Aims & Scope

Studies in Musical Theatre considers areas of live performance that use vocal and instrumental music in conjunction with theatrical performance as a principal part of their expressive language. The journal is double-blind peer-reviewed in order to maintain the highest standards of scholastic integrity.

Submissions

To submit an article, please follow the 'Submit' button on the left of this page.

Download the Notes for Contributors above for information on format and style of submissions. If you need this document in a more accessible format, please contact info@intellectbooks.com. Find more information on Intellect's Accessibility page.

All articles submitted should be original work and must not be under consideration by other publications.

Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.

Peer Review Policy

All articles undergo initial editorial screening either by the journal's Editorial Team and/or incumbent Guest Editors. Articles then undergo a rigorous anonymous peer review by two referees, following the guidance in Intellect's 'Peer review instructions'. Based on this feedback, the Editors will communicate a decision and revision suggestions to authors. To appeal an editorial decision, please contact the main Editor who will consider your case.

Ethical Guidelines

The journal follows the principles set out by the Committee on Publication Ethics (COPE). Read our Ethical Guidelines for more on the journal's standards.

General Call for Papers Information

All articles submitted should be original work and must not be under consideration by other publications.

We welcome discussions on any theme relating to musical theatre in its widest sense, from the musicological to the postdramatic and from the textual to the performative. Articles should be between 5,000–10,000 words and should include original work of a research or developmental nature. The journal also welcomes contributions embracing issues relating to practice. A sample area of considerations might include, but is not restricted to:

• revisions of historiographical narratives;

• applied musicological or dramaturgical analysis;

• archival and production research;

• innovative paradigms of critical thought;

• performance and performance practice;

• approaches to training and the industry;

• the fusion of words and music;

• the use of music and song within theatre, film and related art forms;

• critical approaches to musical theatre;

• industry issues;

• globalization, consumption and commodification.

Further information on the journal is available from the journal Editors.

Editorial Board

Masi Asare (Northwestern School of Communication, USA)
Sarah Browne (University of Wolverhampton)
Ryan Bunch (Rutgers University-Camden, USA)
John Clum (Duke University, USA)
Judah M. Cohen (Indiana University Bloomington, USA)
Elizabeth Craft (University of Utah, USA)
Joanna Dee Das (Washington University in St. Louis, USA)
Ryan Donovan (Duke University, USA)
Eric M. Glover (Yale University, USA)
Naomi Graber (University of Georgia, USA)
Elissa Harbert (DePauw University, USA)
Stuart Hecht (Boston College, USA)
Jessica Hillman-McCord (State University of New York at Fredonia, USA)
Jake Johnson (University of Oklahoma, USA)
Pamela Karantonis (Goldsmiths, University of London, UK)
Hyunjung Lee (Kansai Gaidai University, Japan)
James Lovelock (University of Wolverhampton, UK)
Miranda Lundskaer-Nielsen (Bath Spa University, UK)
Ben Macpherson (University of Portsmouth, UK)
Emilio Méndez (National Autonomous University of Mexico)
Dara Milovanovic (University of Nicosea, Cyprus)
Ellen Peck (Jacksonville State University, USA)
Doug Reside (New York Public Library, USA)
George Rodosthenous (University of Leeds, UK)
Phoebe Rumsey (University of Portsmouth, UK)
Sarah Whitfield (University of Wolverhampton, UK)
Trudi Wright (Regis University, USA)

Advisory Board

George Burrows (University of Portsmouth, UK)
Kelly Kessler (DePaul University, USA)
Raymond Knapp (UCLA Herb Alpert School of Music, USA)
Jeffrey Magee (University of Illinois, USA)
Carol Oja (Harvard University, USA)
Gillian Rodger (University of Wisconsin-Milwaukee, USA)
David Savran (CUNY Graduate Center, USA)
Robynn Stilwell (Georgetown University, USA)
Steve Swayne (Dartmouth College, USA)
Dominic Symonds (University of Lincoln, UK)
Millie Taylor (University of Winchester, UK)
Stacy Wolf (Princeton University, USA)