Submitted texts undergo rigorous assessment for academic quality and scholarly merit by anonymous reviewers approved by the Editorial Board. Musicologica prioritises original scholarly papers, studies, research articles, and scholarly discussions that address a specific artistic or musical issue and demonstrate originality in approach, problem-solving in the conclusions, and a clearly articulated critical discussion. Manuscripts should be structured into subsections aligned with the content and scientific objectives of the study. Authors are encouraged to follow standard research conventions, particularly the IMRaD structure: Introduction, Methods, Results, and Discussion. Each submission must include a title, an abstract (in both Slovak and English, each not exceeding 150 words), and five keywords (also in both Slovak and English). Submissions should be written in Slovak or English and should be between 20,000 and 30,000 characters in length. To facilitate communication within the academic community, authors are requested to provide their institutional affiliation, a brief curriculum vitae (up to 10 sentences), and an email address.
Texts and endnotes should be submitted in MS Word format, using Times New Roman font. Studies may include appendices with notation prepared in Finale or Sibelius, or as scanned images in the formats specified below, as well as audio samples and a bibliography of referenced literature. Musical examples, images, and any other supplementary materials must be submitted as separate files alongside the main manuscript.
Please send your contributions to the editor’s e-mail address. Authors will be notified of the acceptance and publication status of their submission via email.
Text file format: doc, docx, odt
Images: jpg, gif, png
Notation examples: jpg, gif, png, pdf
Audio samples: mp3, wav
The acceptance of a study for publication is determined by the Editorial Board, based on the outcome of the peer-review process. Bibliographic references are provided in endnotes after the main text.
The bibliography should follow the formatting guidelines outlined in the following templates:
Monographs:
BENEŠ, Juraj: O harmónii (pokus o úvod do nejakej budúcej teórie harmónie). Bratislava: Hudobné centrum, 2003.
KRESÁNEK, Jozef: Tonalita. Bratislava: Opus, 1982.
RYBARIČ, Richard: Dejiny hudobnej kultúry na Slovensku I.: Stredovek, renesancia, barok. Bratislava: Opus, 1984, s. 90-95.
Studies in proceedings and journals:
CHALUPKA, Ľubomír: 80 rokov Katedry hudobnej vedy na FFUK [80 Years of the Department of Musicology at FA CU]. In: Slovenská hudobná veda (1921 – 2001) minulosť, súčasnosť, perspektívy. Ed. Ľubomír Chalupka, Bratislava: STIMUL, 2001, s. 9-31.
MÚDRA, Darina: Niekoľko poznámok o súčasnom stave a perspektívach hudobnohistorickej dokumentácie v ČSSR [A Few Remarks on the Current State and Perspectives of Music-Historical Documentation in the Czechoslovak Socialist Republic]. In: Zborník materiálov – Sympózium predstaviteľov hudobno-dokumentačných inštitúcií zo socialistických krajín. Ed. Emanuel Muntág, Martin: Matica slovenská, 1978, s. 92-103.
HULKOVÁ, Marta: Spevník z Hôrky a spišské rukopisné spevníky zo 17. a 18. Storočia. [The Hymnal of Hôrka and Handwritten Hymnals from Spiš from the 17th and the 18th Centuries] In: Musicologica historica I. Ad honorem Richard Rybarič. Ed. Janka Petőczová, Bratislava: Ústav hudobnej vedy SAV, 2011, s. 87-102.
KAJANOVÁ, Yvetta & HEVIER, Daniel: Penetration of Jazz into Various Genres and Subcultures. In: Jazz from socialist realism to postmodernism. Eds. Yvetta Kajanová – Rüdiger Ritter – Gertrud Pickhan, Frankfurt am Main: Peter Lang Verlag, 2016, pp. 265-281.
RAYNEY PERRY, Mary M.: Relating Improvisational Music Therapy with Severely and Multiply Disabled Children to Communication Development. In: Journal of Music Therapy 40/ 3, 2003, 227-246.
SILVERBERG, Laura: Between Dissonace and Dissidence: Socialist Modernism in the German Democratic Republic. In: Journal of Musicology 26/1, 2009, 44-84.
Monographs, proceedings, and multi-authored works:
KALINAYOVÁ-BARTOVÁ, Jana (ed.): Sprievodca po zbierkovom fonde Hudobného múzea Slovenského národného múzea. Hudobné zbierky archívnej povahy 1965 – 2000 [A Guide to the Collections of the Music Museum of the Slovak National Museum: Music Collections of Archival Nature 1965 – 2000] Bratislava: SNM-HuM, 2001.
Electronic sources:
KRET, Anton: Ernest Bryll, Katarzyna Gärtnerová – Na skle maľované. Sme.sk, [online],˂https://www.sme.sk/c/3950819/ernest-bryll-katarzyna-gartnerova-na-skle-malovane.html#ixzz51nXibw3g>.[cit. 28.6.2008].
TASR: P. Lipa: Keď sa človek dostal do Véčka, komunizmus ostal na ulici. Teraz.sk, [online], ˂http://www.teraz.sk/kultura/p-lipa-ked-sa-clovek-dostal-do-vecka-kom/149483-clanok.html?mostViewedArticlesInSectionTab=1>. [cit. 6.8.2015].
CERCHIARI, Luca: The “French |Tinge.” Jazz and its Paris-NewOrleans Connection. Musicologica.eu, [online], ˂http://www.musicologica.eu/francuzsky-nadych-jazz-a-jeho-parizsko-new-orleanske-spojenie/?lang=en>. [cit. 1 October 2021].
Code of Ethics and Licences
Musicologica adheres to the following ethical principles in scholarly publishing:
- Honesty and accountability in all aspects of research
- Consistency and rigour in research practice
- Transparency and open communication
- Respect for all research participants and subjects
- Commitment to non-discrimination in any form.
In cases where allegations of misconduct in research, publication, or citation arise, the Editorial Board reserves the right to request the author to retract, correct, clarify, or formally apologise for the submitted manuscript. The journal maintains a strict policy against any attempts to influence the peer-review process.
Musicologica operates under the Creative Commons Attribution 4.0 International licence. This licence permits users to share, distribute, remix, adapt, and build upon material in any medium or format, including for commercial use, provided that appropriate credit is given to the creator.
Musicologica operates under the Creative Commons Attribution 4.0 International licence. This licence permits users to share, distribute, remix, adapt, and build upon material in any medium or format, including for commercial use, provided that appropriate credit is given to the creator.