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The Aim of Intercultural Musicology
Guidelines for Authors
Available Issues

Centre for Intercultural Music Arts

Intercultural Musicology 
Cynthia Tse Kimberlin and Akin Euba, Editors. (Volumes 1 - 3)
Robert Kwami, Editor (Volumes 4 - 5) 
Cynthia Tse Kimberlin, Editor-in-Chief (Volumes 4 +)
Published for the CIMA by the MRI Press. Cat No. MRI-0004BU
This bulletin is published twice annually in August and March. 

ISSN 1526-8039 Prices per annum are as follows: $10.00 for online issue (including previous online issues), $10.00 (USA) and $12.00 (elsewhere) for paper version.
Single paper copies are available for $5.00 (domestic) $6.00 (elsewhere)

Intercultural Musicology is a peer reviewed journal of the Centre for Intercultural Music Arts. The aim of Intercultural Musicology is to provide a forum for discourse that includes the development of a theoretical framework for the nascent field of intercultural musicology. A recent focus of the journal is the subject of intercultural music education.

This field of intercultural musicology includes the study of: 

  1. (a) one's own indigenous music culture using techniques applicable to other music cultures 
  2. (b) music cultures other than one's indigenous culture 
  3. (c) music created by combining elements from various cultures
  4. (d) other forms of intercultural activity, for example, the study of performers who specialise in non-indigenous music idioms, and 
  5. (e) intercultural music education broadly defined.

By this definition, intercultural musicology is a broad based field that includes elements of musicology and ethnomusicology - comparative and historical musicology, and music education. It is possible to claim that in practice, ethnomusicology embraces Western and non-Western musicological study, and that a plural form of the term - "ethnomusicologies" - probably captures better what it involves. However, the term is conceptually flawed, and the ethnomusicological field seems to be weighted against "insiders" and others who wish to present views and perspectives which differ from the mainstream or converge with the Western "classical" music paradigm. 

Secondly, the antecedents and the history of the term ethnomusicology preclude its full acceptance as being representative of the activities of the Centre of Intercultural Music Arts. However, it is obvious that some of the research techniques and methodologies practised by ethnomusicologists and practices are relevant to the field of intercultural musicology.

Indeed, it can be argued that intercultural musicology needs to take the centre ground in musicological studies, as there is a comparative, intercultural, dimension in much of musicology. This is especially relevant in the twenty-first century in which technological, political and economic factors have exerted a strong influence on musical practice all over the world. 

Intercultural musicology does not only embrace studies of traditional musics worldwide; it is also concerned with writings of Asian, African and other non-Western scholars on Western music. It also includes scholarship that allows multidisciplinary, interdisciplinary, multiple and divergent perspectives from those who seek to enhance and expand our current thinking about musical endeavours. For example, studies of compositions in which elements of non-Western traditional music are combined with those of Western art music require a scholarly approach, which integrates techniques of ethnomusicology with those of historical musicology.

The editor is particularly interested in materials dealing with interculturalism after 1950, and welcomes contributions that generate discourse on the concept of intercultural musicology (e.g. research reports, previews and reviews of performances, notes on the works of composers and performers, biographical data on composers and performers, theoretical concepts bearing upon creative methods in intercultural music, information on new writings and recordings). Diversity of perspectives necessary for an international readership is welcome but the opinions expressed by individual authors may not necessarily reflect that of the editor.

A current focus of Intercultural Musicology is the subject of intercultural music education broadly defined. This is understood to include aspects relating to theory as well as to practice, the two aspects can be synergistic ion terms of improving our knowledge and practice of teaching musical arts in schools as well as in the wider community. So, submissions (articles and reports) that have implications for the improvement of music teaching in schools and other communal contexts are hereby being solicited.

Starting with volume 4, two issues of Intercultural Musicology will be published in August and March in an online format; however, hard paper copies can be made available for those who need it.

Current Issue:  Vol. 5 No. 1 (Nov 2003)

Available Issues 

Print Issues Access Online Issues

Guidelines for Authors 

  1. Submit one copy of material related to your contribution on hard copy and also on diskette, if possible on an "ASCII" file using Word Perfect or Microsoft Word for IBM PC compatible computer. 
  2. Manuscripts must be typed on one side of the sheet and double spaced (including footnotes quotations, song texts, references cited, indented materials and captions for illustrations). 
  3. Manuscripts should be in English and observe British or United States conventions of usage, spelling and punctuation. If a manuscript is submitted in another language, an English translation must be included. 
  4. The text should not exceed 2000 words (or roughly 8 pages double spaced format on 8 1/2" x 11" sheets). 
  5. References cited are carried within the text, e.g. (Kimberlin 1995: 134) by listing the author's surname and the publication date and the page number(s) of the source of the information. 
  6. Bibliographic citations must be typed on a separate sheet. Give the complete citation using the format illustrated below: 

Hood, Mantle
1960 "The Challenge of 'Bi-Musicality'". Ethnomusicology 4/2 

Nketia, J.H.K.
1986 "Perspectives on African Musicology", in Africa and the West: Legacies of Empire. Isaac James Mowoe and Richard Bjornson, eds. 

Please address correspondence to the editor:

              To Be Announced.  Please see Memoriam page regarding Professor Kwami.

Centre for Intercultural Music Arts 

The Centre for Intercultural Music Arts, a British Charity, was founded in 1988. The Centre aims to promote intercultural music and music theatre and to educate the public in their creation and performance. 

The Centre was inaugurated in response to the challenges posed by composers and performers who are exploring new dimensions in music by integrating elements from different cultures. 

The Centre believes that composers from non-western cultures are likely to become increasingly influential in the world of music and that musical interculturalism and other creative ideas generated from or inspired by non-western sources will be among the major events of the 21st century. 

The Centre organizes an international biennial symposium and festival on the theme " New Intercultural Music" and also publishes a series of books under the general title of Intercultural Music. The series is edited by Cynthia Tse Kimberlin and Akin Euba. 


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