(1) Please send your text per e-mail as a PC-readable word document, stored as rtf-file (rich text format) to the following address: email@example.com
(2) Additionally we need two printouts of your text as well as reproducable original documents, also the relevant sound carriers that go with your essay on compact disc. These we ask you to send to the
Universitaet für Musik und darstellende Kunst
Institut für Jazzforschung
c/o Dr. Franz Krieger
(3) Please write your manuscripts in Times New Roman with 1 ½–line advance without indentations at paragraph beginnings. Paragraphs must be divided by a white line, any additional division by two white lines.
(4) Please do not divide words, and do not use bold type or underlining. Use italic for stressing and for book titles, CD-titles etc. as well as for sound letters (e. g. cis, a).
(5) Use French inverted commas (in Word processing, above the activated NUM-set on keyboard, to be used with the following key-combinations):
» = ALT 0187 (= bei gedrückter ALT-Taste 0187 auf dem Ziffernblock eintippen)
« = ALT 0171
Single inverted commas within citations:
› = ALT 0155
‹ = ALT 0139
(6) Abbreviations (p., pp., e. g., etc.) are followed by a dot and a singly typed-in space; with dates, however, no space is needed between the numbers (in German, for instance: 29.3.2006).
(7) “until signs (–) always as long lines (key combination ALT 0150).
(8) Please provide each note example, transcription, diagram, table, picture etc. with a headline and separately serially numbered.
(9) Harmony symbols in English mode (e. g. F# instead of Fis, Bb instead of B, B instead of H, etc.); the addition “m” stands for “minor”, “maj” for “major”. Tensions are marked with raised numbers and slashes in between (e. g. E7/b9/11). Chord shiftings are defined by two slashes (e. g. Bmaj//C#5).
(10) Sound letters are in German and italic (e. g. h, Es, Cis); from the stroked-in octave upward the position of the octave is indicated by raised italic numbers (e. g. cis2, a1).
(11) Use Roman numbers and long lines (= ALT 0150) for harmonic progressions (e. g. II–V–I) and long lines also for sound series (cis1–d1–fis1–e2) and chord progressions (F#7/b5–B7/b5–Em9).
(12) No automatic footnote option is needed but manually typed notes at the end of the text. Within the text there is a reference by means of a number in square brackets to each note (e. g. ).
(13) Complete references in the notes are conducted with the first mention, as is shown here (use “p.” or “pp.” instead of “S.” in English papers):
Paul F. Berliner, Thinking in Jazz: The Indefinite Art of Improvisation (Chicago: University of Chicago Press, 1994).
Jonathan Finkelman, »Charlie Christian and the Role of Formulas in Jazz Improvisation« (Jazzforschung / Jazz Research 29, 1997), S. 159–188.
Keith Jarrett, The Vienna Concert (ECM 1481, 1992).
Bei wiederholter Nennung eines Titels: / If a title is mentioned repeatedly:
Berliner, Thinking in Jazz, S. 118.
Ebd., S. 123.
Finkelman, »Charlie Christian«, S. 170.
Keith Jarrett, The Vienna Concert.
(14) Your list of references should be designed as follows:
Sound carriers and the like:
Art Ensemble of Chicago
1972 Art Ensemble of Chicago Live (Delmark De 432)
1980 Urban Bushmen (ECM 1211/12)
1981 Invocations: The Moth and the Flame (ECM 1201/02)
1987 J. S. Bach: Das Wohltemperierte Klavier, Buch 1 (ECM 1362/3)
1992 The Vienna Concert (ECM 1481)
Jarrett, Keith, und Lou Harrison
1988 Works by Lou Harrison (New World Records NWR 366-1
2003 »A Broader Broadway«. Journal of Singing 59/5, S. 431–432.
Howard, David [u. a.]
2004 »WinSingad: a real-time display für the singing studio«. Logopedics Phoniatrics Vocology 29/3, S. 135–144.
Mathelitsch, Leopold, und Gerhard Friedrich
2000 Die Stimme: Instrument für Sprache, Gesang und Gefiihl. Wien: öbv et hpt.
2002 »Der Computer als wertvolles Hilfsmittel in Stimmbildung und Gesang«. Guyla Racz (Hg.). Musik – Neue Medien – Bildung.
Regensburg: ConBrio, S. 44–52.
Stone, Robert Ed [u. a.]
2003 »Aerodynamic and Acoustical Measures of Speech, Operatic, and Broadway Vocal Styles in a Professional Female Singer«.
Journal of Voice 17/3, S. 283–297.
(15) Provide your text with a separate summary (for a German text an English summary and vice versa).
(16) Make sure by yourself you need or do not need a copyright.
(17) If your essay is accepted, you will be sent – before the print text is produced – the edited manuscript for final correction. After completion of the print text only minor digressions from this manuscript can be conducted. Further alterations – if possible at all for reason of time pressure – can only be executed at your own costs.
(18) We make the assumption that the text offered to us has not yet been published. With the acceptance of your text by us the copyright is transfered to the International Society for Jazz Research. In case your text is published you will get a specimen copy.
(19) For manuscripts sent to us unrequested we cannot be held liable. Your own revision of the text does not imply any legal right for publication on behalf of us.
(20) These “Guidelins for writers in our publication series Jazzforschung / Jazz Research and Jazz Research News” can be found on the homepage of the International Society for Jazz Research (www.jazzresearch.org), and any author offering a text to us will additionally be informed about this. We make the assumption that you agree with the guidelines laid down here, particulary with paragraphs (16) through (19). In case you do not comply with the above mentioned conditions you can demand back your manuscript withing a fortnight from the day of sending us your first text. If this applies to you please let us know in written form.