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Dissertations / Theses on the topic 'Vaughan Williams, Ralph'

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Published: 4 June 2021
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1

Hecht, Christoph. "Stanford, Vaughan Williams, Bliss : Sinfonik ohne Metaphysik /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb35809139x.

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2

Daniels, Sarah M. "Defining the Contralto Voice Through the Repertoire of Ralph Vaughan Williams." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc499999/.

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At the beginning of the twentieth century, the recognition of the contralto voice type had reached its apex in England. Throughout the remainder of the century, the number and popularity of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice. A workable definition of the voice type for the pedagogue and performer is included.
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Fischer, Michael A. (Michael Alan). "Ralph Vaughan Williams: An Interpretive Analysis of Concerto for Bass Tuba." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935707/.

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An interpretive analysis of Ralph Vaughan Williams' Concerto for Bass Tuba which compares tempi, interpretation of the melodic line, ornamentation, dynamics, pitches, rhythms. phrasing and articulations as utilized by four prominent tuba performers. Performers selected to share their interpretations include Arnold Jacobs, Donald Little, Richard Nahatzki and Harvey Phillips. Little, Nahatzki and Phillips provided a copy of their solo parts with their personal markings. Jacobs gave permission to transcribe his interpretation from the recording he made with the Chicago Symphony Orchestra. Performers' biological information is included along with musical reviews of Concerto for Bass Tuba.
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4

Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.

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Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each work in this study is analyzed with particular attention given to form and structure, harmonic language, text derivation and declamation, melodic tendencies and the role of the organ accompaniment. Evidence gathered from this study demonstrates that, although the liturgical canticle settings for choir and organ are diverse in function and style, they contain many common characteristics in such compositional areas as: structural form, voicings, consistent use of thematic material, and the effective application of text to music. Suggestions for performance options of the settings are also included in the results of this study. It is hoped that, through differentiating between these works with regard to function and style, this study will help close the lacuna in the choral literature concerning Vaughan Williams' smaller liturgical works and serve as an introduction to modern choral conductors.
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5

Kim, Si Hyung. "A study of the Violin Concerto in D Minor by Ralph Vaughan Williams." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28443/.

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The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.
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6

Bottomley, John R. "A study of the use of tuba in Ralph Vaughan Williams' nine symphonies." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1247767441.

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7

Treter, Christine W. "The significance of selected compositions by Ralph Vaughan Williams which feature the viola." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861379.

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The main body of this document includes discussion of the background, analysis, and significance of eight compositions by Ralph Vaughan Williams which feature the viola. These works were selected from those which give the viola unusual prominence. Solo works include Flos Campi, Suite for viola and small orchestra, and Romance for viola and piano. Two transcriptions for viola and piano, Six Studies in English Folk Song and Fantasia on Greensleeves, are also discussed. The remaining works are Four Hymns for tenor, string orchestra or piano, and viola obbligato, the String Quartet in A Minor in which the viola leads, and the Phantasy Ouintet which uses two violas and evolves from a viola melody.Chapters two through eight discuss each work. Chapters two through four cover Flos Campi, the Suite, and the quartet. Chapter two includes additional sections about problems resulting from the extra-musical associations in Flos Campi and various theories as to how they are reflected in the music. The next three chapters discuss Romance, Four Hymns, and the quintet. Chapter eight discusses the transcriptions.Musical analyses were completed for each composition by the author. Theirdepth was determined by the overall importance of each work. The most detailed analyses are for Flos Campi, the Suite,and the quartet; the briefest are for the transcriptions.A section discussing pedagogical significance follows the discussion of each composition. This includes information regarding the difficulty of each work and its value as teaching material.The introductory chapter addresses Vaughan Williams' love for the viola, his partiality to it in compositions, and the problem of limited research in light of the seeming significance of this music.The conclusion reviews the significance of each composition. Flos Campi was found to be the most significant historically and musically; the Suite has the most pedagogical value. A need to study a variety of these works was discovered due to their diversity of style and value. The conclusion is followed by an appendix of the author's performance suggestions for selected passages from each composition.
School of Music
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8

Bottomley, John Robert. "A Study of the Use of Tuba in Ralph Vaughan Williams’ Nine Symphonies." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247767441.

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9

Isted, Lisa. "Modal structures in European art music (1870-1939)." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.386226.

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10

Adams, William Mark. "Ralph Vaughan Williams' Songs of travel : an historical, theoretical, and performance practice investigation and analysis /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (D.M.A.)--University of Texas at Austin, 1999.
Vita. Discography: leaf 129. Includes bibliographical references (leaves 127-128). Available also in a digital version from Dissertation Abstracts.
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11

Francis, Timothy, and Timothy Francis. "Modal Prolongational Structure in Selected Sacred Choral Compositions by Gustav Holst and Ralph Vaughan Williams." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12383.

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While some composers at the beginning of the twentieth century drifted away from tonal hierarchical structures, Gustav Holst and Ralph Vaughan Williams sought ways of integrating tonal ideas with new materials. By analyzing the music of Holst and Vaughan Williams using a technique expressly designed for the analysis of tonal musical structure—Schenkerian Analysis—this study looks at ways in which the composers combined old and new techniques and what that means with regards to our understanding of their music. To do this, the current study focuses on the sacred choral repertory because it can form a stylistic bridge between nineteenth-century tonality and the composers’ more experimental works. This repertory also provides an opportunity for interpreting text-music connections that help us understand the music at a deeper level. In order to establish groundwork for the analytical methodology, I begin the study with background information on the composers and previous research done on their music, after which I summarize their most pertinent stylistic features (including their use of diatonic modes and other pitch collections, their harmonic, melodic, and contrapuntal techniques, and their formal structures). I then discuss how an analyst can determine prolongational structure in Holst’s and Vaughan Williams’s music by establishing the tonic or pitch-class center, establishing the context for harmonic and melodic stability, and following predictable formal patterns. Finally, I apply the analytical methodology in detail to Vaughan Williams’s Benedicite and Holst’s The Hymn of Jesus, two substantial single-movement choral works that represent both the conservative (Benedicite) and experimental (The Hymn of Jesus) sides of the composers’ style. I also compare the analyses with the texts and show how the composers portrayed religious ideas, even at deeper levels of the prolongational structure. The modified Schenkerian analytical techniques used in these analyses show that even though Holst and Vaughan Williams used a number of twentieth-century compositional techniques, their prolongational structures still follow expected patterns and closely resemble traditional structures.
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Shalita, Martin P. "The Operas of Ralph Vaughan Williams: An Identification and Performance Analysis of the Arias and Duet Scenes for Male Voice." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/553.

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Ralph Vaughan Williams (1872-1958) was one of the most prolific British composers of the twentieth century, yet his operas are virtually unknown in the standard operatic repertoire. Singers and teachers of singing are often challenged in finding operatic arias composed in the English language, because the standard operatic repertoire simply does not have as many works originally written in English as are found in Italian, German, or French. If there are arias from Vaughan Williams’ operas that are accessible to the young singing voice, they should not remain unknown. This study was executed in hopes of identifying for singers and teachers of singing, the arias, duets and scenes for male voice that can stand alone outside performances of the operas. The implications of this research project are that singers and teachers of singing have a newly found wealth of repertoire to utilize in performance as well as in the learning environment. Not only are these findings beautiful music from one of the twentieth century’s most prominent composers, but they are perhaps more importantly, accessible to the young and developing singer.
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13

Holtz, Shawna Meggan. "Percy Grainger and Ralph Vaughan Williams a comparative study of English folk-song settings for wind band /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.

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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.
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Moon, Harry Edward. "Ralph Vaughan Williams' "A sea symphony" for soprano, baritone, chorus and orchestra: a conductor's study and performance." Diss., University of Iowa, 1987. https://ir.uiowa.edu/etd/5893.

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Gray, Laura Jean. "Thematic transformation and motivic unity in the Symphony No. 4 in F Minor by Ralph Vaughan Williams." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28228.

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Vaughan Williams composed nine symphonies of diverse character and style and each of fine quality. Because of the span of Vaughan Williams's symphonic career over many years (1903-1958) and because of the newly active musical climate in England during his years of symphonic production, these works are of considerable historical as well as analytical interest. There is much literature of differing kinds - analytical, social, historical, and critical - devoted to the works, mainly by leading English writers over the decades. Notwithstanding the bulk and quality of discussion, there is a noticeable lack of extensive analysis of the kind which seeks to elucidate and interpret the manner in which symphonic conflicts central to each of the symphonies is expressed. The lacuna of comprehensive analysis has retarded progress in the understanding not only of Vaughan Williams's symphonic works, but also toward a fuller understanding of developments in the twentieth-century English symphony, in relation to which these works are of such seminal importance. For this reason, it is the intention of this study to present an isolated examination of Vaughan Williams's Symphony No. 4 in F Minor. The investigation will be divided into two parts, the first, analytical and the second, an historical interpretation of the evidence presented in part I. The study begins with an expository analysis of the thematic, formal and tonal structures, and harmonic and contrapuntal techniques peculiar to the fourth symphony. The analysis is intended to lay a groundwork for the more particular considerations which follow. The purpose of the second chapter is to bring to light the central issues, features, and conflicts of the symphony: structurally pervasive motivic ideas, thematic transformations and interrelationships, and structurally significant dissonances. The second part of the thesis includes an investigation of particular influences on the fourth symphony evident from the analysis of part I and through external documentation. Chapter IV, which concludes part II, is subdivided into three parts: 1) a comparison between No. 4 and Vaughan Williams's other symphonies in order to determine its significance within the composer's total symphonic output; 2) a study of Vaughan Williams's participation in English symphonic developments of the twentieth century and the significance of the fourth regarding the musical atmosphere in England at the time; and 3) an examination of Vaughan Williams's general contribution to, and the particular historical place of No. 4 within, nineteenth- and twentieth-century lines of symphonic development. The analysis reveals that the Symphony No. 4 has a progressive network of thematic transformations and an underlying pattern of manifestations of the symphony's initial motivic dissonance. The consideration of the fourth symphony's historical importance discloses the role of the work as a catalyst upon Vaughan Williams's symphonic oeuvre toward a more sophisticated approach to harmonic, motivic, thematic and formal structure, the effects of which were witnessed immediately in the Symphony No. 5. The thesis exposes Vaughan Williams's contribution to conservative structural innovation in the twentieth-century symphony and his strongly individual stylistic interpretation of traditional symphonic thought.
Arts, Faculty of
Music, School of
Graduate
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Campbell, Bailey Mary L. "Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918439.

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Gresham, Andrew Scott. "A Comparative Study of the Compositional Style of Ralph Vaughan Williams: The Fifth Symphony and the Oboe Concerto." University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1555690962853152.

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19

Shelton, Brian MacDonald. "Transcribing from Brass Band to Wind Band: A Comparison of Approaches and Methods and Subsequent Transcription of "Gypsy Dream" by Peter Graham." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194731.

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The brass band and wind band had similar repertoires in the nineteenth and early twentieth centuries with marches, dances, solos, and transcriptions written prominently for both ensembles. The repertoires diverged at the beginning of the twentieth century as brass band contests commissioned new and original works and international composers began writing serious works for wind band. In the 1970s, British composer Philip Sparke succeeded in writing music for both ensembles and subsequently began to create a shared repertoire, and other composers started contributing to this repertoire. As this repertoire has proliferated, much of it has become worthy of serious study. The purpose of the current study is to find shared scoring tendencies between three transcriptions: one written by the original composer; a second transcribed by a different composer; and a third transcribed by both the original composer and a different composer. The works selected were The Year of the Dragon by Philip Sparke (transcribed by the composer), Variations for Brass Band by Ralph Vaughan Williams (transcribed by Donald Hunsberger), and Call of the Cossacks by Peter Graham (transcribed by the composer and Mick Dowrick). There were several effective instrumentation choices the works shared, including woodwind prominence in solo and lyrical passages, double reeds substituting for small brass ensembles, and high woodwinds written one or more octaves above the original. Adapting these choices, the author created a transcription of Gypsy Dream, the second movement of Call of the Cossacks. Further, these commonalities can serve as guidelines for other transcribers to arrange brass band works for wind band and expand this shared repertoire.
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Rutland, John Paul. "Violin and voice as partners in three early twentieth century English works for voice and violin." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/rutland%5Fjohn%5Fpaul/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Apr. 18, 2002, and Oct. 25, 2005. Includes bibliographical references (p. 95-96).
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Roth, Robert Ray. "A survey of form and compositional practices of Ralph Vaughan Williams, Igor Stravinsky, Paul Hindemith, and Robert Roth in Kyrie of the mass ordinary." Kansas State University, 2014. http://hdl.handle.net/2097/17599.

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Master of Music
Department of Music, Theater, and Dance
Craig Weston
Ralph Vaughan Williams, Igor Stravinsky, and Paul Hindemith, three prolific composers of the 20th century, wrote for the medium of the mass ordinary in different ways. This report comprises a survey of those composers’ styles using the Kyrie movement of the mass ordinary as the main vehicle of compositional exploration. The results of this compositional survey examine the form and various techniques the composers employ to garner the same emotional response from the listeners of the Kyrie text. The final portion of the report explores the author’s personal compositional contribution to the mass ordinary.
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Kane, Bernard John. "From manuscript to publication : aspects of Lionel Tertis' style of viola playing as reflected in his 1936 edition of Ralph Vaughan Williams' suite for viola and orchestra." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31359.

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The Suite for Viola and Small Orchestra (or Piano) by Ralph Vaughan Williams (1872-1958) was commissioned by and dedicated to the British violist Lionel Tertis (1876-1975). The premier occurred on 12 November 1934; Lionel Tertis was the soloist with the London Philharmonic Orchestra under the baton of Sir Malcolm Sargent. The work was first published by Oxford University Press in 1936 in an edition for viola and piano. In this edition, the viola part contains many inconsistencies with the manuscript, which is held at the British Library (Add. MS 50386). Between the first performance in 1934 and the publication of the Suite in 1936, Tertis made considerable editorial changes to the viola part. These changes involve fingerings, bowings, phrasing, articulation, and dynamics; at times the notational substance is altered as well. 1 It is the aim of this thesis to demonstrate why Lionel Tertis' 1936 version differs from the manuscript. The author will attempt to demonstrate that the differences which do exist between the manuscript and the 1936 edition are the result of Tertis' idiosyncratic style of performance, the most notable aspects being Tertis' emendations concerning his use of articulation and phrasing. In chapter 1, I shall discuss aspects of Lionel Tertis' life that led to his international recognition as one of the greatest violists of all time; I shall also discuss the relationship that he had with Ralph Vaughan Williams, one which led to the composition of the Suite for Viola and Orchestra. In the following two chapters, I shall demonstrate that the differences made between the manuscript and the 1936 edition are reflections of two aspects of Tertis' own style of viola playing. These are--generally speaking--Tertis' use of articulation to create a bigger sound in passages of a louder dynamic and his use of connected, sustained cantabile phrasing in passages of a softer dynamic. I shall also use other examples from his own arrangements of other music in he makes similar changes which reflect this general philosophy. 1 Original discovery by William A. Everett, discussed in "Ralph Vaughan Williams's Suite for Viola and Orchestra," Journal of the American Viola Society 13, no. 2 (1997): 9-19.
Arts, Faculty of
Music, School of
Graduate
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Birdwell, John Cody. "The Utilization of Folk Song Elements in Selected Works by Ralph Vaughan Williams and Percy Grainger with Subsequent Treatment Exemplified in the Wind Band music of David Stanhope." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278028/.

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An examination of the utilization of folk song elements in the wind band music of Australian composer David Stanhope, represented in two movements ("Lovely Joan" and "Rufford Park Poachers") from his Folk Songs for Band. Sets 1 and 2. Included is an historical overview of English folk music, emphasizing the theoretical properties of the English folk song and the events surrounding the modern renaissance of British folk music. Background information related to the musical development of Vaughan Williams, Grainger, and Stanhope is provided, noting the influence of the folk idiom in their compositional styles and Grainger's influence on the music of David Stanhope. An historical account of the two folk songs examines the events and compositional procedures related to the inclusion of "Lovely Joan" in Vaughan Williams' Fantasia on Greensleeves. and Grainger's use of "Rufford Park Poachers" in Lincolnshire Posv. Emphasis is placed on the subsequent compositional treatment of the folk elements in Stanhope's wind band compositions. A detailed analysis of Stanhope's compositional style includes structural, harmonic, melodic, and historical considerations, while specifically illuminating his contemporary and innovative approaches to scoring and instrumentation.
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Johnson, Luke D. "An examination of the works of Mother Earth by David Maslanka, English Folk Song Suite by Ralph Vaughan Williams, Symphony #1 In Memoriam Dresden - 1945 by Daniel Bukvich, and Concertino for B[flat] clarinet by Carl Maria Von Weber, OP. 26 arranged by M.L. Lake." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/977.

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VanGilder, Chris R. "An examination of works for wind band: They led my Lord away arranged by Fred J. Allen, English folk song suite by Ralph Vaughan Williams, Variation overture by Clifton Williams, Dance of the rose maidens by Aram Khachaturian, arranged by James Truscello, Prelude and rondo by David R. Holsinger, And valdres marsj by Johannes Hanssen, arranged by Loras J. Schissel." Kansas State University, 2007. http://hdl.handle.net/2097/360.

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Master of Music
Department of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Chris R. VanGilder. The recital, performed by the Arkansas City High School Concert Band, was given in two parts at the Arkansas City High School Auditorium. Part one, presenting the two pieces They Led My Lord Away as arranged by Fred J. Allen and English Folk Song Suite by Ralph Vaughan Williams was given on April 12th, 2007 at 7:00pm. Part two, presenting the four pieces Variation Overture by Clifton Williams, Dance of the Rose Maidens as arranged by James Truscello, Prelude and Rondo by David Holsinger and Valdres Marsj as arranged by Loras J. Schissel was given on May 15th, 2007 at 7:00pm. The document contains theoretical and historical analysis, and outlines the procedures of planning and performing the graduate conducting recital.
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Knopp, Shawn Michael. "An examination of the works of Dance Sinfonia by Dennis W. Fisher, Linden Lea, by Ralph Vaughan Williams, arranged by John W. Stout, Strawflower, by Ralph Hermann, Emperata Overture, by Claude T. Smith, and Foshay Tower Washington Memorial March, by John Philip Sousa, edited by Daniel Dorff." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1635.

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McBrayer, Benjamin Marcus. "The Specter of Peter Grimes: Aesthetics and Reception in the Renascence of English Opera, 1945-53." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1216694339.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisors: Dr. Bruce D. McClung PhD (Committee Chair), Dr. Mary Sue Morrow PhD (Committee Member), Kenneth R. Griffiths MM (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords:Benjamin Britten; Ralph Vaughan Williams; Peter Grimes; The Pilgrim's Progress; Gloriana; Aesthetics; Reception; Reception History; English Opera; Twentieth-Century English Opera Includes bibliographical references.
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VanGilder, Chris R. "An examination of works for wind band : They led myLord away arranged by Fred J. Allen, English folksong suite by Ralph Vaughan Williams, Variation overture by Clifton Williams, Dance of the rose maidens by Aram Khachaturian, arranged by JamesTruscello, Prelude and rondo by David R. Holsinger, And valdres marsj by Johannes Hanssen, arranged byLoras J. Schissel." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/360.

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Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.

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The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.
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Heine, Erik James. "Musical recycling: A study and comparison of Ralph Vaughn Williams' film score for "Scott of the Antarctic" with "Sinfonia Antartica" (Symphony No 7)." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/291954.

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This thesis discusses two aspects of Vaughan Williams' 7th Symphony. Comparison of Sinfonia Antartica and the film "Scott of the Antarctic" reveals that the symphony is a direct derivative of the film score and that the symphony contains no original motivic material of its own. Only minor changes to the film score, such as chronology, orchestration, extensions, and the like, were necessary to rework the material into its symphonic form. The second aspect under discussion is the symphony's harmonic language. The problem with the harmonic content is that the relationships between chords do not follow functional harmonic procedures. However, the harmonic materials used in this symphony can be illuminated through analysis techniques found in the writings of Ernst Kurth, an early twentieth century theorist and specialist in Romantic music.
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Johnson, Travis. "An examination of the works of Flourish for wind band by Ralph Vaughn Williams, Air for band by Frank Erickson, An American elegy by Frank Ticheli, Rough riders by Karl King, arranged by James Swearingen." Kansas State University, 2010. http://hdl.handle.net/2097/4586.

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Master of Music
Department of Music
Frank C. Tracz
This document was written after examination, research, score analysis, and lesson planning in preparation for the Graduate Conducting Recital of Travis M. Johnson. This recital was held on Monday, March 8, 2010 at the Cheney High School Auditorium at 6:00 pm. A philosophy of Music Education and criteria for quality literature selection is followed by the theoretical and historical analysis of four works; Flourish for Wind Band by Ralph Vaughn Williams, Air for Band by Frank Erickson, An American Elegy by Frank Ticheli, and Rough Riders by Karl King arranged by James Swearingen. Lesson plans, rehearsal aids, warm up exercises, and student assignments are included in the examination of this process.
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"Generalized diatonic modality and Ralph Vaughan Williams' compositional practice." YALE UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3342727.

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Tsai, Cheng-Cheng, and 蔡政呈. "A Study of Songs of Travel by Ralph Vaughan Williams." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/75595v.

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Lei, Siu-Hong, and 李兆康. "The Analysis and Interpretation of "Songs of Travel" by Ralph Vaughan Williams." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/07858262725749790535.

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碩士
東吳大學
音樂學系
93
Ralph Vaughan Williams (1872-1958) is one of the most important English composers from late 19th century to early 20th century, whose works include art songs, choral music, chamber music, symphonies and movie music. Although symphonies (e.g. A Sea Symphony and London Symphony) and works of his late life are more concerned and discussed, art songs and folk songs are the major kinds of work of his early period. "Songs of Travel" is a master piece of his early period, which is inspired by the poem of the English poet Robert Louis Stevenson (1850-1894), putting 9 parts into music out of 44. This song cycle is for baritone (or bass baritone), which is also author's voice. The songs of this song cycle are characterized by different kinds of composing technique and arrangment, while integrating a complete concept. In this song cycle, the music combines the lyrics to bring a higher level of artistic concept, as long as the relationship of the vocal and the piano is not mere accompaniment, but mutual co-operation. Due to personal interest of English literature and favourite of the "travel" topic, the author is highly interested in "Songs of Travel". Therefore, by the study of this song cycle, I hope to achieve deeper interpretation and more adequate performance. Art song, unlike instrumental music, is the combination of lyrics and music. Thus, besides the study of the life of the composer, background of the music and musical analysis, this thesis also studies the poet and the poem. Therefore this thesis is studying in five aspects, the lives and styles of the composer and the poet, literal analysis of the poem, musical analysis and interpretation of the song cycle. Information gathering and analysis are the two methods for the studying aspects mentioned above. Information includes books, thesis, documents from journals and internet, and audio data. Analysis is consisted by literal and musical analysis, which the meaning of the words, musical form, harmony, rhythm and musical language are concerned. For interpretation, emotional expression and the relationship between vocal and piano are concerned.
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Cheng, Kai-Chung, and 鄭凱中. "The Interpretation and Analysis of 《On Wenlock Edge》by Ralph Vaughan Williams." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/cdjgf4.

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Chen, Mu-Yin, and 陳牧音. "A Study of Ralph Vaughan Williams’ Ten Blake Songs." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/53s9uj.

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碩士
國立中山大學
音樂學系研究所
100
Ralph Vaughan Williams (1872-1958) was one of the important English art song composers in the Twentieth century. His Ten Blake Songs for voice and oboe, composed in 1957, was commissioned for the documentary film The Vision of William Blake, which commemorated the bicentenary birth of the poet, William Blake (1757-1827). Ten poems were selected from Blake’s Songs of Innocence and Experience as well as Notebook: Manuscripts by Williams, and were later collected, composed, and published in the name of Ten Blake Songs. In this song collection, Ralph Vaughan Williams used a variety of styles and composition techniques, which demonstrated his maturity and sophistication in composing English art songs in his later years. This study is consist of six parts, including the biography of Ralph Vaughan Williams, the characteristics of Vaughan Williams’ art songs, the biography of William Blake, introduction of Songs of Innocence and Experience, the composition background of Ten Blake Songs, and the analysis as well as interpretation of these songs. Through analyzing these songs, the author wishes to explores the multiple approaches Ralph Vaughan Williams took in composing the music and enhancing the poetry written by the great eighteenth-century poet, William Blake, as well as to provide references for performers to further enhance the breadth and depth in their performance.
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Chang, Chien Yi-Ting, and 張簡怡婷. "The Research and Interpretation of “The House of Life” by Ralph Vaughan Williams." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/11053412735172610114.

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碩士
國立臺南藝術大學
鋼琴伴奏合作藝術研究所
99
Ralph Vaughan Williams was a great contributor to the development of British music. He lived from late nineteenth century to the twentieth century. Through his enthusiasm for traditional British music, he was devoted to collecting national folksongs and gradually escaped from the basic frameworks of German and Austrian music, writing works with his own characteristics. The lyrics of the two song-cycles Vaughan Williams wrote during his compositional life were all from local literature. The work chosen from the two song-cycles for this research took six sonnets as lyrics from the series of poems called “The House of Life” by Dante Gabriel Rossetti, a British poet and painter. This song-cycle is a combination of six songs and kept the original title “The House of Life”. This thesis has three main parts: the first part introduces Vaughan Williams’ life and the styles of music at different stages of his life; the second part describes Rossetti’s life and the anthology “The House of Life” , which was the fruit of painstaking labor of his whole lifetime; the third part firstly provides an overview of the content and structure of the poems of each song, then analyzes the overall framework of music, discussing how the composer arranges the presentations of voice and piano based on the poems and offering the appropriate proposals of interpretation for this work.
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"Changing perspectives: music and writings of Ralph Vaughan Williams and the concept of 'Englishness' in music." 2008. http://library.cuhk.edu.hk/record=b5896819.

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Leung, Mei Ki.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 164-188).
Abstracts in English and Chinese.
Abstract --- p.i-ii
Acknowledgements --- p.iii-iv
Introduction --- p.1-15
The English Musical Renaissance and the Problem of Englishness in Music
Chapter Chapter One --- England: “The Land without Music´ح --- p.16-46
Chapter Chapter Two --- English Musical Nationalism and the Writings of Vaughan Williams --- p.47-76
Chapter Chapter Three --- Reception of the Music and Ideas of Vaughan Williams --- p.77-116
Conclusion: The Heirs and Rebels --- p.117-119
Appendices
Chapter Appendix I --- Biographies of Twentieth-century English Critics Cited in This Study --- p.120-134
Chapter Appendix II --- Scores of Works by Ralph Vaughan Williams --- p.135-163
Bibliography --- p.164-188
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Harned, Kenneth A. "An analysis of the TTBB transcription techniques of Ralph Vaughn Williams : with a transcription of Dona nobis pacem for men's chours." 2012. http://liblink.bsu.edu/uhtbin/catkey/1675401.

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Ralph Vaughan Williams was a strong advocate for adapting his compositions to suit the needs of various ensembles. He often arranged his choral compositions for several different voicings, allowing them to be performed by mixed, men’s, and women’s choruses. He also frequently offered reduced instrumentation accompaniment options to fit the personnel and budget restraints of these choirs. The purpose of this study is to analyze the male chorus transcription techniques used by Ralph Vaughan Williams in transcribing his composition for chorus and orchestra, Five Mystical Songs, from SATB to TTBB voicing. The culmination of this research is a modern day transcription of Vaughan Williams’s Dona Nobis Pacem for men’s chorus, brass septet, organ and percussion. This transcription adds to the men’s choral repertoire and increases the work’s accessibility for school and community choruses by creating a reduced accompaniment that maintains the flavor of the original orchestral instrumentation.
School of Music
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Lin, Chung-Kuang, and 林中光. "A Study and Interpretation of Ralph Vaughan Williams’ Three Song Cycles: The House of Life; Songs of Travel; Four Poems by Fredegond Shove." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/afh2vj.

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博士
國立臺灣師範大學
音樂學系
101
Ralph Vaughan Williams was the most important British Nationalist composer of the 20th century. His art songs represented a unique personal style and flavor. Furthermore, it became one of the most important music styles of the century. Ralph Vaughan Williams’ songs and song-cycles are perfectly suited for baritone singers, both in range and in color. Because of this, the topic of this thesis is based on his three song-cycles: The House of Life, Songs of Travel and Four Poems by Fredegond Shove; all representing excellent repertoires for mid-voiced singers. There are four parts to this thesis: the first part is “British art song and Ralph Vaughan Williams”; the second part is “Background and Introductions of Three Song-Cycles”; the third part is “The Comparative Analysis of Three Song-Cycles”; the final part is “The Interpretation of Three Song-Cycles”. This thesis also discusses the place in music history of Ralph Vaughan Williams, the progression of his composing skill, the changing of his musical style, and, as a conclusion, how his works brought a “New Face” to the mid 20th century. In the meantime, this thesis offers positive singing suggestions on the above mentioned three song-cycles from the writer’s own singing experience. This is done in the hope of helping future singers who are willing to study these songs.
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Chen, Ya-Hsin, and 陳雅馨. "The Analysis and Interpretation of the Six Studies in English Folksong for Clarinet and Piano by Ralph Vaughan Williams / Ya-Hsin Chen Graduation Recital." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/s9ebab.

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碩士
東吳大學
音樂學系
103
Ralph Vaughan Williams (1872–1958), born in the late 19th century to the middle of 20th century, was an England composer. He is also a collector of England folk songs. He respects the Narionalism and advocates the local music of England. He composed many kinds of music which are vocal, chorus, chamber, symphony, and incidental music of movies. He is one of the important composer of England. This study will explore Ralph Vaughan Williams’ “Six Studies in English Folksong”. The interpretation is different from strings and woodwinds though the composition was arranged from cello version. The author deeply studied and analysised Ralph Vaughan Williams' music style and characters through the background of composition and the style of the period. Ya-Hsin Chen Graduation Recital Program Gioachino Rossini (1792-1868): Introduction, Theme and Variations Igor Stravinsky (1882-1971): Three Pieces for Clarinet Solo Luigi Bassi (1833-1871): Gran Duetto Concertato sopra motivi dell’opera La Sonnambula York Bowen (1884-1961): Clarinet Sonata, op. 109 George Gershwin (1897-1938): Rhapsody in Blue
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Kempenaar, Christina. ""Style is national": defining Englishness in the music of the second generation of the English Musical Renaissance." Thesis, 2019. http://hdl.handle.net/1828/10903.

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Members of the second generation of the English Musical Renaissance have long been associated with a break from the Teutonic influence of their predecessors to create a musical idiom that is quintessentially English. Scholarship has long looked at these composers, who include those born between Vaughan Williams and Moeran, in isolation from the artistic movements and political and social issues of Europe, when in fact they were part of them. This thesis places these composers within these currents by discussing them as part of England’s Lost Generation and within the historical contexts of Europe in the early twentieth century. Though the Lost Generation is often associated with the post-war period, I propose that the phenomenon existed prior to World War I by focussing on England’s aesthetic lostness in the late Victorian and Edwardian eras. The Lost Generation of composers inherited a musical culture that had been aesthetically lost for two hundred years and rebelled against it to define a musical idiom that was quintessentially English. After placing the second generation of the English Musical Renaissance within its historical contexts, I call into question previous discussions on English music that define it according to single definitions largely associated with the Pastoral School or the Folk School. Instead, I propose that the music of this generation was stylistically diverse while simultaneously a manifestation of common cultural influences, ultimately rooted in the goal of creating a sense of community. To support this claim, I discuss the various stylistic techniques of individual composers within their collective cultural influences, including the music of England’s past, the landscape, and English literature. Furthermore, I explore the role of musical community, both as a central goal in the creation of a national idiom and as a source of compositional inspiration. By examining the influences and compositional styles of these composers, I conclude that the music of this generation broke from Continental influences by developing a national idiom that was both stylistically unique to the individual composer and tied to common cultural influences that were rooted in the goal of creating a musical community within England. .
Graduate
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Wu, Yen-Jung, and 吳妍蓉. "Performance Interpretations of Ralph Vaughan Williams’s Concerto for Oboe and Strings." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59896043218343692992.

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Gallello, Daniel David. "La viola en el posromanticismo inglés." Bachelor's thesis, 2015. http://hdl.handle.net/11086/15926.

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Entender los nuevos discursos que la música fue tomando a partir del siglo XX ha sido uno de los trayectos que recorrí durante la carrera de Licenciatura en Perfeccionamiento Instrumental en Viola, brindado por las materias teóricas en primera instancia, y por las instrumentales a medida que progresaba en nivel técnico y musical. Extender a la Viola estos conocimientos y poder plasmarlos en papel son los fundamentos del presente trabajo escrito. Situé la temática de mi Trabajo Final en el posromanticismo inglés por la tendencia estilística predominante en las obras seleccionadas. Además, esta época y lugares clave son escenarios de un cambio paradigmático en la visión funcional de la Viola, ya que representan no sólo el cambio de pensamiento acerca de las posibilidades técnicas del instrumento en sí, sino el cómo generar una transformación interpretativa integral a partir de las nuevas propuestas compositivas.
Fil: Gallello, Daniel David. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Música; Argentina.
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Huang, Yu-Ting, and 黃郁婷. "A Research and Interpretation of Ralph Vaughan Williams’s The House of Life." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/35275503313252387491.

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碩士
臺北市立大學
音樂學系
104
Ralph Vaughan Williams (1872-1958) was a composer, conductor, teacher, writer and folksong collector. Nonetheless, he was the first British composer in the 20th century to integrate the elements of English ancient music and English folk music into his compositions, during which he at the same time pumped a new life into the English art songs regime. Therefore, in the music history Vaughan Williams has been marked as one of the nationalism musicians, and in his line of works, not only can trace of English folk songs be found, but also the in-depth comprehension and interpretation of lines of poetry. This study aims to discuss one of Vaughan William’s song cycles, “The House of Life,” which was on six sonnets by Dante Gabriel Rossetti (1828-1882) and each represented different faces of love. In 1904, Vaughan William completed the composition of the song cycle. The song cycle was comprised of six songs, including respectively “Love-Sight”, “Silent Noon”, “Lover’s Minstrels”, “Heart’s Haven”, “Death in Love” and “Love’s Last Gift”. This study investigates the biological life of Vaughan Williams and the creation background of the song cycle. Meanwhile, the study would also place emphasis on the poet Dante Gabriel Rossetti in relation to his style and backgrounds. Eventually, the study would dissect each of the six songs to conduct a thorough music analysis and interpretation research, in order to perfect the performance and the vocal interpretation of the work.
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Horton, Jessica Victoria Bridger Carolyn Vaughan Williams Ralph Herbert George. "A joyous synchrony Ralph Vaughan William's settings of George Herber's poetry in Five Mystical Songs /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-11072006-020416/.

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Treatise (D.M.A.) Florida State University, 2006.
Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 57 pages. Includes biographical sketch. Includes bibliographical references.
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Velická, Helena. "Osobnost Ralpha Vaughana Williamse se zaměřením na analýzu jeho VII. symfonie." Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-268175.

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Vaughan Williams was an extraordinary ordinary man and a very great composer who has reached during his lifetime the hearts of a very large section of his countrymen. Music was the mainspring of his being and he put all that he knew into his music. The essential importance of this composer consists in symphonic and song work. He is an author of nine symphonies, ballet, film music and five operas but the very best success reached he with his choral works. He found the basis and inspiration in the music of his own land and has devoted a good deal of energy to the collecting and arranging of folksongs. The influence of that association on his work is obvious but it is egually evident that he is far from being merely an imitator of folksong. The accents of traditional melody appeal to him but his mode of expression is his own - it is wholly personal and it makes use of passing dissonance in a way which no study of folk melodies could possibly have suggested. He was a friend and admirer of romantics but showed distaste for several favourite romantic emotions. His style is half traditional half modern and that is why his music is understandable. Powered by TCPDF (www.tcpdf.org)
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Lisano, Deborah Bowden. "Symphony no. 5 as a summary of Ralph Vaughan Williams's philosophy of the English composer." 2004. http://purl.galileo.usg.edu/uga%5Fetd/lisano%5Fdeborah%5Fb%5F200412%5Fphd.

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