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| Journal of the Royal Musical Association | |
|---|---|
| Title | Journal of the Royal Musical Association |
| Discipline | Musicology |
| Former names | Proceedings of the Royal Musical Association |
| Abbreviation | J. R. Mus. Assoc. |
| Publisher | Cambridge University Press for the Royal Musical Association |
| Country | United Kingdom |
| Frequency | Biannual |
| History | 1874–present |
Journal of the Royal Musical Association The Journal of the Royal Musical Association is a peer-reviewed scholarly periodical associated with the Royal Musical Association, publishing research on Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Richard Wagner, Igor Stravinsky, Claude Debussy, Arnold Schoenberg, Gustav Mahler, Sergei Rachmaninoff, Frédéric Chopin, Robert Schumann, Franz Schubert, Antonio Vivaldi, Joseph Haydn, Giuseppe Verdi, Gioachino Rossini, Georg Friedrich Händel, Henry Purcell, Pablo Picasso, William Shakespeare, Charles Darwin, Karl Marx, Immanuel Kant, Sigmund Freud, Jean-Jacques Rousseau, Friedrich Nietzsche, Michel Foucault, Theodor Adorno, Claude Lévi-Strauss, Edward Said, Leonard Bernstein, Herbert von Karajan, Marian Anderson, Maria Callas, Placido Domingo, Yehudi Menuhin, Glenn Gould, Vladimir Horowitz, Alfred Brendel, Pierre Boulez, Leonard B. Meyer, Susan McClary, Nicholas Cook, Simon Frith, Richard Taruskin, Anthony Grafton, James Haar, Taruskin, Carl Dahlhaus, Ernst Kurth, Olga Neuwirth, Elliott Carter, John Cage, Morton Feldman, György Ligeti, Dmitri Shostakovich, Béla Bartók, Antonin Dvořák, Jean-Philippe Rameau, Arcangelo Corelli, Claudio Monteverdi, Heinrich Schütz, Josquin des Prez, Orlande de Lassus, John Dowland, Thomas Tallis, William Byrd, Ralph Vaughan Williams, Benjamin Britten, Edward Elgar, Samuel Barber, Aaron Copland, Carl Philipp Emanuel Bach, C.P.E. Bach.
From roots in the nineteenth century, the journal emerged from the Proceedings of the Royal Musical Association, connecting with institutions such as the Royal Academy of Music, the Royal College of Music, the British Library, the Victoria and Albert Museum, the University of Cambridge, the University of Oxford, the University of London, the Trinity College Dublin, the British Museum, the British Music Society, the Guildhall School of Music and Drama, the Royal Albert Hall, the Wigmore Hall, the BBC, the Royal Philharmonic Society, the Royal Opera House, the English National Opera, the London Symphony Orchestra, the Philharmonia Orchestra, the BBC Symphony Orchestra, the Royal College of Organists, the Society for Musicology in Ireland, the International Musicological Society, the American Musicological Society, the Institut de Recherche et Coordination Acoustique/Musique, and the Deutsche Forschungsgemeinschaft. Early volumes documented addresses and lectures by figures associated with Queen Victoria, Edward Elgar, George Bernard Shaw, Henry Litolff, Franz Liszt, Felix Mendelssohn, Hector Berlioz, Giacomo Meyerbeer, Ignaz Moscheles, Johannes Brahms, Nikolai Rimsky-Korsakov, and diplomatic cultural exchanges between the United Kingdom and continental courts such as Paris, Vienna, Berlin, Milan, St Petersburg.
The journal covers historical musicology, analysis, performance practice, ethnomusicology, and interdisciplinary studies linking musical topics with figures and institutions like Plato, Aristotle, Saint Augustine, Renaissance, Baroque, Classical period, Romanticism, Modernism, Postmodernism, Oxford University Press, Cambridge University Press, Princeton University Press, Yale University Press, Harvard University Press, MIT Press, and archival sources from the British Library, the Bodleian Library, the Bibliothèque nationale de France, the Staatsbibliothek zu Berlin, the Library of Congress, and the Hofbibliothek. Articles examine manuscripts, editions, performance history tied to individuals such as Niccolò Paganini, Fanny Mendelssohn, Clara Schumann, Nadia Boulanger, Ethel Smyth, Lili Boulanger, Sibelius, Carl Orff, Pierre Boulez, Toru Takemitsu, Heitor Villa-Lobos, Manuel de Falla, Astor Piazzolla, Gustavo Dudamel, Zubin Mehta, Simon Rattle, Claudio Abbado, Daniel Barenboim, Riccardo Muti, Marin Alsop, Barbara Hannigan, Nobuaki Fukukawa], and repertoire including The Four Seasons, Don Giovanni, Symphony No. 9, Tristan und Isolde, The Rite of Spring, Petrushka, La Mer, Kindertotenlieder, Pierrot Lunaire, Messiah, Aida, Carmen, and song cycles by Franz Schubert.
The journal is published by Cambridge University Press on behalf of the Royal Musical Association with an editorial board drawn from scholars at the University of Cambridge, the University of Oxford, the King's College London, the Royal Holloway, University of London, the University of Manchester, the University of Edinburgh, the University of York, the University of Glasgow, the Royal Conservatoire of Scotland, the Royal Northern College of Music, the Juilliard School, the New England Conservatory, the Columbia University, the Harvard University, the Yale University, the Princeton University, and the Stanford University. The peer-review process involves external referees from associations including the American Musicological Society, the Society for Ethnomusicology, the International Association for the Study of Popular Music, and national research councils like the Arts and Humanities Research Council. Typical issues contain research articles, review essays, and critical notes on sources such as the RISM catalogs, thematic catalogs of Mozart, Bach-Werke-Verzeichnis, and the Köchel catalogue.
The journal is indexed in major bibliographic services and databases connected to institutions and products such as JSTOR, Scopus, Web of Science, ProQuest, EBSCOhost, RILM Abstracts of Music Literature, Oxford Music Online, Project MUSE, Google Scholar, CrossRef, and the DOAJ; library holdings appear in catalogues of the British Library, the Library of Congress, the Bibliothèque nationale de France, the National Library of Scotland, the National Library of Ireland, and university repositories at Cambridge, Oxford, Harvard, Yale, and Princeton.
Scholars and critics from forums associated with the Royal Musical Association, the British Academy, the American Academy of Arts and Sciences, the European Society for the Cognitive Sciences of Music, and learned societies such as the Royal Society and the British Sociological Association have cited the journal in debates over performance practice, historiography, and historiographical methods influenced by thinkers like Theodor Adorno, Carl Dahlhaus, Richard Taruskin, Susan McClary, Leonard B. Meyer, Charles Rosen, Leonard Bernstein, Nicholas Cook, and Anthony Grafton. Its articles have informed exhibitions at venues like the Royal Opera House, the Victoria and Albert Museum, and the Tate Modern, and have been used in course syllabi at Juilliard School, Royal Academy of Music, Royal College of Music, King's College London, University of Oxford, University of Cambridge, and Harvard University.
Notable contributors have included scholars and practitioners such as Susan McClary, Nicholas Cook, Richard Taruskin, Carl Dahlhaus, Leonard B. Meyer, Anthony Grafton, James Haar, Christopher Small, Kofi Agawu, Timothy J. McGee, Clifford Geertz, John Butt, Jane Davidson (musician), Teresa Carreño, Charles Rosen, Allanbrook, Laurence Dreyfus, Margaret Bent, Jonathan Cross, David Fuller, James Haar, Peter Kivy, Roger Parker, Susan Youens, Daniel Leech-Wilkinson, Mary Hunter, Nicholas Kenyon, H. C. Robbins Landon, Richard Middleton, Gavin Bryars, Michael Talbot, Edward Lowinsky, Anne Dhu McLucas, Anne Shreffler, Martin Stokes, Timothy Taylor, Reina Lewis, Bonnie C. Wade, Martin Clayton, and Christopher Hogwood. Seminal articles have addressed manuscripts by J. S. Bach, editions of Mozart operas, performance practice of Baroque music, reception history of Beethoven symphonies, and analyses of twentieth-century works by Stravinsky, Schoenberg, and Boulez.
Category:Music journals Category:Academic journals published by Cambridge University Press