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Editorial Policy

Collaborators and Coverage

Distribution & Contact

Editorial Board
Marin Marian Balasa
Philip V. Bohlman
Warwick Edwards
Craig Packard
Margaret Beissinger
Jeremy Montagu
Martin Stokes

ISSN 1221-9711
ISSN 1582-5841

Collaborators and Coverage

EME’s has continued “to publish all academic articles submitted by professional and vocational ethnomusicologists and cognate scholars, and that demonstrate intelligence and/or excellence in purpose, presentation, methodology, conceptualization and theoretic results.” Yet, as it has been a peer-reviewed journal, materials have been evaluated by several scholars, and refusals have always been accompanied by helpful suggestions.

The journal has focused on promoting primarily ethnomusicological endeavors (only consistent essays and just exceptionally comments, book or record reviews, and conference reports); yet, interdisciplinary or cognate disciplines and approaches have also been welcome. Every article has begun with a brief editorial note, introducing the author and/or making some professional comments.

Now, after the 10th volume, a statistical survey shows that within the circle of ‘meetings’ that were proposed the Variety itself came along, widely displaying itself. Out of the 86 signing authors: 19 are from Romania, 22 from USA, 8 from Poland, 7 from UK, 3 from France, 2 from Finland, 3 from Bulgaria, 2 from Republic of Moldova, 3 from Hungary, 2 from Holland, 2 from Serbia, 2 from Austria, 2 from Israel, 2 from Australia, 1 from Sweden, 1 from Lithuania, 1 from Estonia, 1 from Slovenia, 1 from Bosnia, 1 from Canada, and 1 from India. They treat East- and Central-European issues (researched in Romania, Bulgaria, Greece, Serbia, Albania, Russia, Ukraine, Lithuania, Latvia, Poland, Croatia, Serbia, Slovenia, Hungary, Italy), as well as issues to be found in the USA, UK, France, Finland, Sweden, Africa, Siberia, Turkmenistan, China, Korea, Caribbean, on topics from Jewish and Roma musics, shamanism and archaic modes, up to commercial manipulation and record industries, from research institutions up to nationalism in scholarship or in music-making. Besides diversity, and without aiming for it, EME displayed freshness, vividness, and mobility.