SUBMITTING ARTICLES FOR CONSIDERATION

Early Music is always pleased to consider for publication articles of up to 5,000 words.

Early Music aspires to unite the worlds of scholarship and practical performance. Articles should be clearly written, logically presented and accessible to the intelligent general reader. Our readership includes not only scholars at the cutting edge of research, and professional performers who employ the latest ideas in performing practice, but also enthusiasts who enjoy singing, playing or listening to early music. Our subject matter encompasses hundreds of years and many different countries and genres: nobody is an expert in all this material, so please do not feel that it is unduly condescending to explain a few things that a specialist in your field will probably be perfectly familiar with.

In particular, please try to avoid an excessively ‘academic’ tone: articles should not read as though they had been filleted from a PhD dissertation. There is no need to shun the use of the first person singular or to hedge all your opinions with ‘scholarly caution’: if you have an opinion worth presenting, state it boldly.

We make use of a very detailed style-sheet, the implementation of which may be left to our copy-editors. The best guide to editorial style, including such matters as the manner of bibliographical citation, is a recent issue of the journal. We follow standard British usage for spelling, idiom and terminology. However, our readership is international, so please beware of parochialisms.

Early Music prides itself on its illustrations. Please give careful consideration to selecting pertinent illustrative material and, where possible, include xeroxes of any illustrations you would like to include. We are always interested in pictures suitable for colour reproduction, though we are restricted in the amount of colour material we can reproduce in a single issue.

Please submit two paper copies of your article. (One we use as a file copy; the other is sent to a referee.) All text, including displayed quotations, endnotes and captions, should be double-spaced. Use endnotes rather than footnotes in the typescript. Include photocopies of your illustrations and music examples. Please provide captions for all examples, illustrations and tables.

ONCE AN ARTICLE HAS BEEN ACCEPTED

When your article has been accepted for publication, please send us as soon as you conveniently can all the materials we need to produce it in print—text, music examples and illustrations. We ask you to do this even if the anticipated publication date is some time away: this gives us an opportunity to make an early start on production.

TEXT

If your article has been prepared on a computer, please supply it on disk or send it to us as an e-mail enclosure. Please also send us a printout of the latest version. (One copy is sufficient.) All the material for the article should go into a single file, i.e. it should not be divided into one file for text, another for endnotes, another for captions, etc. We are able to use files produced on PCs and Macintoshes, and from most word-processing programs. It will be helpful if you provide us with a safety net by saving a second version of your file to the disk (or e-mail) in either RTF or WordPerfect 5.1 format: most programs are able to do this using the ‘Save As’ option. If you are sending a disk, please include the following information on the label: (1) your name and the title of the article: (2) whether it was produced on a PC or a Macintosh; (3) what word-processing package you used (including the version number, e.g. ‘Word 5.1a for Macintosh’); (4) the date (this will come in useful to distinguish different generations of an article if you should later submit a revised version). If you are sending the file as an e-mail enclosure then items (2) and (3) will suffice.

MUSIC EXAMPLES

Music examples are expensive to set and inconvenient to revise, so please check that the notation of examples is complete and clearly legible. If they include any unusual or non-standard elements (e.g. many Baroque ornaments) give clear instructions so that our music-setter will be able to reproduce them. We discourage the use of Mensurstriche. Each example should be provided with a caption, which should explain what we are looking at and why. If you have used the Sibelius, Finale or Score programs to prepare your examples, it will be helpful if you include your files on the disk with the text of your article; however, please do not go to any special lengths to make the layout fit our format; our music setter will handle this.

EDITORIAL STYLE

We make use of a very detailed style-sheet, the implementation of which may be left to our copy-editors. There are, though, a few points that it may help you to be aware of.

Since we publish from London, we follow standard British usage for spelling, idiom and terminology.

When quoting material from languages other than English, always provide a translation. It is not necessary to reproduce the text in the original language unless it is of particular interest or difficulty; however, if the original words are given, they should appear in the text and not be hidden away in the endnotes.

Each table should be numbered and provided with a caption. Each column in a table should have a heading.

Titles of articles, books, dissertations and music in all languages are shown italicized with minimum capitalization, i.e. for English titles only the first word and those words that would require capitalization in running prose are to be capitalized.

In endnotes do not use ibid., op. cit., loc. cit., idem and the like; second (and later) references to a work are made by the short-title system. Similarly, do not use ‘cf.’ but ‘see’ or ‘compare’.
In the endnotes authors of secondary sources are shown with initials only; composers and authors of primary sources are given forenames. Editors of books are shown after the title, i.e. The Tinctoris companion, ed. J. Doe (and not J. Doe (ed.), The Tinctoris companion).

Early Music follows standard British usage for spelling, idiom and terminology.

When quoting material from languages other than English, always provide a translation. It is not necessary to reproduce the text in the original language unless it is of particular interest or difficulty; however, if the original words are given, they should appear in the text and not be hidden away in the endnotes.

Each table should be numbered and provided with a caption. Each column in a table should have a heading.

Titles of articles, books, dissertations and music in all languages are shown italicized with minimum capitalization, i.e. for English titles only the first word and those words that would require capitalization in running prose are to be capitalized.

In endnotes do not use ibid., op. cit., loc. cit., idem and the like; second (and later) references to a work are made by the short-title system. Similarly, do not use ‘cf.’ but ‘see’ or ‘compare’.
In the endnotes authors of secondary sources are shown with initials only; composers and authors of primary sources are given forenames. Editors of books are shown after the title, i.e. The Tinctoris companion, ed. J. Doe (and not J. Doe (ed.), The Tinctoris companion).

Publication details of books and music normally show only place and date; occasionally, though, it is useful to add the publisher of some of the more out-of-the-way modern editions of music. Where there are multiple places of publication, cite just the first. Omit details of photographic reprints.

Volume numbers of books and periodicals are shown in small roman numerals. References to page numbers in books and journals are always preceded by p. or pp. Avoid such uses as pp.13f. or 72ff.; instead give a terminal page number—pp.13-14, pp.72-85. When first citing articles in periodicals and books, give the full pagination, not just the first page number.

Library sigla for manuscript sources should be avoided unless their use will save a great deal of repetition, in which case the full reference should be given on their first occurrence.

We prefer folios to be cited in the form ff.6v–7r. Note that in this system f.6 indicates the whole of folio 6 and not just the recto.

Some examples of preferred forms of bibliographical citations:

Books: J. Doe, Johannes Tinctoris: life and works (Oswestry, 1968), pp.73–5.

Dissertations and theses: J. Doe, The compositions of Johannes Tinctoris (PhD diss., U. of Slough, 1966), i, pp.247–9.

Articles in a periodical: J. Doe, ‘New light on Tinctoris’, Journal of the Australian Musicological Society, iii (1971), pp.125-40, at p.130.

Articles in a collection of essays: R. Roe, ‘Mensural puzzles in Tinctoris’, The Tinctoris companion, ed. J. Doe (Hoboken, NJ, 1975), pp.73-85, at pp.79-80.

WHAT HAPPENS NEXT

Shortly before we are ready to put your article into proof we will check whether you have any major revisions to make, and whether you need to submit an updated version of the text. (Minor changes can be handled as corrections to the first and only proof.)

COMPLIMENTARY COPY & OFFPRINTS

Upon publication you will be sent a complimentary copy of the issue in which your article appears. If you send a completed offprint order form: to the Production Editor, after a short delay you will receive 25 offprint copies of the article plus free online access to your article. If you need more offprints these can be provided for a small charge, but they must be ordered in advance. We can offer a substantial discount if you wish to purchase further copies of the journal. Please contact us for more details. Orders from the UK will be subject to a 17.5% VAT charge. For orders from elsewhere in the EU you or your institution should account for VAT by way of a reverse charge. Please provide us with your or your institution’s VAT number.

CONTRIBUTOR PAYMENTS

Unusually for a scholarly publication, Early Music has always paid its contributors a fee. We hope to continue this means of demonstrating our appreciation of our authors’ efforts, but cannot guarantee it.

LICENCE TO PUBLISH

Please sign and return the Licence to Publish form: by granting an exclusive licence to Oxford University Press the article will be permitted the widest possible dissemination while you retain the right to use material from it in other publications you write or edit. Please return to the Early Music Editorial office not Oxford head office.

ILLUSTRATIONS

Early Music is famous for its rich pictorial content; no other music journal can match us on that front. You should therefore give careful thought to the images that might accompany your article, and preferably you should suggest a generous quantity of them. For guidance and inspiration, please consult a recent copy of the journal. We are always interested in pictures suitable for colour reproduction, but since the cost of printing colour is considerably greater than black and white, we must set a limit on the amount we use in a single issue. If colour is crucial to your article, please make sure that we understand this. The final choice of illustrations will be made as we approach publication.

Three months before publication, we will need high-quality copies of all the images. We can cope with a wide variety of formats. However, please beware of the following pitfalls.

• For the highest quality colour work (particularly of paintings from art galleries) we need large transparencie (approximately 100x125mm); colour prints are second best. The large transparencies are generally available only on hire from galleries and picture libraries. 35mm slides should be avoided as they are inconvenient for a number of reasons. Please have them turned into photographic prints before you send them to us.
  
• For black and white illustrations, photographic prints are usually best. However, for material with a strong
  black/white contrast, such as woodcuts and engraved music, good-quality photocopies can be just as good, sometimes better.
  
• Digitized pictures (TIFF, JPEG, PICT etc.) create all kinds of technical problems, and, except under very
  unusual circumstances, are best avoided. Illustrations downloaded from the Web are of insufficient quality for print reproduction.
  
• Please do not send us microfilms: we cannot use them.

When ordering photographs, please ensure that they can be delivered in time to reach us three months before publication. If a delay looks likely, ask if an express photographic service is available. Express photography costs significantly more than the regular service, so we recommend that you order your photographs well in advance. If you wish to keep the photographs after publication, we ask you to pay for them, and they will be returned to you after publication. If you do not wish to keep them and want to be reimbursed, that can usually be arranged, but the photographs will then become our property.

Images provided by hire libraries: the Early Music office will make the hire arrangements, and pay all the fees that arise from their use. We will also assist you in the wording of the captions that accompany these images.

COPYRIGHT FOR MUSIC JOURNAL SUBMISSIONS

In line with most academic journals, Oxford Journals require contributors to obtain clearance for any copyright materials reproduced in their articles. The fact that our journals appear in an online version, some with downloadable sound examples may further complicate the position. The law governing copyright, especially as it refers to non-print media, is far from clear but the following guidance is offered in good faith; of necessity, these guidelines are not comprehensive, but rather a simplification of the law governing copyright. Furthermore, these guidelines are based on English Law only. You should always seek advice when in doubt.

In essence it is necessary to ensure that clearance is gained for the following:

• reproduction and distribution in printed form of copyright textual or graphic material or music;
• reproduction in electronic form and dissemination on-line of copyright textual or graphic material or musical or dramatic works;
• reproduction in electronic form and dissemination on-line of copyright sound material (eg a sound recording); and
• reproduction in electronic form and dissemination on-line of performances of music and/or words (eg a song embodied in a sound recording).

While the owner of the rights in a sound recording may also own or control the rights (eg of the performer) in the performance recorded, it would be wise to get confirmation of this from that owner when seeking a clearance, and to make it clear that a licence of both categories of rights is being requested.
Finally you must respect the author's moral rights. This means being careful to ensure that the author and source of any material used are identified sufficiently, and that no material used is subjected to any derogatory treatment.

Is it in copyright?

There is no restriction on the inclusion of non-copyright materials in either the printed or the electronic version of the journal, but be aware that there may be rights in performances of public domain works. Terms of copyright in literary, dramatic, artistic and musical works (whether published or not) depend both on when and where the work was first published, and on if and when the author has died and on the residence and nationality of the author. The rules are complicated, but the general rule is:

• copyright expires seventy years after the end of the calendar year in which the author died;
• if a work was unpublished (and this term has a broad meaning including public performance and broadcasting) at the date of the author's death, then the period of copyright protection will be the longer of:
  
  1. seventy years after the end of the calendar year in which the author died; or
  
  2. fifty years after the end of the calendar year in which the work was first published (in the case of works first published before 1 August 1989) and fifty years from 1 January 1990 (in the case of works first published after 1 August 1989)

In the case of an unpublished document you will need to seek permission from the owner of the document as well as the owner of any copyright in the document.

New editions: A new copyright may exist in a new edition of an existing work. If the new edition contains material alterations which suffice to make the totality of the new edition an original work, then the new edition will be a new copyright work. This is so whether or not the existing edition is in the public domain. Copying the existing work will require no consent if it is in the public domain, but that copying must be done from the existing work and not from the new edition. If the existing work is still protected by copyright, then permission for use must be obtained from the rights owner. If the new edition is used and the old edition is still in copyright, permission must be obtained from the owner of the rights in the new edition and, if that owner does not also own the rights in the old edition, from the person who owns the rights in the old edition. Copyright on typography and music setting (engraving) lasts for 25 years from publication.

Sound recordings: In the case of sound recordings, copyright in the recording generally lasts for fifty years from release. Release has a wide meaning and includes broadcast and public performance. That means that you do not need permission to reproduce clips from original recordings that were released over 50 years ago; reissues (for instance CD compilations of historical recordings) may however be protected by a new copyright, as will sound recordings which have been remastered or digitally enhanced. Rights of performers performing on sound recordings generally last for the same period as the copyright in the sound recording.

Multiple copyrights: As you will gather from the above, a single publication will have multiple copyrights. For a musical score, these typically include the composer, the editor or arranger (if any), and the music setting; in the case of songs and operas the lyrics or libretto will be copyright, too. The publisher will normally handle all these rights. For a recording there will be a number of separate copyrights relating to the performance but they will usually all be handled by the record company, although it may sometimes be necessary to get separate permission from performers; you should check with the record company. Where the work itself is copyright, however, you will have to obtain permission for that separately from the publisher. Material can be considered out of copyright only if all the relevant copyrights have expired.

It's in copyright, but do I need permission?

Make sure you do not apply for permission when you do not actually need it! There is one important circumstance under which permission is not required, and you should consider carefully whether it applies in your case.

Where copyright is in force, it is legal to quote brief extracts from books, articles, or musical works for purposes of review or criticism, provided that the source is acknowledged. In this context 'musical works' is believed to include both scores and recordings, and this provision is believed to extend to electronic as well as to print publication. However you must note the following:

• 'brief' is generally understood to mean no more than 5% of the work and, in any event, no more than is necessary for the criticism or review in question (note that individual items in collections, eg songs, count as works in their own right)
  
• you cannot include the materials just for illustration; the legality of the quotation depends on the presence of critical commentary on it or its use for critical commentary on another work. For instance it might only be legal to reproduce an extract from a recording if you were commenting on the performance or the work recorded.
  

These provisions do not however apply to illustrations or figures in books, since each illustration or figure is treated as a separate copyright item. You will need to obtain permission to reproduce them from the publishers, or where they are credited to third parties from those third parties.

I need permission so what do I do?

In most cases the best place to start applying for permission is with the music publisher. Publishers of most music published in the UK can be found by searching on the web site of the Music Publishers Association http://www.mpaonline.org.uk

You need to write to the copyright holder or owner of the rights in the performance, explaining what you want to reproduce and the nature of the publication; you may have to pay a fee. In the case of textual and graphic material there will normally be little problem; publishers and libraries are used to handling such enquiries.

You may wish to include or adapt the following when writing:

[name of journal], which is published by Oxford University Press, is a scholarly journal with a limited print run. It is also published in an electronic (web-based) version, accessible only to authorized users. I am therefore seeking clearance for both the printed and the electronic versions of the journal for the life of the work. As a scholarly publication, the journal does not offer any remuneration to authors and I would therefore ask you to consider reducing or waiving any fees in respect of this permission.

Sound recordings: The situation is more complicated in the case of sound recordings, largely because record companies are not yet used to handling such requests. As you will only be reproducing a short extract from a recording, an enlightened company will see this not as undercutting sales but as offering free publicity. For this reason it may be advisable, when writing to large companies, to address your letter to the marketing rather than the rights division.

You may wish to include or adapt the following when writing:

[name of journal], which is published by Oxford University Press, is a scholarly journal with a limited print run. It is also published in an electronic (web-based) version, accessible only to authorized users. The electronic version includes a facility for sound examples, and I am writing to request permission to include and use an extract from one of your recordings as a sound example in the way just described, for the life of the work. Full details of the recording will be given. As a scholarly publication, the journal does not offer any remuneration to authors and I would therefore ask you to consider reducing or waiving any fees in respect of this permission.

A problem you may run into is being offered permission for the electronic version on the basis of a fixed-term or renewable license only, which we would unfortunately be unable to accept. In this case, contact the editorial office.

You may have difficulty in determining exactly who holds the rights for older recordings. The National Sound Archive) (a division of the British Library) has information on this and will be glad to advise. The National Sound Archive may also be able to supply CD copies of recorded extracts for journal submissions, with the copying charges paid by the Archive from an educational trust fund (but please note that responsibility for copyright and other rights clearance remains with the contributor).

Mechanical rights and performance rights:

1) In the UK: MCPS/PRS Alliance. The MCPS (mechanical rights for sound recordings, UK) and PRS (performing rights, UK) have formed an alliance which means that it is possible to apply to both of them for permission in tandem. This is good news and should make research and clearance more straightforward: http://www.mcps-prs-alliance.co.uk

2) In the US: Mechanical rights: The Harry Fox Agency in New York is roughly equivalent to MCPS for the US: http://www.harryfox.com

Musical extracts from films: Unlike the reproduction of film stills (where film companies sometimes have little interest in granting permission for academic publications), film companies are very keen to license permissions for the use of musical extracts, and will usually charge. Academic publications might be an exception, and we can expect them to be a little more flexible for a journal article, but it means it is very important to emphasize academic journal publication whenever submitting a permission request to a film company.

Music in facsimile: Permission for music in facsimile works in much the same way as any other illustrative material, so permission should usually be sought for use of the photograph, even if the original object (such as a book) is out of copyright. Usually the best place to start is with the publisher, or in the case of an out of copyright book, the library or collection where the book is held. Where the music itself is still in copyright, then of course the rights have to be cleared as well.


Queries: If you have queries about clearing permissions for your article, please contact the editorial office.

PERMISSION TO REPRODUCE ILLUSTRATIONS

It is your responsibility as the author to obtain written permission to reproduce an image. You should therefore write to the library, museum, archive or gallery that supplied you with the image. Early Music is available onine and it is essential that permission to reproduce is sought well in advance so that any unforeseen copyright issues can be dealt with in good time. Ideally, any clearances should be obtained immediately upon acceptance of the article for publication, but in the very least before the article enters the production process.

Please note that if any third party permissions have not been obtained before this time, it is possible that there could be a delay in the publication of an article, or indeed the entire journal.

Please go to http://www.oxfordjournals.org/access_purchase/image_permissions.htmlfor more information and guidance.

Facsimiles: If you wish to reproduce a page from a facsimile, you need to obtain permission from the publisher of the facsimile. However, this is a complex area, and we recommend that you discuss it with us well in advance of publication.

Captions: Every image should be supplied with a caption, which we ask you to write. The caption should explain what the reader is seeing, and must also give full details of the source from which it has been taken. It should also acknowledge permission to reproduce, using the exact wording supplied in the letter of permission, and (in the case of books or manuscripts) it must give the call-number or shelfmark, and the page or folio number.

E.g. Dublin, Trinity College, Ms.410/2, the Dublin Virginal Manuscript, f.1 (= modern p.273), by permission of The Board of Trinity College Dublin

AUTHOR SELF-ARCHIVING/PUBLIC ACCESS POLICY FROM MAY 2005

For information about this journal's policy, please visit our Author Self-Archiving policy page.