Contemporary Music Review

期刊简介：Contemporary Music Review is an interdisciplinary forum for research in and about music now. Our themed issues feature articles and essays across a broad spectrum of global contemporary music research as well as reports, bibliographic studies, interviews, scores and translations. Interested guest editors may submit proposals for themed issues addressing any topic in contemporary music studies, including analytical, cultural, environmental, historical, scientific, social, and technological approaches. We only publish themed issues; there are no general issues. Therefore, unsolicited articles that are submitted without belonging to an already approved proposal for a special issue are rejected. Since Contemporary Music Review first appeared in 1984, its editors have fostered an open and pragmatic view of the journal’s scope. We seek ambitious, critical and rigorous work on the culture, history, psychology, sociology, politics and aesthetics of contemporary music wherever it occurs and however it may be identified when it is occurring. We also seek to cultivate reflection on musical and musicological responses toward “the contemporary” as a multiple and shifting cultural, ecological, epistemic, historical, sociological and technological condition. Therefore, we especially invite proposals for themed issues that both: 1) contest the globality/locality of and propose alternatives to generic concepts of contemporary music such as “Western Art Music since 1945”; and 2) explore alternative contemporaries in different technological, social, geohistorical, environmental, cultural, biological and aesthetic landscapes. Please get in touch if you are unsure about your topic’s relevance. All articles are subject to rigorous double peer review prior to publication.

【译文】当代音乐评论是一个针对音乐和音乐研究的跨学科论坛。我们的主题期刊涵盖广泛的全球当代音乐研究以及报告、书目研究、访谈、乐谱和翻译的文章和论文。有兴趣的客座编辑可以针对当代音乐研究中的任何主题提交主题提案，包括分析、文化、环境、历史、科学、社会和技术方法。我们只出版主题期刊；没有一般性问题。因此，不属于已批准的特刊提案的主动提交的文章将被拒绝。自《当代音乐评论》于 1984 年首次出版以来，其编辑们对该杂志的范围培养了开放、务实的看法。我们寻求关于当代音乐的文化、历史、心理学、社会学、政治和美学的雄心勃勃、批判性和严谨的工作，无论它发生在哪里，也无论它发生时如何被识别。我们还寻求培养对“当代”作为一种多重且不断变化的文化、生态、认知、历史、社会学和技术条件的音乐和音乐学反应的反思。因此，我们特别邀请以下主题问题的提案：1）质疑当代音乐的全球性/地方性并提出替代方案，例如“1945年以来的西方艺术音乐”； 2）探索不同技术、社会、地理历史、环境、文化、生物和美学景观中的替代同时代人。如果您不确定主题的相关性，请联系我们。所有文章在发表前都经过严格的双重同行评审。