[Commlist] CFP Deadline for Journal of Live Music Studies

The brand new /Journal of Live Music Studies/ is now accepting original 
research articles. The CFP is below.____

*
*

*DEADLINE:*____

Our deadline for consideration in the inaugural issue of the journal is 
*28th February 2026*, and we look forward to receiving your submissions 
via the link you will find on the journal's homepage.____

*
*

*Call for Papers – Journal of Live Music Studies*____

https://www.intellectbooks.com/journal-of-live-music-studies 
<https://www.intellectbooks.com/journal-of-live-music-studies>.____

__ __

/JLMS/ is a double-blind peer-reviewed academic journal that publishes 
original interdisciplinary and multidisciplinary research that advances 
the broad field of live music studies. All genres, geographies, and 
positionalities are welcome in relation to music events from the 
smallest concerts to the largest festivals, and from a variety of 
theoretical and methodological viewpoints.____

We invite the submission of original articles on topics including, but 
not limited to:____

  * *Composition*: Composing and arranging music for live performances,
    including commissioned works, and pieces tailored to specific venues
    and settings.____

  * *Performance*: Examining the musical and gestural practices of
    musicians in live events and festivals, and the interactions of
    performers, audiences and technical crews.____

  * *Production*: Exploring the backstage and onstage practices of the
    many people involved in managing venues, events, festivals, and
    tours, including lighting and sound engineers, road crew, tour
    managers, and other personnel involved in the logistical execution
    of live music events.____

  * *Staging*: Exploring how creative elements such as visuals, stage
    design, choreography, lighting, and screen content are conceived and
    coordinated to shape meaning and enhance the overall impact of a
    music performance.____

  * *Mediation*: Analysing how live music events of all kinds may be
    represented and transformed through media coverage, livestreams, and
    recording, and how these practices influence audience perceptions
    and engagement, and the notion of 'liveness'.____

  * *Technology*: Assessing how developments in technology have shaped
    both the experience and production of live music events and
    festivals, historically and in emerging contexts, and what these
    shifts reveal about evolving notions of authenticity and presence.____

  * *Working in live music*: Exploring and analysing the workplace
    environment, job roles and responsibilities, labour conditions and
    mental health of personnel involved in a high-pressure, often
    precarious sector.____

  * *Sustainability*: Considering how venues, events, festivals, and
    tours contribute to enhanced understandings of environmental
    sustainability, the reduction of harmful emissions, and the
    assessment of potential solutions, as well as addressing the
    challenges that make some live music practices unsustainable.____

  * *Accessibility*: Evaluating how live music events can become more
    inclusive and welcoming to diverse audiences, fostering broader
    participation in music culture.____

  * *Wellbeing*: Exploring the role of the live music sector in
    promoting emotional, psychological and social wellbeing among
    audiences, performers and event workers.____

  * *Audience experience:* Understanding how audiences engage with live
    performance – physically, emotionally, and digitally – and how fan
    practices and expectations are evolving in response to cultural and
    technological shifts.____

  * *Business*: Investigating the strategic, legal and financial aspects
    of the live music sector, including contracts, ticketing, marketing,
    legal disputes, economic sustainability, showcase events, branding
    and sponsorship, and the challenges and opportunities faced by
    musicians, venues and event owners.____

  * *Politics*: Considering the ways live music is mobilized for
    political expression and influence, including performances and
    events that engage with social justice movements, community
    activism, protest, or broader ideological debates.____

  * *Policy*: Examining the role of public and private institutions,
    lobbying efforts, and regulatory frameworks that shape the live
    music ecosystem — including funding structures, licensing, urban
    planning, and governmental strategies affecting venues, festivals,
    and musicians.____

  * *Tourism*: Examining how music aligns with the tourism objectives of
    city and state bodies in terms of the experiential economy,
    financial boosterism, and branding initiatives such as 'City of
    Music' designations.____

  * *Culture*: Reflecting on the cultural significance of live music in
    specific regions or communities, and how it contributes to
    discourses on identity, collective memory, artistic practice, and
    the evolving meanings of music in everyday life.____

/
/

/JLMS/ will also publish book reviews, conference reports, translations, 
and occasional features written from an industry perspective. For 
guidelines on these types of contributions, please consult our website 
or contact the editors.____

__ __

All submissions must adhere to the Intellect Style Guide and further 
information for contributors can be found here. Manuscripts should be 
between 6,000 and 8,000 words (inclusive of the reference list and any 
notes) and submitted via the link on the journal’s home page. The first 
issue is expected to be published in late 2026. No payment from the 
authors will be required.


We look forward to receiving your articles, and are happy to answer any 
questions you may have about the journal: (chris.anderton /at/ solent.ac.uk) 
<mailto:(chris.anderton /at/ solent.ac.uk)> or (sergio.pisfil /at/ upc.pe) 
<mailto:(sergio.pisfil /at/ upc.pe)>.

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