[Ralph P. Locke]

In November 2019, the first issue of the International Journal of the Study of Music and Musical Performance was uploaded to the Web (https://openmusiclibrary.org/journal/ijsmmp/). We, the seven Chief Editors of IJSMMP, want to take this opportunity to invite all interested musicians and scholars to read the first issue and to contribute to the second and later ones. (Please all feel free to forward this announcement to other lists or individuals.)

The International Journal of the Study of Music and Musical Performance is unusual and, in some ways, even unique. It is published online, open-access, in conjunction with the Open Music Library project. Its editorial and advisory boards are broadly international. It welcomes contributions in any language, and aims—when possible—to offer a reliable English translation of contributions that are not in English.

Most of all, IJSPPM seeks to bridge the worlds of academic discourse and of performers and listeners. With this last aim in mind, it encourages contributions that are more essayistic than is typical in existing journals. It also welcomes reactions to recorded and live performances. Being an online journal, IJSMMP can easily incorporate color illustrations, video, and sound files. Such enrichments help it to provide a forum for discussion of music as it is practiced, and has been practiced, in numerous times and places and for widely differing purposes.

The first issue exemplifies many of these goals, with five articles and six reviews ranging from the medieval ars subtilior to musical practice in present-day Iran, stopping along the way to explore Bach’s flute music, Berlioz’s letters, works of John Cage, and the guitar music of Hans Werner Henze. Everything in the first issue happens to be in English, but one of the articles is a carefully vetted translation of a major study by a Francophone scholar who has spent his career teaching on the Caribbean island of Guadeloupe. This article, based on years of research in church and French-government archives, reconstructs for the first time the life and career of the most renowned operatic soprano active in New Orleans and the West Indies in the years around 1800, a “mixed-race” woman known as Minette. In this case, the French-language text of the article appeared almost simultaneously in a journal of Caribbean studies. We strongly urge scholars—and (more generally) eager commentators on music—from many lands and cultures to join us in our effort to maintain a lively and varied forum for the discussion of music and its multiple uses and meanings in human life. Please find below the table of contents for issue no. 1. For issues nos. 2 and 3, we would particularly welcome contributions relating to any of the following large themes:

• Music and ritual

 

• Music and words (including opera, other theater music, and film)

 

• Music as notated (e.g., a published score) vs. music as a performance or a recording

 

• Music as heard or read: hermeneutic, embodied, expressive, and other possible “ways”

 

• Centers and peripheries in musical life and musical composition: in earlier eras and now

 

• Music and the life cycle (e.g., children\’s music, student music, wedding music, music and the family home, music and the elderly, music and death/burial/mourning)

 

• Music and social/political life: music of political solidarity and protest, music and the workplace, music and commerce (the shopping mall, radio/TV advertising), music and the political process (political parties and rallies, TV news, etc.).

 

Again, we remind potential contributors that they should feel free to offer writings that are somewhat unusual in format (for example, a string of short observations) and that, as appropriate, make imaginative use of audio and visual materials. Most of all, we encourage work that can speak to a wide range of people—in many lands—interested in how and why music has been made, heard, and debated and continues to be today.

The Journal appears under the auspices of seven Chief Editors and a board of twenty-seven Advisory Editors from diverse fields and countries. We are peer-edited, but not formally peer-reviewed. Submissions, questions, and comments should be sent to any of our Chief Editors at the addresses below. Guidelines for contributors can be found at the journal’s site: https://openmusiclibrary.org/article/1030853/.  ~

Chief Editors:

Beatriz Magalhães-Castro (Universidade de Brasília) bmagalhaescastro@gmail.com

Tom Moore (Florida International University) querflote@gmail.com

Catalina Vicens (Oberlin College) servirantico@gmail.com

Rob Haskins (University of New Hampshire) rob.haskins@unh.edu

Luisa Nardini (University of Texas, Austin) nardini@utexas.edu

Samuel Zerin (New York University) sez233@nyu.edu

Melanie Plesch (University of Melbourne) mplesch@unumelb.edu.au

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