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Studies in Musical Theatre: Volume: 2 | Issue 1

Studies in Musical Theatre: Volume: 2 | Issue 1

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Published by Intellect Books
Studies in Musical Theatre is a refereed journal which considers areas of live performance that use vocal and instrumental music in conjunction with theatrical performance as a principal part of their expressive language.
Studies in Musical Theatre is a refereed journal which considers areas of live performance that use vocal and instrumental music in conjunction with theatrical performance as a principal part of their expressive language.

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Published by: Intellect Books on Aug 19, 2009
Copyright:Attribution Non-commercial


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Studies in
ISSN 1750-3159
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Studies in Musical Theatre
Volume 2 Number 12008
Studies in Musical Theatre
is a fully refereed journal, the first academicperiodical in this area. We would like to invite contributions that exploreany aspect ofthe musical stage. For example:Opera, Music Theatre or Musical Theatre?Archival and production researchNarratives ofthe musical stageHistoriographical perspectivesMusicological and dramaturgical approachesPerformance and performance practiceApproaches to training and the industryThe fusion ofwords and musicThe use ofmusic and song within ‘straight’ theatreParalinguistics and rhetorical expressionNegotiating the art/entertainment divideThe academic study ofmusical theatreThe journal also welcomes contributions from recognised practitioners inthe field, who may include writers, directors, MDs, performers, coaches,etc. The journal’s ‘Re:Act’ section embraces issues relating to practiceand seeks to participate in the development ofcreative practice in theprofession.
Editorial Board
Michael Eigtved – University ofCopenhagen, DenmarkHeath Lees – University ofAuckland, New Zealand Jim Lovensheimer – Vanderbilt University, Nashville, USAKate Napier – Guildford School ofActing, UKCatherine Parsonage – Leeds College ofMusic, UKBarbara Poston-Anderson – University ofTechnology, Sydney, Australia James Randall – University ofMontanaClemens Risi – Freie Universitaet Berlin, GermanyDavid Roesner – University ofExeter, UK Jane Schopf– Rose Bruford College, UKSteve Swayne – Dartmouth College, USAMillie Taylor – University ofWinchester, UKNicholas Till – University ofSussex, UKStacy Wolf– University ofTexas at AustinGraham Wood – Coker College, South Carolina, USA
Advisory Board
Stephen Banfield – University ofBristol, UKGeoffrey Block – University ofPuget Sound, USATim Carter – University ofNorth Carolina at Chapel Hill, USA Jon Alan Conrad – University ofDelaware, USARobert Gordon – Goldsmiths College, University ofLondon, UK John Graziano – City University ofNew York, USATrevor Herbert – Open University, UKKim Kowalke – University ofRochester, USA
 Journal Editors
Dominic SymondsGeorge Burrows
School ofCreative Arts, Film & Media,University ofPortsmouth, WiltshireBuilding, Hampshire Terrace,Portsmouth, Hampshire, UnitedKingdom, PO1 2EGTel: +44 (0)2392 845126 (DS)Tel: +44 (0)2392 845132 (GB)Fax: +44 (0)2392 845152E-mail: dominic.symonds@port.ac.uk;george.burrows@port.ac.uk;musictheatre@port.ac.uk
Re: Act Editor
George Rodosthenous
School ofPerformance and CulturalIndustries, University ofLeeds,LS2 9JT
Tel: 0113 343 8725
E-mail: g.rodosthenous@leeds.ac.uk
Reviews Editor
David Francis
School ofCreative Arts, Film & Media,University ofPortsmouth, WiltshireBuilding, Hampshire Terrace,Portsmouth, Hampshire, UnitedKingdom, PO1 2EGE-mail: HEATLEW@aol.com
Printed and bound in Great Britain by4edge, UK.ISSN 1750–3159
Studies in Musical Theatre
is published three times per year by Intellect, The Mill,Parnall Road, Bristol, BS16 3JG, UK. The current subscription rates are £33(personal) and £210 (institutional). Postage within the UK is free whereas it is £9within the EU and £12 elsewhere. Advertising enquiries should be addressed to:marketing@intellectbooks.com© 2008 Intellect Ltd. Authorisation to photocopy items for internal or personal use orthe internal or personal use ofspecific clients is granted by Intellect Ltd for librariesand other users registered with the Copyright Licensing Agency (CLA) in the UK orthe Copyright Clearance Center (CCC) Transactional Reporting Service in the USAprovided that the base fee is paid directly to the relevant organisation.
text. Unlike paper references, however, webpages can change, so we need a date of access as well as the full web reference. In thelist ofreferences at the end ofyour article,the item should read something like this:Allmusic.com (2006), (online)http://www.allmusic.comAccessed 12 October 2006.Anon. ‘As One Individual? The CollaborationofGilbert or Sullivan’ (Text ofa paperpresented at the Buxton International Gilbertand Sullivan Festival on August 12th 2000)http://www.users.globalnet.co.uk/~ajcrowth/buxton2000.htmAccessed 06 September 2001.
Notes appear at the side ofappropriate pages,but the numerical sequence runs throughoutthe article. Notes should be kept to a minimum.In general, ifsomething is worth saying, it isworth saying in the text itself. A note will divertthe reader’s attention away from yourargument. Ifyou think a note is necessary,make it as briefand to the point as possible.Use Word’s note-making facility, and ensurethat your notes are endnotes, not footnotes.Place note calls outside the punctuation, soAFTER the comma or the full stop. The notecall must be in superscripted Arabic (1, 2, 3).
We welcome images illustrating an article.All images need a resolution ofat least 300 dpi.The image should always be accompanied bya suitable caption (the omission ofa captionis only acceptable ifyou feel the impact oftheimage would be reduced by the provision of written context). All illustrations,photographs, diagrams, maps, etc. shouldfollow the same numerical sequence and beshown as Figure 1, Figure 2, etc. Ifimagesare submitted electronically as separate files,the files should be clearly labeled andindication given as to where they should beplaced in the text. Reproduction will normallybe in black-and-white. Images sent in as e-mailattachments should accordingly be greyscale.
Tables should be supplied either within theWord document ofthe main text or asseparate Word documents.
Musical notation, scores or diagrams are bestconstructed in an object-oriented computerprogram rather than a text-oriented one (eg.,Sibelius). These should be supplied to us intheir original software form aswell as either a JPEG, TIFF or Acrobat PDF document.
Copyright clearance should be indicated bythe contributor and is always theresponsibility ofthe contributor. Unless aspecific agreement has been made, acceptedarticles become the copyright ofthe journal.The copyright clearance form should becompleted and sent to the Editors toaccompany every submission.The text, including the notes, should be inTimes New Roman 12 point.The text, including the endnotes, must bedouble-spaced.The text should have at least 2.5 cm marginsfor annotation by the editorial team.You may send the text justified or unjustified.You may, ifyou wish, break up your textwith sub-titles, which should be set inordinary text and bold, not ‘all caps’.
Quotations must be within single invertedcommas. Material quoted within cited textshould be in double inverted commas.Quotations must be within the body ofthetext unless they exceed approximately fourlines ofyour text. In this case, they shouldbe separated from the body ofthe text andindented.Omitted material should be signalled thus:[...]. Note that there are no spacesbetween the suspension points.
Borroff, E. (1984), ‘Origin ofSpecies: ConflictingViews ofAmerican Musical TheaterHistory’,
American Music
2:4, pp.101–112.Gänzl, K. (1986a),
The British Musical Theatre:Volume 1: 1865–1914
, London:Macmillan Press, Ltd. –––(1986b),
The British Musical Theatre: Volume 1:1915–1984
, London: Macmillan Press, Ltd.Hirsch, F. (2005),
Harold Prince and the AmericanMusical Theatre
,New York: Applause Theatreand Cinema Books.Gottfried, M. (1999), ‘Sleeve notes to “Gypsy”’[Original Broadway Cast Album] [CD], Colum-bia Broadway Masterworks, SMK 60848. Johnson, C. (1998), ‘The Secret Diary ofCatherine Johnson’, program notes to
Mamma Mia!
[Ori-ginal West End Production], dir. Phyllida Lloyd.Montague Lavy, M. (2001), ‘Emotion and theExperience ofListening to Music: A Frame-work for Empirical Research’, PhD Disser-tation, Jesus College: Cambridge University.Picard, A. ‘Jer-ry! Jer-ry! Jer-ry!’
The Independent
19 August 2001.Rodgers, R. and O. Hammerstein II (n.d),
Carousel:A Musical Play
, (Vocal Score ed. Dr. AlbertSirmay), Williamson MusicAnon.’ for items for which you do nothave an author (because all items must bereferenced with an author within the text)year date ofpublication in bracketscommas, not full stops, between parts ofitemabsence of‘in’ after the title ofa chapterwithin a monograph, but please use ‘in’after chapters in edited volumesname oftranslator ofa book withinbrackets after title and preceded by‘trans.’, not ‘transl.’ or ‘translated by’absence of‘no.’ for the journal numbercolon between journal volume and number‘p.’ or ‘pp.’ before page extents
Web references
These are no different from other references;they must have an author, and that authormust be referenced Harvard-style within the
Notes for Contributors
Articles submitted to
Studies in Musical Theatre
should be original and not under considerationby any other publication. Contributions shouldbe submitted electronically as an emailattachment in Microsoft Word format. Inextreme circumstances we will accept hardcopies ofarticles, which should be sent in theformat detailed below to the Editorial Office.Books for review should be sent to the ReviewsEditor, c/o the Editorial Office.
Studies in Musical Theatre
is a refereed journal.Strict anonymity is accorded to both authorsand referees.
The views expressed in
Studies in MusicalTheatre
are those ofthe authors, and do notnecessarily coincide with those ofthe Editorsor the Editorial or Advisory Boards.
Articles should be full text, written in a clearand concise style using standard BritishEnglish. Articles will normally be approximately5000–6000 words in length.Contributors must check that each ofthefollowing have been supplied correctly:Article Title.Author Name.Author addresses – the submittedmaterial should include details ofthe fullpostal and email addresses ofthecontributor for correspondence purposes.Author Biography – authors shouldinclude a short biography ofaround 50words, specifying the institution withwhich they are affiliated. The name,address, biography and author affiliationshould appear only on a cover sheet, pageone ofthe document.Copyright Consent Form giving us yourpermission to publish your article shouldit be accepted by our peer review panel.An electronic template is available fromthe journal office address above.Abstract of100–150 words;
this will goonto the Intellect website.
Keywords – six words, or two-wordphrases, that are core to what is beingdiscussed.Numbered notes - These should be keptto a minimum and must be submittedcorrectly at the time ofthe initialsubmission.References – Intellect requires the use of Harvard references embedded in themain text in the following format (Harper1999: 27).Bibliography - titled ‘Works cited’ to enableit to include videos, films, CDs and the likewithout ambiguity. Any list ofrelevantwork in addition to the works cited directlyshould be titled ‘Further works’.
The title ofyour article should be in boldat the beginning ofthe file, withoutinverted commas.
Any matters concerning the format and presentation ofarticles not covered by the above notes should be addressed to the Editor.The guidance on this page is by no means comprehensive: it must be read in conjunction with Intellect Notes for Contributors.These notes can be referred to by contributors to any ofIntellect’s journals, and so are, in turn, not sufficient; contributors willalso need to refer to the guidance such as this given for each specific journal. Intellect Notes for Contributors is obtainable fromwww.intellectbooks.com/journals, or on request from the Editor ofthis journal.

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