Instructions for authors

Scope and editorial policy

Antec: Revista Peruana de Investigación Musical is a space for the circulation of academic research papers in the field of music, created and supported by the Centro de Investigación, Creación Musical y Publicaciones – today Instituto de Investigación – of the Universidad Nacional de Música de Perú.

Its mission is give visibility to the generation of knowledge in the field of music as a college profession, publishing works by specialists in different areas of musical endeavor such as interpretation, creation, music education and musicology. Antec also offers a place for works from other disciplines such as the social sciences and human sciences, whose thematic emphasis is centered on musical expression as a social practice, art form, formative praxis, aesthetic expression or communicative medium.

Antec 's projection is interdisciplinary, the publication criteria welcome texts whose vision allows us to understand aspects of the musical profession in its interrelation with various fields of knowledge and human behavior. For the publication, the originality of the theme is prioritized, as well as its potential contribution to an understanding of musical events in their respective human contexts; In this vision, an equilateral place is offered to the study of the different forms of musical expression that our societies have adopted to express positive contents. Its scope is towards the academic community, it is based on the open access policy and seeks to contribute to the interweaving of networks around music research. Antec is published digitally and physically with a periodicity of two annual issues.

  1. Formal characteristics of the manuscript

Antec admits the publication of original and unpublished documents, belonging to the field of music in its broad conception, with a maximum length of 30 pages, as well as annexes.

The original texts, called manuscripts, will be sent in electronic version Word to: http://revistas.unm.edu.pe/index.php/Antec/user/register or to: revista.investigacion@unm.edu.pe, with the following specifications:

  • Font: Arial
  • Size: 12
  • Line spacing: 1.15, leaving space after the paragraph
  • Margins: top and bottom of 2.5 cm, left margin of 3.00 cm and right margin of 2.00 cm

The manuscript must contain the following elements as a heading:

  • Title in the language of the text and its Spanish version.
  • Author or authors, recorded as follows: surnames, names, current institutional affiliation, Orcid ID and email.
  • Abstract in the language of the text, in a maximum of 200 words and its Spanish or resumen version.
  • Keywords of the work in the language of the text and its Spanish version or palabras clave, without exceeding 5 and separated by semicolons.

If the text was originally written in English or another language, the translation of the title, abstract and keywords must be made in Spanish.

In structuring the manuscript, it is recommended to follow a general outline of academic research papers that includes the following points:

  • Introduction. The fundamentals of the work are exposed, the objectives, frameworks and perspectives of the same are clearly seen, and mention is made of the procedures, methods and materials used.
  • Thematic development. It consists of a first subchapter dedicated to the contextualization of the topic and a second subchapter focused on the central discussion of the topic and the development of analytical procedures; this last subchapter should be the longest. In the case of presenting an image or musical graphic during the thematic development, regardless of its referential inclusion in the Word document, the images must be sent in high-resolution files, in PNG format, and the transcriptions or musical graphics in an editable Finale .mus file. with the numbering assigned in the text. Each image or musical graphic must the following description: Figure [number]. Title of the image or title of the fragment. Source of the image (if applicable, indicate as own elaboration).
  • Conclusions. They must be general and specific, consistent with what is announced in the general title of the work and the research perspectives stated in the introduction.
  • References. They must be consigned at the end of the text and according to APA standards.
  • Annexes. Recurring images or scores may optionally be added.
  1. Types of texts for the journal

The texts to be published may take different forms, as long as their theoretical and methodological procedures are focused on the field of music.

  • Investigation article
  • Academic paper
  • Monograph
  • Paper presented at a congress, colloquium or academic seminar
  • Essay fragments or short essay (without evaluation process)
  • Book or record review (without evaluation process)
  • Report of experiences (without evaluation process)
  • Life history (without evaluation process)
  • Chronicle
  • Musical practices (without evaluation process)
  1. Evaluation of research articles

The manuscripts will be reviewed by an evaluation committee, which will corroborate the conceptual and methodological quality of the text, as well as the relevance of its contents with the general guidelines of the journal or the specific theme of one of its issues.

The double-blind system will be applied, that is, the evaluator does not know the name and origin of the author, and the latter receives the observations anonymously. The procedure will be mediated by the editorial committee.

  1. Copyright

The authors of the accepted originals must cede the rights of publication, distribution and reproduction of their texts before their publication. The purpose of this transfer is to protect the common interest of authors and publishers.

  1. Citations and references

The use of ideas, data, concepts, theories, among others, from written or oral sources, must be cited in the text as well as being recognized in the final references to favor its verification of authenticity.

To record these citations and references, the regulations proposed by the American Psychological Association (APA) in its sixth or seventh edition will be used. 

References

  • Author or authors of books

Berkowitz, S., Fontrier, G., and Kraft. (2017). A new approach to sight singing (6th ed.). New York: W. Norton & Company.

Otero, L, M. (2012). ICT in the music classroom. Bogota: Editions of the u.

  • Book with compiler (Comp.), editor (Ed.), coordinator (Coord.) or director (Dir.).

Diaz, M. (Ed.). (2013). Qualitative Research in Music Education (Euphony Collection). Barcelona: GRAÓ.

  • Institutional or corporate author / collection

Peru, Museum of culture. (1951). Musical instruments of Peru . Lima: Author. (Arturo Jimenez Borja Collection).

  • Institutional or corporate author / an institution as publisher

Peru, National Institute of Culture INC. (1978). Map of popularly used musical instruments in Peru . Lima: Author

  • Chapter of the book

Akoschky, J. (2009). musical activities. In Arnaiz, V. and Elorza, C (Dir.), Music in infant school : 0-6 (pp. 37-100). Barcelona: GRAÓ.

  • Chapter in a conference book

Tomaszewski, M. (2013). Chopin's music red a New. In Malecka, T. (Ed.), Proceeding of the 11th international congress on musical significance vol. 1 (98-117). Kraków: Akademia Muzyczna W Kralowie.

  • Journal article

Banderas, D. (2009). Everyday music: its role in the psychological reparation of violated women. Chilean Music Journal , 70 (212), 103-120.

  • Thesis

Bolanos, C. (1986). Ancient musical instruments in Peru and Ecuador (Thesis in Musicology). National Conservatory of Music, Lima, Peru.

Nicephor, S. (2007). L' apprentissage de la composition musicale: regard sur la situation française durante la première moitié du XIXe siècle (PhD thesis). University of Lille 3, Lille, France.

  • Online documents

Nagore, M. (2004). music analysis. Between formalism and hermeneutics. In Music to the South 1. Madrid: Complutense University of Madrid. Retrieved from: http://www.eumus.edu.uy/revista/nro1/nagore.html

López-Cano, R. and San Cristóbal, U. (2014). Artistic Research in Music: Problems, Methods, Experiences, and Models . Barcelona: Esmuc. Retrieved from: https://ia601509.us.archive.org/17/items/ruidolibrebibliografia/LopezCano&SanCristobal_invetigacion-artistica-en-musica.pdf

  • Laws

University Law, Law No. 30220 (July 9, 2014). In: Legal regulations, No. 527213. Official Gazette "El Peruano". Lima: Congress of the Republic.

  • Personal Communications

As such are considered the private letter, memorandum, email, group discussion, telephone conversation among others, which due to their characteristics provide non-recoverable data and there is no possibility of public verification; therefore, these communications may only be used by citation within the text and will not be included in the reference list. Your consignment is:

  1. Surname (personal communication, June 16, 2017)

 

Guidelines for the section Musical Practices    

This is an space for a musical and ethnographic approach to the different musical practices that coexist in Peru, understood as musical genres and considered representative of a certain community.

The foundation of this section is to understand the coexistence of multiple musical expressions in our country and how they support their practice in specific cultural and aesthetic forms and linked to specific functions. The country's musical expressions can be understood from its Andean, Amazonian and coastal aspects and its multiple communities, as in relation to transterritorial contexts of practice or historical situations; The contribution to the plural knowledge of music in Peru is Antec's objective and principle.

Antec will address a musical expression, practice or genre understood as a specific local form. The approach will consist of an ethnographic approach to the context of the practice, based on direct and participatory observation in music, as well as on the pertinent bibliographic review. The central approach will be the analysis and description of the musical elements, the sound and performative characteristics and the analysis of the functions of these musics in the social context.

Therefore, this section is a space open to all musicians who are members of a local musical practice in the country and who want to report their experience, without necessarily being an experienced researcher, through a text prepared with the following guidelines:

  1. Description of musical practice in its context: description of an ethnographic nature or participatory observation of music.
  2. Space and time of practice: location, area, time or occasions in which the music is practiced.
  3. Cultural roots: historical data of the practice existing in written sources or oral accounts.
  4. Musical instruments: organological or morphological description of the instrument(s), local variant or instrumental association used in music.
  5. Sound-musical characteristics of the practice: description of the musical elements: structures, harmony, rhythms, timbres, instrumentation, variations or whatever is particular to the style and how these are articulated with the musical expression.
  6. Conclusions about the musical aspect of the practice.