Imago Musicae is a yearbook dedicated to original, previously unpublished scholarly articles on the representation of music in the visual arts and the relation between music and art. Languages are English, French, German, Italian and Spanish. All submissions are subject to a double-blind peer review, with two expert readers as a general rule.
Manuscripts should initially be submitted in electronic format together with an English abstract (max. 200 words) and the illustrations in low resolution (up to 5 single attachments; otherwise Powerpoint presentation or similar format). To preserve anonymity during the refereeing process the author’s name and full address should appear only on the cover sheet together with the title. Once the manuscript has been accepted, the author is asked to provide the final version together with high-quality scans.
Stylesheet: Quotations in non-modern languages are given in their original form in the main text with translation in a footnote. Footnotes must not precede, but should follow the punctuation marks. Bibliographic references take a short form throughout showing the author’s family name (or short title in italics, in case of multi-author volumes), the year of publication, and the page number(s), e.g. Bowles 1977: 149–51; Holy Image 2006: 39–55 (en dash!). At the end, a separate bibliography with full references is provided, including complete page numbers (for articles), furthermore series titles (for books which form part of a series). Examples:
Bowles, Edmund A.
1977 Musikleben im 15. Jahrhundert. Leipzig: Deutscher Verlag für Musik (Musikgeschichte in Bildern I/8).
2006 Holy Image, Hallowed Ground: Icons from Sinai. Ed. by Robert S. Nelson and Kristen M. Collins. Los Angeles: Getty.
2006 “Early Icons of the Holy Monastery of Saint Catherine at Sinai.” Holy Image: 39–55.
1913 “Gerard David und die Brügger Miniaturmalerei seiner Zeit.” Monatshefte für Kunstwissenschaft VI: 271–80.
Illustrations & Copyright: Scans must be of the highest quality (minimum resolution: 300 dpi). Photographs should be taken directly from the original, but if that is impossible must be of quality as if they were. Captions are numbered consecutively, with precise indication in the main text (e.g. fig. 1, figs. 3a/b). A separate creditline contains all the necessary information as specified by copyright holders. It is the author’s responsibility to obtain the permission to reproduce artwork. We kindly ask to send copies of the licensing agreements to the editorial office, once the final proofs have been accepted.
Editorial office: Dr. Björn R. Tammen, Österreichische Akademie der Wissenschaften, Institut für kunst- und musikhistorische Forschungen, Dr. Ignaz Seipel-Platz 2, 1010 Wien, Austria. Electronic mail: <firstname.lastname@example.org>