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A comparative analysis of the romanc...

Drobnak, Kenneth Paul.

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A comparative analysis of the romances of Ralph Vaughan Williams (England).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A comparative analysis of the romances of Ralph Vaughan Williams (England)./
作者:	Drobnak, Kenneth Paul.
面頁冊數:	165 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1208.
Contained By:	Dissertation Abstracts International66-04A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3171452
ISBN:	0542081385

A comparative analysis of the romances of Ralph Vaughan Williams (England).
Drobnak, Kenneth Paul.

A comparative analysis of the romances of Ralph Vaughan Williams (England). - 165 p.

Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1208.

Thesis (D.M.A.)--Michigan State University, 2005.

Ralph Vaughan Williams entered college during the height of Great Britain's Imperial Power. Throughout his life, Vaughan Williams served England as best he could during peacetime and war. In the first decade of the twentieth century, he traveled the English countryside collecting folksong from singers before it disappeared with their deaths. His intent was to give folksongs back to the English people through their publication. Vaughan Williams gathered these melodies at the same time he was searching for his compositional voice, and his early works reflect a strong folksong influence.

ISBN: 0542081385Subjects--Topical Terms:

516178
Music.

A comparative analysis of the romances of Ralph Vaughan Williams (England).
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100 1 $a Drobnak, Kenneth Paul. $3 1902050
245 1 2 $a A comparative analysis of the romances of Ralph Vaughan Williams (England).
300 $a 165 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1208.
500 $a Adviser: Philip Sinder.
502 $a Thesis (D.M.A.)--Michigan State University, 2005.
520 $a Ralph Vaughan Williams entered college during the height of Great Britain's Imperial Power. Throughout his life, Vaughan Williams served England as best he could during peacetime and war. In the first decade of the twentieth century, he traveled the English countryside collecting folksong from singers before it disappeared with their deaths. His intent was to give folksongs back to the English people through their publication. Vaughan Williams gathered these melodies at the same time he was searching for his compositional voice, and his early works reflect a strong folksong influence.
520 $a As he matured, Vaughan Williams assimilated elements of folksong into his own compositional style. A few years before his death, critics began to characterize his instrumental music as being based on quotes from folksong. Many studies have refuted this stereotype, determining that direct folksong quotes are only to be found in a small number of instrumental and orchestral works. However, these studies did find that Vaughan Williams assimilated folksong into his own individual idiom, along with music of the Tudors, organum, church music, and contemporary techniques.
520 $a The purpose of this document is to compare three Romances from Vaughan Williams' works for solo instrument and orchestra, including: The Lark Ascending-Romance for Violin and Orchestra, the Romance in D Flat for Harmonica and Orchestra, and the Romanza from the Tuba Concerto. Items for analysis include: their linear structures, vertical sonorities and textural devices. Currently, only token analytical references about these works have been published in broad biographical studies and journal articles.
520 $a As anticipated, no direct folksong quotes were found in any of these works; however, some short figures were found to be in common with folksong and are described. The prominent feature in all three works is the linear or thematic material in the melodic line. Texture and timbral variation is an important means of achieving variety. Each work can be analyzed in a large-scale A B A' structure, with the Tuba Romanza being closest to a traditional sonata form. The middle sections of the other two works include new thematic material, which allows them to be classified as concertos in one movement.
520 $a This document also includes a biography and an overview of the orchestral style of Vaughan Williams. In addition, information about the premiere of each work and its reception is included, along with a short biographical sketch of Marie Hall, Philip Catelinet, and Larry Adler, the performers Vaughan Williams had in mind for each work. The appendices of this document include a discography for each work and a list of theses and dissertations completed on Vaughan Williams.
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