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Directions to Contributors

Directions to Contributors closing with five key words. Musical examples should be submitted as PDFs and illustrations as TIF, PDF, or JPEG files. All endnotes and extracts must be double-spaced. Submissions should be sent to the editorial office, 19th-Century Music, Music Department, University of California, Davis: cmacosta@ucdavis.edu. For quotations transcribed from foreign sources, authors are urged to specify in the typescript occurrences of the following characters: ß, É, À, OE, and oe. Prospective contributors should consult recent issues of 19th-Century Music or Writing About Music, by D. Kern Holoman (Berkeley and Los Angeles, 1988), for matters of style. In most cases, we follow the practices of The Chicago Manual of Style, 16th edn. (Chicago: University of Chicago Press, 2010). IN OUR NEXT ISSUE (FALL 2012) Elizabeth Morgan: The Accompanied Sonata and the Domestic Novel in Britain at the turn of the Nineteenth Century Sean Parr: Dance and the Female Singer: Vertiginous Voices in Second Empire Paris Dan Wang: Tennyson's Ambivalence, Strauss's Revision: The Tale of Enoch Arden Naomi Perley: The Language of an Unknown Country: Intratextuality in Proust's In Search of Lost Time Laura Moore Pruett: "Mon triste voyage": Sentimentality and Autobiography in Gottschalk's The Dying Poet Emily Erken: A Dialogue between Chekhov, Tchaikovsky, and Shostakovich: John Neumeier's 2002 Ballet The Seagull Brent Wetters: Idea and Actualization in Bruno Maderna's Hyperion Brianna Wells: Experiencing the Intermedial Uncanny in the Metropolitan Opera Live in HD Broadcasts http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Directions to Contributors

19th-Century Music , Volume 36 (1) – Jul 1, 2012

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Publisher
University of California Press
Copyright
© 2012 by the Regents of the University of California
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2012.36.1.085
Publisher site
See Article on Publisher Site

Abstract

closing with five key words. Musical examples should be submitted as PDFs and illustrations as TIF, PDF, or JPEG files. All endnotes and extracts must be double-spaced. Submissions should be sent to the editorial office, 19th-Century Music, Music Department, University of California, Davis: cmacosta@ucdavis.edu. For quotations transcribed from foreign sources, authors are urged to specify in the typescript occurrences of the following characters: ß, É, À, OE, and oe. Prospective contributors should consult recent issues of 19th-Century Music or Writing About Music, by D. Kern Holoman (Berkeley and Los Angeles, 1988), for matters of style. In most cases, we follow the practices of The Chicago Manual of Style, 16th edn. (Chicago: University of Chicago Press, 2010). IN OUR NEXT ISSUE (FALL 2012) Elizabeth Morgan: The Accompanied Sonata and the Domestic Novel in Britain at the turn of the Nineteenth Century Sean Parr: Dance and the Female Singer: Vertiginous Voices in Second Empire Paris Dan Wang: Tennyson's Ambivalence, Strauss's Revision: The Tale of Enoch Arden Naomi Perley: The Language of an Unknown Country: Intratextuality in Proust's In Search of Lost Time Laura Moore Pruett: "Mon triste voyage": Sentimentality and Autobiography in Gottschalk's The Dying Poet Emily Erken: A Dialogue between Chekhov, Tchaikovsky, and Shostakovich: John Neumeier's 2002 Ballet The Seagull Brent Wetters: Idea and Actualization in Bruno Maderna's Hyperion Brianna Wells: Experiencing the Intermedial Uncanny in the Metropolitan Opera Live in HD Broadcasts

Journal

19th-Century MusicUniversity of California Press

Published: Jul 1, 2012

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