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This internationally peer-reviewed journal, published on behalf of SEMPRE, promotes the dissemination and discussion of high quality research in music and music education. The journal encourages the interrogation and development of a range of research methodologies and their application to diverse topics in music education theory and practice.

Co-herencia is a half-yearly journal published by the Humanities Department at EAFIT University. Its purpose is to disclose findings generated by investigations, theoretical reflections, specialized debates, translacions, essays, and critical reviews on topics related to humanistic studies in general, and associated with literature, philosophy, history, politics and communication studies in particular. Co-herencia is directed towards professors, researchers, students, and scholars within the disciplines or knowledge areas which comprise the ample spectrum of humanistic studies, but also to other readers with an affinity for the scholarly topics compiled in each volume. Its purpose is to be a forum of interdisciplinary discussion and a space for dialogue among peers on the contributions of humanities in determining a thinking and deliberating community in Colombia.

La Revista Musical Chilena ha identificado como sus principales a´reas de intere´s, la cultura musical de Chile, considerando tanto los aspectos musicales propiamente tales, como el marco histo´rico y sociocultural, desde la perspectiva de la musicologi´a y de otras disciplinas relacionadas. Al respecto, considera propuestas de arti´culos que traten sobre temas vinculados a compositores, ejecutantes e instrumentos de la mu´sica de arte, folclo´rica, popular urbana e indi´gena, al igual que propuestas de arti´culos atinentes a manuscritos, investigadores, aspectos teo´ricos y modelos musicolo´gicos, adema´s de nuevos enfoques de la musicologi´a como disciplina, tanto en Chile como en Ame´rica Latina. El propo´sito de la RMCh es el ensanchamiento permanente de los horizontes musicolo´gicos de Chile y Ame´rica Latina.

Established in 1942 by the American Society for Aesthetics, The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture. The Journal takes a theoretical and interdisciplinary approach to the arts and aesthetic matters. Its authors include artists, writers, and academics in the fields of philosophy, English literature, comparative literature, art, music, theater and drama, art history, psychology, law, and related disciplines. The Journal and the American Society for Aesthetics also sponsor the biannual John Fisher Memorial Prize in Aesthetics in honor of John Fisher, editor of the Journal from 1973-1988. The Prize is offered to foster the development of new voices and talent in the field of aesthetics.

The widely-respected Journal of Musicology enters its third decade as one of few comprehensive peer-reviewed journals in the discipline, offering articles in every period, field and methodology of musicological scholarship. Its contributors range from senior scholars to new voices in the field.Its reach is international, with recent articles by authors from North America, Europe and Australia, and circulation to individuals and libraries throughout the world.The Journal publishes essential reading on long-standing problems and issues in musicology, on new ideas and approaches, and on directions in the field itself.

The Musical Quarterly, founded in 1915 by Oscar Sonneck, has long been cited as the premier scholarly musical journal in the United States. Over the years it has published the writings of many important composers and musicologists, including Aaron Copland, Arnold Schoenberg, Marc Blitzstein, Henry Cowell, and Camille Saint-Saens. The journal focuses on the merging areas in scholarship where much of the challenging new work in the study of music is being produced.Regular sections include 'American Musics', 'Music and Culture', 'The Twentieth Century and Beyond', and an 'Institutions, Industries, Technologies' section which examines music and the ways it is created and consumed. In addition, a fifth section entitled 'Primary Sources' features discussions on issues of biography, texts, and manuscripts; reflections on leading figures; personal statements by noted performers and composers; and essays on performances and recordings. Along with discussions of important new books, MQ publishes review essays on a wide variety of significant new music performances and recordings.

For a decade, The Opera Quarterly has earned enthusiastic praise from opera lovers and professionals for its presentation of stimulating, enlightening, and enjoyable reading on all aspects of opera.