Per Musi is a free publication of UFMG's Postgraduate Programme in Music, constituting a democratic space for intellectual reflection in the field of music, where diversity and debate are welcome. It is a peer-reviewed Brazilian music journal, indexed by databases, and publishes and receives submissions on a continuous basis throughout the year.  The mission of Per Musi (Academic Journal of Music) is to publish unpublished work primarily in English, but also in Portuguese and Spanish, which is well-structured and well-founded and makes relevant contributions to the various subfields of music, including the interfaces between them and with other areas of knowledge. Per Musi regularly publishes an annual general issue (General Topics). However, thematic sessions with guest editors may be opened on an exceptional basis, on the basis of proposals, invitations or anniversaries. The journal encompasses the main subfields of musical knowledge: analysis, musicology, performance, composition, music education, music therapy, electroacoustic and computerised music, etc., as well as interdisciplinary approaches related to research in the Doctorate in Music at UFMG.  Per Musi also publishes on its website scores, translations and interviews related to music research. The journal is indexed in Google Scholar, RILM (Répertoire International de Littérature Musicale), DOAJ (Directory of Open Access Journals), SCIELO (between 2008-2016), Portal Periódicos CAPES, The Music Index and Bibliografia Musical Brasileira (Brazilian Academy of Music). Submission of articles is continuous throughout the year. Free downloads can be made from the Per Musi website available online (www.musica.ufmg.br/permusi).

In accordance with the Open Science movement, papers submitted for publication are evaluated under the open peer review system. Per Musi provides a SciELO document available at  https://wp.scielo.org/wp-content/uploads/Formulario-de-Conformidade-Ciencia-Aberta.docx.

Per Musi counts on the Rede Cariniana as a digital preservation platform and follows the guidelines of the Code of Ethics of the COPE (Committee on Publication Ethics). The research is approved by the Editorial Board and invited referees.

Per Musi publishes unpublished papers primarily in English, but also in Portuguese and Spanish, which are well-structured and well-founded, and which constitute relevant contributions to the various subfields of music, including the interfaces between them and with other areas of knowledge.

The journal encompasses the main subfields of musical knowledge: analysis, musicology, performance, composition, music education, music therapy, electroacoustic and computerised music, etc., as well as interdisciplinary approaches related to research in the Doctorate in Music at UFMG.

Accepted: Articles, Reviews and Interviews. All works must be unpublished and at least one of the authors must hold a PhD. For interview submissions, the interviewee must be included as a co-author.

All articles published in Per Musi have a DOI number.

This journal follows the standards defined in the Política de Preservação Digital do Programa SciELO.

• DOAJ
• Scopus
• Latindex
• Google Acadêmico

• Journal title: Per Musi
• Short title: Per Musi
• Published by: Postgraduate Programme in Music at the Federal University of Minas Gerais, School of Music
• Periodicity: Annual
• Publication modality: Continuous Flow
• Year the journal was created: 2000

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• https://periodicos.ufmg.br/index.php/permusi/issue/view/1951

We encourage authors to publish their work on web platforms and/or databases in 'preprint' or 'working paper' format before and during the review and publication process, as these actions can lead to productive exchanges and faster and wider dissemination of the published work. We suggest SciELO Preprints as a reference.

The ideas expressed in each article do not reflect the opinion of the Editor, the Editorial Board or the Scientific Council.

In accordance with the Open Science movement, papers submitted for publication are evaluated using the open peer review system. Per Musi provides a SciELO document available at https://wp.scielo.org/wp-content/uploads/Formulario-de-Conformidade-Ciencia-Aberta.docx. Authors must fill in the document and attach it to the submission, certifying compliance with the open evaluation. Work approved by two referees is considered accepted. In the event of a conflict between reviewers, the editor may intervene and send the text to a third reviewer. The first author is responsible for the content to be published, for ensuring that it is original and unpublished, and for ensuring that the other authors are aware of the approved content and its assignment of publication rights. The evaluation stages are:

I) SUBMISSION: Evaluation of the submission format (desk review). Analysis of the conformity of the submitted text with the Template available on the journal's website, relation of the subject of the text with the research areas of the journal and analysis of plagiarism using the software Checkforplagiarism.net (carried out by the Flausino Vale Library of the School of Music of the Federal University of Minas Gerais, Brazil); Assignment of associate editor or guest editor.

II) EVALUATION: Assignment and open peer evaluation (where authors and evaluators are identified in order to establish a dialectical and constructive evaluation process). By accepting the invitation, the referees declare that they have no conflict of interest with the authors. There are always two nominated referees (members of the Editorial Board or ad hoc collaborators), with the possibility of a third for a tie-breaker. They receive a form from OJS on which they score from 1 to 5 (1 for not relevant and 5 for extremely relevant) questions related to the originality of the research, contribution to the field, quality of the academic text, methodology and results achieved. The reviewers can choose between the following verdicts:

a) Approved

b) Approved with Mandatory Corrections

c) Rejected

d) Resubmit for evaluation

When Approved with Mandatory Corrections, the authors have 15 calendar days to submit the final version.

III) TEXT EDITING: After approval, the text is edited, which includes active participation by the authors in the discussion of the results and possible corrections indicated by the opinions, be they of a normative, spelling, content, grammatical and/or aesthetic nature, with a view to improving the work to be published.

IV) EDITING. Final discussion with the authors in order to produce the document for publication (revision and approval).

V) PUBLICATION. The publication shares, when available, data, codes, methods and other materials used and resulting from it, according to the Open Science movement.

VI) OPEN DATA. It is recommended that the submitted research data be published in public repositories. This can be done when the article is submitted or when it is published. Per Musi suggests the list of repositories provided by SciELO: https://wp.scielo.org/wp-content/uploads/Lista-de-Repositorios-Recomendados_pt.pdf or repositories such as Zenodo or OSF.

Per Musi is a free publication of UFMG's Postgraduate Music Programme and is a democratic space for intellectual reflection in the field of music, where diversity and debate are welcome. There is no fee for publication, and all that is required is free registration in the system and subsequent access, using a login and password, to submit work, as well as to follow the ongoing editorial process.

• Per Musi follows the guidelines of the COPE (Committee on Publication Ethics) Code of Ethics. Per Musi recommends the Guide to Good Practice: https://wp.scielo.org/wp-content/uploads/Guia-de-Boas-Praticas-para-o-Fortalecimento-da-Etica-na-Publicacao-Cientifica.pdf
• Papers found to be plagiarised will be automatically rejected and a warning will be sent to the author upon rejection.
• In the event of an Errata being made to a published work, Per Mus will follow the Guide for the registration and publication of Errata https://wp.scielo.org/wp-content/uploads/guia_errata.pdf
• In the case of registering and publishing a retraction, Per Musi will follow the guide below https://wp.scielo.org/wp-content/uploads/guia_retratacao.pdf

Conflicts of interest can be of a personal, commercial, political, academic or financial nature. Conflicts of interest can occur when authors, reviewers or editors have interests that may influence the preparation or evaluation of manuscripts. When submitting the manuscript, authors are responsible for recognising and disclosing financial or other conflicts that may have influenced the work. If there is, even potentially, a conflict of interest, the author(s) must disclose this in a signed document attached to the submission platform. For more information see: Disclosure of Financial and Non-Financial Relationships and Activities, and Conflicts of Interest

• The plagiarism and self-plagiarism analyses are carried out before the articles are sent for evaluation by the Flausino Vale Library of the School of Music of the Federal University of Minas Gerais, Brazil, using the Checkforplagiarism.net software;
• If plagiarism is found (a citation without proper reference to the author is enough) the article is returned and a warning is sent to the author.
• Articles resulting from Master's or PhD research are accepted in full. Self-plagiarism is considered when there is more than 10 per cent global similarity with publications by the same author that have ISSN or ISBN standards.

Per Musi's editorial team, as well as the authors who publish in the journal, must always observe the guidelines on Sex and Gender Equity in Research (Sex and Gender Equity in Research – SAGER). The SAGER guidelines comprise a set of guidelines that guide the reporting of sex and gender information in study design, data analysis, results and interpretation of findings. In addition, [name of journal] observes the gender equity policy in the formation of its editorial board.

Authors must attach a statement of approval from the ethics committee of the institution responsible for approving the research, if applicable.

The copyright of the publication belongs to its authors and the journal holds the right of first publication.

Responsibility of the site:

• The Journal reserves the right to make corrections of a grammatical, spelling and normative nature in relation to the Template, without interfering with the content of the article, in order to maintain the linguistic standard of publication.

Author's responsibility:

• The copyright of the publication belongs to its authors and the journal holds the right of first publication.
• The author's statement of responsibility for the content published in the journal who holds the copyright. The copyright terms must not contradict the licensing terms or the terms of the open access policy.
• Except where indicated, the content on this site is under a Creative Commons Attribution 4.0 International Licence.
• Per Musi Academic Journal of Music encourages Authors to self-archive their accepted manuscripts by publishing them on personal blogs, institutional repositories and academic social media, as well as posting them on their personal social media, provided that a full citation to the journal's website version is included.
• The opinions expressed by the authors in the articles are their sole responsibility.

UFMG Postgraduate Music Programme - (https://musica.ufmg.br/ppgmus/)

• Fernando Chaib - 2021/atual

• Fausto Borém - 2000/2020

• Edite Rocha - 2020/2021

• Igor Leão Maia - 2020/2021

• Ronan Gil de Morais - 2023/2024 

• Luís Bittencourt - 2023/2024 

• Stéphan Schaub - 2021/2023

• Benoît Gibson - 2021/2022 

• Alejandro Reyna - 2021/2022 

• Danilo Rossetti - 2021/2022 

• Maurício Alves Loureiro - 2020 

• Flávio Luiz Schiavoni - 2020

• Davi Alves Mota - 2020 

• Aaron Williamon

• Ana María Botella Nicolás

• Anthony Seeger

• David Cranmer 

• Eric Clarke 

• Florian Pertzborn

• Icíar Nadal

• Lucy Green

• Luís Bittencourt 

• Marc Leman

• María del Mar Bernabé Villodre 

• Maria Helena Vieira 

• Melanie Plesch 

• Nicholas Cook

• Rita Torres 

• Silvina Mansilla 

• Thaís Fernandes Rodrigues dos Santos

• Vera Inácio Cordeniz 

• Vinicius Mariano de Carvalho

• Acácio Tadeu de Camargo Piedade 

• Adriana Giarola Kayama 

• Alberto Pacheco 

• Alexandra Monticeli de Souza Ricardo Belato 

• Ana Judite de Oliveira Medeiros 

• Ana Lúcia Iara Gaborim-Moreira 

• André Cavazotti

• Ângelo Dias

• Antenor Ferreira Correa

• Ariane Stolfi

• Beatriz Magalhães Castro

• Bruna Caroline de Souza Berbert

• Camila Costa Zanetta

• Camila Ventura Fresca

• Carla Bromberg

• Carla Reis

• Cláudia Amaral

• Claudia Helena Azevedo Alvarenga

• Cristina Capparelli Gerling

• Denise Santiago Figueiredo

• Diana Santiago

• Euridiana Silva Souza

• Fabiano Araújo

• Fernanda Valentin

• Fernando Iazetta

• Flávio Apro

• Helena Lopes da Silva

• Heloísa de Araújo Duarte Valente

• José Augusto Mannis

• Jussara Fernandino

• Lia Tomás

• Lincoln Andrade

• Lucia Barrenechea

• Lúcia Campos

• Luciana Del Ben

• Lucila Romano Tragtenberg

• Luciana Câmara Queiroz de Souza

• Manoel Câmara Rasslan

• Mara Menezes Kroger

• Maria do Carmo Pascoli

• Márcia Taborda

• Marina Horta Freire

• Marta Castello Branco

• Maurício Alves Loureiro

• Monica Vermes

• Nina Graeff

• Noemi Nascimento Ansay

• Norton Dudeque

• Pablo Sotuyo

• Paula Andrade Callegari

• Rafael dos Santos

• Rita de Cássia dos Reis Moura

• Ronan Gil de Morais

• Rosane Cardoso de Araújo

• Salomea Gandelman

• Sheyla Castro Diniz

• Sônia Ray

• Verônica Magalhães Rosário

• Virgínia de Almeida Bessa

• Vladimir Silva

• Ariálisson de Freitas Fonseca

• Elisabeth Almeida Rolim

• Paulo Oliveira

• Wilson Sant'Anna

Authors must register and submit their articles via the link link: https://periodicos.ufmg.br/index.php/permusi/submission/wizard or view your submissions via the link https://periodicos.ufmg.br/index.php/permusi/submissions

The Per Musi templates provided below must be strictly observed when submitting work for the editorial process. Works that do not follow the established standards will be rejected and will have to be resubmitted.

Article template (word) / Article template (pdf)

Score template (word) / Score template (pdf)

Interview template (word) / Interview template (pdf)

Submitted works must include:

• A separate text document is attached indicating the following information on each author: institution, faculty and department, city, state and country, iD ORCID and, in the case of more than one author, the role(s) of each author in the production of the article, according to the CRediT taxonomy.
• Abstract (maximum 150 words);
• Descriptors: A maximum of five keywords separated by semicolons, with only the first word capitalised, except for proper names, e.g.: Rhythm and solfeggio; Arrangement; Harmony; Popular music; Ian Guest.
• Text in MS Word with list of references (following Music Education Research guidelines);
• Musical examples (.pdf or .jpg) and figures (.jpg) should be smaller than 1MB in size;
• The authorship of the work must be included in the Template submitted for evaluation.
• Articles should be between 6,000 and 12,000 words (not including notes and references).
• The Score template should not exceed 2,500 words (not including notes and references).

• Formatting: Use Calibri size 19 for the title, size 16 for the translated title, size 10 for the Abstract and size 12 for the text. Automated line spacing after each paragraph.
• Spacing: We suggest following the Template. Text spacing: 0pt before, 10pt after and Multiple at 1.15. Add space after each paragraph, without indentation. The text must be justified, including references. Spacing for footnotes: 0pt before, 0pt after, Simple.
• Titles of works: Generic titles should be italicised.
• Musical note names: Flavours, sharps and naturals (bequads) can be indicated by symbols or in full (C-sustenuto, D-bemol, or B-natural).
• Quotations: Use Calibri size 12 for quotations, with a 3.0 indent.
• Musical examples, tables, figures, diagrams and other material must be included in the original document and also in a separate document with a brief descriptive caption (it is advisable not to exceed one line). All figures must have a reference and/or source.
• References: These should be in accordance with the Music Education Research guidelines. Automatic bibliography applications can be used with this format.

The following information must be in the three languages of the journal and is mandatory at the time of submission for all authors, failing which the submission will be rejected.

• Author's name as you wish to be published
• ORCID with full address (https://orcid.org/0000-0000-0000-0000)
• Institution, department, city, state and country
• Email address (of first author)
• Lattes CV or website
• Mini-biography.
• Descriptors (keywords)
• Text references
• Abstract (up to 150 words).

English is the preferred language, however articles in Portuguese and Spanish are also accepted for submission.

Images of tables, charts, figures, illustrations, maps, diagrams and other digital assets present in the documents must be presented in JPG format with a minimum resolution of 300dpi.

• Per Musi uses the standards of Music Education Research

Bohlman, Philip V. 2018. “Musical Thought in the Global Enlightenments.” In Studies on a Global History of Music: A Balzan Musicology Project, edited by Reinhard Strohm, 1st ed., 61–80. Oxon & New York: Routledge Taylor & Francis Group, LLC.

Braga, Natália, and Edite Rocha. 2019. “Francisco Curt Lange e o Boletín Latino Americano de Música VI : Publicações Da Crítica Musical Brasileira.” Anais Do I Simpósio Internacional Música e Crítica: Lembrança Aos 80 Anos Do Falecimento de Oscar Guanabarino 1: 101–108.

Clarke, Eric. 2004. “Empirical Methods in the Study of Performance.” In Empirical Musicology: Aims, Methods, Prospects, edited by Eric Clarke and Nicolas Cook, 77–102. Oxford: Oxford University Press.

Cook, Nicholas, and Mark Everist. 2001. Rethinking Music. Oxford: Oxford University Press Oxford.

Locke, Ralph P. 2015. “Musicologia e/Como Preocupação Social: Imaginando o Musicólogo Relevante.” Per Musi 32: 8–52. doi:10.1590/permusi2015b3201.

Nettl, Bruno. 2017. “Have You Changed Your Mind?: Reflections on Sixty Years in Ethnomusicology.” Acta Musicologica 89 (1): 45–65.

Taruskin, Richard. 1985. “Chernomor to Kashchei: Harmonic Sorcery; Or, Stravinsky’s ‘Angle.’” Journal of the American Musicological Society 38 (1). University of California Press - American Musicological Society: 72–142. doi:10.2307/831550.

In accordance with the Open Science movement, papers submitted for publication are evaluated under the open peer review system. Per Musi makes the SciELO document available at https://wp.scielo.org/wp-content/uploads/Formulario-de-Conformidade-Ciencia-Aberta.docx.

UFMG School of Music - Payment of interns and assignment of staff (shared hours) to work at Per Musi.

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