JARP publishes articles, conference papers, interviews and media reviews.<\/p>\n
JARP\u2019s aim is to promote scholarly enquiry across the art and science of record production, to be interpreted in the broadest sense as the production of recorded music. Research pertaining to the study of record production is interdisciplinary by nature, thus JARP welcomes material dealing with the topic from historical, critical, sociological, cultural theoretical, anthropological, analytical, scientific and musicological perspectives.<\/p>\n
JARP invites \u00a0articles with a minimum of 7,000 \u2013 maximum of 9,000 words in length (excluding endmatter). Abstracts of 60-100 words, in present tense, should be submitted along with the article. Additionally, authors must submit 5 \u2018keywords\u2019 that best reflect the content.<\/p>\n
All paper submissions, where applicable, must be accompanied by hi-resolution images and 192kbps mp3 audio examples. Video examples should be formatted to conform with the Vimeo compression guidelines http:\/\/vimeo.com\/help\/compression<\/a><\/p>\n All images, audio and videos must be sent in a named folder. \u00a0For large file submissions, access to the JARP Dropbox can be arranged.<\/p>\n Kindly note that YouTube places the onus on the user to ensure they control the rights to any videos they upload therefore, embedded videos will be accepted. Any video examples not created by the author should also be cited at the end of the article.<\/p>\n Articles should be submitted in Word format (doc, docx or rtf file) and named as follows: SURNAME_INITIAL_JARP9.docx.<\/p>\n A call for articles will be made once a year to our registered users. To register please visit\u00a0www.artofrecordproduction.com<\/a><\/b><\/p>\n JARP has strict guidelines for the formatting of articles. All articles must be submitted in English, 12pt font, at least 1\u201d margins, double-spaced and in a Times typeface.<\/p>\n Notes should be formatted as endnotes. Footnotes are not permitted. Endmatter is ordered as follows: Acknowledgements, Notes, Bibliography [both off and online], Discography, Appendices. All endmatter should be double-spaced as per the main article.<\/p>\n Quotations of up to 2 lines should be assimilated inline. Quotations longer than 2 lines should be presented in indented, single-spaced, \u2018block\u2019 form.<\/p>\n Abbreviations should be presented as follows: etc. i.e. e.g. Anacronyms should be presented in capitals: AES, JARP, IASPM etc.<\/p>\n References should be listed alphabetically by author[s] surname[s]. Multiple references by the same author should be listed chronologically. In the case of journal articles, the article title should be plain text and the journal title in italics with the volume preceding the issue number. The following examples illustrate book, chapter, article and online formatting:<\/p>\n Th\u00e9berge, P. (1997) Any Sound You Can Imagine: Making Music\/ Consuming Technology<\/i>. Hanover: Wesleyan University Press.<\/p>\n Durant, A. (1990) \u2018A New Day For Music? Digital Technologies in Contemporary Music Making\u2019. In: Hayward, P. (ed.) Culture, Technology & Creativity in the Late Twentieth Century. <\/i>London: John Libbey, pp. 175 -196.<\/p>\n Hamilton, H. (2003) \u2018The Art of Recording and the Aesthetics of Perfection\u2019. In: The British Journal of Aesthetics<\/i>. 43, 4, pp. 345-362.<\/p>\n Clark, R. (2002) \u2018Gus Dudgeon, 1942-2002\u2019. In: Mix<\/i>. [Online] October 1st. Available at: http:\/\/mixonline.com\/recording\/interviews\/audio_gus_dudgeon\/ (Accessed: July 2010)<\/p>\n In-text citation format should be: (author: year, p.#)<\/p>\n Presentation as follows: Artist, \u2018Song Title\u2019, Album Title<\/i>. [Format] Record Label, Year.<\/p>\n JARP operates a rigorous peer review process. All articles and conference papers submitted to JARP are anonymised and sent to 3 scholars for review. Details of the current JARP peer review team can be found on the JARP website. In line with JARP\u2019s aim to publish research of national and international standing, reviewers are encouraged to look for high quality, originality and relevance. Whilst the process is rigorous, reviewers are instructed to respond with constructive and fair feedback.<\/p>\n Peer reviewers may elect to:<\/p>\n i. \u00a0accept the article without revisions<\/p>\n ii. accept the article subject to revisions<\/p>\n iii. reject the article, but encourage resubmission at a later date*<\/p>\n iv. reject the article*<\/p>\n * In these instances, suggestions as to how the material could be improved are provided.<\/p>\n NB. The peer reviewers\u2019 decisions are final. In the case of disparity across reviews, material is passed to the Editors-in-Chief for arbitration. On occasion, the Editors-in-Chief may assign a designate.<\/p>\n A call for papers will be made once a year at the Art of Record Production conference. Only authors who presented their papers at the conference (in person or by Skype\/ video conference) will be invited to submit to the proceedings.<\/p>\n Proceedings should represent the research project as a whole and should not simply be notes accompanying the presentation. The minimum requirement is 4,000 words up to a maximum of 6,000. Abstracts of 60-100 words, in present tense, should be submitted along with the article. Additionally, authors must submit 5 \u2018keywords\u2019 that best reflect the content.<\/p>\n NB: Please observe the formatting guidelines for Articles.<\/p>\n JARP invites submissions of transcripts, edited articles and recorded audio\/AV interviews.<\/p>\n Transcripts must be accompanied by a picture of reasonable resolution, a one paragraph Biography of the subject\/ interviewee and a signed copy of the JARP Author Terms and Conditions [available upon request – please use contact page link]. Submissions received without a fully completed and signed form will be returned to the author.<\/p>\n JARP has strict guidelines for the formatting of interview transcripts, which must be submitted in English, 12pt font, at least 1\u201d margins, single-spaced and in a Times typeface. Questions should be italised [see existing published interviews].<\/p>\n Subject to condition (ii) JARP does not impose a word limit for interview transcripts and articles.<\/p>\n The Editor-in-Chief will review the submission in the first instance and will either:<\/p>\n i. progress the submission and assign to a second reviewer<\/p>\n ii. refer back to the Author with recommendations to edit and resubmit<\/p>\n iii. reject the submission<\/p>\n NB. The decision of the Editor-in-Chief is final and JARP, ASARP and ARP reserve the right to reject submissions without entering into communication.<\/p>\n The Journal invites both ASARP members and non-members to submit published works for review. Submissions will be accepted in the following categories:<\/p>\n JARP also invites submission of visual, audio or Internet media [such as documentaries, interviews or blog links] that examine and illuminate record production per the above guidelines.<\/p>\n JARP does not review musical works or recordings as such on a regular basis and therefore requests that these not be submitted unsolicited for review.<\/p>\n However, the JARP editorial board will on occasion review, and invite comment on, recordings deemed noteworthy by ASARP members.<\/p>\n Responsibility for obtaining permission to use copyright sound recordings, copyright musical works, images, film or other copyright materials lies solely with the author. Additionally, it is the author\u2019s sole responsibility to duly acknowledge copyright materials in their transcripts.<\/p>\n All material submitted remains the property of the copyright holder. However, by submitting for consideration for review by JARP, the owner implicitly grants JARP the right to excerpt accepted submissions.<\/p>\n Plagiarism in any form is not tolerated and, if discovered in any material submitted to JARP, will result in permanent censure from further submission. Neither ASARP nor JARP assumes any liability for undetected plagiarism, whether intentional or unintentional, and bears no responsibility for the content of submitted works or external blogs, websites or other internet media under review.<\/p>\n Members of ASARP, should they be the creators of works under review, or reviewers of submitted media, will be clearly identified as such in all reviews.<\/p>\n The JARP editorial board reserves the right to refuse submissions.<\/p>\n We kindly urge all contributors to familiarise themselves fully with these instructions as they will be strictly applied.<\/strong>\u00a0Submissions which do not conform to the published guidelines will be returned to the author(s) and may not progress to the peer-review stage.<\/strong><\/p>\n Instructions for Contributors Editorial Policy JARP publishes articles, conference papers, interviews and media reviews. JARP\u2019s aim is to promote scholarly enquiry across the art and science of record production, to be interpreted in the broadest sense as the production of recorded music. Research pertaining to the study of record production is interdisciplinary by nature, thus […]<\/p>\n","protected":false},"author":8,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-461","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/pages\/461","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/comments?post=461"}],"version-history":[{"count":46,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/pages\/461\/revisions"}],"predecessor-version":[{"id":4064,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/pages\/461\/revisions\/4064"}],"wp:attachment":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/media?parent=461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Formatting<\/b><\/h3>\n
Headings, notes and endmatter<\/b><\/h3>\n
Quotations, Abbreviations and Anacronyms<\/b><\/h3>\n
Bibliography<\/b><\/h3>\n
Discography<\/b><\/h3>\n
Peer Review<\/b><\/h3>\n
Conference Proceedings<\/h2>\n
Interviews<\/b><\/h2>\n
Interview transcripts<\/b><\/h3>\n
Formatting<\/b><\/h3>\n
Review & exclusivity<\/b><\/h3>\n
Media reviews<\/b><\/h2>\n
Books\/Articles<\/b><\/h3>\n
\n
Other media<\/b><\/h3>\n
The Fine Print<\/b><\/h2>\n
<\/b>Copyright notice<\/b><\/h3>\n
Plagiarism<\/b><\/h3>\n
Members of ASARP<\/b><\/h3>\n
Content approval<\/b><\/h3>\n
Download:\u00a0JARP Instructions for Contributors<\/a>
\n<\/a><\/h2>\n","protected":false},"excerpt":{"rendered":"