Notes for Contributors
Submissions should include:
Title page with full title and subtitle (if any). For the purposes of blind refereeing, the full name of each author with current affiliation and full address/phone/fax/email details should appear on a separate sheet.
Abstract of 100-150 words.
5-10 key words. If you do not provide these, the editor may insert key words at their own discretion.
Main text and word count — articles should be between 3,500 and 5,000 words (not including references). Text is to be clearly organised, with a clear hierarchy of headings and subheadings, and quotations exceeding 40 words should be indented in the text. Texts of a length greatly exceeding this will be considered on a case by case basis.
Divergence Press Journal: Stylesheet
Divergence Press is an online journal, and as such we encourage the use of embedded media. Video, audio, and images should be provided to the Divergence Press editor alongside submission of the article to be uploaded to the relevant Divergence Press / CeReNeM media hosting resources (Soundcloud, YouTube, etc…) and embedded in the published article. Articles should be formatted for internet publication, not print.
Video: .mp4, .mv4
Audio: .wav, .aif for short audio files (<30sec); .flac, or .mp3 (320kbps) for longer audio files (>30sec)
Image: .jpg, .png
Placement of media in text should be indicated on a new line with [MEDIA_FORMAT_TITLE].
UK English (incl. u in colour, etc.; -re in centre, etc.; double l in traveller, etc.; c in licence and practice as nouns; t in spelt, learnt, etc. [not spelled, learned]; -yse, -ise endings)
quotation marks: double, single within
punctuation: outside quotation marks
dashes: n-dash with spaces
commas: serial commas in lists (eg 1, 2, and 3)
centuries: the twentieth century; twentieth-century music
decades: the 1970s and 80s
full dates: UK style (date then month)
thousands: 1,000; 10,000
words vs digits: one to ten, 11, 12 etc. (BUT: always digits in mathematical contexts)
Inline cues: (see figure 1)
Figure 1 John Smith Piece Title bars 1–10
Copyright 1994 John Smith Press
Reproduced with permission
Numbering style: 1, 2, etc.
Bullets and numbering: n/a
Inline lists: n/a
Possessives: Strauss’, Williams’
eg (no comma following)
ie (no comma following)
Refer to Oxford English Dictionary, but N.B. -ise/-yse endings as noted above.
Western / the West in reference to the geographical/cultural region
[e.g. capitalisation in French, accents on capitals, etc.]
footnotes should not be used
numbered, superscript in text; in square brackets at end
Bibliography and references
(Andriessen and Schönberger, 2002, p.166)
Ginsberg, A. (1996) Selected Poems 1947–1995. New York: Harper Collins.
Heidegger, M. (1935–57) Poetry, Language, Thought. Translated by Albert Hofstadter. New York: HarperCollins Publishers Inc.
Holmes, T. (2002) Electronic and Experimental Music. 2nd ed. New York: Routledge.
Gann, K. (1993) La Monte Young’s The Well-Tuned Piano. Perspectives of New Music, 31(1), pp. 134–162.
Andriessen, L. and Schönberger, E. (2002) On the conceiving of De Tijd. In Andriessen, L. (2002) The Art of Stealing Time. Todmorden, Lancs.: Arc Music. pp. 155–174.
Mela Foundation., n.d. La Monte Young. [Online] Available at: <http://melafoundation.org/lmy.htm> [Accessed 7 September 2011].
Pärt, A. (1984) Fratres /Cantus/Fratres /Tabula Rasa. Munich: ECM Records. New Series 1275.
Pärt, A. (1980) Fratres. Vienna: Universal Edition.