Journal of the Royal Musical Association

Papers
(The median citation count of Journal of the Royal Musical Association is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-05-01 to 2025-05-01.)
ArticleCitations
One into Three: Context, Method and Motivation in Revising and Reworking Dance Maze for Solo Piano5
Sonic Figurations for the Anthropocene: A Musical Bestiary in the Compositions of Liza Lim2
Round Table: A ‘Musical League of Nations’? Music Institutions and the Politics of Internationalism between the Wars1
Foundations, Market Failures and the Funding of New Music1
‘Piano ou Clavecin?’ Joaquín Nin’s Feud with Wanda Landowska’s Harpsichord1
Variations on the Musical Sublime1
Constructing the Public Concert Hall1
Contributors1
Structural Confusion in the Cantigas de Santa Maria: Navigating Unstable Narratives in the Miracles of Castrojeriz1
Editorial1
From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’1
Neo-Nazi Imagery and Musical References in Finnish Far-Right Group Soldiers of Odin Online Videos0
RMA volume 147 issue 1 Cover and Front matter0
Donna Elvira and the Dark Places of the Heart0
Possibilities of the Interval: Heidegger and the Reimagining of the Interval in Luigi Nono’s A Carlo Scarpa0
Music in Radio Drama: The Curious Case of the Acousmatic Detective0
‘A crazy clutter of the mediaeval, medical mind’: Ken Russell, Peter Maxwell Davies and Modernist Medievalism in The Devils0
RMA volume 146 issue 2 Cover and Front matter0
RMA volume 148 issue 1 Cover and Front matter0
Provenance of the Pauline Gradual of Jasna Góra in Poland from 15960
The Melakartas and the ‘République Modale’: Naturalizing Indian Scales in French Musical Modernism0
RMA volume 149 issue 2 Cover and Front matter0
RMA volume 146 issue 2 Cover and Back matter0
Performing Internationalism: The ISCM as a ‘Musical League of Nations’0
Contributors0
‘Yet another guitar recital filled the Wigmore Hall’: The Popularization of the Classical Guitar in Britain,c.1950–c.19700
‘Integrated Tool Competency’: A Conceptual Framework for Understanding the Role of the Absent Tools of Musical Composition0
RMA volume 148 issue 2 Cover and Back matter0
TransubstantiatingMiserere: James MacMillan’s Compositional Theology0
Musical Samplers in the Museum of Musical Works: The Nature, Status, and Value of Nineteenth-Century Oxford Degree Exercises0
Enter Children, with Childhood0
Reconstructing a ‘Special Relationship’ from Scattered Archives: America, Britain, Europe and the ISCM, 1922–450
Between Hoffmann and Goethe: The Young Brahms as Reader0
Screening Rites0
The Dent Medal0
Florentín Giménez’s Folk-Style Songs: A Practical Reading of Paraguayan Cultural Identity0
From ‘Sorceress’ to Ambassador: Reading Anna Caroline de Belleville’s Symbiotic Relationships with her Pianos0
A Tale of Two Jubas: Metastasian Opera and Racialized Difference0
By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity0
Music, Noise and Conflict: Sociotechnical Imaginaries, Acoustic Agency and Ontological Assumptions about Sound0
Dr Cooke’s Protest: Benjamin Cooke, Samuel Arnold, and the Directorship of the Academy of Ancient Music0
Psalm Differentiae in the Fifteenth-Century Olivetan Psalter Manuscript at the Łódź Archdiocesan Museum in Poland0
RMA volume 148 issue 1 Cover and Back matter0
Groove in Cuban Son and Salsa Performance0
Was Carlo Gesualdo’s Honour Killing Liturgical?0
I Wish I Knew How it Would Feel to Drive the New Ford Fusion Hybrid: Making Sense of Music in Car Commercials0
Children Possessed: Adam Maor and Yonatan Levy’s Opera The Sleeping Thousand (2019)0
‘The Mind is not Limited by the Skin’: The Expert Piano Technician’s Experience of Working on Pianos of Professional Concert Performers0
Worker Internationalism, Local Song and the Politics of Urban Space0
Contributors0
Squabbling for Freedom: Improvisation, Democracy, and Subjectivity at the London Musicians Collective0
The Dent Medal0
Conducting Problems and Graphic Issues as Reasons for Revising a Composition0
Scriabin’s Lisztian-Stravinskian Sonata Forms0
RMA volume 149 issue 2 Cover and Back matter0
Rationalizing the Revolution: Jazz in Hanns Eisler’s Kampfmusik0
Szymanowski’s Third Piano Sonata and First String Quartet and the Artistic Theory and Practice of Stanisław Ignacy Witkiewicz: ‘Pure Form’, Subjectivity, and the Burlesque0
Challenging Classical Music’s Genre Conventions: Findings from a Project on Youth Voice in Instrumental Education0
Round Table: Score Revisions Post-Première0
Quiet Colonialism: Listening to the Cancuc Uprising of 17120
Classical Music’s Conflicted Futures: Perspectives on the Industry and Academia from Recent Scholarship0
RMA volume 146 issue 1 Cover and Back matter0
Music and Austrofascism: Radio, Pan-Germanism and the Reinvention of the Wiener Symphoniker0
Lip-Synching as an Account of Oneself: Digital Music Videos and the Voice–Gesture Relationship0
Beethoven Biography at the 250th Anniversary0
Childhood’s Charms and Nature’s Enchantments: Listening to Enescu’s Impressions d’enfance0
Listening to Egyptian and Uyghur Soundscapes: A Review in Letters between Cambridge and Istanbul0
Writing Joseph Bologne into Musical History vis-à-vis Mozart: The Symphonie Concertante from Paris to Salzburg0
Letting Beethoven’s Hair Down: Dancing and Musicking in Vienna0
Music and Identity in Paraguay: Expressing National, Racial and Class Identity in Guitar Music Culture0
Summer’s Gone: Late Style and Popular Music0
RMA volume 147 issue 1 Cover and Back matter0
Domination over the Risorgimento: Anton Bruckner’s Seventh Symphony in Luchino Visconti’s Senso (1954)0
Contributors0
RMA volume 146 issue 1 Cover and Front matter0
Contributors0
RMA volume 149 issue 1 Cover and Front matter0
Wrong Notes, Cowpats, and Freak Fests0
Contributors0
RMA volume 148 issue 2 Cover and Front matter0
Music History, the Practice Turn, and Maria Yudina’s Journey through the Soviet ‘Thaw’, 1959–630
Universal Neumes: Chant Theory in Messiaen’s Aesthetics0
Contributors0
Wagner’s ‘Bridal Chorus’ from Lohengrin and its Use as a Wedding March0
RMA volume 147 issue 2 Cover and Back matter0
The Influence of Narcoculture on Popular Music: A Critical Look at Reggaeton’s Narco-Messages and Narco-Representations0
Singing the ‘Pope’s Dregs’: The Liber Precum Publicarum of 1560 And its Use0
The Dent Medal0
RMA volume 147 issue 2 Cover and Front matter0
Histories of Hearing0
Music, Language, and Technology in More-Than-Human Sonic Cultures0
Translating Rousseau Between Venice and Istanbul: Enlightenment and Connected History in an Armenian Music Treatise (1812)0
RMA volume 149 issue 1 Cover and Back matter0
Reflections on Women in Music0
Dragging Music: Towards a Queer Socio-Cultural Semiotics0
Black Opera, Operatic Racism and an ‘Engaged Opera Studies’0
Listening for Realism in Charpentier’s Louise0
On Making a New Realization of Uspud by Erik Satie and J. P. Contamine de Latour0
Openness, Phenomenology, Politics: Luciano Berio and the Neoavanguardia in the Early 1960s0
Contributors0
‘On which they (merely) held drones’: Fugitive Tapes from the Theatre of Eternal Music Archive, 1963–60
Approaching Incidental Music: ‘Reflexive Performance’ and Meaning in Till Damaskus (III)0
Processes, Paradoxes and Illusions: Compositional Strategies in the Music of Hans Abrahamsen0
Sibelian Formal Principles in the First Movement of Malcolm Arnold’s Fifth Symphony0
Before Pan Awoke: A Quiet Beginning for Mahler’s Third Symphony0
‘Remplis l’air d’alegresse pour ce seigneur chery des cieux’: Music in the Entries of Nobility and Other Dignitaries in Late Renaissance France (c.1585–c.1615)0
Alienated Entertainment: Ludwig Berger’s Meistersinger Film Der Meister von Nürnberg (1927)0
‘The Most Beautiful Sound’: The Queer Nexus of Listening and Voice in the Early Modern Italian Convent0
Difference in Contact: Early Music, Colonialism and the Archive0
Music and Internationalism in Nazi Germany: Provenance and Post-War Consequences0
The Composer’s Catalogue and the ‘Right to be Forgotten’: Hans Werner Henze’s Ein Werkverzeichnis, 1946–19960
How Music and Our Faculty for Music Are Made for Each Other0
A Matter of Hono[u]r: Editing and Performing Beethoven’s Late Quartets in 1840s London0
The Birth of ‘Modern’ Vocalism: The Paradigmatic Case of Enrico Caruso0
Post-Première Revision: Guillaume de Machaut and Written Music in the Late Middle Ages0
Re-examining Salon Space: Structuring Audiences and Music at Parisian Receptions0
Notating Deconstruction: What Can Ethnomusicological Transcription Learn from the Notational Practices of Contemporary Composers?0
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