Example of Popular Music format
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Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format Example of Popular Music format
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This content is only for preview purposes. The original open access content can be found here.
open access Open Access

Popular Music — Template for authors

Categories Rank Trend in last 3 yrs
Music #40 of 147 down down by 3 ranks
Cultural Studies #321 of 1037 down down by 19 ranks
journal-quality-icon Journal quality:
Good
calendar-icon Last 4 years overview: 108 Published Papers | 67 Citations
indexed-in-icon Indexed in: Scopus
last-updated-icon Last updated: 01/07/2020
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Related Journals

open access Open Access
recommended Recommended

Taylor and Francis

Quality:  
High
CiteRatio: 0.9
SJR: 0.302
SNIP: 0.743
open access Open Access
recommended Recommended

Taylor and Francis

Quality:  
High
CiteRatio: 1.8
SJR: 0.573
SNIP: 2.127
open access Open Access
recommended Recommended

Taylor and Francis

Quality:  
High
CiteRatio: 2.7
SJR: 0.833
SNIP: 1.065
open access Open Access

Taylor and Francis

Quality:  
High
CiteRatio: 0.4
SJR: 0.148
SNIP: 0.482

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

50% from 2019

CiteRatio for Popular Music from 2016 - 2020
Year Value
2020 0.6
2019 0.4
2018 0.5
2017 0.6
2016 0.6
graph view Graph view
table view Table view

0.282

93% from 2019

SJR for Popular Music from 2016 - 2020
Year Value
2020 0.282
2019 0.146
2018 0.147
2017 0.216
2016 0.121
graph view Graph view
table view Table view

0.922

10% from 2019

SNIP for Popular Music from 2016 - 2020
Year Value
2020 0.922
2019 0.835
2018 0.617
2017 1.294
2016 0.834
graph view Graph view
table view Table view

insights Insights

  • CiteRatio of this journal has increased by 50% in last years.
  • This journal’s CiteRatio is in the top 10 percentile category.

insights Insights

  • SJR of this journal has increased by 93% in last years.
  • This journal’s SJR is in the top 10 percentile category.

insights Insights

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

Popular Music

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Cambridge University Press

Popular Music

Approved by publishing and review experts on SciSpace, this template is built as per for Popular Music formatting guidelines as mentioned in Cambridge University Press author instructions. The current version was created on 30 Jun 2020 and has been used by 579 authors to write and format their manuscripts to this journal.

Music

Cultural Studies

Arts and Humanities

i
Last updated on
30 Jun 2020
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ISSN
0261-1430
i
Impact Factor
High - 1.188
i
Open Access
No
i
Sherpa RoMEO Archiving Policy
Green faq
i
Plagiarism Check
Available via Turnitin
i
Endnote Style
Download Available
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Bibliography Name
unsrt
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Citation Type
Numbered
[25]
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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/S0261143002002131
Authenticity as authentication
01 May 2002 - Popular Music

Abstract:

This article argues for the prematurity of any dismissal of the notion of authenticity as meaningful within popular music discourse. It synthesises a range of views as to how authenticity is constructed, and offers a tri-partite typology dependent on asking who, rather than what, is being authenticated. It focuses on rock and... This article argues for the prematurity of any dismissal of the notion of authenticity as meaningful within popular music discourse. It synthesises a range of views as to how authenticity is constructed, and offers a tri-partite typology dependent on asking who, rather than what, is being authenticated. It focuses on rock and folk genres, but also argues that the generic nature of the typology makes it applicable to any other genre wherein listeners are concerned to ask whether a musical utterance can be construed as sincere. Preamble ‘Authentic’. ‘Real’. ‘Honest’. ‘Truthful’. ‘With integrity’. ‘Actual’. ‘Genuine’. ‘Essential’. ‘Sincere’. Of all the value terms employed in music discourse, these are perhaps the most loaded. They are familiar from the writings of academic scholars, as will be made plain below. They have been present, in their various ways, in fan and journalistic writing (most notably in the pages of Rolling Stone). In almost all cases, it is music to which these qualifiers can be attached that such writing, and presumably thinking, has prized. Of the terms, it is the first which is most familiar from academic discourse and is, therefore, the one to which I shall reduce the others for the purposes of this article. On occasions, attachment of this term can be justified with close reference to details of sonic design, even if such a process is extremely long-winded: in a previous article, I have demonstrated the viability of just such an approach. 2 Elsewhere, such an attachment is more arbitrary. In the long run, the resultant experiences in these latter cases may be even more analytically interesting in that the influence of the musical text on these occasions may be said to be nil. 3 There are, however, various authenticities, sharing a base assumption about ‘essential(ized), real, actual, essence’ (Taylor 1997, p. 21): they are concisely described in Gilbert and Pearson’s identification of the requirements of a 1980s ‘authentic’ rock, wherein artists must speak the truth of their (and others’) situations. Authenticity was guaranteed by the presence of a specific type of instrumentation . . . [the singer’s] fundamental role was to represent the culture from which he comes. (Gilbert and Pearson 1999, pp. 164–5) The purpose of this article is to explore just some of the ramifications of the term and to offer a globalising perspective analysing the three senses conflated in the above quotation: that artists speak the truth of their own situation; that they speak the truth of the situation of (absent) others; and that they speak the truth of their own culture, thereby representing (present) others. It will do this with primary reference to rock music and to contemporary folk music, although I believe my analysis to be applicable to other genres. Only two other writers appear to have read more read less

Topics:

Rock music (60%)60% related to the paper, Folk music (58%)58% related to the paper, Popular music (55%)55% related to the paper, Utterance (51%)51% related to the paper
View PDF
327 Citations
Journal Article DOI: 10.1017/S0261143000003767
Why 1955? Explaining the advent of rock music
01 Jan 1990 - Popular Music

Abstract:

At the time, 1929, 1939, 1945 and 1968 all seemed important turning points in the track of our civilisation. By contrast, as anyone alive at the time will attest, 1955 seemed like an unexceptional year in the United States at least. Right in the middle of the ‘middle-of-the-road’ years of the Eisenhower presidency, 1955 hardl... At the time, 1929, 1939, 1945 and 1968 all seemed important turning points in the track of our civilisation. By contrast, as anyone alive at the time will attest, 1955 seemed like an unexceptional year in the United States at least. Right in the middle of the ‘middle-of-the-road’ years of the Eisenhower presidency, 1955 hardly seemed like the year for a major aesthetic revolution. Yet it was in the brief span between 1954 and 1956 that the rock aesthetic displaced the jazz-based aesthetic in American popular music. Frank Sinatra, Tommy Dorsey, Patty Page, Perry Como, Nat King Cole, Tony Bennett, Kay Starr, Les Paul, Eddie Fisher, Jo Stafford, Frankie Lane, Johnnie Ray and Doris Day gave way on the popular music charts to Elvis Presley, Chuck Berry, The Platters, Bill Haley, Buddy Holly, Little Richard, Carl Perkins and the growing legion of rockers. read more read less

Topics:

Rock music (61%)61% related to the paper, Jazz (57%)57% related to the paper, Popular music (53%)53% related to the paper
View PDF
214 Citations
Journal Article DOI: 10.1017/S0261143007001262
Rethinking the music industry
John Williamson1, Martin Cloonan2
01 May 2007 - Popular Music

Abstract:

This article examines a very basic question for popular music studies: what is ‘the music industry?’ It surveys the usage of the term in various arenas and argues that it is often used in ways which state or imply that the industry is a homogenous unit with shared objectives and interests. However, the reality is that this pi... This article examines a very basic question for popular music studies: what is ‘the music industry?’ It surveys the usage of the term in various arenas and argues that it is often used in ways which state or imply that the industry is a homogenous unit with shared objectives and interests. However, the reality is that this picture is, at best, outdated and an inaccurate portrayal of the organisational structure of the global music economy in the mid-2000s. In addition, to think of a single ‘music industry’ rather than music industries, plural, is simplistic and does little to aid understanding of those cultural industries which are primarily concerned with the creation, management and selling of music, either as a physical/digital product, a performance, or as a bundle of intellectual property rights. We tease out the implications of this, especially as they relate to understanding what is routinely referred to as ‘the music industry’ and the development of policies for it. read more read less

Topics:

Music industry (69%)69% related to the paper, Popular music (68%)68% related to the paper, Music Geography (63%)63% related to the paper, Intellectual property (52%)52% related to the paper
View PDF
200 Citations
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Popular Music format uses unsrt citation style.

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Frequently asked questions

1. Can I write Popular Music in LaTeX?

Absolutely not! Our tool has been designed to help you focus on writing. You can write your entire paper as per the Popular Music guidelines and auto format it.

2. Do you follow the Popular Music guidelines?

Yes, the template is compliant with the Popular 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 Popular Music?

Of course! We support all the top citation styles, such as APA style, MLA style, Vancouver style, Harvard style, and Chicago style. For example, when you write your paper and hit autoformat, our system will automatically update your article as per the Popular Music citation style.

4. Can I use the Popular Music templates for free?

Sign up for our free trial, and you'll be able to use all our features for seven days. You'll see how helpful they are and how inexpensive they are compared to other options, Especially for Popular Music.

5. Can I use a manuscript in Popular Music that I have written in MS Word?

Yes. You can choose the right template, copy-paste the contents from the word document, and click on auto-format. Once you're done, you'll have a publish-ready paper Popular Music that you can download at the end.

6. How long does it usually take you to format my papers in Popular Music?

It only takes a matter of seconds to edit your manuscript. Besides that, our intuitive editor saves you from writing and formatting it in Popular Music.

7. Where can I find the template for the Popular Music?

It is possible to find the Word template for any journal on Google. However, why use a template when you can write your entire manuscript on SciSpace , auto format it as per Popular Music's guidelines and download the same in Word, PDF and LaTeX formats? Give us a try!.

8. Can I reformat my paper to fit the Popular Music's guidelines?

Of course! You can do this using our intuitive editor. It's very easy. If you need help, our support team is always ready to assist you.

9. Popular Music an online tool or is there a desktop version?

SciSpace's Popular Music is currently available as an online tool. We're developing a desktop version, too. You can request (or upvote) any features that you think would be helpful for you and other researchers in the "feature request" section of your account once you've signed up with us.

10. I cannot find my template in your gallery. Can you create it for me like Popular Music?

Sure. You can request any template and we'll have it setup within a few days. You can find the request box in Journal Gallery on the right side bar under the heading, "Couldn't find the format you were looking for like Popular Music?”

11. What is the output that I would get after using Popular Music?

After writing your paper autoformatting in Popular Music, you can download it in multiple formats, viz., PDF, Docx, and LaTeX.

12. Is Popular Music's impact factor high enough that I should try publishing my article there?

To be honest, the answer is no. The impact factor is one of the many elements that determine the quality of a journal. Few of these factors include review board, rejection rates, frequency of inclusion in indexes, and Eigenfactor. You need to assess all these factors before you make your final call.

13. What is Sherpa RoMEO Archiving Policy for Popular 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 Popular 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 Popular Music?

The 5 most common citation types in order of usage for Popular Music are:.

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

15. How do I submit my article to the Popular Music?

It is possible to find the Word template for any journal on Google. However, why use a template when you can write your entire manuscript on SciSpace , auto format it as per Popular Music's guidelines and download the same in Word, PDF and LaTeX formats? Give us a try!.

16. Can I download Popular 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 Popular Music Endnote style according to Elsevier guidelines.

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I spent hours with MS word for reformatting. It was frustrating - plain and simple. With SciSpace, I can draft my manuscripts and once it is finished I can just submit. In case, I have to submit to another journal it is really just a button click instead of an afternoon of reformatting.

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