Cambridge Opera Journal
Cambridge Opera Journal is published three times a year, in March, July and November. The editors are Sarah Hibberd (University of Bristol) and Ellen Lockhart (University of Toronto).
For information about submitting a paper, please see Submitting your Materials.
Articles should typically be between 8,000 and 12,000 words; authors proposing longer or shorter submissions should contact the editorial office.
Authors should submit their text files in Word format via https://mc.manuscriptcentral.com/opera
Files should be fully anonymised, double spaced throughout (including notes, etc.). Notes should be numbered consecutively. Italic and bold fonts can be used; right margins should be unjustified. An abstract of no more than 150 words should be included at the beginning of the article. Please attach a title page as a separate file. This should contain name, affiliation and email address, as well as a competing interest statement, a short biography and ORCID ID.
IMPORTANT NOTE: Contributors are responsible for obtaining permission to reproduce any material in which they do not hold copyright and for ensuring that the appropriate acknowledgements are included in their typescript. Full details of the source and the full address of the copyright holder, if this differs, should be provided. For information about seeking permission to use copyrighted material, please see here.
Articles must be written in English, using British conventions of spelling and punctuation when these differ from American usage, preferring ‘-ise’ to ‘-ize’ forms.
References to notation should follow standard British practice; ie ‘bar’ instead of ‘measure’, ‘crotchet’ instead of ‘quarter note’.
Single quotation marks should be used with double reserved for quotations within quotations. Punctuation that is not part of the quoted material should be outside closing quotation marks, as should footnote indicators. Longer quotations should be indented left without quotation marks and double spaced. Prose citations should be in English unless the original is of particular importance, unpublished or inaccessible, in which case the original should be followed by a translation in parentheses. Verse citations should be in the original language followed by a prose translation in parentheses.
Dates should be on the following model: c.1740, 1840s, 5 February 1943. References should be to: Act I scene 2, op. 1 no. 2 in E major, Ex. 12 and Exx. 12–14, Fig. 3 and Figs. 6–9, motif(s) and leitmotif(s). The following system should be followed for indicating precise pitch: C2 C1 C c c1 c2 c3, etc., where c1 is middle C.
Sample footnotes (please do not abbreviate journal titles):
1. Giusy Pisano, Une archéologie du cinéma sonore (Paris, 2004), 24.
2. Pierre Citron, ‘The Mémoires’, in The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge, 2000), 125–45, at 132.
3. Ellen Lockhart, Animation, Plasticity, and Music in Italy, 1770–1830 (Berkeley, 2017).
4. Victor Stoichita, The Pygmalion Effect: From Ovid to Hitchcock, trans. Alison Anderson (Chicago, 2008).
5. Susan Rutherford, ‘Voices and Singers’, in The Cambridge Companion to Opera Studies, ed. Nicholas Till (Cambridge, 2012), 128.
6. Jean Mongrédien, Le Théâtre-Italien de Paris de 1801 à 1831: chronologie et documents, 8 vols. (Lyon, 2008), VII: 265–6.
7. Steven Rumph, ‘The Sense of Touch in Don Giovanni’, Music and Letters 88/4 (2007), 561–88.
8. Claudio Vellutini, ‘Cultural Engineering: Italian Opera in Vienna, 1816–1848’ (PhD diss., University of Chicago, 2015).
9. Sandro Corti, ‘Duprez, Gilbert’, Grove Music Online, www.oxfordmusiconline.com/subscriber/article/grove/music/08364.
10. Ryan Thompson, ‘Operatic Conventions and Expectations in Final Fantasy VI’, paper presented at the 8th Conference of Music and the Moving Image, New York, 31 May 2013.
11. Daniel J. Wakin, ‘The Multiplex as Opera House: Will They Serve Popcorn?’, New York Times (7 September 2006).
12. Stoichita, The Pygmalion Effect, 87.
13. Vellutini, ‘Cultural Engineering’, 45n2.
14. Nicholas Payne, ‘The Business of Opera’, in The Cambridge Companion to Opera Studies, ed. Till, 53–69.
Author should check Cambridge Opera Journal's Publishing ethics policies while preparing their materials.