Before you decide to submit your article, please take a look at our
By submitting your article, you agree to sign this form if your article is accepted.
We do not normally consider articles that have already been
published in English, and we cannot consider articles that are
currently submitted for possible publication elsewhere.
Please submit the entire
document—text and graphics—as a .pdf file by email.
If it is accepted, we will then need text and graphics as described
If none of these are possible for you, please contact us.
The format for style in footnotes, bibliographies, and other matter
follow one of those described by the most recent edition of the
Chicago Manual of Style,
or see any recent issue of
Perspectives of New Music).
Please submit your article to the address indicated on our contacts list.
Final Text Formats
Once a text has been accepted for publication, we will require the following. All files may be sent as email
attachments (singly or zipped) or via a download site to our production address
- All copyright clearances, as specified on our release form.
- A signed copy of our release form.
- The article text (no graphics), notes, and bibliography in one of the below formats.
- The article graphics in one of the below formats.
- A separate file containing captions including any required copyright notices.
- A PDF copy of the entire article to be used as a reference copy for typesetting decisions.*
- Your bio. (50–100 words is typical.)
We can accept any of the following formats: OpenOffice (.odt)
(preferred), Microsoft Word (.doc, .docx), Rich Text Format (.rtf).
Please convert LaTeX files to one of the above formats before submitting.
For graphics, please submit a 600dpi image in one of the following formats: .TIF/.TIFF
(preferred), .EPS, .PDF, .JPG/.JPEG, .PNG. We are also able to accept Finale (.MUS) and Sibelius (.SIB) files.
Be advised that you need not spend time on the exact placement of your examples in your text
document, as we have to re-size and reposition everything to fit our page size.
We use OpenOffice software for typesetting. We will try to honor any requests
for special formats integral to the meaning of your text, but by sending
us your text, you agree that our decisions in matters of house style and
format will be definitive.↩
Calls for Papers
Active Younger Composers
Starting with Volume 51 in 2013, we are looking for material about younger composers around the world who are actively concertizing. Age is not so important, though we want to be sure to include younger composers; activity is more important. Currently, the editorial team is working interests in NYC and in Argentina and the rest of Latin America, but we're open to all geographical and stylistic areas.
Música nueva de México
Convocamos textos que aborden temas sobre música nueva y experimental en México, así como en otros países de la vibrante escena musical de Latinoamérica.
New Music of Mexico
We are looking for submissions dealing with new and experimental music in Mexico, and the vibrant new music scene throughout Latin America generally.
Multi-Media Art and Music
Many contemporary art installations include sound or music, and much contemporary music is produced in some multi-media environment. Articles exploring this territory are welcome.
Perspectives is always especially interested in writings that are in some way not like anything else we have published before—about people who make music who have not been discussed before in our pages, or about some music that is new to us but important to the writer, or in general, exploring musical phenomena which have up to now not been given notice in our pages.
We welcome submissions which use mathematics to model aspects of music in new and powerful ways which may prove useful or inspirational for artistic creation. We also welcome reflections on what the musical usefulness of mathematical methods might be.
Collaboration and Improvisation
The Editors would like to see submissions about recent artistic collaborations, and about the improvisational process—musicians with musicians, musicians with dancers and choreographers, musicians with painters and sculptors, and so on. We are especially interested in articles which illuminate new or strangely successful modes of working together, or which describe artistic results of a particularly stimulating nature.
The contemporary Western art music world is increasingly involved in hybridization with the musics of other traditions and cultures, and with various genres of popular music. The layers and degrees of commercialization are increasingly complex, and the relations between commercial and artistic motivations for music-making are dynamic and often ambiguous. We continue to encourage submissions to Perspectives of New Music which expose and explore this world.