international journal of music education

International Journal of Music Education

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SAGE Publications Ltd

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02557614, 1744795X

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How to publish in this journal

[email protected]

The set of journals have been ranked according to their SJR and divided into four equal groups, four quartiles. Q1 (green) comprises the quarter of the journals with the highest values, Q2 (yellow) the second highest values, Q3 (orange) the third highest values and Q4 (red) the lowest values.

The SJR is a size-independent prestige indicator that ranks journals by their 'average prestige per article'. It is based on the idea that 'all citations are not created equal'. SJR is a measure of scientific influence of journals that accounts for both the number of citations received by a journal and the importance or prestige of the journals where such citations come from It measures the scientific influence of the average article in a journal, it expresses how central to the global scientific discussion an average article of the journal is.

Evolution of the number of published documents. All types of documents are considered, including citable and non citable documents.

This indicator counts the number of citations received by documents from a journal and divides them by the total number of documents published in that journal. The chart shows the evolution of the average number of times documents published in a journal in the past two, three and four years have been cited in the current year. The two years line is equivalent to journal impact factor ™ (Thomson Reuters) metric.

Evolution of the total number of citations and journal's self-citations received by a journal's published documents during the three previous years. Journal Self-citation is defined as the number of citation from a journal citing article to articles published by the same journal.

Evolution of the number of total citation per document and external citation per document (i.e. journal self-citations removed) received by a journal's published documents during the three previous years. External citations are calculated by subtracting the number of self-citations from the total number of citations received by the journal’s documents.

International Collaboration accounts for the articles that have been produced by researchers from several countries. The chart shows the ratio of a journal's documents signed by researchers from more than one country; that is including more than one country address.

Not every article in a journal is considered primary research and therefore "citable", this chart shows the ratio of a journal's articles including substantial research (research articles, conference papers and reviews) in three year windows vs. those documents other than research articles, reviews and conference papers.

Ratio of a journal's items, grouped in three years windows, that have been cited at least once vs. those not cited during the following year.

Evolution of the percentage of female authors.

Evolution of the number of documents cited by public policy documents according to Overton database.

Evoution of the number of documents related to Sustainable Development Goals defined by United Nations. Available from 2018 onwards.

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International Journal of Music Education

The International Journal of Music Education (IJME) is a peer-reviewed journal published by the  International Society for Music Education (ISME) four times a year. Manuscripts published are scholarly works, representing empirical research in a variety of modalities. They enhance knowledge regarding the teaching and learning of music with a special interest toward an international constituency. Manuscripts report results of quantitative or qualitative research studies, systematically summarize bodies of research, present theories, models, or philosophical positions, etc. Papers show relevance to advancing the practice of music teaching and learning at all age levels with issues of direct concern to the classroom or studio, in school and out, private and group instruction. All manuscripts should contain evidence of a scholarly research approach and be situated within the current literature. Implications for learning and teaching of music should be clearly stated, relevant, contemporary, and of interest to an international readership.

All issues of The International Journal of Music Education are available to browse online . This journal is a member of the Committee on Publication Ethics (COPE)

International Journal of Music Education Latest Publications

Total documents, published by sage publications.

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Exploring musician-educators’ reflections on a collaborative cross-cultural music making encounter in Singapore

Professional musician-educators from a tertiary arts institution in Singapore collaborated on a cross-cultural performance in Beijing as part of their professional development. Through a case study, semi-structured interviews explored the music making experiences of four of the musician-educators involved: the composer, the singer, the pianist and the erhu performer. Their experiences address the concept of cross-cultural music making and its significance in professional development for musician-educators. The experiences shared by the four musician-educators illuminate challenges, tensions and some areas to further resolve and critically question regarding how cultures are engaged in the process of music-making. Through unpacking the narratives of musician-educators and how they experience interactions with culture in music making, there is the possibility to further understand diverse music making encounters in Singapore.

Improvisation Based on Audience Requests: Pedagogical Possibilities of the Application “Sanka Play” for Performer and Audience Interaction in Elementary School Music Classes

In 2017, I developed a computer application entitled “Sanka Play,” which enables audience members to participate in improvisational performances by making real-time requests to performers. In most cases of free improvisation, the audience atmosphere influences performers. While audience–performer interaction is generally nonverbal, Sanka Play allows timeous written verbal interaction. This study determines the positive pedagogical possibilities of using Sanka Play for elementary school music classes. It was expected that using Sanka Play for group improvisation activities in music classes would encourage various styles of expression among the students. Sanka Play was used in two fifth grade (age 10–11 years) music classes in a Japanese elementary school. Observation of class videos revealed that the application induced students to use various modes of expression, such as music, dance, theatrical acting, and even karate. Furthermore, various requests the students made not only improved performance in general but also helped highlight particular strengths in each student’s performing ability. The observations reveal Sanka Play’s pedagogical usefulness and several factors that teachers should consider when using the application. This research illustrates the possibilities of employing a new teaching approach to encourage students to creatively use their inherent expressive abilities.

Characteristics of expert vocalists’ practice

This study investigated expert vocalists’ approaches to practice in terms of planning, time, and strategy usage. Participants were 79 university voice professors and members of professional choirs. The researchers sent each participant the Vocal Practice Survey (VPS)which collected data on the participants’ professional backgrounds, attitudes toward specific practice strategies, and personal practice habits. Results indicated variety in expert vocalists’ approaches to practice, including number of practice sessions per week, length of practice sessions, and structure of practice sessions. Most participants reported using practice resources, especially a piano and a mirror. Participants reported a broad range of frequency in strategy use, with holistic practice strategies dominating. Comments from participants indicated that group rehearsals also served as individual practice opportunities, that there were differences between students’ and experts’ practice, and that an important role of practice was facilitating vocal health. The findings of this study provide a point of reference for comparing vocal practice to instrumental practice and for further development of research of vocal musicians at varying levels of expertise. The researchers also provide recommendations for music educators regarding the instruction and promotion of effective individual vocal practice.

Exploring synergy in a mobile learning model for piano playing ornaments exercise with local musical heritage

This study addresses the potential of a mobile learning model that integrates local Malaysian musical heritage in piano ornaments finger exercise. An asynchronous model adapted from the concept of karaoke was designed aiming at a synergy of piano exercise, edutainment, and heritage education with visual and auditory accompaniments. We aimed to raise interest and motivation for piano playing ornaments exercise among learners during practice while raising awareness of local musical heritage. A total of 30 piano students aged 13 to 15 years participated in this intervention study; they were equally divided into a control group and an experimental group. The pre- and post-intervention assessments revealed an increase in the levels of motivation, awareness of local musical heritage, and perceived satisfaction factors for the new mobile learning model.

A comparative study of piano performance programs at university-level institutions in China and the United States: From current faculty members’ and students’ perspectives

This study investigated the perceptions of piano performance programs in higher education from current collegiate students and faculty members’ perspectives in China and the United States. Participants were from representative university-level institutions in the U.S. ( n = 41) and China ( n = 130). They were sent a questionnaire concerning (a) the factors that motivate students to pursue a piano performance degree, (b) the most important educational practices in their programs, (c) the most challenging tasks the students encounter, (d) students’ career goal, and (e) faculty members’ suggestions for prospective students and opinions on improving the piano performance programs. A summary of students and faculty members’ perceptions were outlined and the comparison between the two countries were explored. It is encouraging that not only students gave careful attention toward the applied lessons and performance opportunities in their studies, but also that a large percentage of the students believed they received excellent advice regarding practice strategies and artistry in their applied lessons in both countries. Most of the faculty participants in both countries expressed positive attitudes regarding the piano performance programs in their universities. By providing statistically significant data, this study provides a comprehensive vision for institutions to continue establishing piano programs.

The music teacher in ‘on-the-spot’ musical interactions: A practitioner research study

This practitioner research, conducted by a secondary school music teacher, deals with two complementary questions: the conceptual question how one could define the ‘artistry’ of a music teacher in the context of his teaching practice, and the empirical question in how far the music teacher’s actions can determine the quality of the musical interactions with his students. The paper elaborately describes the institutional context for this (doctoral) practitioner research study, and integrates two premises, one regarding the negative image of the school subject music, and another about the vagueness and the ongoing discussions about the required competences of a ‘good’ music teacher. The first question is dealt with in a theoretical way, resulting in a working definition for a music teacher’s ‘artistry’: ‘a music teacher’s “artistry” lies within the extent to which he can apply his musical competences in “immediate” teaching situations’. The second question is studied empirically using a set of qualitative data sources, derived from the practitioner researcher’s teaching practice, that were analysed by means of a self-developed ‘three-dimensional matrix of the music teacher’s real-time teaching actions’. This results in a set of 10 categories in which the music teacher clearly demonstrates ‘unprepared non-routinisedroutinized musical actions’.

Online music education for sustainable development: Analysis of music learning videos in e-Hakseupteo

This study investigates music learning video content at e-Hakseupteo, a government-supported e-learning platform utilized during the COVID-19 pandemic, and provides suggestions for remote music learning in the future. The data from music learning videos in e-Hakseupteo were extracted via each subject to statistically analyze the data in various aspects including provision regions, the content providers, target audiences, video titles, and contents of each music learning video. As a result, this analysis demonstrated that e-Hakseupteo offered students fewer opportunities to learn music than other subjects because of the significant lack of music learning videos. In addition, e-Hakseupteo has provided unequal music educational opportunities and regional discrepancy due to the unintentional access settings. Finally, the music learning videos at e-Hakseupteo were produced by specific agent groups in Seoul with limited experts. Implications and suggestions are provided for the sustainability of remote learning in music education.

Emerging critical events in creative processes involving music, dance and mathematics in the school

The development of creative processes within the framework of music and dance constitutes an opportunity to promote and integrate learning from different subject areas. In these activities, the moments of knowledge transfer between the different parts of the curriculum emerge as key moments in the process. This article identifies and analyses the critical events that arise when carrying out group work based on the integrated learning of music, dance and mathematics around the concept of symmetry. For this purpose, and within an action-research framework, a 20-hour didactic sequence was designed and implemented, which focused on the creative processes followed with students in the last year of primary school (11–12 years old) at a center near Barcelona. The data obtained through classroom observations and semi-structured interviews with the students brought to light the critical events that occurred in this creative, interdisciplinary context. The results show that the use of different forms of expression and the changes that students introduce when using one or another language to express their own ideas or knowledge are key moments in the advancement of joint creative activities and also of learning in itself.

An analysis of four instructional strategies used by secondary school music teachers in Uganda

This paper provides an analysis of how secondary school music teachers (N = 10) in Uganda apply instructional strategies (peer teaching, practical music-making, modeling, and feedback) in their music lessons. Analysis was undertaken to establish if there were any similarities or differences amongst the urban, suburban, and rural music teachers and between experienced and inexperienced teachers in ways they employed instructional strategies. Data were gathered through videotaped classroom observations and analyzed via SCRIBE (Simple Computer Recording Interface for Behavioral Evaluation). Results showed that practical music-making was the most observed strategy while negative feedback (disapprovals) was the least observed strategy. Experienced teachers provided more feedback in form of approval and engaged their students more in practical music-making activities. Results from the study are discussed in terms of implications for improved teacher preparation. The strategies discussed in this study should be encouraged through teacher professional development, and through greater emphasis in teacher preparation courses.

The complexities of meaningful experiential learning: Exploring reflective practice in music performance studies

The purpose of this study was to examine the intersections of experiential learning and critical reflection within the unique context of the Accademia Europea dell’Opera (AEDO), a music performance summer program specializing in opera. Researchers explored the development and implementation of a responsive model of reflection and considered the impact this model had on helping music students shift between multiple spaces of musical performance and skill development. Data were analyzed through a communities of practice framework, and findings drawn from the analysis are explored through the following themes: the complexities of building a new community, synergy between intrapersonal and interpersonal engagement, and participants’ processes of reflecting and learning together.

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International Journal of Music Education

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• Description
• Aims and Scope
• Editorial Board
• Abstracting / Indexing
• Submission Guidelines

The International Journal of Music Education (IJME) is a peer-reviewed journal published by the  International Society for Music Education (ISME) four times a year. Manuscripts published are scholarly works, representing empirical research in a variety of modalities. They enhance knowledge regarding the teaching and learning of music with a special interest toward an international constituency. Manuscripts report results of quantitative or qualitative research studies, systematically summarize bodies of research, present theories, models, or philosophical positions, etc. Papers show relevance to advancing the practice of music teaching and learning at all age levels with issues of direct concern to the classroom or studio, in school and out, private and group instruction. All manuscripts should contain evidence of a scholarly research approach and be situated within the current literature. Implications for learning and teaching of music should be clearly stated, relevant, contemporary, and of interest to an international readership.

All issues of The International Journal of Music Education are available to browse online . This journal is a member of the Committee on Publication Ethics (COPE)

The International Journal of Music Education (IJME) is a peer-reviewed journal published by the International Society for Music Education (ISME) four times a year in print, and online as manuscripts are accepted. Manuscripts published are scholarly works, representing empirical research in a variety of modalities. They enhance knowledge regarding the teaching and learning of music with a special interest toward an international constituency. Manuscripts report results of quantitative or qualitative research studies, systematically summarize bodies of research, present theories, models, or philosophical positions, etc. Papers show relevance to advancing the practice of music teaching and learning at all age levels with issues of direct concern to the classroom or studio, in school and out, private and group instruction. All manuscripts should contain evidence of a scholarly research approach and be situated within the current literature, ideally within the past 10 years. Implications for learning and teaching of music should be clearly stated, relevant, contemporary, and of interest to an international readership.

All issues of The International Journal of Music Education are available to browse online . This journal is a member of the Committee on Publication Ethics (COPE).

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Manuscript Submission Guidelines: International Journal of Music Education

This Journal is a member of the Committee on Publication Ethics

Please read the guidelines below then visit the Journal’s submission site http://mc.manuscriptcentral.com/ijme to upload your manuscript. Please note that manuscripts not conforming to these guidelines may be returned .

Only manuscripts of sufficient quality that meet the aims and scope of International Journal of Music Education will be reviewed.

There are no fees payable to submit or publish in this Journal. Open Access options are available - see section 3.3 below.

As part of the submission process you will be required to warrant that you are submitting your original work, that you have the rights in the work, and that you have obtained and can supply all necessary permissions for the reproduction of any copyright works not owned by you, that you are submitting the work for first publication in the Journal and that it is not being considered for publication elsewhere and has not already been published elsewhere. P lease see our guidelines on prior publication and note that please note that International Journal of Music Education  does not accept submissions of papers that have been posted on pre-print servers.

If you have any questions about publishing with Sage, please visit the Sage Journal Solutions Portal

• What do we publish? 1.1 Aims & Scope 1.2 Article types 1.3 Writing your paper
• Editorial policies 2.1 Peer review policy 2.2 Authorship 2.3 Acknowledgements 2.4 Funding 2.5 Declaration of conflicting interests 2.6 Research Data 2.7 Research Ethics 2.8 Editor submissions
• Publishing policies 3.1 Publication ethics 3.2 Contributor's publishing agreement 3.3 Open access and author archiving
• Preparing your manuscript 4.1 Formatting 4.2 Artwork, figures and other graphics 4.3 Supplemental material 4.4 Reference style 4.5 English language editing services 4.6 Language
• Submitting your manuscript 5.1 ORCID 5.2 Information required for completing your submission 5.3 Permissions
• On acceptance and publication 6.1 Sage Production 6.2 Online First publication 6.3 Access to your published article 6.4 Promoting your article
• Further information

1. What do we publish?

1.1 Aims & Scope

Before submitting your manuscript to International Journal of Music Education, please ensure you have read the Aims & Scope .

1.2 Article Types

All submissions should be scholarly reports that enhance knowledge regarding the teaching and learning of music with a special interest toward an international constituency and of interest and relevance to the international community. Submissions should represent empirical research relevant to advancing the practice of music teaching and learning, at all age levels with issues of direct concern to formal and informal learning the classroom or studio, in school and out, private and group instruction, and in the community.

Length of papers

A typical manuscript will not exceed 6,000 words including tables, references, and captions of figures, but longer articles will be considered. Please email the Editors prior to submission if you would like consideration for a longer manuscript length. Authors should include a word count with their manuscript. An abstract of no longer than 200 words and 5-8 keywords (arranged in alphabetical order) should be attached.

Advice on writing your abstract Your abstract should contain all relevant information about your goals and methods, and provide a brief summary of results and implications for the international readership of music education researchers and practitioners. Any redundant wording such as "this paper deals with..." should be avoided, as should colloquial language and acronyms. Be aware that the abstract will be addressing readers who are not necessarily experts in a particular field and often non-native English speakers. Be as short and precise as possible, and avoid simply restating the paper's title at the beginning.

Authors are welcome to include translated abstracts in Chinese, French, German or Spanish when submitting your manuscript, to be published alongside your article. Please see section 4.3 Supplemental material  for more information.

1.3 Writing your paper

The Sage Author Gateway has some general advice and on how to get published , plus links to further resources.

1.3.1 Make your article discoverable

When writing up your paper, think about how you can make it discoverable. The title, keywords and abstract are key to ensuring readers find your article through search engines such as Google. For information and guidance on how best to title your article, write your abstract and select your keywords, have a look at this page on the Gateway: How to Help Readers Find Your Article Online

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2. Editorial policies

2.1 Peer review policy

All manuscripts will be sent out by the editor for anonymous editorial review by members of the IJME Editorial Committee (and/or to invited expert reviewers). To preserve anonymity in the review process, the manuscript and abstract should contain no clues to the author's identity or institutional affiliation (they should appear only on the title paper which will not be sent out). Contributors can usually expect a decision concerning the acceptability of a manuscript for publication within three months after receipt.

2.2 Authorship

All parties who have made a substantive contribution to the article should be listed as authors. Principal authorship, authorship order, and other publication credits should be based on the relative scientific or professional contributions of the individuals involved, regardless of their status. A student is usually listed as principal author on any multiple-authored publication that substantially derives from the student’s dissertation or thesis.

Please note that AI chatbots, for example ChatGPT, should not be listed as authors. For more information see the policy on Use of ChatGPT and generative AI tools . 

The International Journal of Music Education publishes CRediT author contribution statements. At submission stage, there will be the ability to list the roles that each author was responsible for. Please refer to the CRediT Gateway page for more information. You should not include an author contribution statement in your manuscript as this will be added at Production stage. This does not replace the Acknowledgements section.

2.3 Acknowledgements

All contributors who do not meet the criteria for authorship should be listed in an Acknowledgements section. Examples of those who might be acknowledged include a department chair who provided only general support or a mentor who provided feedback on earlier drafts..

Any acknowledgements should appear first at the end of your article prior to your Declaration of Conflicting Interests (if applicable), any notes and your References.

2.3.1 Third party submissions Where an individual who is not listed as an author submits a manuscript on behalf of the author(s), a statement must be included in the Acknowledgements section of the manuscript and in the accompanying cover letter. The statements must:

• Disclose this type of editorial assistance – including the individual’s name, company and level of input
• Identify any entities that paid for this assistance
• Confirm that the listed authors have authorized the submission of their manuscript via third party and approved any statements or declarations, e.g. conflicting interests, funding, etc.

Where appropriate, Sage reserves the right to deny consideration to manuscripts submitted by a third party rather than by the authors themselves.

2.4 Funding

International Journal of Music Education requires all authors to acknowledge their funding in a consistent fashion under a separate heading. Please visit the Funding Acknowledgements page on the Sage Journal Author Gateway to confirm the format of the acknowledgment text in the event of funding, or state that: This authors of this research received no specific grant or other in-kind support from any funding agency in the public, commercial, or not-for-profit sectors.

2.5 Declaration of conflicting interests

International Journal of Music Education requires authors to include a declaration of any conflicting interests. Examples of conflicts of interest might include the following, although it is not an exhaustive list:

• Having received fees for consulting.
• Having received direct or indirect research funding.
• Having been employed by a related company or non-profit organization.
• Holding stocks or shares in a company which might be affected by the publication of your paper.
• Having received funds covering or reimbursing you for attending or presenting a related symposia, workshop,or talk.
• Having received other in-kind support or donations personally or to your institution.

If there are other interests which the reasonable reader might feel has affected your research you may also wish to declare them. Best practice guidelines may be found on the Sage Journal Author Gateway.

2.6 Research Data

The journal is committed to facilitating openness, transparency and reproducibility of research, and has the following research data sharing policy. For more information, including FAQs please visit the Sage Research Data policy pages .International Journal of Music Education has the ability to publish research data sets as online supplemental material. Please see section 4.3 Supplemental material for more information.

Subject to appropriate ethical and legal considerations, authors are encouraged to:

• share your research data in a relevant public data repository
• include a data availability statement linking to your data. If it is not possible to share your data, we encourage you to consider using the statement to explain why it cannot be shared.
• cite this data in your research

2.7 Research Ethics

The journal requires all manuscripts to include a clear and fulsome statement and disclosure of research ethics processes and approvals for any research involving human subjects or participants. These should be written into the main body of the manuscript, and include reference to the institution(s) that approved the research, as well as the protocol or approval number for the research being submitted for publication. For research that does not have formal approval from an institutional review board, a full disclosure of the research processes and ethical considerations and approvals must be included. Any questions should be directed to the Editors at the time of manuscript submission.

2.8 Editor submissions

In the interest of transparency, the journal’s policy on submissions by journal board members or Editors with a role in administering the peer review process or their families or associates (including faculty colleagues from current institutions), is as follows:

• Board members and Editors take no part in the review process of their own submissions, those of their family member or their associates and have no access to Editorial information concerning such submissions.
• No preference or favour is given in the decision or peer review process dependent on the author’s relationship to the journal.
• Papers are processed consecutively irrespective of the author’s relationship to the journal. That is, the journal does not ‘expedite’ papers at the expense of others as journal resources are distributed evenly.

3. Publishing Policies

3.1 Publication ethics

International Journal of Music Education is committed to upholding the integrity of the academic record:

• The research being reported must be conducted in an ethical and responsible manner and should comply with all relevant legislation.
• Researchers must present their results clearly, honestly, and without fabrication, falsification or inappropriate data manipulation.
• Researchers must describe their methods clearly and unambiguously so that their findings can be confirmed by others.
• Researchers must adhere to publication requirements that submitted work is original, is not plagiarised, and has not been published elsewhere.
• Authors must take collective responsibility for submitted and published work.
• The authorship of research publications must accurately reflect individuals’ contributions to the work and its reporting.
• Funding sources and relevant potential perceived and actual conflicts of interest must be disclosed.

We encourage authors to refer to the Committee on Publication Ethics’ International Standards for Authors and view the Publication Ethics page on the Sage Author Gateway .

3.1.1 Plagiarism

International Journal of Music Education and Sage take issues of copyright infringement, plagiarism or other breaches of best practice in publication very seriously. We seek to protect the rights of our authors and we always investigate claims of plagiarism or misuse of published articles. Equally, we seek to protect the reputation of the journal against malpractice. Submitted articles may be checked with duplication-checking software. Where an article, for example, is found to have plagiarised other work or included third-party copyright material without permission or with insufficient acknowledgement, or where the authorship of the article is contested, we reserve the right to take action including, but not limited to: publishing an erratum or corrigendum (correction); retracting the article; taking up the matter with the head of department or dean of the author's institution and/or relevant academic bodies or societies; or taking appropriate legal action.

3.1.2 Prior publication

If material has been previously published it is not generally acceptable for publication in a Sage journal. However, there are certain circumstances where previously published material can be considered for publication. Please refer to the guidance on the  Sage Author Gatewa y or if in doubt, c ontact the Editor at the address given below.

3.2 Contributor's publishing agreement

Before publication, Sage requires the author as the rights holder to sign a Journal Contributor’s Publishing Agreement. Sage’s Journal Contributor’s Publishing Agreement is an exclusive licence agreement which means that the author retains copyright in the work but grants Sage the sole and exclusive right and licence to publish for the full legal term of copyright. Exceptions may exist where an assignment of copyright is required or preferred by a proprietor other than Sage. In this case copyright in the work will be assigned from the author to the society. For more information please visit the Sage Author Gateway

3.3 Open access and author archiving

International Journal of Music Education  offers optional open access publishing via the Sage Choice programme. For more information on Open Access publishing options at Sage please visit Sage Open Access . For information on funding body compliance, and depositing your article in repositories, please visit Sage’s Author Archiving and Re-Use Guidelines and Publishing Policies .

4. Preparing your manuscript for submission

4.1 Formatting

The preferred format for your manuscript is Word. LaTeX files are also accepted. Word and (La)Tex templates are available on the Manuscript Submission Guidelines page of our Author Gateway.

4.2 Artwork, figures and other graphics

For guidance on the preparation of illustrations, pictures and graphs in electronic format, please visit Sage’s Manuscript Submission Guidelines   

Figures supplied in colour will appear in colour online regardless of whether or not these illustrations are reproduced in colour in the printed version. For specifically requested colour reproduction in print, you will receive information regarding the costs from Sage after receipt of your accepted article.

4.3 Supplemental material

This journal is able to host additional materials online (e.g. datasets, podcasts, videos, images etc) alongside the full-text of the article. For more information please refer to our guidelines on submitting supplemental files

4.4 Reference style

International Journal of Music Education adheres to the APA reference style. View the APA guidelines to ensure your manuscript conforms to this reference style.

4.5 English language editing services

Authors seeking assistance with English language editing, translation, or figure and manuscript formatting to fit the journal’s specifications should consider using Sage Language Services. Visit Sage Language Services on our Journal Author Gateway for further information.

4.6 Language

International Journal of Music Education  is an English language journal.

5. Submitting your manuscript

International Journal of Music Education is hosted on Sage Track, a web based online submission and peer review system powered by ScholarOne™ Manuscripts. Visit http://mc.manuscriptcentral.com/ijme to login and submit your article online.

IMPORTANT: Please check whether you already have an account in the system before trying to create a new one. If you have reviewed or authored for the journal in the past year it is likely that you will have had an account created.  For further guidance on submitting your manuscript online please visit ScholarOne Online Help.

All papers must be submitted via the online system. If you would like to discuss your paper prior to submission, please refer to the contact details below.

Alex Ruthmann, Co-Editor,  [email protected]

Jane Southcott, Co-Editor,  [email protected]  

As part of our commitment to ensuring an ethical, transparent and fair peer review process Sage is a supporting member of ORCID, the Open Researcher and Contributor ID . ORCID provides a unique and persistent digital identifier that distinguishes researchers from every other researcher, even those who share the same name, and, through integration in key research workflows such as manuscript and grant submission, supports automated linkages between researchers and their professional activities, ensuring that their work is recognized. 

The collection of ORCID IDs from corresponding authors is now part of the submission process of this journal. If you already have an ORCID ID you will be asked to associate that to your submission during the online submission process. We also strongly encourage all co-authors to link their ORCID ID to their accounts in our online peer review platforms. It takes seconds to do: click the link when prompted, sign into your ORCID account and our systems are automatically updated. Your ORCID ID will become part of your accepted publication’s metadata, making your work attributable to you and only you. Your ORCID ID is published with your article so that fellow researchers reading your work can link to your ORCID profile and from there link to your other publications.

If you do not already have an ORCID ID please follow this link to create one or visit our ORCID homepage to learn more.  

5.2 Information required for completing your submission

You will be asked to provide contact details and academic affiliations for all co-authors via the submission system and identify who is to be the corresponding author. These details must match what appears on your manuscript. The affiliation listed in the manuscript should be the institution where the research was conducted. If an author has moved to a new institution since completing the research, the new affiliation can be included in a manuscript note at the end of the paper. At this stage please ensure you have included all the required statements and declarations and uploaded any additional supplementary files (including reporting guidelines where relevant).

5.3 Permissions

Please also ensure that you have obtained any necessary permission from copyright holders for reproducing any illustrations, tables, figures or lengthy quotations previously published elsewhere. For further information including guidance on fair dealing for criticism and review, please see the Copyright and Permissions page on the Sage Author Gateway

6. On acceptance and publication

6.1 Sage Production

Your Sage Production Editor will keep you informed as to your article’s progress throughout the production process. Proofs will be sent by PDF to the corresponding authorvia our editing portal Sage Edit or by email, and corrections should be made directly or notified to us promptly. Authors are reminded to check their proofs carefully to confirm that all author information, including names, affiliations, sequence and contact details are correct, and that Funding and Conflict of Interest statements, if any, are accurate. 

6.2 Online First publication

Online First allows final articles (completed and approved articles awaiting assignment to a future issue) to be published online prior to their inclusion in a journal issue, which significantly reduces the lead time between submission and publication. Visit the Sage Journals help page for more details, including how to cite Online First articles.

6.3 Access to your published article

Sage provides authors with online access to their final article.

6.4 Promoting your article

Publication is not the end of the process! You can help disseminate your paper and ensure it is as widely read and cited as possible. The Sage Author Gateway has numerous resources to help you promote your work. Visit the Promote Your Article page on the Gateway for tips and advice.

7. Further information

Any correspondence, queries or additional requests for information on the manuscript submission process should be sent to the International Journal of Music Education editorial office as follows:

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