Example of Journal of the Society for American Music format
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Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format
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Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format Example of Journal of the Society for American Music format
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open access Open Access

Journal of the Society for American Music — Template for authors

Categories Rank Trend in last 3 yrs
Music #42 of 147 up up by 1 rank
journal-quality-icon Journal quality:
Good
calendar-icon Last 4 years overview: 64 Published Papers | 39 Citations
indexed-in-icon Indexed in: Scopus
last-updated-icon Last updated: 15/07/2020
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Journal Performance & Insights

CiteRatio

SCImago Journal Rank (SJR)

Source Normalized Impact per Paper (SNIP)

A measure of average citations received per peer-reviewed paper published in the journal.

Measures weighted citations received by the journal. Citation weighting depends on the categories and prestige of the citing journal.

Measures actual citations received relative to citations expected for the journal's category.

0.6

14% from 2019

CiteRatio for Journal of the Society for American Music from 2016 - 2020
Year Value
2020 0.6
2019 0.7
2018 0.7
2017 0.4
2016 0.3
graph view Graph view
table view Table view

0.359

110% from 2019

SJR for Journal of the Society for American Music from 2016 - 2020
Year Value
2020 0.359
2019 0.171
2018 0.131
2017 0.199
2016 0.103
graph view Graph view
table view Table view

1.305

147% from 2019

SNIP for Journal of the Society for American Music from 2016 - 2020
Year Value
2020 1.305
2019 0.529
2018 1.014
2017 1.083
2016 0.585
graph view Graph view
table view Table view

insights Insights

  • CiteRatio of this journal has decreased by 14% in last years.
  • This journal’s CiteRatio is in the top 10 percentile category.

insights Insights

  • SJR of this journal has increased by 110% in last years.
  • This journal’s SJR is in the top 10 percentile category.

insights Insights

  • SNIP of this journal has increased by 147% in last years.
  • This journal’s SNIP is in the top 10 percentile category.

Journal of the Society for American Music

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Cambridge University Press

Journal of the Society for American Music

Approved by publishing and review experts on SciSpace, this template is built as per for Journal of the Society for American Music formatting guidelines as mentioned in Cambridge University Press author instructions. The current version was created on 14 Jul 2020 and has been used by 418 authors to write and format their manuscripts to this journal.

Music

Arts and Humanities

i
Last updated on
14 Jul 2020
i
ISSN
1752-1963
i
Impact Factor
High - 1.384
i
Open Access
No
i
Sherpa RoMEO Archiving Policy
Green faq
i
Plagiarism Check
Available via Turnitin
i
Endnote Style
Download Available
i
Bibliography Name
unsrt
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Citation Type
Numbered
[25]
i
Bibliography Example
G E Blonder, M Tinkham, and T M Klapwijk. Transition from metallic to tunneling regimes in superconducting microconstrictions: Excess current, charge imbalance, and supercurrent conversion. Phys. Rev. B, 25(7):4515–4532, 1982. 10.1103/PhysRevB.25.4515.

Top papers written in this journal

Journal Article DOI: 10.1017/S1752196308080012
“You are in a place that is out of the world. . .”: Music in the Detention Camps of the “Global War on Terror”

Abstract:

Based on first-person accounts of interrogators and former detainees as well as unclassified military documents, this article outlines the variety of ways that “loud music” has been used in the detention camps of the United States‘ “global war on terror.” A survey of practices at Bagram Air Force Base, Afghanistan; Camp Nama ... Based on first-person accounts of interrogators and former detainees as well as unclassified military documents, this article outlines the variety of ways that “loud music” has been used in the detention camps of the United States‘ “global war on terror.” A survey of practices at Bagram Air Force Base, Afghanistan; Camp Nama (Baghdad), Iraq; Forward Operating Base Tiger (Al-Qaim), Iraq; Mosul Air Force Base, Iraq; Guantanamo, Cuba; Camp Cropper (Baghdad), Iraq; and at the “dark prisons” from 2002 to 2006 reveals that the use of “loud music” was a standard, openly acknowledged component of “harsh interrogation.” Such music was understood to be one medium of the approach known as “futility” in both the 1992 and the 2006 editions of the US Army's field manual for interrogation. The purpose of such “futility” techniques as “loud music” and “gender coercion” is to persuade a detainee that resistance to interrogation is futile, yet the military establishment itself teaches techniques by which “the music program” can be resisted. The article concludes with the first-person account of a young US citizen, working in Baghdad as a contractor, who endured military detention and “the music program” for ninety-seven days in mid-2006—a man who knew how to resist. read more read less

Topics:

Interrogation (54%)54% related to the paper, Loud music (50%)50% related to the paper
View PDF
132 Citations
Journal Article DOI: 10.1017/S1752196318000196
Music as a Technology of Surveillance

Abstract:

This article explores surveillance in cloud-based music streaming. Key catalysts in the transition from ownership- to access-based models of music distribution, services like Spotify, Pandora, or Deezer have positioned themselves as a means of reintegrating listeners into “digital enclosures” over which rights holders exercis... This article explores surveillance in cloud-based music streaming. Key catalysts in the transition from ownership- to access-based models of music distribution, services like Spotify, Pandora, or Deezer have positioned themselves as a means of reintegrating listeners into “digital enclosures” over which rights holders exercise greater control. Yet streaming's promise of remonetizing musical commodities demonetized by filesharing has been called into doubt by difficulties in converting users of advertising-based “freemium” services into paying subscribers. In need of alternative means of extracting value from users, streaming platforms have increasingly refashioned themselves as enterprises whose business extends beyond music-related services to encompass the collection, aggregation, and exchange of user data. In pursuing this strategy, streaming platforms place themselves in direct competition with other new media companies trading in user data. In order to distinguish themselves from such competitors, streaming platforms cast music as a particularly valuable source of data, offering privileged access to listeners’ innermost selves. But they also cast music as an ideal tracking device, accompanying individuals across a variety of social, physical and geographical spaces. In this way, the very attributes that make music so powerful a “technology of the self” facilitate its transformation into an equally powerful technology of surveillance. read more read less

Topics:

Freemium (51%)51% related to the paper
76 Citations
Journal Article DOI: 10.1017/S1752196309990666
Schizophonic Performance: Guitar Hero, Rock Band , and Virtual Virtuosity

Abstract:

This article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies,popularmusicstudies,genderandsexualitystudies,andinterdisciplinarydigitalmedia scholarship, I investigate the games’ models of rock heroism, med... This article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies,popularmusicstudies,genderandsexualitystudies,andinterdisciplinarydigitalmedia scholarship, I investigate the games’ models of rock heroism, media debates about their impact, and players’ ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world. A video camera pans over the wheels and body of a red motorcycle and comes to rest on its rider, who introduces himself as he dismounts: “What’s up, Internet? My name’s Freddie.” As a deferential roadie helps remove his black leather jacket, Freddie Wong proclaims his intention “to come and rock you with ‘YYZ.’ ” He explains the heavy chains he wears around his neck: “The reason I have them on is that my solos are so blisteringly fast that if I didn’t keep them tied down somehow, I might impregnate women.” Another assistant hangs a miniature electric guitar around Freddie’s neck, and he turns to a TV topped with liquor bottles to begin a virtuosic rendition of Rush’s “YYZ.” Guitar Hero II’s on-screen streaming notation is superimposed over close-up views of his performance. Every hammer-on and pull-off has its exaggerated flourish; Freddie plays some passages with the guitar held behind his head, turns away from the screen to demonstrate his mastery of the material, and often lifts the guitar neck into rock-god phallic position. At the end of the song, he smashes his instrument into pieces. This YouTube video has been viewed over six million times and has inspired over 37,000 comments since it was posted in October 2006. 1 Freddie Wong is a film student at the University of Southern California; he took first place in the 2007 World Series of Video Games Guitar Hero II competition. read more read less

Topics:

Guitar (62%)62% related to the paper, Electric guitar (60%)60% related to the paper, Rock music (58%)58% related to the paper, HERO (54%)54% related to the paper
View PDF
70 Citations
Journal Article DOI: 10.1017/S1752196307070046
“A Ping, Qualified by a Thud”: Music Criticism in Manhattan and the Case of Cage (1943–58)

Abstract:

This article surveys the reception of concert performances in Manhattan of music by John Cage, from his arrival in 1942 until his gala retrospective held in Town Hall in 1958, in particular comparing responses from composer-critics such as Virgil Thomson, stabled at the New York Herald Tribune, with that of music journalists ... This article surveys the reception of concert performances in Manhattan of music by John Cage, from his arrival in 1942 until his gala retrospective held in Town Hall in 1958, in particular comparing responses from composer-critics such as Virgil Thomson, stabled at the New York Herald Tribune, with that of music journalists based at the New York Times and other local dailies. Close reading of reviews and of an array of archival sources suggests that Cage's personal and professional relationships with composer-critics ensured that the reception of his music was uniquely well informed, and that his prepared piano works and early experiments with chance were treated with a remarkable degree of affirmation. Much of Cage's critical identity can be attributed to the aegis of Thomson, who, if he denied acting as “hired plugger” for Cage, nonetheless sympathetically construed him as Americanist, Francophile, post-Schoenbergian, and ultramodernist. Thomson's resignation from the Tribune in 1954 coincided with a pronounced deterioration in Manhattan critics' appreciation of Cage. I argue that the reasons for this lie as much with the demise of the composer-critic—and a reversal of Cage's own attitude to criticism—as with conservative disaffection with new forms of experimentalism. read more read less

Topics:

John Cage (55%)55% related to the paper
46 Citations
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Frequently asked questions

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Yes, the template is compliant with the Journal of the Society for American Music guidelines. Our experts at SciSpace ensure that. If there are any changes to the journal's guidelines, we'll change our algorithm accordingly.

3. Can I cite my article in multiple styles in Journal of the Society for American Music?

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13. What is Sherpa RoMEO Archiving Policy for Journal of the Society for American Music?

SHERPA/RoMEO Database

We extracted this data from Sherpa Romeo to help researchers understand the access level of this journal in accordance with the Sherpa Romeo Archiving Policy for Journal of the Society for American Music. The table below indicates the level of access a journal has as per Sherpa Romeo's archiving policy.

RoMEO Colour Archiving policy
Green Can archive pre-print and post-print or publisher's version/PDF
Blue Can archive post-print (ie final draft post-refereeing) or publisher's version/PDF
Yellow Can archive pre-print (ie pre-refereeing)
White Archiving not formally supported
FYI:
  1. Pre-prints as being the version of the paper before peer review and
  2. Post-prints as being the version of the paper after peer-review, with revisions having been made.

14. What are the most common citation types In Journal of the Society for American Music?

The 5 most common citation types in order of usage for Journal of the Society for American Music are:.

S. No. Citation Style Type
1. Author Year
2. Numbered
3. Numbered (Superscripted)
4. Author Year (Cited Pages)
5. Footnote

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16. Can I download Journal of the Society for American Music in Endnote format?

Yes, SciSpace provides this functionality. After signing up, you would need to import your existing references from Word or Bib file to SciSpace. Then SciSpace would allow you to download your references in Journal of the Society for American Music Endnote style according to Elsevier guidelines.

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