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Relevant bibliographies by topics / Vaughan Williams, Ralph

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Journal articles

Academic literature on the topic 'Vaughan Williams, Ralph'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Vaughan Williams, Ralph"

1

Studwell, William E., and Dorothy Jones. "Ralph Vaughan Williams." Music Reference Services Quarterly 6, no. 4 (1998): 63–65. http://dx.doi.org/10.1300/j116v06n04_14.

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2

Pike, Lionel. "From Herbert to Ralph, with affection." Tempo, no. 215 (January 2001): 18–24. http://dx.doi.org/10.1017/s0040298200008226.

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Herbert Howells's debt to Vaughan Williams's Fantasia on a theme by Thomas Tallis is both well known and well documented. I have shown elsewhere how the features of the phrygian mode lead to the use of I–bII and V–bVI (sometimes expressed as parallel fifths) in both Vaughan Williams and Howells. There are three particular tributes from Howells to Vaughan Williams that especially bear the stamp of this influence. Two are the paired set Ralph's Pavane and Ralph's Galliard from Howells' Clavichord (published in 1961 but written earlier), a work in which individual pieces are inscribed – as Elgar

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3

Law, J. "Ralph Vaughan Williams: The Poisoned Kiss." Opera Quarterly 21, no. 3 (2005): 561–63. http://dx.doi.org/10.1093/oq/kbi055.

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4

Graeme, R. "The Pilgrim's Progress. Ralph Vaughan Williams." Opera Quarterly 16, no. 4 (2000): 702–6. http://dx.doi.org/10.1093/oq/16.4.702.

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5

Saylor, Eric. "Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love." Journal of the Royal Musical Association 134, no. 1 (2009): 37–83. http://dx.doi.org/10.1080/14716930902756844.

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Although Ralph Vaughan Williams's operas Hugh the Drover (1924) and Sir John in Love (1929) both prominently feature English folk and traditional tunes, the dramatic ends such music serves differ significantly between the two works. This article compares the ways in which Vaughan Williams uses folk music in both operas, with the larger aim of providing a more nuanced perspective on the changing musical and dramatic potential the composer saw for indigenous English music within the context of opera.77

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6

Douglas, John R., Neil Butterworth, Stewart R. Craggs, James Siddons, and Gordon Theil. "Ralph Vaughan Williams: A Guide to Research." Notes 47, no. 3 (1991): 762. http://dx.doi.org/10.2307/941885.

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7

Law, J. K. "Sir John in Love. Ralph Vaughan Williams." Opera Quarterly 18, no. 2 (2002): 291–95. http://dx.doi.org/10.1093/oq/18.2.291.

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8

Atlas, Allan W. "On the Reception of Vaughan Williams's Symphonies in New York, 1920/1–2014/15." Royal Musical Association Research Chronicle 47 (2016): 24–86. http://dx.doi.org/10.1080/14723808.2015.1129160.

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This article considers the reception of Ralph Vaughan Williams's nine symphonies (and a few non-symphonic works) in New York City (and, occasionally, its suburban environs), from the American premiere of A London Symphony on 30 December 1920 to a performance of Symphony No. 6 on 10 December 2014. The author argues that the reception rolls out across five distinct periods: (1) 1920/1–1922/3: the New York premieres of A London Symphony, A Sea Symphony and A Pastoral Symphony (in that order), all to greetings that were lukewarm at best; (2) 1923/4–1934/5: Vaughan Williams's reputation grew meteor

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9

Simeone, Nigel. "Job: A Masque for Dancing by Ralph Vaughan Williams." Notes 76, no. 2 (2019): 322–27. http://dx.doi.org/10.1353/not.2019.0120.

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10

Julian Onderdonk. "Letters of Ralph Vaughan Williams 1895–1958 (review)." Notes 66, no. 1 (2009): 87–89. http://dx.doi.org/10.1353/not.0.0215.

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