Call for Proposals - CMS Series in Emerging Fields in Music

The CMS EMERGING FIELDS IN MUSIC​ series, published by Routledge, consists of concise monographs that help the profession re-imagine how we must prepare 21st Century Musicians. Shifting cultural landscapes, emerging technologies, and a changing profession in-and-out of the academy demand that we re-examine our relationships with audiences, leverage our art to strengthen the communities in which we live and work, equip our students to think and act as artist-entrepreneurs, explore the limitless (and sometimes limiting) role technology plays in the life of a musician, revisit our very assumptions about what artistic excellence means and how personal creativity must be repositioned at the center of this definition, and share best practices and our own stories of successes and failures when leading institutional change. 

These short-form books (25,000-50,000 words) can be either single-authored works, or contributed volumes comprised of 3 or 4 essays on related topics. The books should prove useful for emerging musicians inventing the future they hope to inhabit, faculty rethinking the courses they teach and how they teach them, and administrators guiding curricular innovation and rebranding institutional identity. 

The series welcomes new proposals submitted between February 15, 2022 – June 15, 2022. The Editorial Board is currently considering contributions to the collection-within-the-series, Leading Change, with particular interest in proposals that speak to Pillar 2: What might be possible if we were to reposition creativity at the center of all that we do?

Leading Change in a time of uncertainty and promise (a collection within the series) offers a comprehensive scaffolding of why, what, how, and for whom meaningful change is necessary if music schools are to equip students to invent the future they will soon inherit, offer faculty insights for rethinking the courses they teach and how they teach them, and recalibrate administrators’ priorities, policies, and procedures as they paint the new landscape of the 21st century music school. The editor’s premise for the collection is that institutions of higher learning in music must see their principal role as one that prepares musicians as one-of-a-kind artists-to-the-world, equipped with the requisite knowledge, skills, and understandings to create a lifetime of artistic moments, one after the next.

The collection begins by making the argument for music’s “essential” place within the human experience as the foundation of professional and career development. It then offers and examines pillars for change by addressing three fundamental questions facing the profession:

Pillar 1: Whose music matters?

Pillar 2: What might be possible if we were to reposition creativity at the center of all that we do?

Pillar 3: How might individuals and communities, through the work of career musicians and the experience of music, become more joyful, hopeful, connected, and healthy through musical experience?

Each pillar opens with an anchor manuscript that provides a comprehensive approach for imagining change. Subsequent books within each pillar offer specific ways forward. 

Finally, three books examine how the systems and eco-systems that drive our music schools maintain inequities and obstruct innovation. Examining the academic journeys of students, faculty, and administrators, the authors decode often invisible systems that limit our growth and offer opportunities to realign our words and actions with the goals of fighting for equity, fostering inclusivity, celebrating creativity, and embracing community and the joy inherent within music-making. 

Among the questions proposals might address in Pillar 2: What might be possible if we were to reposition creativity at the center of all that we do? are:

What is creativity? What does creativity look like within musical contexts? And how might we reposition creativity at the center of all we do?

How might an examination of creativities embraced across diverse musical traditions offer insights into reforming current artistic and pedagogical practices in music in higher education?

How might lessons learned amidst a global pandemic propel music in higher education towards new creative practices afforded when living, learning, and making music in a hybrid world?

How might we assess musical creativities’ benefits to individuals and communities for living more joyful, hopeful, connected, and healthy lives? 

Proposals should address five main areas:

1. A Statement of Aims 

  • How will your book be situated within the framework of the Leading Change collection?
  • Briefly and concisely state the main themes and objectives of the proposed book. Please give a one or two paragraph summary of the content of the book.
  • What are its main themes and objectives?
  • What are you doing differently, in a more innovative way, or better than existing books?
  • Please also provide a concise (150-200 word) and compelling abstract for the book.

2. A Detailed Synopsis, including Chapter Summaries and Pedagogical Features (if any)

  • A proposed table of contents with chapter titles and subheadings.
  • Chapter headings and at least one paragraph of explanation on what you intend to cover in each chapter.
  • Indicate the basic structure and features of each chapter (e.g., introduction, argument summary, case studies, etc.).
  • If an edited collection, and you have already identified collaborators, please provide a list of the expected authors and their affiliations and indicate whether they have agreed to contribute. If you plan on authoring a single chapter, please make this evident. Note: Single essay submissions will be paired with other essays that connect or contrast ideas. 

3. A Description of the Intended Readership

  • Discuss the intended audience for your book. Is it written primarily for scholars/researchers (if so, what disciplines), professionals/practitioners (if so, which fields)?
  • Will this book have international appeal? If so, where?
  • Writing Style: Is the writing accessible to the intended audience?

4. A Review of the Main Competing Titles

  • List the main competing (or closest-to) titles–three to five. Provide a few sentences of explanation on each. These could be books covering the same subject matter or books that are related in terms of field of research or cutting-edge argument. What are their strengths and weaknesses? What distinguishes your book from the existing competition? 

5. Format and Timeline

  • Provide a realistic date for when you intend to submit the final manuscript. If this is an edited collection, remember to allow time for revisions to individual chapters once contributors have delivered them.
  • Wordcount–does this include references and footnotes? Please note that volumes in this series should be 20,000-50,000 words in length.
  • How many diagrams, illustrations, or tables will there be (approximately)?
  • Third party material: Please give a clear indication of content to be included in the book that will come from another source (i.e., previously published material or illustrations). Other Relevant Information.

Other Relevant Information 

  • One or two sample chapters (preferably the introduction and another chapter). If an edited collection, abstracts will do, but an Introduction from the volume editor would be helpful.
  • Your CV and the CVs of those with whom you plan to collaborate

To discuss an idea for collection, please contact:
Mark Rabideau, Series Editor 
University of Colorado Denver
[email protected] 

To submit a proposal, please email: 
Todd Sullivan, Acquisitions Editor
Northern Arizona University
[email protected]