Submission Preparation Checklist
As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
- The submission has not been previously published, nor is it before another journal for consideration.
- The submission file is in Microsoft Word document file format.
- Where available, URLs for the references have been provided.
- The text is double-spaced; uses a 12-point font; employs italics, employs no graphs, figures, or tables, and uses numbered endnotes.
- The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which is found in About the Journal.
- If submitting to a peer-reviewed section of the journal, the instructions in Ensuring a Blind Review (available during submission) have been followed.
Author Guidelines for Philosophy of Music Education Review
A. Types of submissions
Philosophy of Music Education Review features philosophical research in music education for an international community of scholars, artists, and teachers. It includes articles that address philosophical or theoretical issues relevant to education, including reflections on current practice, research issues or questions, reform initiatives, philosophical writings, theories, the nature and scope of education and its goals and purposes, and cross-disciplinary dialogue relevant to the interests of music educators.
Along with the title of the article, please include the names of all authors, their affiliations, and email addresses on the paper.
The article should be accompanied by an Abstract of 150-200 words and three to five key words. Please do not include citations in the abstract.
Journal articles should be no more than 8000 words including endnotes and abstract.
- Book Reviews
Each issue of PMER includes a review of a recent book that addresses philosophical/theoretical aspects of music education. The reviews of these books should rise to the same level of philosophical rigor as the other articles published in PMER; that is, they should critically engage ideas, clarify and probe concepts, expose assumptions, ideologies, and biases, and determine the usefulness of the ideas expressed for music education. With this in mind, reviewers should avoid writing book summaries or sketching an outline of the book’s content except where needed to build the review.
Book Reviews should be no more than 2500 words in length, including endnotes.
- In Dialogue
Here readers have an opportunity to respond to an article published in PMER. Responses should explore the ideas in the article, indicating points of agreement or disagreement or providing additional insight in the topic.
In Dialogue responses should not exceed 1500 words including endnotes.
- In Memoriam
In Memoriam pieces celebrate the life and contributions of someone who has added to the international body of philosophy and theory of music education. These pieces should not exceed four pages.
B. Document layout
- Presented as Word documents
- Use US Letter-size pages rather than International A4
- One inch margins
- Times New Roman 12 font
- set text flush left, unjustified
- no extra lines between paragraphs
- first line of paragraphs indented one-half inch
- Subheadings set at margin, initial Capitals not ALL CAPITALS
- No underlining in text (except for URLs)
- Use italics sparingly
- No tables or figures, although brief selections from musical scores may be used
- No bulleted or numbered lists
C. Style and Usage
PMER follows the Chicago Manual of Style, 16th ed. (Chicago: Chicago University Press, 2010) as the most appropriate for philosophical writing. Some of the key guide lines are given below:
- Bias-free language where possible (neutral with regard to gender, disability, and ethnicity).
- Periods and commas fall inside closing quotation marks
- One-space between sentences and after colons
- Commas are used after each word in a list including the next-to-last item in a list of three or more items and the word and (e.g., Tom, Dick, and Harry)
- Dates and other time periods are indicated, as:
the class of ’92
the nineties or the 1980s and 1990s
May 28, 1976
- No spaces around dashes (e.g., He asserted ̶ and often reasserted ̶ that he knew best.)
- Numbers from zero through one hundred should be spelled out, as should any numbers followed by hundred, thousand, or million (e.g., fifty-six, ten thousand, but 4,307 should be in numerals)
- Keep abbreviations to a minimum except where they are commonly known. They should be spelled out at first usage (e.g., Journal articles for Philosophy of Music Education Review (PMER) can be submitted online)
- Some common abbreviations such as e.g., i.e., and etc., should not be used in the main body of the text
- Short quotations are indicated by opening and closing quotation marks; longer quotations of several lines are set off as block quotations, indented one inch from the left margin
- Include full name of an author you are referring to on the first occasion; last name will suffice for future references to that author.
D. Endnotes and Citations
- Endnotes, rather than a Reference List or in-text citations, using a word-processor function, should be used and numbered with Arabic numerals. Endnotes include citations as well as other notes to support the main text.
- Sample references for books:
Susanne K. Langer, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art (Cambridge, MA: Harvard University Press, 1957), 124. (Full citation at first occurrence)
Ibid., 125-26. (For same reference as in the immediately preceding note)
Langer, Philosophy in a New Key, 226. (For subsequent citations from the same book)
Langer, Problems of Art (New York: Charles Scribner’s Sons, 1957), 56. (For subsequent books by same author)
Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed. (Upper Saddle River, New Jersey: Prentice Hall, 2003), 133. (For later editions of an earlier book)
Diane Apostolos-Cappadona, ed., Mircea Eliade: Symbolism, the Sacred, and the Arts (New York: Crossroad, 1988), 35. (For an edited collection)
Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis, MN: University of Minnesota Press, 1985). (For translated books)
Chee-Hoo Lum and Katherine Marsh, “Multiple Worlds of Childhood: Culture and the Classroom,” in Gary E. McPherson and Graham F. Welch, eds., Oxford Handbook of Music Education, vol. 1 (Oxford: Oxford University Press), 381-398. (For multiple authors, chapter in a book, and a volume in a series)
- Sample references for journal articles:
Eva Georgii-Hemming and Jonathan Lilliedahl, “Why ‘What’ Matters: On the Content and Dimension of Music Didactics,” Philosophy of Music Education Review 22, no. 2 (Fall, 2014): 141. (Full citation at first occurrence)
Ibid., 142. (For same reference as in the immediately preceding note)
Georgii-Hemming and Lilliedahl, “Why ‘What’ Matters,” 143. (For subsequent citations from the same article)
- Sample references for web sites:
Ryan N. Bledsloe, “Music Education for All?” General Music Today, 28, no. 2 (Jan, 2015): 18-22. doi: 10.1177/1048371314549888 (It is preferable to include Digital Object Identifier or doi. For articles available in print and online, give print citation first.)
Alexandra Kertz-Welzel, “Lessons from Elsewhere? Comparative Music Education in Times of Globalization,” Philosophy of Music Education Review 23, no. 1 (Spring 2015): 48-66. http://www.jstor.org/stable/10.2979/philmusieducrevi.23.1.48?seq=1#page_scan_tab_contents (If doi is not available provide URL for stable sites)
Laura Lewis Brown, “The Benefits of Music Education,” (blog) http://www.pbs.org/parents/education/music-arts/the-benefits-of-music-education/
Accessed June 12, 2015. (For unstable web sites with no date, provide date of access)
- Sample references for musical works:
The Marriage of Figaro (For large musical works, titles are italicized)
the “Anvil Chorus” (For songs and shorter musical works, enclose in quotes and capitalize)
Hungarian Rhapsody no. 12
the Twelfth Hungarian Rhapsody
Symphony no. 6 in F Major
the Sixth Symphony
the Pastoral Symphony
Sonata in E-flat, op. 31, no. 3
Air with Variations (“The Harmonious Blacksmith”) from Handel’s Suite no. 5 in E.