Revista de musicología

Submission guidelines and review process

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The editorial team of the Revista de Musicología requests that those wishing to publish their work in the journal take into consideration the following guidelines:

1. Submission

Manuscripts should be sent by e-mail to the following address:

2. Manuscript guidelines

  • Articles and other items submitted for publication must be original, unpublished works that have not been approved, and are not pending approval, for publication in any other journal.
  • The language of the journal is Spanish, but articles in other languages can be accepted with approval of the Scientific Committee.
  • Articles should be created in a standard word processing program (such as Microsoft Word) and should not exceed 20 single-sided, DIN-A4 pages, with 1.5 line spacing, 12 point Times New Roman font (footnotes should be 10 point font and single spaced), with full justification, margins of 2.5 cm on all sides (equivalent to pages of 30 to 35 lines with 80 to 90 characters per line), and indentation of 1.25 cm on the first line. Up to a maximum of 10 pages can be added if musical examples, illustrations, images, charts, or other types of appendices are necessary.
  • Permission to publish any type of documentary material must be solicited and attained by the author prior to submission, and the author assumes responsibility for the wrongful use of documentary material.
  • Articles should be preceded by a single page on which, in addition to the title of the work and the name of the author or authors (maximum of 3), will appear the author's home postal address, e-mail address, telephone number, academic level (highest degree and the university or conservatory that granted it), current employment (category or position at a center or institution, or where teaching or research activities are carried out) and a brief curricular note (about 200 words). This should indicate if the work was previously presented at a conference or if it received any type of subvention or fellowship. Since manuscripts are evaluated anonymously, authors are advised to not identify themselves within the text itself.
  • Books, journals, and audio or video recordings sent for review should be directed to the office of the Sociedad Española de Musicología: C/ Torres Miranda, nº 18 (28045), Madrid, with an indication that they are for the Revista de Musicología. The Scientific Committee reserves the right to select materials for review, including from materials for which reviews have not been expressly requested.
  • Summaries of doctoral dissertations and news items should also be sent by e-mail to . Summaries of doctoral dissertations should incorporate basic information (author, title, director, place and date of defense, committee members and their affiliations) and a summary (presentation of the topic, hypothesis, objectives, methodology, brief summary of each chapter, and major conclusions) and table of contents (abbreviated if necessary). The summary should not exceed 2000 words in total (without counting the basic information or the table of contents). For news items, listings should be avoided -when possible a web address should be sent- but the event's importance and main contributions should be highlighted from a critical perspective. The Scientific Committee reserves the right to accept these items even if they have not been expressly requested.

3. Review process for articles

  • All manuscripts will be subjected to a system of anonymous, external, peer review. Afterward, the Scientific Committee will decide if publication will proceed, and will notify authors within a period of no greater than six months after receiving the draft. Acceptance for publication may be conditional upon revision and incorporation of comments contained in the reports of the external reviewers.

4. Correction of proofs

  • For articles that have been accepted, the journal’s editorial team will reserve the right to make copy edits that it considers necessary.
  • The first set of proofs will be corrected by the author, except in the case of the summaries of doctoral dissertations, book and recording reviews, and news items, all of which will be corrected by the editorial team.
  • The author will return the corrected proofs with the utmost legibility and as quickly as possible, so as to not excessively delay the publication of the journal.
  • Significant variations to the original text, or additions that increase its length, will not be accepted.
  • The second set of proofs will be corrected by the editorial team of the journal.

5. Editing

General principles to take into account are the following:


  • Manuscripts should be accompanied by an abstract of about 200 words, as well as a list of keywords (between four and seven).
  • Both the abstract and the keywords will also appear in English translation.
  • The title, which appears entirely in upper case between the Resumen-Palabras clave and Abstract-Keywords, will also be translated into English.
  • If the article is written in another language, the summary and keywords will appear in the original language and its corresponding translation into Spanish.



  • The internal divisions of the text (Introduction, Sections, Conclusions, etc.) are written in boldface and are separated from the following paragraph by a space.
  • The quotation marks used in the Revista de Musicología, both in citations and in bibliographic references, should always be angle brackets («…»). If there is a second level of quotation within them, double quotation marks are used («“…”»).
  • The quotation marks always appear before the punctuation sign (».), not afterward (.»).
  • The footnote reference number in the body of the text should always be placed before the punctuation mark. When there are also quotation marks, the order is: quotation mark-footnote reference number-punctuation mark (»1.).
  • The footnote reference number and punctuation marks are given in regular font, even if the word that precedes it is in another style (bold, italics, etc.).
  • Roman numerals always appear in upper case.
  • Hyphens –used to separate ideas in a way similar to parentheses– will always be double (–), not single (-). Be careful to not put a space between the first hyphen and the following word, or between the second and the previous word.
  • Do not use the tab function to form the layout; instead, use the “indent” settings in Word.
  • Brief literal citations remain in the body of text within quotation marks (not in italics). Long citations appear without quotation marks, with a margin of 1.25 cm on both sides, in 10-point font, and single-spaced. The suppression of passages within the quotations, or small edits by the author within the quotation, will be marked by square brackets:

    Victoria utiliza la melodía gregoriana correspondiente como cantus firmus […] en notas de larga duración y con una fidelidad al original muy relativa, fidelidad ausente en las cadencias principalmente […] En torno a este cantus firmus, pilar robusto que sustenta el edificio sonoro, nuestro polifonista teje un contrapunto libre, de carácter austero, sin apenas ornamentación.

  • If the original quotes are not in Spanish, the translation into Spanish appears in the body of the text, and the text in its original language appears in a footnote.
  • Numbers are written as numerals to indicate dates, measures, or prices, and in numbered lists; they appear written out in all other cases.
  • Terms in foreign languages are written in italics in the text.



  • Tables should be numbered consecutively and preceded by a title or legend redacted by the author in boldface.
  • Illustrations, figures, and musical examples should be numbered together and consecutively, with corresponding captions or legends redacted by the author. They should be submitted in separate files in .jpg format with adequate resolution (minimum 300 dpi) for reproduction. Their position should be indicated in the body of the text.



  • In bibliographic references, author’s last names are written in Small Caps followed by first names in regular font.
  • Anonymous works and works with more than three main authors should be cited by title. In the case of works with more than three authors, only the first author should be cited, followed by «and others». In no case will the term ANÓNIMO be used in citations.
  • References do not begin with authors whose contribution is secondary (compilers, transcribers, arrangers, scientific editors, literary authors in scores, etc); in those cases the reference begins with the title of the work cited.
  • Titles of monographs and journals appear in italics.
  • Titles of unpublished doctoral dissertations appear in italics, taking into account the thesis type, year, and institution in which the dissertation was defended. Those published in electronic form are referenced as if they were books, accompanied by the URL of the corresponding webpage (see below).



  • Titles of articles and contributions to journals and collective publications appear in angle brackets («…»).
  • Abbreviations such as cf., op. cit., loc. cit., ibid., idem, vid., passim, olim, sic, supra, infra, apud and others always appear in italics.
  • When an article repeatedly cites a journal, collection, repertoire, etc., a table containing the full titles as well as their corresponding siglas or abbreviations should be included.
  • In cases in which a specific article or book is cited repeatedly, a short citation should be used, beginning with the second instance, that consists of the author’s last name and initials, the first few words of the title, and an ellipsis.


Citations in footnotes should follow these examples:

Monographs (books) and editions

- Morales, Nicolás. L’Artiste de Cour dans l’Espagne du XVIIIe siècle. Étude de la communauté des musiciens au service de Philippe V (1700-1746). Madrid, Casa de Velázquez, 2007.

- Bombi, Andrea; Carreras, Juan José; and Marín, Miguel Ángel. Música y cultura urbana en la Edad Moderna. Valencia, Universidad de Valencia, 2005, pp. 11-12.

- Francisco Correa de Arauxo (1584-1654): Libro de tientos y discursos de música práctica y teórica de órgano, intitulado Facultad orgánica (Alcalá, 1626). Study and transcription by Miguel Bernal Ripoll. 3 vols. Madrid, Sociedad Española de Musicología, 2005.


Journal articles, book chapters, conference proceedings, dictionaries, and collective works

- Robledo, Luis. «El canto llano en la tratadística española en la época de Victoria». Revista de Musicología, XXXV, 1 (2012), pp. 297-316.

- Gándara, Xosé Crisanto. «El acompañamiento con el violón y el contrabajo en la música de los siglos XVII y XVIII». Campos Interdisciplinares de la Musicología (V Congreso de la Sociedad Española de Musicología, Barcelona, 25-28 octubre 2000). Begoña Lolo (ed.). 2 vols. Madrid, Sociedad Española de Musicología, 2001, vol. 1, pp. 659-681.


Citations of articles published in electronic journals follow the same criteria, but also specify the complete URL of the website and the date of access (see Webpages below).

Sources already cited

- Morales, N. L’Artiste de Cour...

- Bombi, A.; CARRERAS, J. J.; and Marín, M. Á. Música y cultura urbana, pp. 11-12. Francisco Correa de Arauxo…, vol. 1, p. 53.

- Robledo, L. «El canto llano en la tratadística española…», p. 300.

- Gándara, X. C. «El acompañamiento con el violón…», p. 663.


If it is the previous source cited:

Ibid., p. 12.


Audio and visual recordings

These follow the book format, but add the performers, the specific type of material (cassette, VHS, CD, DVD) and, if relevant, the type of recording (sound, video, film, etc.), and the publication number, when it exists. The year cited is that of the edition, not that of the recording (except in the case of historical recordings, in which both years can be mentioned). The liner notes that accompany recordings may be cited using the format of book chapters.

- Melodías, Romanzas y Nocturnos para violonchelo y piano. Ángel García Jermann, cello and Kennedy Moretti, piano. CD. Madrid, Sociedad Española de Musicología, series El Patrimonio Musical Hispano No. 30, Discan DCD/298, 2013.

- Bretón, Tomás. La Dolores. Orquesta Sinfónica de Madrid, Antoni Ros-Marbá, dir. 2 DVDs. Madrid, Teatro Real/Iberautor, SA01034, 2005.

- Siemens Hernández, Lothar. «José Palomino (1755-1810) y sus quintetos de cuerda». José Palomino (1755-1810). Quintetos de cuerda con dos violas 1, 2 y 3. Cuarteto Ornati and José Alvarado (2nd viola). CD. Madrid, Sociedad Española de Musicología, series El Patrimonio Musical Hispano No. 27, Discan DCD/276, 2011, pp. 1-9.



The complete URL of webpages should appear set aside with the less-than and greater-than signs, , accompanied by the most recent access date, expressed as [accessed 2-12-2012] for 2 December 2012.

Submission guidelines and review process.pdf (279KB)