New journal: JAZZ PERSPECTIVES

[ghost of miles]

O happy day! Looks like what I've often dreamed of--a cultural-studies jazz journal:

Routledge announces JAZZ PERSPECTIVES, an international peer-reviewed

journal entirely devoted to jazz scholarship. As an interdisciplinary

platform for jazz studies, the journal will consider all articles

reporting on original research and analysis (musical, historical,

cultural, or otherwise). The first issue of Jazz Perspectives will

appear in January 2007. Thereafter, the journal will be published

biannually with issues released each April and October. (The second

issue will appear in October 2007, as per the usual schedule.)

Editors-in-Chief: Lewis Porter and John Howland, both of Rutgers

University-Newark.

BOOK Review Editor: Wolfram Knauer, Director of the Jazz-Institut,

Darmstadt.

MEDIA REVIEW EDITOR: Gabriel Solis, University of Illinois

Editorial Board: David Ake, Paul Berliner, Graeme Boone, Eric Charry,

Scott DeVeaux, Krin Gabbard, Lawrence Gushee, Travis Jackson, Robin

Kelley, Wolfram Knauer, Jeffrey Magee, Ingrid Monson, Catherine

Parsonage, Marcello Piras, Eric Porter, Brian Priestley, Ronald

Radano, Guthrie P. Ramsey, Jr., Gabriel Solis, John Szwed, Sherrie

Tucker, Walter van de Leur, Tony Whyton.

INFORMATION FOR CONTRIBUTORS OF ARTICLES:

The journal will consider all jazz studies articles reporting on

original research and analysis (musical, historical, cultural, or

otherwise). The journal additionally welcomes articles on topics in

biography, oral history, discography, and primary source studies

(recordings, texts, transcriptions, manuscripts, etc.), though such

submissions must follow the journal's normal form and style

guidelines (outlined below), and include both proper documentation

and appropriate contextual, historical and/or analytical commentary.

Authors that wish to propose other non-conventional submission

formats or materials should contact the editors for advice.

Articles may be submitted at any time and will always be considered

for the next available journal space. The deadline to be considered

for the first issue is 1 April 2006. The deadline for the second

issue is 1 March 2007. Articles for the April issue of 2008 will be

due to the editors by September 1, and for the fall issue by March 1.

All communications and article submissions should be submitted

(preferably) via email to both editors (jlhowland@mac.com and

Lrpjazz@gmail.com). Submissions should include a cover letter with

the author's full name and title, institutional affiliation (if

applicable), email address, mailing address, and the article's full

title. Manuscripts must be submitted as document attachments in

either Microsoft Word (for either OS platform), AppleWorks, or in

Rich Text formats. Word Perfect files will not be accepted. For other

file formats, please check with the editors first before submission.

File names should begin with the author's last name, and additionally

include the phrase "ForReview." If necessary, authors should use

numbers to differentiate individual file attachments (such as

"Porter_ForReview_1.doc"). Music examples, photos, and other

illustrations can be sent in common graphics file formats, including

JPEG, GIF, TIFF and PICT, or even in the native file format of the

Finale notation program. Examples and tables should be printed on

separate pages and not included in the body of the manuscript. Each

example or table should be labeled with the exact underlaid text

(including proper citations) that will be included in the published

form of the article. The manuscript should likewise include clear

indications for the placement of the examples and tables within its

text. For the review purposes of the journal, music examples do not

have to be typeset. They may even be handwritten, though all scanned,

photocopied or handwritten music examples should be sent as a

standard graphic file (JPEG, TIFF, etc.). If the article is accepted

for publication, it is the responsibility of the author to have all

music examples typeset (with the possible exception of clearly

reproduced manuscript score examples). If (and only if) materials

cannot be emailed, three copies of the article should be mailed to

the editors:

Prof. Lewis Porter

Music Program, Visual and Performing Arts Dept.

110 Warren St., Bradley Hall, Room 213

Rutgers University

Newark, NJ 07102

Reviews will be blind. As such, any self-identifying markers in the

submission (such as the author's name, mailing address and email

address, or references to previous publications by the author) must

be deleted or changed in the body of the text, as well as in the

manuscript's header, endnotes, and example pages. The editors will

forward all article submissions to at least two expert reviewers to

evaluate the quality of each submission. These reviewers will be

drawn from both our editorial board and outside scholars. Submissions

by the editors and the editorial board will go through the same blind-

review process.

There are no page limitations for submissions to the journal, and we

will consider articles of both shorter and longer lengths than

conventional journal essay norms. All submissions should follow the

form and style guidelines presented in The Chicago Manual of Style,

15th ed. (Chicago and London: University of Chicago Press, 2003). All

articles should be double-spaced, with endnotes rather than

footnotes. A more detailed style guide will be sent to authors of

articles that have been accepted for publication. The journal

welcomes a variety of writing styles. Informal or colloquial language

is acceptable, even encouraged, if appropriate to a presentation.

Be aware that current practice in the publishing industry requires

that authors obtain a letter of permission for each music example.

Legal precedent declares that in the case of transcribed solos, the

holder of the tune's copyright holds rights to any improvisations on

it as well. If the example excerpt is based on familiar chord

changes, the "tune" is the name of the track in question, not the

composition that its chords are based on. For instance, to reproduce

"Oleo," one goes to Sonny Rollins's publisher, not George Gershwin's.

By extension, one would have to get permission from the publisher of

Miles Davis's "So What" in order to reproduce Coltrane's solo on this

tune. Likewise, the same publisher must be contacted in order to

reproduce the Gil Evans introduction for the arrangement of "So

What" (since the composition is not credited or copyrighted to

Evans). Whether or not one agrees with this practice, we are bound to

follow this precedent. Some copyright holders will request that the

author pay a fee, but be aware that such fees are negotiable. We will

provide a short information sheet on obtaining example permissions

for all authors with accepted articles.

For further information on submission guidelines, please see the

journal's web site at www.tandf.co.uk/journals/titles/17494060.asp.

PROPOSING REVIEWS:

Significant books, CDs, DVDs, web publications, and concerts will all

be considered for review. Reviews are generally assigned and not peer-

reviewed. However, on occasion, a suggestion for a review will be

accepted. All review ideas should be sent to the journal's review

editor, Wolfram Knauer (knauer@jazzinstitut.de).

ABOUT THE JOURNAL:

The birth of Jazz Perspectives is an exciting event in jazz

scholarship. The founding of this journal caps a long history of

efforts to promote jazz scholarship in the academy. That the Newark

campus of Rutgers University has undertaken this project is

particularly fitting, since it is home to the world's premier jazz

archive, the Institute of Jazz Studies, and the first graduate-level

jazz history degree, the M.A. in Jazz History and Research, that

began in September 1997. Jazz Perspectives complements the Annual

Review of Jazz Studies published under the auspices of the Institute.

There has been an exponential growth in academic jazz scholarship

over the last two decades. This high-profile growth has become a

catalyst for jazz and jazz-related research across the humanities. It

has fostered several parallel models of scholarship, each with their

own methodological discourses. Jazz studies now range widely from

historical, analytical and stylistic studies of jazz as a musical

art, to multiple models for studying jazz as culture. While there

continues to be a growing number of large and small commercial

periodicals devoted to jazz, this new academic jazz community has yet

to find a collective international forum to promote cross-

disciplinary scholarly dialogue. This is the goal of Jazz

Perspectives. As a refereed academic journal with an international

editorial board, Jazz Perspectives aims to bridge the jazz-as-music

and jazz-as-culture divide of contemporary jazz studies, as well as

to promote broader international perspectives on the jazz tradition

and its legacy. We likewise welcome the submission of first-rate

scholarship from outside the academy. The pages of the journal will

be devoted to all aspects of—and all approaches to—jazz scholarship.

The journal will be an open platform for historical inquiry, music

analysis, and cultural studies. The journal will furthermore include

reviews and essays on significant recent literature and new

recordings and media. Our mission is to stimulate the international

study and appreciation of the rich legacy of jazz and its many

musical and cultural tangents, both past and present.

Finally, we have a peer-reviewed journal by and for the entire jazz

studies community!

ABOUT THE EDITORS-IN-CHIEF:

Lewis Porter is recognized internationally as a leading jazz

researcher, a mentor to young scholars, and a persistent advocate of

high standards in jazz scholarship. Of his many publications, his

book on John Coltrane is the most acclaimed. His passion for

education is reflected in his founding of the Rutgers-Newark Masters

Program in Jazz History and Research. He also edits a book series

("Jazz Perspectives") for the University of Michigan Press.

John Howland, Porter's colleague at Rutgers-Newark, researches jazz

and jazz-related arranging traditions, music in modern media, and the

connections between popular culture, jazz, race, and American

cultural hierarchies. He has forthcoming articles in American Music

and the Annual Review of Jazz Studies, and his book, The Rhapsodies

of Harlem: Duke Ellington, James P. Johnson and the Idea of Concert

Jazz, will be published by the University of Michigan Press.

More details are here:

http://www.tandf.co.uk/journals/titles/17494060.asp

[DukeCity]

Be aware that current practice in the publishing industry requires

that authors obtain a letter of permission for each music example.

Legal precedent declares that in the case of transcribed solos, the

holder of the tune's copyright holds rights to any improvisations on

it as well. If the example excerpt is based on familiar chord

changes, the "tune" is the name of the track in question, not the

composition that its chords are based on. For instance, to reproduce

"Oleo," one goes to Sonny Rollins's publisher, not George Gershwin's.

By extension, one would have to get permission from the publisher of

Miles Davis's "So What" in order to reproduce Coltrane's solo on this

tune. Likewise, the same publisher must be contacted in order to

reproduce the Gil Evans introduction for the arrangement of "So

What" (since the composition is not credited or copyrighted to

Evans). Whether or not one agrees with this practice, we are bound to

follow this precedent. Some copyright holders will request that the

author pay a fee, but be aware that such fees are negotiable. We will

provide a short information sheet on obtaining example permissions

for all authors with accepted articles.

That's a new one to me. Anyone else ever heard of having to get copyright permission from the tune composer in order to publish a transcription of an improvisation?

[JSngry]

No, and I think that Gil's intro to "So What" was basically a transcription/orchestration of Bill Evans' intro, wasn't it?

[JSngry]

Hasn't there been a similar quarterly publication out of Rutgers for some time? Seems like it started sometimes in the late 1970s. Did it stop for a while?