The journal will consider all jazz studies articles reporting on original research and analysis (musical, historical, cultural, or otherwise). The journal additionally welcomes articles on topics in biography, oral history, discography, and primary source studies (recordings, texts, transcriptions, manuscripts, etc.), though such submissions must follow the journal's normal form and style guidelines. All submissions should follow the form and style guidelines presented in The Chicago Manual of Style (latest edition) and should be double-spaced, with accordingly formatted full citations set in footnotes rather than endnotes. Please note that we do not include bibliographies in our published articles nor do we use in-text author-date citations.

All communications and article submissions should be submitted via email to the editor in chief (jlhowland@mac.com). Authors should send an email with the author's full name and title, institutional affiliation (if applicable), email address, mailing address, and the article's full title. Manuscripts must be attached in either Microsoft Word (for either OS platform), AppleWorks, or in Rich Text formats (see under File Menu/Save As in most word processing programs). Word Perfect and PDF text files will not be accepted.

File names must begin with the author's last name, and additionally include the key word(s) of the article's title. If necessary, authors should use numbers to differentiate individual file attachments (such as Howland_Mingus1.doc, Howland_Mingus2.doc). There are no page limitations for submissions to the journal, and we will consider articles of both shorter and longer lengths than conventional journal essay norms. Once an article is accepted, the author will be notified if cuts are required due to space considerations. Please note that we only send out final versions of essays to our reviewers. We will not evaluate drafts. As an English-language journal, this also means that all essays that are submitted for formal review must be in the English language. Authors may nevertheless inquire about our interest in a non-English language essay before they commit to a full translation. In this case, authors must send a final draft of the essay in the original language along with a quality 500-750 word summary in English.

Music examples and figures (photos and illustrations) should be sent in common graphics file formats, including JPEG, GIF, TIFF, and PICT (with a minimum, publication-ready image resolution of 300 pixels/inch), as well as PDF, or the native file format for the Finale notation program. Tables should be typeset. All examples and figures should be sent with the article submission as separate, clearly labeled files (e.g. Howland_MingusEx1), though all typeset tables may be included in the same text file. Examples and figures should be sent without title captions. Do not set examples, figures, and tables within the body of the manuscript. In the manuscript, please clearly indicate the placement of examples, figures, and tables by using the following designation between paragraphs: << INSERT EXAMPLE # AROUND HERE >>. Exact example, figure, and table caption titles should be typeset in a separate text document along with (if known at the time of submission) proper copyright credits and use permissions that will be included in the published form of the article. For the review purposes of the journal, music examples do not have to be typeset (for example, in Finale). They may even be handwritten, though all scanned, photocopied, or handwritten music examples should be sent as a standard graphic file (as above). If the article is accepted for publication, it is the responsibility of the author to have all music examples typeset (with the possible exception of clearly reproduced manuscript score examples).

Submissions that are not appropriate for the journal will be returned to the author with an explanation. The editors will forward all appropriate article submissions to at least two expert reviewers to evaluate the quality of each submission. These reviewers will be drawn from both our editorial board and outside scholars. Reviews will be double blind. As such, any self-identifying markers in the submission (such as the author's name, mailing address, and email address, or references to previous publications by the author) must be deleted or changed in the body of the text, as well as in the manuscript's header, endnotes, and example pages. The editor will remove any such identifiers that the author inadvertently leaves in.

Significant books, CDs, DVDs, web publications, and concerts will all be considered for review. Reviews are generally assigned and not peer-reviewed. However, on occasion, a suggestion for a review will be accepted. All review ideas should be sent to the appropriate review editor, Gabriel Solis for books, and Steven Pond for CDs, DVDs, websites and other media (gpsolis@uiuc.edu and sfp8@cornell.edu, respectively).

Copyright. It is a condition of publication that authors assign copyright or license the publication rights in their articles, including abstracts, to Taylor & Francis. This enables us to ensure full copyright protection and to disseminate the article, and of course the Journal, to the widest possible readership in print and electronic formats as appropriate. Authors may, of course, use the article elsewhere after publication without prior permission from Taylor & Francis, provided that acknowledgement is given to the Journal as the original source of publication, and that Taylor & Francis is notified so that our records show that its use is properly authorized. Authors retain a number of other rights under the Taylor & Francis rights policies documents. These policies are referred to at http://www.tandf.co.uk/journals/authorrights.pdf for full details. Authors are themselves responsible for obtaining permission to reproduce copyright material from other sources.

ABOUT THE JOURNAL

As a refereed academic journal with an international editorial board of renowned jazz scholars, Jazz Perspectives provides a broad forum for promoting cross-disciplinary scholarly dialogue across the academic jazz community. Our mission is to stimulate the international study and appreciation of the rich legacy of jazz and its many musical and cultural tangents, both past and present. The journal aims to bridge the jazz-as-music and jazz-as-culture divide of contemporary jazz studies, as well as to promote broader international perspectives on the jazz tradition and its legacy. We likewise welcome the submission of first-rate scholarship from outside the academy. The pages of the journal are devoted to all aspects of - and all approaches to - jazz scholarship. The journal is an open platform for historical inquiry, music analysis, and cultural studies. The journal furthermore includes reviews and essays on significant recent literature and new recordings and media.

ABOUT THE EDITOR-IN-CHIEF

John Howland is an Assistant Professor of Music History at Rutgers University-Newark and the author of Ellington Uptown: Duke Ellington, James P. Johnson, and the Birth of Concert Jazz (University of Michigan Press, 2009). He co-founded Jazz Perspectives with Lewis Porter in 2005. He specializes in the study of arranging traditions across popular music, big band jazz, and jazz-related orchestral idioms in dance bands, musical theater, and the media of film and radio, and his research concerns the connections among popular culture, jazz, race, and cultural hierarchies. He is also a co-editor for a forthcoming Ellington Studies anthology (Cambridge University Press), and his articles and reviews have appeared, or are forthcoming, in American Music, The Musical Quarterly, Annual Review of Jazz Studies, and The Continuum Encyclopedia of Popular Music of the World, as well as several essay collections.