CALL FOR PAPERS
Resonancias – Musical Research Journal Issue 50
Dossier “Contemporary music festivals in Latin America as an international meeting points: Networks, and aesthetic and ideological discussions (1950–2000)”
Guest Editor: Daniela Fugellie
The journal Resonancias, published by the Music Institute at Pontificia Universidad Católica de Chile’s Faculty of Arts, invites specialists in musical research and/or related disciplines to send articles of their authorship presenting unpublished and relevant contributions in their areas. Articles written in Spanish, Portuguese and English will be accepted.
Since Francisco Curt Lange began his campaign for Americanismo musical in 1933, if not before, interest in establishing Latin American networks has been a constant among composers, performers, and administrators of contemporary music in our subcontinent. While the implicit message in 1933 was aimed at the dangerously nationalist discourse of Germany’s Nazi dictatorship, the idea of breaking from a “national egocentrism” and encountering the music and its practitioners from neighboring countries to establish networks of collaboration and solidarity inspired a variety of festivals that proliferated throughout the second half of the twentieth century in Latin America. These festivals were not free from the ideological tensions associated with the Cold War. Some of these events, such as the Caracas Music Festivals, and the Washington Interamerican Festivals, had institutional links with post-war cultural diplomacy. Others, such as the Música Nova Festival in Santos/Brazil or the festivals by Agrupación Musical Anacrusa in Santiago de Chile, were independently organized. Although contemporary music festivals have been crucial to the circulation of musical, aesthetic and political discourses, and have fostered discussion, exchange of knowledge and the creation of networks, musicological research has not yet paid them sufficient attention, in contrast with the study of popular music festivals. This dossier intends to approach contemporary music festivals as a core phenomenon of Latin American music in the second half of the twentieth century. While we invite proposals focused on specific festivals or countries as case studies, the premise is that, as a whole, the articles gathered by this dossier should allow us to elucidate some of the connections between diverse events, showing the vital role of certain Latin American actors and the emergence of discourses that crystalized in a transnational space.
Each proposal will initially be reviewed by the Editorial Team, who will determine its suitability in line with the standards and formatting of a specialised academic article, as well as the journal’s editorial line. The articles selected during this stage will then undergo a double-blind peer review assessment, after which the author will receive a report within a deadline established by the journal outlining the reasons for accepting or rejecting the article.
Over the twenty years since its founding, Resonancias has published articles by local and international specialists on themes relating mainly to music in Latin America and the Caribbean. The journal has also been the main instrument for disseminating works recognized with the Samuel Claro Valdés Latin American Musicology Prize, awarded by the University’s Music Institute since 1998 and which currently represents one of the main means to promote the discipline in our continent.
The following details constitute a summary of the journal’s editorial guidelines. The complete information about submission requirements, as well as our editorial policy can be accessed in our web site (www.resonancias.uc.cl).
Articles should be no longer than 12,000 words, including footnotes, bibliography and annexes, while reviews should not exceed 3,200 words.
The margins should be 3 cm on each side and 2.5 on the top and bottom. The body of the text should be in Times New Roman font, size 12, and 1.5 spacing. Footnotes should equally be in Times New Roman, but in size 10 and single-spaced. Block-quotes, more than 40 words in length, should be written in Times New Roman, size 11, 1.5 spacing, indentation of 1 cm on each side, 12 points of line spacing before and after and without quotation marks.
Images should be clearly labeled directly underneath, indicating the source and credits. Moreover, all necessary legal authorization for the image’s inclusion and reproduction is solely the responsibility of the author of the text submitted.
In addition, each image must be sent separately in JPEG format, in the highest resolution possible, with clear indications as to where in the text it is located. The minimal pixilation is 300 dpi. Authors must keep in mind that, although the online version of the journal allows for color images, the print version is in full black and white.
All articles must include an abstract (maximum of 200 words) on the first page, outlining the article’s objectives, content and conclusions, both in the language in which it is written as well as in English. Similarly, articles must include 4 – 6 keywords both in the original language as well as in English. Authors must also send a brief 100-word CV in a separate attachment, once again in both languages. Album and book reviews, however, will not require abstracts, CVs or keywords.
Any reference to the author’s identity must be omitted from the article itself, in order to guarantee anonymity during the double-blind peer review process.
Instituto de Música de la Pontificia Universidad Católica de Chile
Avda. Jaime Guzmán 3300-Campus Oriente,
Providencia, Santiago, Chile
The bibliographical format used is that of the 16th edition of the Chicago Manual of style. In this sense, in-text citations will follow the author-date system. For more detailed information, please consult the journal’s Editorial Guidelines, as well as the Chicago Manual of Style.
Director: Alejandro Vera Aguilera.
Editor: Leonora López.
National Editorial Board: Natalia Bieletto Bueno (Universidad Mayor), Rodrigo Cádiz (Pontificia Universidad Católica de Chile), Laura Fahrenkrog (Universidad Adolfo Ibáñez), Karina Fischer (Pontificia Universidad Católica de Chile, Directora del Instituto de Música), Felipe Otondo (Universidad Austral de Chile), Daniel Party (Pontificia Universidad Católica de Chile), and Rodrigo Torres (Universidad de Chile).
International Editorial Board: Geoff Baker (Royal Holloway, University of London, UK), Paulo Castagna (Instituto de Artes da UNESP - Universidade Estadual Paulista, São Paulo, Brasil / Investigador PQ del CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico, Brasil), Nicolas Collins (School of the Art Institute of Chicago, USA), Ricardo Dal Farra (Concordia University, Canada), Heloísa de Araujo Duarte Valente (Professora titular junto ao Programa de Pós-graduação em Comunicação (UNIP) / Professora colaboradora junto ao Programa de Pós-graduação em Música (USP), Brazil), Rajmil Fischman (Keele University, UK), Rubén López-Cano (Escola Superior de Música de Catalunya, Spain), Jõao Pedro Oliveira (Universidade Federal de Minas Gerais, Brazil), Raúl Renato Romero (Pontificia Universidad Católica del Perú), Carolina Santamaría (Universidad de Antioquia, Colombia), Rodrigo Sigal (Centro Mexicano para la Música y las Artes Sonoras, Mexico), Susan Thomas (University of Georgia, USA), and Álvaro Torrente (Universidad Complutense de Madrid, Spain).
 See, for example, Flath, Beate, Adam Behr and Martin Cloonan, eds. 2019. “Special Issue: Popular music festivals and (cultural) policies”. IASPM Journal 9 (1).