 2023. Accessed 12 July 2024. https://www.youtube.com/playlist?list=PLMDnuMtnrWGDB8mvjaMQy_11FpWyGKKRY.

IN THE TEXT: (Gavrielidis, Pavlidis, and Stylidis 2010)

 

SOCIAL MEDIA

Beogradska Filharmonija (@BGFilharmonija). 2024. „Kakve su to sve pripreme ušle u naš performans iz vazduha.” Twitter, 15 June 2024.

https://x.com/BGFilharmonija/status/1801921253038489857?t=kTiZ7dE- mLJUO7ElYBikvQ&s=03.

IN THE TEXT: (Beogradska Filharmonija 2024)

Klassik von SWR Kultur. 2024. “Festival-Feeling mit Klassik erleben!” Facebook, July 16, 2024. https://fb.watch/tmeEHlXoic/.

IN THE TEXT: (Klassik von SWR Kultur 2024)

 

PERSONAL COMMUNICATION

Personal communication, including emails, text messages, and direct messages sent via social media, is usually cited only in the text and is rarely included in the reference list.

IN THE TEXT: (Teodora Trajković, email to author, July 15, 2024)

(Institute of Musicology SASA, Facebook message to author, July 15, 2024)

 

MUSICAL SCORE EDITION

Beethoven, Ludwig van. n.d. Klaviersonaten, Band I. HN 1032. Herausgegeben von Bertha Antonia Wallner. München: G. Henle Verlag.

IN THE TEXT: (Beethoven, n.d.)

Rachmaninoff, Sergei. n.d. (1965). Piano concerto No. 2 Op. 18. Plate 1106. Edited by Pavel Lamm. Moscow. Muzyka.

IN THE TEXT: (Rachmaninoff, n.d.)

Konjović, Petar. 1968. Koštana, opera u tri čina. Beograd: Udruženje kompozitora Srbije. / Коњовић, Петар. 1968. Коштана, опера у три чина. Београд: Удружење композитора Србије.

IN THE TEXT: (Konjović 1968)

 

SOUND EDITION

Musical recordings are usually listed in a separate discography rather than in a bibliography.

Kissin, Evgeni, and Vladimir Spivakov (conductor). 1988. W. A. MOZART, Concerto No. 12 for Piano and Orchestra, KV 414 / D. SHOSTAKOVICH, Concerto No.1 for Piano and Orchestra, Op. 35, Moscow: Melodya, C-1025067, 33 rpm. / Киссин, Евгений, и Владимир Спиваков (дирижер). 1988. В. А. МОЦАРТ, Концерт No. 12 для фортепиано с оркестром, KV 414 / Д. ШОСТАКОВИЧ, Концерт No. 1 для фортепиано с оркестром, соч. 35, Москва: Мелодия, C-1025067, 33 rpm.

IN THE TEXT: (Kissin and Spivakov 1988)

Oh Lord, Save Thy People. Serbian Church Chant in the Monasteries in Serbia in the Second Half of the 20th century, CD. 2023. Edited by Nataša Marjanović. Belgrade: Institute of Musicology SASA. / Спаси Господи људи Твоја. Српско црквено појање из манастирских певница, друга половина 20. века, компакт диск. 2023. Уредила Наташа Марјановић. Београд: Музиколошки институт САНУ.

IN THE TEXT: (Marjanović 2023)

Marić, Ljubica. 2011. Music of Sounds for Tape (Fragments), 2 CDs. Edited by Melita Milin. Belgrade: Institute of Musicology SASA. / Марић, Љубица. 2011. Музика звука за магнетофонску траку (фрагменти), 2 компакт-диска. Уредила Мелита Милин. Београд: Музиколошки институт САНУ.

IN THE TEXT: (Marić 2011)

 

ARCHIVAL SOURCES

If unpublished archival material is used in the text, it should be listed under a separate subheading, Archival Sources. The name of the archival institution and the collection number should be provided in the list of used archival sources. In the main text, a complete reference is given in a footnote the first time it is cited, while subsequent citations should use a shortened form.

IN FOOTNOTE FIRST TIME:

Archive of Yugoslavia (АЈ), Ministry of Education of the Kingdom of Yugoslavia, Fond 66, f. 625, no. 1033. The request of a prominent group of musicians to the Council of Ministers, 15. August 1919.

IN THE SUBSEQUENT TEXT:

АЈ 66-625-1033. The request of a prominent group of musicians.

IN THE LIST OF ARCHIVAL SOURCES:

Archive of Yugoslavia, Ministry of Education of the Kingdom of Yugoslavia, Fond 66 / Arhiv Jugoslavije. Ministarstvo prosvete Kralјevine Jugoslavije. Fond 66.

 

FINAL REMARKS

The Editorial Board kindly reminds authors to follow these instructions and respect deadlines. Only complete contributions and those that follow predefined technical standards will be published.

After positive reviews and proofreading or copyediting, the Editorial Board will ask authors to revise their texts according to the given suggestions and to resubmit the text by the final deadline.

Before final preparations for printing, the authors should check their papers in two instances: after the reviewer’s interventions and after the page layout process.