Journal Guide

19th-Century Music publishes articles on all aspects of music having to do with the #!#!long#!#! nineteenth century. The period of coverage has no definite boundaries; it can extend well backward into the eighteenth century and well forward into the twentieth. Published tri-annually, the journal is open to studies of any musical or cultural development that affected nineteenth-century music and any such developments that nineteenth-century music subsequently affected. The topics are as diverse as the long century itself. They include music of any type or origin and include, but are not limited to, issues of composition, performance, social and cultural context, hermeneutics, aesthetics, music theory, analysis, documentation, gender, sexuality, history, and historiography.

acoustics. It publishes original articles on all subjects in the field of acoustics, such asgeneral linear acoustics, nonlinear acoustics, macrosonics, flow acoustics, atmospheric sound, underwater sound, ultrasonics, physical acoustics, structural acoustics, noise control, active control, environmental noise, building acoustics, room acoustics, acoustic materials, electroacoustics and signal processing, computational and numerical acoustics, hearing, audiology and psychoacoustics, speech, musical acoustics, virtual acoustics, auditory quality of systems, history of acoustics.The journal reports on original scientific research in acoustics and on engineering applications. The journal considers scientific papers, technical and applied papers, book reviews, short communications, doctoral thesis abstracts, etc. In irregular intervals also special issues and review articles are published.

Celebrating its centenary anniversary in 2012, American Imago was founded by Sigmund Freud and Hanns Sachsin the U.S.in 1939. The successor to Imago founded by Freud in Vienna in 1912, the journal retains its luster as the leading scholarly journal of psychoanalysis. Under the editorship of Louis Rose, each issue features cutting-edge articles that explore the enduring relevance of Freud's legacy across the humanities, arts, and social sciences.

American Music publishes articles on American composers, performers, publishers, institutions, events, and the music industry, as well as book and recording reviews, bibliographies, and discographies. Article topics have included the lyricism of Charles Ives, Henry Cowell's "sliding tones," Bernstein's Trouble in Tahiti, Henry Brant's "Spatial Music," the reception and transformation of pop icons such as Presley and Sinatra, and the history and analysis of blues, jazz, folk music, and mixed and emerging musical styles.

The University of Illinois Press supports the mission of the university through the worldwide dissemination of significant scholarship, striving to enhance and extend the reputation of the university. Through its publishing programs, the Press promotes research and education, enriches cultural and intellectual life, and fosters regional pride and accomplishments. The Press serves the university as a source for scholarly publishing knowledge and standards. As an innovator in the scholarly publishing community, the University of Illinois Press diligently pursues the best and most innovative technology to meet the needs of our readers.

Established in 1977 as the definitive journal of its field, Computer Music Journal (CMJ) covers a wide range of topics such as digital audio signal processing, electroacoustic composition, new musical controllers, and music information retrieval. With cutting-edge scholarship accompanied by interviews with leading composers and informative reviews of products and publications, CMJ is an indispensable resource for composers, performers, scientists, engineers, and computer enthusiasts interested in computer-generated sound and music.

Contemporary Music Review is a contemporary musicians' journal. It provides a forum where new tendencies in music can be discussed in both breadth and depth. Each issue focuses on a specific topic. The main concern of the journal is music today in all its aspects--its techniques of performance and composition, aesthetics, technology and its relationship with other disciplines and currents of thought. The publication may also serve as a vehicle to communicate actual musical materials. Disclaimer for scientific, technical and social science publications: Taylor & Francis makes every effort to ensure the accuracy of all the information (the 'Content') contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not the views of Taylor & Francis.