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Royal Musical Association Research Chronicle
Continues R.M.A. Research Chronicle (1961 - 1976)
Title history
  • ISSN: 1472-3808 (Print), 2167-4027 (Online)
  • Editors: Tamsin Alexander Goldsmiths, University of London, UK, and Amanda Hsieh Durham University, UK
  • Editorial board
The Research Chronicle’s aim is to publish submissions from all areas of music research that make extensive use of primary sources such as recordings, digital-borne files, results of ethnographic work, and/or archival materials.The journal is published online, and the editors will consider submissions of any length (with a recommended length of up to 15,000 words), including short essays, position papers, forums and roundtables, and material in non-written formats such as video and audio.Submissions that make use of extensive apparatus such as indexes, catalogues, inventories and calendars are also welcome and can be in addition to the recommended article length. All articles published in the Research Chronicle undergo rigorous peer review, based on initial editor screening and refereeing by at least two anonymous referees.

July Article of the Month

Ralph Vaughan Williams’s Original Hymn Tunes: Congregational Aesthetics and a Revised Works List

Julian Onderdonk

Abstract

Despite the recognized importance of hymn tunes to Vaughan Williams’s music and philosophy, and the prominence of specific tunes written by him, there is currently no accurate works list of his original tunes. The reasons for this are varied and inevitably include the notorious elusiveness of a genre that has undergone constant change throughout its history. This essay reviews previous efforts to tabulate Vaughan Williams’s originals, settling on a six-point criteria to guide the analysis. The method provides consistency in a fluid environment in which early twentieth-century hymnody inevitably collides with ‘hymn-adjacent’ genres like the unison song and carol, and with traditions of school and community music. Recognizing such contingencies helps us better understand Vaughan Williams’s place in Anglican musical culture. Ultimately, the analysis sheds light on the composer’s aesthetics, demonstrating the degree to which this advocate of amateur music was laser-focused on encouraging the musically inexperienced church-goer to sing with confidence.

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