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TEMPO: A QUARTERLY REVIEW OF NEW MUSIC
TEMPO: Mission Statement
As a ‘Quarterly Review of New Music’, TEMPO exists to document the international new music scene while contributing to, and stimulating, current debates therein. Its emphasis is on musical developments in our own century, as well as on music that came to prominence in the later twentieth century that has not yet received the attention it deserves.
TEMPO: Instructions for Contributors
Contributions written in English are welcomed from all countries. Manuscripts should not have been published previously or be under consideration for publication elsewhere in any form.
The Editors are keen to publish articles on the new music scene in all its complexity, not simply on a particular work by a particular composer. Discussion of compositional trends, performance practices, listening practices, new music contexts and reception histories are encouraged. TEMPO is sympathetic both to writing about new forms of creative practice (electronic, interdisciplinary, performance-based) and to writing that employs innovative methods of enquiry that differ from the aims of traditional musicology (work broadly adhering to the latter is nonetheless not excluded). These considerations apply equally to TEMPO’s Reviews Section.
Article suggestions or submissions, and all correspondence relating to articles, should be sent to email@example.com. Articles should be in the form of a MS Word Document, not in pdf format. They should generally be no more than 5,000 words in length, and may also be shorter, and may be illustrated by music examples, photographs and/or facsimiles. Normally articles will contain no more than six examples and/or tables and one or two photographs and/or facsimiles. Authors are responsible for providing camera-ready copy of each table, figure, or image with the submission of an article. Any such material should be submitted separately to the article text, in the form of a jpg or tiff, ideally at 1200 dpi. Contributors are responsible for providing a c.150-word abstract of their article, and for obtaining permission to reproduce any material for which they do not hold copyright (paying a fee where necessary) and for ensuring that the appropriate acknowledgments are included in the typescript. The full address of the copyright holder should be provided. Contributors should also submit a 100-word bio.
Articles should not end with a bibliography - all references should be put in footnotes (and not endnotes or in-text citations). Single quotation marks should be used for quotations in the main text, double quotation marks for quotations within a quotation. Contributors from North America may submit with American spellings, but these will be changed to UK spellings for publication. Dates are written thus: c. 1999, 2000s, 14 April 2008. Bibliographic citations should follow the pattern:
Natasha Barrett, ‘Trends in electroacoustic music’, in Collins and d’Escriván (eds.), The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press, 2007), pp. 232-255.
Review suggestions or submissions, and correspondence relating to reviews, should be sent to the Reviews Editor, Heather Roche, at firstname.lastname@example.org.
All reviews should be submitted to the Reviews Editor as a Word document. As a general rule, reviews should not include illustrations. Exceptions to this should be discussed with the Reviews Editor.
The Reviews section of TEMPO is divided into three sections:
PERFORMANCES (focusing on premieres of relevant contemporary works, and often grouped to form a broader context such as a festival, a series, a performer/ensemble, or a particular composer/group of composers);
CDs and DVDs (most often reviewed individually, though broader groupings are accepted);
BOOKS (most often reviewed individually).
Reviews should reflect the journal’s mission statement by documenting an event or release and by examining the meaning – perceived or potential – of this event within the contemporary music scene more broadly. Contributors are discouraged from writing overly lengthy, detailed descriptions of the music itself; rather, they are encouraged to attempt a broader contextualisation and evaluation of the event/release.
The following word limits are guidelines. Contributors planning to exceed these guidelines should seek prior approval from the Reviews Editor.
PERFORMANCES: 2000 words
CDs and DVDs: 800 words
BOOKS: 1500 words
First proofs of an article or review will be sent to the author as a PDF attached to e-mail, and should be returned within two days of receipt. Corrections should be confined to typographical errors and matters of fact.
Authors of an article or review will receive a high-quality PDF of their article without charge.
Contributors of accepted articles will be required to assign their copyrights on certain conditions to Cambridge University Press to help protect their material.
Open Access Policies Please visit Open Access Publishing at Cambridge Core for information on our open access policies, compliance with major finding bodies, and guidelines on depositing your manuscript in an institutional repository.
English Language Editing Services Authors, particularly those whose first language is not English, may wish to have their English-language manuscripts checked by a native speaker before submission. This is optional, but may help to ensure that the academic content of the paper is fully understood by the editor and any reviewers. We list a number of third-party services specialising in language editing and / or translation, and suggest that authors contact as appropriate. Please see the Language Services page for more information. Please note that the use of any of these services is voluntary, and at the author’s own expense. Use of these services does not guarantee that the manuscript will be accepted for publication, nor does it restrict the author to submitting to a Cambridge published journal.
Last updated: 22nd March 2019