Edited by Susan R. Thomas

ISSN 2690-2214


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Now published by the University of Nebraska Press
Coming Fall 2020
Americas: A Hemispheric Music Journal presents a broad view of American music, one that encompasses the diverse soundscapes within the United States as well as the wider Americas, including the Caribbean. Formerly known as the AMRC Journal, Americas continues to further the mission of the American Music Research Center at the University of Colorado Boulder, but in a refocused and revitalized way that reflects the research interests of 21st Century scholars.

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Submissions & Book Reviews

Americas: A Hemispheric Music Journal publishes one issue per year, and each has a unifying theme. Current calls for papers can be found under the announcements tab or on the American Music Research Center's website

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New Name, New Publishing Partner
In 1991 the American Music Research Center at the University of Colorado Boulder began publishing an annual eponymous journal.  Since its launch, the AMRC Journal has published scholarship on a wide range of topics, including music of the American West; African American music-making during Jim Crow; stories of music, migration, and diaspora; Native American music, and new music.  Now, with its 28th volume in press, we have decided that it is time to renovate and reposition the journal to better serve the needs of 21st-century scholars and readers.

The AMRC is delighted to announce the launch of Americas: A Hemispheric Music Journal.  A peer-reviewed journal published with the University of Nebraska Press, Americas takes its view of American music broadly, including the diverse soundscapes within the United States as well as the wider Americas, including the Caribbean.  


Call for Papers: "Borders/Boundaries/Fronteras: Rethinking American Music" edited by Susan Thomas
The new millennium began with a fascination with fluidity, mutation, and crossover.  Hybridity. Transnationalism. Diaspora. Archipelagos. Rhizomes. Interdisciplinarity. Historic turns. Cultural flows. These concepts mark the scholarship of the past twenty years and imbued the deconstruction of so much conventional wisdom with an optimistic cast.  Yet as we enter the third decade of the 21st century, borders loom large, inserting or reinserting themselves in our aesthetic, cultural, and political lives.  From the use of walls and fences to define physical and political boundaries; to the music industry’s attempted policing of genre crossers, like Lil Nas X and his 2019 summer mega-hit “Old Town Road;” to the striking blurring of historical boundaries as singing protestors in Santiago, Chile sing Victor Jara’s “El derecho de vivir en paz,” sonically slamming past and present together; borders—far from becoming obsolete—have achieved a new poignancy.  This issue points to the persistence and reemergence of borders and boundaries in our discursive, epistemological, and physical world as forms of stasis and cultural policing while also considering ways that fronteras, or frontiers, can also embody fluidity and openness to change.

Americas: A Hemispheric Music Journal invites article submissions for a themed issue that explores the way that music, musicians, music-making, and listening are impacted by the construction, maintenance, and/or policing of borders.  This issue takes the concept of borders in the broadest possible sense.  We invite essays that explore music’s relationship to borders from diverse perspectives, including geographic, political, social, generic, sonic, analytical, performative, and temporal boundaries.  

Articles of 6,000-8,000 words in length can be sent to  Submissions should include text, footnotes or endnotes that are formatted in accordance with the most recent issue of the Chicago Manual of Style, an abstract, and any relevant figures, examples, or illustrations.

Inquiries about this issue or general inquiries about the journal should be sent to the Editor-in-Chief at

Deadline for submission: Friday, March 6

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