Critical Studies in Improvisation Études critiques en improvisation

Direction : Sam Boer / Rédaction : Eric Fillion, Daniel Fischlin, Ajay Heble, Kevin McNeilly, Chris J. Tonelli (Media Reviews Editor), Alyssa Woods, Jashen Edwards (Associate Editor), Erin Felepchuk (Associate Editor)

Études critiques en improvisation / Critical Studies in Improvisation est une revue universitaire numérique à comité de lecture en libre accès portant sur l'improvisation, la communauté et la pratique sociale. Elle relève de l'Université de Guelph. Son comité éditorial et son comité consultatif sont composés de spécialistes de renommée internationale couvrant une diversité de disciplines.

Alors que la musique d'improvisation ait historiquement été analysée au sein de disciplines musicales spécifiques, les recherches présentées dans ÉCI/CSI se distinguent par l'accent qu'elles mettent sur l'improvisation comme lieu où on peut analyser les pratiques sociales. Pour ÉCI/CSI, l'improvisation exige une responsabilité partagée quant à la participation collective, une capacité à négocier des divergences et une volonté d'accepter les défis que soulèvent le risque et les imprévus. Cependant, l'improvisation est un terme contesté : au sein des milieux universitaires et dans le grand public, on ne s’entend pas sur sa signification culturelle. ÉCI/CSI cherche ainsi à révéler les structures complexes des pratiques d'improvisation et à enrichir notre compréhension des fonctions sociales, politiques et culturelles qu’elles remplissent.

Nous accueillons tout particulièrement les articles qui abordent l'improvisation comme pratique sociale et musicale à un moment historique précis et dans un contexte particulier. Nous apprécions spécialement ceux qui évaluent le rôle que jouent les pratiques performatives innovantes dans le développement de nouvelles formes de renforcement de collectivité qui s'adaptent aux besoins de la société, et ce, sans égard aux frontières nationales, culturelles ou artistiques.

For more information, please contact Managing Editor Sam Boer at csi-eci@uoguelph.ca.

Historique de la revue (3 numéros)

L’archivage pérenne des articles sur Érudit est assuré par Portico.

Peer Review Process

1. A paper is submitted by email to CSI/ÉCI at which point the Managing Editor sends an email to the author acknowledging receipt of the submission.
2. The General Editors then make an initial decision about whether the submission should proceed to the next stage of the editorial process. If the editors decide that this is not the case, an email is sent to author indicating that the submission has been rejected.
3. If the Editors decide that the paper should be submitted for review, the paper is sent electronically, ideally, to one member of the editorial board and one member of the advisory board. In the case that a paper cannot be reviewed by a member of each board, two members of the advisory board will be asked to conduct the review. In certain circumstances, outside consultant readers will be invited to review a paper.
4. Within five weeks the reviewers must forward their comments to the General Editors or Managing Editor who in turn forward the reviewers’ comments to the author.
5. If both the reviewers have advised that the submission be accepted for publication, the submission is edited by one of the Editors and then published. If one reviewer accepts the publication and the other reviewer rejects the publication, the submission is either forwarded to a third reviewer, or left with one of the General Editors, for further consideration.
6. The reviewers may decide that the submission should be revised and resubmitted, at which point the author must revise and then re-submit the paper. The author must attach to his or her resubmitted paper a statement indicating what revisions have been made. The re-submitted paper will then be forwarded to at least one of the two initial reviewers who must decide at this point whether or not the submission should be published.

Open Access Policy

This journal provides open access to all of its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. Such access is associated with increased readership and increased citation of an author's work. For more information on this approach, see the Public Knowledge Project, which has designed this system to improve the scholarly and public quality of research, and which freely distributes the journal system as well as other software to support the open access publishing of scholarly resources.

You can submit to Critical Studies in Improvisation / Études critiques en improvisation through this link.

Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.

The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
The submission file is in OpenOffice, Microsoft Word, or RTF document file format.
Where available, URLs for the references have been provided.
The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables are placed within the text at the appropriate points, rather than at the end.
The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines.

Author Guidelines

Text-based submissions to Critical Studies in Improvisation / Études critiques en improvisation must be submitted online as Microsoft Word (.doc or .docx) or Rich Text Format (.rtf) documents. Submissions written with software other than Word must be checked by the author for compatibility with Word before submission.

The text should be single-spaced. Submissions should not exceed 6,000 words and must follow the MLA Handbook of Style, ninth edition (If you do not have access to the MLA Handbook directly, you can reference Purdue University's online writing lab style guide). Submissions that do not employ MLA style will be returned to author(s) and not assessed by the journal's editors.

Please use embedded references and, where necessary, use endnotes rather than footnotes. At the end of your paper, please include a Works Cited list that includes only works directly related to your paper.

All article submissions are peer-reviewed. Please be careful to remove any author identification and use "Author" and year in the bibliography and footnotes, instead of authors' names, titles, etc. for self-authored works. The author's name must also be removed from the document's Properties, which in Microsoft Word is found in the File menu.

Please submit as supplementary files any Web-ready images or sound/audio clips that you would like to include with your article. The total number of sound samples should not exceed 4 minutes. Do not list your name as creator or owner of the media file. All images must be placed in the document by the author.

Submissions will not be accepted if they have already been published elsewhere, nor if they are before another journal for consideration.

Please provide any necessary context for your piece, as well as any outstanding questions, in the "Comments to the Editor" section of the submission form. If you have any outstanding questions you wish to address before completing your submission, please contact Managing Editor Sam Boer at csi-eci@uoguelph.ca.

Copyright Notice

Copyright for articles published in this journal is retained by the authors, with first publication rights granted to the journal. By virtue of their appearance in this open access journal, articles are free to use, with proper attribution, in educational and other non-commercial settings. Manuscripts submitted to Critical Studies in Improvisation / Études critiques en improvisation should be original works that have not been published elsewhere. Note that authors are responsible for obtaining permission, as appropriate, to include copyrighted material in any article or review published in CSI/ÉCI.

Privacy Statement

The names and email addresses entered in this journal website will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.

Équipe éditoriale

Rédacteurs

Eric Fillion (École de langues et littératures, Université de Guelph)
Daniel Fischlin (École d'études anglaises et théâtrales, Université de Guelph)
Ajay Heble (École d'études anglaises et théâtrales, Université de Guelph)
Kevin McNeilly (Département d'anglais, Université de la Colombie-Britannique)
Alyssa Woods (École des beaux-arts et de la musique, Université de Guelph)

Rédacteur des critiques de media

Chris J Tonelli (Faculty of Arts, University of Groningen)

Rédacteurs associés

Jashen Edwards (Postdoctoral Fellow, International Institute for Critical Studies in Improvisation)
Erin Felepchuk (PhD Candidate, Critical Studies in Improvisation, University of Guelph)

Rédacteur en chef

Sam Boer (University of Guelph)

Rédacteurs émérites

Frederique Arroyas (University of Guelph)
Ellen Waterman (Music, Carleton University)

Anciens rédacteurs en chef

Gregory Fenton, Michelle Peek, Lauren Katsuno, Ingrid Mundel, Katherine Perott, Hanna Smith, Benjamin Walsh, Rachel Collins, Ariel Oleynikov

Anciens rédacteurs / correcteurs d'épreuves

Lierin McConachie, Kent Smith, Rebecca Olivier, Leslie Allin, Andrew Bretz, Karl Coulthard, Gregory Fenton, Melissa Walker, Joe Sorbara, Paul Danyluk, Dallas Hunt, Mark Kaethler, Cory Lavender, David Lee, Shayna Devlin, Mary King, Tom Laughlin, Erin Felepchuk, Sam Boer

Rédacteurs des éditions spéciales

Improvisation, Musical Communities, and the COVID-19 Pandemic (Vol. 14, No. 2–3, 2021): Daniel Fischlin, Laura Risk, and Jesse Stewart
Improvisation, Musical Communities, and the COVID-19 Pandemic (Vol. 14, No. 1, 2021): Daniel Fischlin, Laura Risk, and Jesse Stewart
Improvisation and the Liberal Arts (Vol. 13, No. 1, 2020): Jason Robinson, Mark Lomanno, and Sandra Mathern-Smith
Just Improvisation: Enriching Law through Musical Techniques, Discources, and Pedagogies (Vol. 12, No. 1, 2017): Sarah Ramshaw (Law, University of Victoria) and Paul Steinbeck (School of Arts, English, and Languages, Queen's University Belfast)
Improvisation and Global Sites of Difference (Vol. 11, No. 1–2, 2016): Daniel Fischlin (School of English and Theatre Studies, University of Guelph) and Eric Porter (American Studies, University of California)
A Home Away From Home - Improviser au 21ème siècle (Vol. 10, No. 2, 2015): Amandine Pras (Music, University of Lethbridge)
Cyphers: Hip Hop and Improvisation (Vol. 10 No. 1, 2014): Paul Watkins and Rebecca Caines
Ethics and the Improvising Business (Vol. 9, No. 1, 2013): Mark Laver, Tina Piper, and Ajay Heble
Improvisational Attitudes: Reflections from Art and Life on Certainty, Failure, and Doubt (Vol. 8, No. 2, 2012): Amanda Ravetz, Anne Douglas, and Kathleen Coessens
Brazilian Improvisations / Improvisações Brasileiras (Vol. 7, No. 1, 2011): Jason Stanyek (Faculty of Music, University of Oxford) and Alessandra Santos (Latin American Studies, University of British Columbia)
Lex Non Scripta, Ars Non Scripta: Law, Justice, and Improvisation (2010): Tina Piper (Faculty of Law, McGill University) and Ellen Waterman (Music, Carleton University)
Sexualities in Improvisation (Vol. 4, No. 2, 2008): Kevin McNeilly (Department of English, University of British Columbia) and Julie Dawn Smith (Interdisciplinary Studies, University of British Columbia)
Improvisation and Pedagogy (Vol. 3, No. 2, 2007): Ajay Heble (School of English and Theatre Studies, University of Guelph) and Ellen Waterman (Music, Carleton University)
Asian Improvisation (Vol. 1, No. 3, 2006): Ellen Waterman (Music, Carleton University)

Membres du conseil d'administration

Georgina Born (Faculté de musique, Université d'Oxford)
Eric Lewis (Département de philosophie, Université McGill)
George Lipsitz (Département des études Noires, Université de Californie)
Jesse Stewart (École d'études sur l'art et la culture, Université de Carleton)

Ancien membre du conseil d'administration

George E. Lewis (Département de musique, Université de Columbia)

Conseil consultatif

David Ake (Département de musicologie, Frost School of Music)
Ann Cooper Albright (Professeur de danse, Oberlin College)
Christian Bethune (Centre Intrerdisciplinaire d'Etude et de Recherches sure L'Expression Contemporaine, Université Jean Monnet Saint-Etienne et L'Université de Lyon)
Christine Bold (École d'anglais et d'études théâtrales, Université de Guelph)
Rob Bowman (École des arts, des médias, de la performance et du design, Université de York)
Dionne Brand (École d'anglais et d'études théâtrales, Université de Guelph)
Marcel Cobussen (Professeur titulaire de culture auditive et de philosophie de la musique, Université de Leiden)
Warren Crichlow (Faculté d'éducation, Université de York)
Roger T. Dean (L'Institut MARCS, Université de Western Sydney)
Tamas Dobozy (Département d'anglais et d'études cinématographiques, Université Wilfrid Laurier)
William Thomas Gustav Edmondes (École des arts et des cultures, Université de Newcastle)
Cecil Foster (Département d'études transnationales, Université de Buffalo)
Ichiro Fujinaga (Centre de recherche interdisciplinaire sur les médias et les technologies de la musique, Université McGill)
James Harley (École des beaux-arts et de la musique, Université de Guelph)
Linda Hutcheon (Département de littérature anglaise et littérature comparée, Université de Toronto)
Elizabeth Jackson (Community Engaged Scholarship Institute, Université of Guelph)
Ric Knowles (École d'anglais et d'études théâtrales, Université de Guelph)
David Lametti (Faculté de droit, Université McGill)
Mark Laver (Département de musique, Grinnell College)
Eric Lewis (Département de philosophie, Université McGill)
Desmond Manderson (Centre pour le droit, les arts et les sciences humaines, Australian National University)
Ingrid Monson (Département des études Africaines et Afro-américaines, Université de Harvard)
Alexandre Pierrepont (Paris 7 - Denis Diderot, Sciences Po et Columbia University à Paris)
Joshua Pilzer (Faculté de musique et Centre pour l'étude de la Corée à l'Institut asiatique, Université de Toronto)
Tina Piper (Faculté de droit, Université McGill)
Eric Porter (Département de musique, Université de Californie)
Jason Robinson (Département de musique, Amherst College)
Keith Sawyer (Département des innovations éducatives, des sciences de l'apprentissage et des études psychologiques, Université de Caroline du Nord)
Gillian Siddall (Président et vice-chancelier de l'université d'art et de design Emily Carr)
Alan Stanbridge (Département des arts, de la culture et des médias, Université de Toronto)
Jason Stanyek (Faculté de musique, Université d'Oxford)
Jesse Stewart (École d'études sur l'art et la culture, Université de Carleton)
Charles Taylor (Philosophie, Université McGill)
Sherrie Tucker (Études américaines, Université du Kansas)
Daniel Weinstock (Faculté de droit, Université McGill)

Anciens membres du conseil consultatif

Winfried Siemerling (Langue et littérature anglaises, Université de Waterloo)
Howard Spring (École des beaux-arts et de la musique, Université de Guelph)
William Straw (Département d'histoire de l'art et d'études de la communication, Université McGill)
Jim Vernon (Département de philosophie, Université de York)

À propos

Coordonnées