•  
•  

About This Journal

Music & Musical Performance: An International Journal was launched in early 2022 by a consortium of music scholars from around the world. It incorporates, as its first issue, the material that appeared in November 2019 in the short-lived International Journal of the Study of Music and Music Performance(https://openmusiclibrary.org/journal/ijsmmp/). That earlier journal was part of the now-defunct Open Music Library.

Music & Musical Performance is peer-reviewed; its chief and advisory editors span a wide variety of musical interests. M&MP is unusual and, in some ways, even unique. It is published online and open-access, in conjunction with Digital Commons and the Florida International University library system. Its editorial and advisory boards are broadly international. It welcomes contributions in any language, and aims—when possible—to offer a reliable English translation of contributions that are not in English.

Most of all, M&MP seeks to bridge the worlds of academic discourse and of performers and listeners. With this aim in mind, it encourages contributions that are more essayistic than is typical in existing journals. It also welcomes reactions to recorded and live performances. Being an online journal, M&MP can easily incorporate color illustrations, video, and sound files. Such enrichments help it to provide a forum for discussion of music as it is practiced—and has been practiced—in numerous times and places and for widely differing purposes.

We strongly urge scholars—and (more generally) eager commentators on music—from many lands and cultures to join us in our effort to maintain a lively and varied forum for the discussion of music and its multiple uses and meanings in human life.

For future issues and onward, we would particularly welcome contributions relating to any of the following large themes:

• Music and ritual
• Music and words (including opera, other theater music, and film)
• Music as notated (e.g., a published score) vs. music as a performance or a recording
• Music as heard or read: hermeneutic, embodied, expressive, and other possible “ways”
• Centers and peripheries in musical life and musical composition: in earlier eras and now
• Music and the life cycle (e.g., children's music, student music, wedding music, music and the family home, music and the elderly, music and death/burial/mourning)
• Music and social/political life: music of political solidarity and protest, music and the workplace, music and commerce (the shopping mall, radio/TV advertising), music and the political process (political parties and rallies, TV news, etc.).

Again, we remind potential contributors that they should feel free to offer writings that are somewhat unusual in format (for example, a string of short observations) and that, as appropriate, make imaginative use of audio and visual materials. Most of all, we encourage work that can speak to a wide range of people—in many lands—who are interested in how and why music has been made, heard, and debated in the past and continues to be today.

The Journal appears under the auspices of six Chief editors and a board of twenty-four advisory editors from diverse fields and countries. Submissions, questions, and comments should be sent to any of our Chief editors.