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Journal articles on the topic 'Vaughan Williams, Ralph'

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Published: 4 June 2021
Last updated: 15 February 2022

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1

Studwell, William E., and Dorothy Jones. "Ralph Vaughan Williams." Music Reference Services Quarterly 6, no. 4 (March 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 would say – to ‘my friends pictured within’; the third is Sarahande for the 12th day of any October from the Partita for organ (published in 1971). These three pieces derive some of their features from a Vaughan Williams work written much later than the Fantasia on a theme by Thomas Tallis – the ‘Pavane of the Sons of the Morning’ and the ‘Saraband of the Sons of God’ from job (1930): and some features come from John Dowland's Lachrimae (‘Flow my tears, fall from your springs…’, first published in 1600, but written earlier). Howells's use of Renaissance models – Pavane and Galliard pair, elements of Dowland's Lachrimae, and modal features – vividly illustrates Vaughan Williams's remark that he sometimes felt Howells to be the reincarnation of one of the lesser Tudor luminaries.
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3

Law, J. "Ralph Vaughan Williams: The Poisoned Kiss." Opera Quarterly 21, no. 3 (January 1, 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 (January 1, 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 (March 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 (April 1, 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 meteorically, and A London Symphony became something of a staple; during this period Olin Downes of the New York Times became Vaughan Williams's most ardent champion among New York's music critics; (3) 1935/6–1944/5: Symphonies 4 and 5 made their New York debuts, and a rift opened between the pro-Vaughan Williams New York Times and the negative criticism of the New York Herald Tribune, one that would follow Vaughan Williams to the grave and beyond; (4) 1945/6–1958/9: premieres of Symphonies 6, 8 and 9, as Vaughan Williams's reputation in New York reached its honours- and awards-filled zenith; and (5) the long period from 1959/60 to the present day, which can be described as 20 years of decline (1960s–1970s), another 20 in which his reputation reached rock bottom (1980s–1990s) and, since the beginning of the new millennium, something of a reassessment, one that is seemingly unencumbered by the ideologically driven criticism of the past. Finally, Appendix I provides a chronological inventory of all New York Philharmonic programmes (along with those of the New York Symphony prior to the two orchestras' merger in 1928) that include any music (not just the symphonies) by Vaughan Williams. Appendix II then reorganizes the information of the chronological list according to work, conductor, venue and premieres.
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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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11

Barone, A. "Letters of Ralph Vaughan Williams 1895-1958. Ed. by Hugh Cobbe." Music and Letters 91, no. 2 (April 26, 2010): 282–88. http://dx.doi.org/10.1093/ml/gcq022.

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12

Graham, Meredith C. "Toward the Sun Rising: Ralph Vaughan Williams Remembered by Stephen Connock." Notes 76, no. 3 (2020): 466–68. http://dx.doi.org/10.1353/not.2020.0020.

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13

Davidson, Jonathan RT. "The music of war: Seven World War 1 composers and their experience of combat." Journal of Medical Biography 26, no. 4 (September 28, 2016): 227–34. http://dx.doi.org/10.1177/0967772016664692.

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The effect of World War 1 military service on composers has been neglected in comparison with poets and artists. This article describes the wartime service of Arthur Bliss, Ralph Vaughan Williams, Ivor Gurney, EJ Moeran, Gordon Jacob, Patrick Hadley, and Maurice Ravel. The relationship between experiences of combat and the psychological health of these men is examined, with consideration being given to predisposition and possible causative influences of military service on their later careers, examined from individual and societal perspectives.
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14

Kevin Salfen. ""O Thou Transcendent," The Life of Ralph Vaughan Williams (review)." Notes 66, no. 3 (2010): 639–40. http://dx.doi.org/10.1353/not.0.0302.

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15

Earle, Ben. "Modernism and Reification in the Music of Frank Bridge." Journal of the Royal Musical Association 141, no. 2 (2016): 335–402. http://dx.doi.org/10.1080/02690403.2016.1216045.

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ABSTRACTDrawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's notion of musical ‘reification’. A comparative analysis of the complementary modernism of Bridge's contemporary Ralph Vaughan Williams is also put forward, and a critical light shone on recent writing on British musical modernism in general.
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16

Neighbour, O. "Ralph, Adeline, and Ursula Vaughan Williams: Some Facts and Speculation (with a Note about Tippett)." Music and Letters 89, no. 3 (August 1, 2008): 337–45. http://dx.doi.org/10.1093/ml/gcn042.

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17

Epstein, Heidi. "Post-War Trauma and Postmodern Love." biblical interpretation 22, no. 3 (May 18, 2014): 253–91. http://dx.doi.org/10.1163/15685152-00223p02.

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What biblical critical insights might re-reading the Song of Songs through its contemporary musical afterlives produce? I propose that certain offbeat musical settings of the Song participate in the discursive composition of specifically postmodern versions of love (e.g. those of Berlant, Belsey, Illouz), and thereby disrupt the transmission of normalizing socio-romantic energies within what Lauren Berlant calls “the intimate public sphere.” In this intertextual case study, Ralph Vaughan Williams’ 1925Flos campi– a work usually praised for its harmonious reconciliation of sensual and spiritual musical moods and idioms – becomes a dystopic allegory of postmodern love. Gestating during WWI as Vaughan Williams served in France and Greece, then composed during a post-war decade of collective disenchantment with the Great War’s socio-political balance sheet,Flos campiconstitutes an ambivalent response to both the composer’s individual as well as a more collective experience of national post-war trauma. With help from Roland Boer’s Lacanian reading of the Song (2000), I locate this ambivalence in the composer’s enigmatic treatment of musical pastoralisms and modal-tonal harmonies as well as his expressive deployment of formal, motivic, and thematic repetition. The dissonant erotic semiotics that these techniques produce inFlos campican be enlisted today to challenge religio-rhetorical co-optations of the Song to bolster heteronormative institutions of love, sexuality, marriage and family by way of the Song’s supposedly timeless message that “Love Conquers All.” Correlatively, readingFlos campias a product of post-war trauma and an allegory of postmodern love invites biblical critics to hear the text’s pastoralisms with fresh “ears.”
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18

Koch, Alexander K., and Hui-Fai Shing. "Bookmaker and pari-mutuel Betting: is a (reverse) favourite-longshot Bias Built-in?" Journal of Prediction Markets 2, no. 2 (December 14, 2012): 29–50. http://dx.doi.org/10.5750/jpm.v2i2.440.

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A widely documented empirical regularity in gambling markets is that bets on high probability events (a race won by a “favourite”) have higher expected returns than bets on low probability events (a “longshot” wins). Such favourite-longshot (FL) biases however appear to be more severe and per-sistent in bookmaker markets than in pari-mutuel markets; the latter sometimes exhibit no bias or a reverse FL bias. Our results help understand these differences: the odds grid in bookmaker markets leads to a built-in FL bias, whereas that used in pari-mutuel betting pushes these markets toward a reverse FL bias. This paper benefited from helpful comments from an anonymous referee, Michael Mandler, David Metcalf, David Paton, Jonathan Wadsworth, Justin Wolfers, and par-ticipants of the conference on “The Growth of Gambling and Prediction Markets: Economic and Financial Implications” in May 2007. We are grateful to Paul David-son, Tony Lusardi, Chris Ralph, and Leighton Vaughan Williams for information about bookmaker odds and bookmaker software.
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19

Semenova, Anastasia Sergeevna. "Ralph Vaughan Williams. “Fantasia on a Theme by Thomas Tallis” within the Framework of the English Musical Revival." Manuskript, no. 5 (March 2021): 987–91. http://dx.doi.org/10.30853/mns210178.

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20

Doussal, Florence Le. "Riders to the Sea de Ralph Vaughan Williams : un hymne à la mer, indomptable et indomptée, qui unit les nations." Revue LISA / LISA e-journal, Vol. IV - n°2 (June 1, 2006): 68–88. http://dx.doi.org/10.4000/lisa.2172.

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21

Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (March 22, 2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.

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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.
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22

ADAMS, BYRON. "Hugh Cobbe, ed., The Letters of Ralph Vaughan Williams 1895–1958 (Oxford and New York: Oxford University Press, 2008), ISBN 978-0-19-925797-3 (hb)." Twentieth-Century Music 6, no. 2 (September 2009): 264–71. http://dx.doi.org/10.1017/s1478572210000216.

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23

Stefek, Jakub. "The ethnical factor in european literature for the organ in the 19th and the first half of the 20th centuries based on works by british, italian and Jewish Composers." Notes Muzyczny 1, no. 15 (June 21, 2021): 43–55. http://dx.doi.org/10.5604/01.3001.0014.9689.

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The article presents examples of the emphasised ethnical factor in works belonging to the European organ literature of the 19th and the first half of the 20th centuries, found in pieces written by British, Italian and Jewish composers. In case of British composers, significant were the proposals of Ralph Vaughan Williams, who primarily saw folk songs as the tool for expressing a national style. Among the composers who wrote music inspired by traditional songs or quoting them directly (which was an important novelty in the British organ literature) were: Cecil Armstrong Gibbs, Percy Whitlock, Cyril Bradley Rootham, Geoffrey Turton Shaw, Harold Carpenter Lumb Stocks, and more. The influence of national elements on Italian organ literature is not as strong but it seems justified to assume that some composers might have been influenced by the romanità myth which identified the features of the Italian nation with the ideas allegedly drawn from the traditions of ancient Rome. These composers were Giuseppe Corsi and Alfredo Casella. It is worth paying attention to the phenomenon of writing organ masses which preceded the popularisation of that myth. In this context, composers of Jewish organ music attempted to emphasise the ethnical factor in their works in the clearest, most consequent and most comprehensive ways possible. Abraham Zevi Idelsohn summed up their ideological programme, indicating that music meant for being performed in synagogues, including Jewish organ music, should be based on traditional melodies and scales, at the same time using tonal harmonic systems, which was supposed to allow for introducing prayerful atmosphere and concentration of the audience as well as understanding it properly. This group of composers included Louis Lewandowski, David Nowakowski, Arno Nadel, and others.
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24

Richards, Jeffrey. "The Film Music of Ralph Vaughan William. Volume 3 (Chandos CHAN 10368)." Journal of British Cinema and Television 4, no. 1 (May 2007): 208–11. http://dx.doi.org/10.3366/jbctv.2007.4.1.208.

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25

OWEN, CERI. "Making an English Voice: Performing National Identity during the English Musical Renaissance." Twentieth-Century Music 13, no. 1 (March 2016): 77–107. http://dx.doi.org/10.1017/s1478572215000183.

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AbstractThis article examines constructions of national musical identity in early twentieth-century Britain by exploring and contextualizing hitherto neglected discourses and practices concerning the production of an ‘English’ singing voice. Tracing the origins and development of ideas surrounding native vocal performance and pedagogy, I reconstruct a culture of English singing as a backdrop against which to offer, by way of conclusion, a reading of the ‘English voice’ performed in Ralph Vaughan Williams's song ‘Silent Noon’. By drawing upon perspectives derived from recent studies of song, vocal production, and national and aesthetic identity, I demonstrate that ‘song’ became a place in which the literal and figurative voices of performers and composers were drawn together in the making of a national music. As such, I advance a series of new historical perspectives through which to rethink notions of an English musical renaissance.
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26

"BOOK REVIEWS." Tempo 63, no. 249 (July 2009): 69–86. http://dx.doi.org/10.1017/s0040298209000278.

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Sacks's Agnosia Robin MaconieIves Thrives: Books, Editions & Recordings Peter DickinsonElliott Carter: A Centennial Portrait Rodney ListerLetters of Ralph Vaughan Williams Ceri OwenFurther reviews Richard Causton, Martin Anderson
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27

"A catalogue of the works of Ralph Vaughan Williams." Choice Reviews Online 34, no. 08 (April 1, 1997): 34–4383. http://dx.doi.org/10.5860/choice.34-4383.

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28

Couderc, Gilles. "« Une splendide anomalie ? », le Pilgrim’s Progress de Ralph Vaughan Williams." Revue LISA / LISA e-journal, XII-n°6 (October 30, 2014). http://dx.doi.org/10.4000/lisa.6428.

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29

Fjeldsøe, Michael, and Jens Boeg. "Carl Nielsen and the Idea of English National Music." Carl Nielsen Studies 5 (October 1, 2012). http://dx.doi.org/10.7146/cns.v5i0.27764.

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Why did Carl Nielsen achieve such a favourable reception in England from the 1950s on, compared to the rather reluctant recognition in continental Europe? We would suggest that one reason could be an affi nity of features in his music with the concept of English national music. This attempt to discuss the British reception of Nielsen does, of course, not imply that Nielsen’s music is English. From a constructivist position, national musics are based on cultural common-views in a population of people identifying themselves with a certain concept of a nation which they regard their own. The concept of English national music had Ralph Vaughan Williams as chief engineer and champion. Based on Cecil J. Sharp’s scientific investigation of the English folk song, Vaughan Williams developed a theoretical background on which English composers could (and later would) create their compositions, and his thoughts became prevalent through the English musical establishment. Such ideas of English music did not by accident or as some kind of revelation find their way to the hearts and minds of English listeners and critics. The success was due to a deliberate effort by a national movement, and a most crucial feature was the introduction of folk song singing in elementary schools, instilling these particular views into following generations of listeners. Though mainly concerned with the music of England, Vaughan Williams’ ideas were not limited by nationality as such, but were general guidelines for every composer in every nation of the world. In many ways Nielsen’s music can be seen to fi t Vaughan Williams’ characteristics for good music. When fi rst established, ideas of national music are embedded in a value system that considers such music of high quality and thus music – like Nielsen’s – which has affi nities with the image of English national music, is more likely to be recognized and appreciated as ‘good’.
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