Studies in Musical Theatre (Journal)

ISSN 17503159 , ONLINE ISSN 17503167

Studies in Musical Theatre provides a forum to debate a wide range of texts that articulate the musical together with the theatrical. This peer-reviewed journal brings together a variety of critical approaches to contribute to the discussion surrounding live performance, the development and form of musical theatre and its value as a cultural product in theory and practice. Here, you will find a wealth of writing encompassing everything from opera to film musical to pop video.

This title is indexed with Scopus and the Web of Science’s Emerging Sources Citation Index (ESCI).

For more information, to access the journal or to subscribe visit the Discover platform here.

Category: Music, Performing Arts


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Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

Notes for Contributors Download

Formal Guidelines



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.

Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

Ongoing Call for Collaboration Download

Special Issue: 'The Musical-Theatrical Global South' Download


Special Issue Call for Papers: ‘The Musical-Theatrical Global South’

 

While the term ‘global south’ has gained currency over the past decade among thinkers and policy makers in economics, political science and sociology, for example, it is rarely discussed in North American musical theatre study and practice. More than merely a cartography of regions in some ways aligned with areas previously framed as the ‘Third World’, the concept also usefully activates solidarity among geographically disparate places similarly subject to exploitation by wealthier nations and populations. With this project, we seek to mobilize the organizing principle of the global south to catalyze productive conversations about musical stages and screens beyond the mythic and hegemonic spaces of Broadway, Hollywood and the West End.

 

Throughout the global south Cuban zarzuelas, South African jazz operas and a dazzling array of musical comedy films emanating from culture hubs in Mumbai, Cairo and Mexico City have long thrived alongside imports from New York, Los Angeles and London. A consideration of the musical-theatrical global south flips the script on longstanding narratives and sounds of exoticization that Broadway-style musicals so often serve up in shows purporting to represent the global south. Our project seeks to surface insights into local expressions of musical-theatrical forms and allow for comparative study and cross-pollination of practices, displacing unspoken beliefs in the anglocentric origins and exceptionalist nature of ‘the musical’.

 

We invite submissions from scholars, artists and writers on the topic of musical–theatrical performance in various countries thought of as the global south for a special issue of the peer-reviewed journal, Studies in Musical Theatre. We welcome essays, papers, conversations with artists and performance reviews on ‘the musical–theatrical’ broadly defined. We understand musical–theatrical to encompass a wide array of styles, traditions and works, especially local expressions. We encourage contributions that engage performances on the musical stage inclusive of and extending beyond what is often thought of as a ‘musical’.

 

Contributions may include:

  • comparative analysis of vaudeville and revue performances that travel by various names (teatro de revista, concert party theatre, music festival);
  • studies of cabaret and nightclub performing artists who came to prominence across the global south in previous historical eras;
  • mapping the dynamics of musical–theatrical performance venues along hemispheric and international circuits inclusive of global south locales;
  • interviews with or research on significant architects of musical–theatrical performance (composers, lyricists, translators, directors, choreographers, filmmakers, etc.);
  • assessment of state-sponsored shows that stage song, dance and story/comedy in service of national projects and propaganda;
  • media, television and film works produced in the global south that cite and reanimate contemporary and/or historical expressions of musical–theatrical performance;
  • consideration of musical–theatrical performances innovated by immigrant communities both within the global south and in global north locales;
  • studies of how mask, makeup, puppetry and/or costume conventions engage along global transits of blackface or brownface minstrelsy to configure local understandings of race, song and comedy;
  • analyses of the practices and implications of re-mounting Broadway or West End musical theatre works vs. locally produced, large-scale productions also branded as global north-style ‘musicals’;
  • (re)considerations of how the global south is represented in mainstream international musical theatre circuits and productions;
  • theories about musical–theatrical aesthetics specific to, or prominent within, certain global south geographies.

 

Please submit a 250-word abstract by May 1, 2023 to co-editors Masi Asare (masi.asare@northwestern.edu) and Emilio Méndez (emendezr@unam.mx) with the subject heading ‘MT Global South’. Completed essays will be due December 1, 2023. Issue 18.3 will be published in 2024.

 

You are welcome to email Masi Asare or Emilio Méndez with questions.

 

 


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.

Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

Editorial Board

Masi Asare
Northwestern School of Communication, USA

Sarah Browne
University of Wolverhampton

Ryan Bunch
Rutgers University-Camden, USA

John Clum
Duke University

Judah M. Cohen
Indiana University Bloomington

Elizabeth Craft
University of Utah, USA

Joanna Dee Das
Washington University in St. Louis

Ryan Donovan
The Graduate Center, City University of New York

Eric M. Glover
Yale University, USA

Naomi Graber
University of Georgia, USA

Elissa Harbert
DePauw University

Stuart Hecht
Boston College, USA

Jessica Hillman-McCord
State University of New York at Fredonia

Jake Johnson
Oklahoma City University

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

Ben Macpherson
University of Portsmouth

Emilio Mendez
National Autonomous University of Mexico, 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

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

Raymond Knapp
UCLA Herb Alpert School of Music

Jeff Magee
University of Illinois, USA

Carol Oja
Harvard University, USA

Gillian Rodger
University of Wisconsin-Milwaukee, USA

David Savran
CUNY Gradute Center, USA

Robynn Stilwell
Georgetown University, USA

Steve Swayne
Dartmouth College, USA

Dominic Symonds
University of Lincoln, UK

Millie Taylor
University of Winchester

Stacy Wolf
Princeton University

Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

 
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EBSCO: International Bibliography of Theatre & Dance Full Text
 
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International Federation of Film Archives (FIAF)
 
International Index to Music Periodicals (IIMP)
 
International Index to the Performing Arts (IIPA)
 
Modern Language Association International Bibliography (MLA)
 
Scopus
 
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Ulrich's Periodicals Directory
 
Web of Science: Emerging Sources Citation Index (ESCI)

Contents

  • Volume (17): Issue (1)
  • Cover date:


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  • Volume (17): Issue (2)
  • Cover date:


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  • Volume (16): Issue (1)
  • Cover date: 2022


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  • Volume (16): Issue (2)
  • Cover date: 2022


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  • Volume (16): Issue (3)
  • Cover date: 2022


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  • Volume (15): Issue (1)
  • Cover date: 2021


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  • Volume (15): Issue (2)
  • Cover date: 2021


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  • Volume (15): Issue (3)
  • Cover date: 2021


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  • Volume (14): Issue (1)
  • Cover date: 2020


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  • Volume (14): Issue (2)
  • Cover date: 2020


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  • Volume (14): Issue (3)
  • Cover date: 2020


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  • Volume (13): Issue (1)
  • Cover date: 2019


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  • Volume (13): Issue (2)
  • Cover date: 2019


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  • Volume (13): Issue (3)
  • Cover date: 2019


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  • Volume (12): Issue (1)
  • Cover date: 2018


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  • Volume (12): Issue (2)
  • Cover date: 2018


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  • Volume (12): Issue (3)
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  • Volume (11): Issue (1)
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  • Volume (11): Issue (2)
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  • Volume (11): Issue (3)
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  • Volume (10): Issue (1)
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  • Volume (10): Issue (2)
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  • Volume (10): Issue (3)
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  • Volume (9): Issue (1)
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  • Volume (9): Issue (2)
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  • Volume (9): Issue (3)
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  • Volume (8): Issue (1)
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  • Volume (8): Issue (2)
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  • Volume (8): Issue (3)
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  • Volume (7): Issue (1)
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  • Volume (7): Issue (2)
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  • Volume (7): Issue (3)
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  • Volume (6): Issue (1)
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  • Volume (6): Issue (3)
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  • Volume (5): Issue (1)
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  • Volume (5): Issue (2)
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  • Volume (5): Issue (3)
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  • Volume (4): Issue (1)
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  • Volume (4): Issue (2)
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  • Volume (4): Issue (3)
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  • Volume (3): Issue (1)
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  • Volume (3): Issue (2)
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  • Volume (3): Issue (3)
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  • Volume (2): Issue (1)
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  • Volume (2): Issue (2)
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  • Volume (2): Issue (3)
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  • Volume (1): Issue (1)
  • Cover date: 2006


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  • Volume (1): Issue (2)
  • Cover date: 2006


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  • Volume (1): Issue (3)
  • Cover date: 2006


Editors

Elizabeth Wollman
City University of New York, USA
elizabeth.wollman@baruch.cuny.edu

Jessica Sternfeld
Chapman University, USA
jessica.sternfeld@gmail.com

Reviews Editors

Hannah Robbins
University of Nottingham
hannah.robbins@nottingham.ac.uk

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