Guide for authors


Submission Procedure

Music Academy accepts for consideration previously unpublished materials drawn in accordance with the guidelines set forth below. The texts submitted simultaneously to several periodicals will not be considered. If the article is co-written, the consent of all authors for publication in Music Academy is necessary.

The subjects of the articles published in the journal cover all research areas related to the specialty 17.00.02—"Musical art."

The papers are accepted at in .docx or .doc format. After internal review, the editors will contact the author by the email specified by him/her.

The internal review period is one month. After that, the scientific articles corresponding to the editorial requirements will be sent for external peer review (double blind method). The standard term for external review is one month.

If the review reveals the need for revision of the text, the editors will send recommendations to the author. The final date of receipt of the material in the editorial office is the date of submission of the revised article or receipt by the editorial office of the author's motivated refusal to follow the proposed recommendations.

Next, the article will be sent for editing, which is carried out in dialogue with the author. The edited text of the article will be approved by the editor-in-chief and submitted for formatting. Before sending the journal to the printing house, the proofs of the articles will be sent to the author for final verification.

Each article and each issue of the journal will be assigned a DOI (digital object identifier).

The editorial office will not charge for publishing the articles. The whole range of article preparation servicesinternal and external reviewing, scientific, literary and technical editing, correction, manuscript preparation in accordance with international standards and requirements of the Higher Attestation Commission, metadata editing, DOI assigning, preparation of the original layout, graphic image processing, printing serviceswill be provided free of charge.

According to the Federal Law “On the Mandatory Copy of Documents,” No. 77-FZ (edition from 11/07/ 2011), the editorial office will send out mandatory copies. The authors of the articles larger than 20,000 printed characters (including spaces) will be entitled to receive a free personal copy in the editorial office.


Review process

All scientific articles submitted for publication in the journal will be reviewed.

The internal editorial review will be carried out by the editor-in-chief. He/she will assesses the article in terms of its compliance with the editorial requirements, novelty and relevance of the topic, significance ​​for science, and readiness of the text for publication. As a result of internal reviewing, one of the following decisions will be made:

  1. pre-approve the publication of the article and send it for external review; 
  2. refuse to publish;
  3. suggest the author to amend the text and, if agreed, consider the text again.

The external peer review process will be carried out by specialists in the relevant field who have a scientific degree and studies on the subject of the reviewed article published over the past three years.

Reviewing is carried out with confidentiality. The model of “double blind” review will be used: the personal data of the author and reviewer will not be disclosed. The review will note the importance and relevance of the topic, the theoretical and practical significance of the study, the quality of use of the references, the degree of novelty, and validity of the conclusions. Recommendations on correcting errors and shortcomings of the text will be given. Each review will contain a conclusion about the advisability of publishing the article.

The reviewers will submit to the editorial office the original reviews and/or their electronic copies signed and certified in situ.

The content of the review will be brought to the attention of the author. If the reviewer recommends changes to the text of the article, the author will send a revised version to the editorial office or reject the comments of the reviewer with reason.

The editorial office will keep records of the reviews and track the traffic of the manuscripts. All reviews will be kept in the editorial office for at least five years. The editorial office will send copies of the reviews to the Ministry of Education and Science of the Russian Federation upon request.


How to prepare a manuscript

The maximum size of an article, including footnotes, a list of references, and metadata, is 40,000 printed characters with spaces. Larger articles may be accepted for publication by editorial decision in special cases. The review of the books, music publications, audio or video recordings should not exceed 20,000 printed characters with spaces.

  • Font size: 12 for the main text, 10 for the footnotes.
  • Hightlights: italic and bold fonts.
  • Line spacing in the main text and in the footnotes—one and a half.
  • Paragraphs: indent1 cm, paragraph spacingnormal.
  • Footnotes: page by page, pass through numbering.
  • Footnote character: superscript Arabic numbers.
  • Place of footnote character: before “.”, “,”, but after “?”, “!”, “...”.
  • Quotation marks: the so-called typographic quotation marks («»), inside quotations—dumb quotation marks ("").
  • Quotations are given in normal font (not italic), in quotation marks. Omissions inside quotations are shown as <...>. Comments of the author of the article inside quotations should look as follows: (highlighted by me.—A. B.).
  • Square brackets are used to insert omitted words in quotations and to expand the meaning (for example: "he reported it to I. A. [Irina Alexandrovna]"), also for [sic].
  • Names:
    • Original names of musical, literary works, films, etc.—both Russian and foreign—are given in normal font everywhere, with a capital letter and in quotation marks (for example, «Games»).
    • Genre names—with a capital letter, without quotation marks (for example, Novelette). 
    • Ordinal numbers of symphonies, concertos, sonatas are preferably written in words (not numbers).
    • Designation of opuses are not separated with a comma. For example: Prelude h-moll Op. 7 No. 2, Second Piano Concerto Op. 29.
  • Keys are written in Latin: C-dur, g-moll.
  • Names of sounds: Latin alphabet in italic: h, G, a2.
  • Special musical signs: in the original language in italic: staccato, rubato, diminuendo, prolatio minor.
  • Dates should be in numbers: centuries—in Roman numerals, years and decades—in Arabic numerals.
  • The abbreviations of the words are allowed in exceptional cases.
  • Letter “ёis not used, except in names and when its absence changes the meaning (example: «все всё-таки»).
  • Dash: use em dash (—) with spaces between words (in Russian), and en dash without spaces between numerals (1997–2012, pp. 25–47).
  • Non-breaking space: between the initials, as well as between an initial(s) and a last name, between an abbreviated first name and last name (for example, G. S.), between a number sign and a digit (No. 5), between the abbreviation "p." and the page number (p. 6), as well as Vol. 7, Vol. 10, op. 20.

The article may contain musical examples and graphic images (pictures, drawings, schemes, tables). They should be inserted into the document, and also attached as separate files. Examples of sheet music are provided in .pdf or .tiff format with a resolution of 600 dpi. Illustrations are provided in .tiff or .jpg format with a resolution of 300 dpi. The maximum width of a graphic image in the journal is 140 mm (1650 pixels). The name of the file should indicate the last name of the author of the article and the ordinal number of a photograph, picture, or example of sheet music. A file with a full list of illustrations and sheet music examples should be attached to the text of the article. This file should contain the names of the creators and/or copyright holders of all the images.

The editorial staff may request a portrait photo of the author for publication in the printed version of the journal or on


List of references

A scientific article should necessarily contain a bibliographic list and a copy of it in the Latin alphabet. The in-text references to the literature should be given in square brackets: [source number from the list of references, page number].

If an article of a different genre (essay, review, interview) has less than five references to literature, they should be drawn up as page footnotes. If an article of a different genre contains five or more references to literature, a list of literature should be drawn up, and the in-text references to the literature should be given in square brackets: [source number from the bibliographical list, page number]. A copy of the bibliographical list in Latin is not required.

All sources mentioned in the list of references should be mentioned in the text of the article, and vice versa.

References to printed music and archival sources should be provided in page footnotes and not included in the list of references. An example of a reference to an archival source: Letter of L. Sabaneev to N. Roslavets dated December 13, 1926, RGALI. F. 2659. Op. 1. Item 86. L. 1.

The references in the list should be arranged in alphabetical order, first all references in Russian, then in other languages.

The bibliography should be drawn up in accordance with GOST:

At the end of the bibliographic description of each source, a DOI, if any, should be indicated. The DOI can be found on the Crossref website.

The copy of the list of references in the Latin alphabet should be drawn up as follows:

    • bibliographic references in Russian or other languages ​​using the Cyrillic alphabet should be given in the Latin version; bibliographic references in foreign languages ​​using the Latin alphabet should be copied;
    • Latin version of Cyrillic bibliographic references shoud be drawn up in the following way:
      • the author's name should be transliterated,
      • the title of the article, dissertation, or extended abstract should be translated into English,
      • the title of the source (book, journal, digest) should be transliterated and then translated in square brackets (the title of the journal should be translated only if the English title is established),
      • the name of the publisher should be transliterated,
      • when linking to an article, the range of pages should be given; when linking to a book, the total number of pages should not be indicated,
      • an inscription (In Russ.) should be added at the end (same for the other languages ​​using the Cyrillic alphabet),
    • transliteration is carried out according to BGN standard. For correct and fast transliteration is recommended;
    • bibliographic references in English are carried out according to MLA standard. To create correct references, is recommended.


References in Russian


  • Народное музыкальное творчество / отв. ред. О. А. Пашина. СПб.: Композитор, 2005. 568 с.
  • Захарбекова И. Музыкально-театральные произведения М. Равеля в контексте французской культуры начала ХХ в. М.: РАМ им. Гнесиных, 2018. 150 с.

Articles from non-periodicals

  • Хаджаева Т. Фольклор // Карачаевцы. Балкарцы. М.: Наука, 2014. С. 522–584.

Articles from periodicals

  • Уваров С. Александр Хубеев и Николай Попов: композиторы-миллениалы // Музыкальная академия. 2019. № 1. С.128–134.

Dissertations and extended abstracts

  • Переверзева М. Алеаторика как принцип композиции. Дисс. ... доктора искусствоведения: 17.00.02. М., 2015. 570 с.
  • Стефанович Д. Композиторская школа Н. А. Римского-Корсакова в контексте развития русской духовной музыки. Автореф. дисс. … канд. искусствоведения: 17.00.02. СПб, 2016. 24 с.

Electronic sources

  • Раку М. Музыка «революционной Франции» в раннесоветской культуре: опыты исторической реконструкции // Искусство музыки. Теория и история. 2016. № 14. C. 86–112. URL: (дата обращения: 11.05.2019).
  • Фотовыставка «История Союза композиторов России в фотографиях» // Сайт Союза композиторов России. URL: (дата обращения: 15.02.2019).

English version of Russian references

  • Pashina, O. A., editor. Narodnaya Muzyka [Folk Music], St. Peterburg: Kompozitor, 2005. (In Russ.)
  • Zakharbekova, I. Muzykal'no-teatral'nye proizvedeniya M. Ravelya v kontekste frantsuzskoy kul'tury nachala 20 v. [Musical and Theatrical Works of M. Ravel in the Context of French Culture at the Beginning of the 20th Century], Moscow: RAM Im. Gnesinykh, 2018. (In Russ.)
  • Nelson, A. Music for the Revolution: Musicians and Power in Early Soviet Russia, Philadelphia: The Pensylvania State University, 2004.
  • Khadzhaeva, T. “Folklore.” Karachaevtsy. Balkartsy, Moscow: Nauka, 2014, pp. 522–584. (In Russ.)
  • Looselay, D. “Popular music.” The Cambridge Companion to French Music, Edited by S. Trezise, Cambridge University Press, 2015, pp. 271–291.
  • Uvarov, S. “Alexander Khubeev and Nikolay Popov: milleniali composers.” Muzykal'naya akademiya [Music Academy], no. 1, 2019, pp. 128–134. (In Russ.)
  • Lopatin, M. “Metapoesis in Trecento song: ‘Divisio’ at the intersection of love, poetic form, and music.” Music & Letters, vol. 99, no. 4, 2018, pp. 1–40. (In Russ.)
  • Pereverzeva, M. “Aleatoric as a composition principle.” Doctoral (Art Criticism) Dissertation. Moscow, 2015. (In Russ.)
  • Stefanovich, D. “Composer's school of N. A. Rimsky-Korsakov in the context of the development of Russian sacred music”. Extended Abstract of Cand. Sci. (Art Criticism) Dissertation. St. Peterburg, 2016. (In Russ.)
  • Raku, M. “The music of ‘Revolutionary France’ in the early Soviet culture: experiments of historical reconstruction.” Art of Music. Theory and History, no. 14, 2016, pp. 86–112, (accessed 11 May 2019). (In Russ.)
  • “Photo Exhibition ‘The history of the Union of Composers of Russia in photos.’” Sayt Soyuza kompozitorov Rossii, (accessed 15 February 2019). (In Russ.)



To be provided together with a scientific article:

  • the title of the article;
  • the author's full name;
  • ORCID (in case of its absence, register on
  • email;
  • acknowledgements (funding sources and/or the names of the people who assisted in his/her work);
  • abstract of the article (500 to 1 500 characters with spaces);
  • keywords (five to ten);
  • information about the author (scientific degree, rank, position and place of work);
  • biography (300 to 1 000 characters with spaces).

The above information (except email and ORCID) should be provided in Russian and English.


To be provided together with an article of a different (non-scientific) genre:

  • the title of the article;
  • the author's full name, his/her scientific degree, rank, position and place of work, indicating city and country;
  • ORCID (in case of its absence, register on
  • email;
  • biography (300 to 1 000 characters with spaces).

The above information (except email and ORCID) should be provided in Russian and English.


Example of a metadata for the scientific article

Название статьи: Новое belcanto. О вокальном письме Эдисона Денисова
Автор: Светлана Ильинична Савенко
ORCID: 0000-0002-0622-4289
Аннотация: Статья посвящена стилистике вокальных произведений Э. Денисова. По свидетельству композитора, эта жанровая сфера находилась в центре его творческих интересов. Мелодика в целом сохранила в музыке Денисова важное значение, прежде всего благодаря смешанному письму, к которому тяготел композитор. Наряду с общим свойством мелодизма в сочинениях Денисова встречаются и более специальные его виды — эпизоды кантиленного письма, belcanto в традиционном понимании этого слова. В статье приводятся примеры подобного рода из цикла «Итальянские песни» (1964) и Реквиема (1980), а также устанавливается связь денисовского belcanto с предшествующими образцами в музыке ХХ столетия.
Ключевые слова: Эдисон Денисов, вокальная музыка, belcanto, кантилена, колоратура.
Сведения об авторе: Савенко Светлана Ильинична, доктор искусствоведения, ведущий научный сотрудник сектора истории музыки Государственного института искусствознания, профессор кафедры современной музыки Московской государственной консерватории имени П. И. Чайковского.
Биография: Савенко Светлана Ильинична — доктор искусствоведения, ведущий научный сотрудник сектора истории музыки Государственного института искусствознания, профессор кафедры современной музыки Московской государственной консерватории имени П. И. Чайковского. Выступала как камерная певица, в ансамбле с пианистом Юрием Полубеловым и с коллективом «Студия новой музыки» Московской консерватории. Основные сферы исследовательской и исполнительской деятельности: русская музыка и музыка ХХ–ХХI столетий, от раннего авангарда — до современного композиторского творчества. Крупные труды связаны с творчеством И. Ф. Стравинского: монография «Мир Стравинского» (2001, издана также в переводе на немецкий язык — 2014), комментированная публикация «И. Стравинский. Хроника. Поэтика» (2004, 2-е издание — 2012), биографическая книга «И. Ф. Стравинский» (2004). Многократно принимала участие в конференциях и фестивалях в России и за рубежом (Украина, Беларусь, Словакия, Германия, Нидерланды, Италия, Швейцария, Великобритания, Норвегия, Израиль, США).
Article's title: A New belcanto. On Edison Denisov’s Vocal Writing
Author: Svetlana I. Savenko
Abstract: The article is devoted to the stylistics of Edison Denisov’s vocal works. According to the composer’s testimony, it was this particular genre sphere that underlies his works. Melody generally retained its importance in Denisov’s music, primarily due to the mixed texture, which was typical of the composer. There are also more special kinds of melody in Denisov’s works, namely, episodes of cantilena writing — a new belcanto in the traditional sense of the word. The article provides such examples from the cycle “Italian Songs” (1964) and from Requiem (1980); we can see as well the connection of Denisov’s belcanto with previous examples of such type of cantilena writing in the music of the twentieth century.
Keywords: Edison Denisov, vocal music, belcanto, cantilena, coloratura.
About the author: Svetlana I. Savenko, Doctor of Art Criticism, Leading Researcher of the Music History Department, the State Institute for Art Studies; Professor of the Contemporary Music Department, Tchaikovsky Moscow State Conservatory
Biography: Svetlana I. Savenko—Doctor of Art Criticism, Leading Researcher of the Music History Department, the State Institute for Art Studies; Professor of the Contemporary Music Department, Tchaikovsky Moscow State Conservatory. The major fields of her specialization are Russian music, the 20th-century music including avant-garde and contemporary art. A series of works are connected with oeuvre of Igor Stravinsky: the monograph “The World of Stravinsky” (2001, also published in German, 2014), the annotated publications of “Chroniques de ma vie” and “Poétique musicale” (2004, 2nd edition—2012), biography “I. F. Stravinsky” (2004). She performed as a soprano soloist of ensemble “Studio of the New Music” (Moscow) and with pianist Yuri Polubelov. She participated in many festivals in Russia and abroad and toured in Ukraine, Belarus’, Slovakia, Germany, Netherlands, Switzerland, Great Britain, Italy and USA.



The editorial policy of the journal is based on compliance with Russian legislation, copyrights and ethical principles adopted in the modern international scientific community. All authors, reviewers, editorial council and members of the editorial office who enter into legal relations with the editorial staff should follow the ethical standards set out below.

The editor-in-chief is responsible for deciding on the publication of articles, taking into account their quality, novelty, relevance and compliance with the profile of the journal. The editor-in-chief decides to publish based on the results of internal and external reviews. Reviewing is based on the principles of objectivity and freedom from market factors. Discrimination of the author’s rights on the basis of race, ethnicity, gender, age, sexual orientation, religion, citizenship, and/or political views is not allowed.

The priority of the journal is publication of original articles. The author proposing a manuscript for publication must notify the editorial office of any earlier publications of the submitted text, also if the text has undergone significant changes. If, after publication of the article, it is established that a similar article has been published in other periodicals and the author has not notified the editorial office thereof in advance, an announcement will be posted in the next issue of the journal and on that this publication is multiple.

The author proposing the article for publication agrees that all sources of research funding are indicated in the text of the article, and there are no factors that could create a conflict of interest related to the article. Otherwise, the author must notify the editorial office of a possible conflict of interest. The editors and reviewers, if a potential conflict of interest is detected, should report back to the editor-in-chief. The presence of a conflict of interest does not mean that the editorial office automatically refuses to publish the article.

The article can be rejected if plagiarism and/or self-plagiarism is detected, third parties initiate copyright claims, as well as a conflict of interest is detected, the consequences of which were not resolved on time.

Before reviewing, originality of all articles is checked using the "Antiplagiat" system and other methods. If plagiarism or incorrect borrowings, as well as techniques aimed at hiding plagiarism are detected, the article is rejected. If plagiarism is detected in an already published article, a corresponding announcement is published in the journal and on

Plagiarism is considered to be: a) the use of someone else's and/or own previously published text in any quantity without indicating the source; b) the use of graphic images without indicating the source and/or without agreement with the copyright holder; c) the use, without written permission, of materials the copyright holders of which forbade their quoting or copying.

An incorrect borrowing is considered to be: a) a reference not to the first source of a text or image without indicating this fact; b) incomplete bibliographic description of the source, which prevents its identification.

The correspondence of the editorial staff with the authors and reviewers is confidential. Its contents may be disclosed only with a written consent of all participants in the correspondence.

In controversial cases, the editorial staff and editorial board rely on COPE (Committee on Publication Ethics) instructions.