Submission Procedure
Submissions should be sent to the CeReNeM Centre Manager at, with a subject line clearly indicating a submission for Divergence Press.

Submissions should include:

  • Article title and subtitle (if any)

  • Full name of each author with current institutional affiliation, if any, and contact details 

  • Abstract of ca. 100–150 words

  • List of 4–8 keywords

  • Main text and word count—articles should generally be between 3,500 and 5,000 words (not including references) 

Document Formats
Articles should be submitted in .doc, .docx, .rtf, or .pdf file formats, and should be formatted in a manner appropriate for internet publication. Submitted files should include the author’s surname.

Divergence Press is an online journal, and as such we encourage the use of video, audio, and images, as appropriate. During the review process, we would prefer submissions to contain links to content hosted online (via Dropbox, Google Drive, etc., or to YouTube, Soundcloud, etc.), rather than submission of large audio and video files via email attachments or embedded/saved within the submitted documents. 

Media Formats
Video: .mp4, .mv4
Audio: .wav or .aif for short audio files (<30sec); .flac, or .mp3 (320kbps) for longer audio files (>30sec)
Images: .jpg for raster images / .eps or .pdf for vector images

Placement of media in text should be indicated on a new line with [MEDIA_FORMAT_TITLE].
For example: [VIDEO_MP4_EXAMPLE_01]

It is the responsibility of the author to secure appropriate permissions for the use of any embedded media prior to submission.



UK English and American English spelling conventions are both acceptable, though please be consistent across the document

Formatting, Style, & Usage
text should be clearly organised, with a clear hierarchy of headings and subheadings
quotations exceeding 40 words should be indented in the text
avoid ‘scare quotes’ and unnecessary italicisation
please use gender-neutral and gender-inclusive language (e.g. humankind, police officer, chairperson)

quotation marks: enclose quoted matter between single quotation marks; use double quotation marks for a quotation within a quotation; curved ‘ ’ “ ” rather than straight quotes
punctuation outside quotation marks
commas: serial commas in lists (e.g. 1, 2, and 3)
full stop: single space after full stop/period
dashes: please use em-dashes and en-dashes, as appropriate, rather than hyphens; no spaces before or after dashes
forward slashes: no spaces before or after /

centuries: the twentieth century; twentieth-century music
decades: the 1970s and 80s
ranges: 1935–57
full dates: day Month year

thousands: 1,000; 10,000
words vs digits: one to ten, then 11, 12, etc. (BUT: always digits in mathematical contexts or bar numbers)
ranges: 140–141

Sentence capitalisation

Inline cues: (see figure 1)

Figure caption:
Figure 1 John Smith Piece Title bars 1–10
Copyright 1994 John Smith Press
Reproduced with permission
Numbering style: 1, 2, etc.

Titles: Piece TitleBook Title, ‘Article Title’, Album, ‘Song From Album’ (note the different formatting in the Bibliography, in which italicisation and quotation marks are not used)
Possessives: Strauss’ or Strauss’s are both fine, though be consistent; please use curved rather than straight quotes

e.g./i.e. (British convention, with periods but no comma following)
USA (not US or U.S.A.)

Refer to Oxford English Dictionary, but N.B. -ise/-yse endings as noted above.
Western / the West in reference to the geographical/cultural region

Foreign languages
[e.g. capitalisation in French, accents on capitals, etc.]

numbered, superscript in text; in square brackets at end
footnotes should not be used

Bibliography and references
Inline 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.

Online source:
Mela Foundation., n.d. La Monte Young. [Online] Available at: <> [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.