Tilman Seebass, preface to vol. XXIII, spring 2010
The last volume of Imago Musicae was published in 2006. At that time I had doubts that there would be another one. After twenty-five years of work as editor, a certain fatigue had to be expected, since I had done almost all the work by myself and in- dependently. It was a wonderful surprise that three younger colleagues approached me and suggested to continue the enterprise in a joint team; a fourth scholar soon joined us. I was touched by their devotion to the cause and I am profoundly grateful to the four of them. Alterations, questions of the division of work, and other problems caused delays, but now the ship should have turned on course again.
Nothing has changed in respect of the principles of editing. Imago Musicae is an internationally refereed yearbook with a review section. Submitted manuscripts are read by two independent colleagues—most often a musicologist and an art historian or ethnologist. We are welcoming manuscripts from every corner of the world and about any subject dealing with music in the visual arts. The multilingual set-up, too, will not be changed. In view of the fact that in recent decades English became particularly common for scholarly communication across the nations, the number of submissions translated into English was on the rise. But the texts were often not very idiomatic. Even if the authors hired professional translators, these were usually trained in completely different fields. Stylistic editing, however, was for financial reasons not possible—neither in the publisher’s office nor ours. We therefore prefer contributions written in one of the world languages with which the author is most familiar.
So far, the editorial responsibility was all mine; now it has the support of the editorial team. Even with the new set-up, however, it remains impossible to include abstracts in a second language; there is no financial support from outside for this. Indeed, it would be desirable to provide one day this service to the international community of readers.
My special thanks go to the Department for Musicological Research of the Austrian Academy of Sciences (Vienna), providing the editorial main office with Dr. Tammen, and the project ‘Ricercar’ at the Center for Advanced Studies of the Renaissance (Tours), directed by Prof. Vendrix, who takes care of the layout.