This dissertation develops a theory of diatonic modality to address Vaughan Williams' harmonic practice and the large-scale organization of his works. Chapter 1 begins by examining the role of the common practice in shaping diatonic harmonic progression in a post-common-practice context, and these observations form the basis of a general theory of diatonic harmony. At the same time, a detailed investigation of Vaughan Williams' diatonic harmonic practice is undertaken and this study's findings inform and illustrate the chapter's theoretical arguments. Chapter 2 examines the large-scale modal organization of Vaughan Williams' works and explores ways in which it relates to the harmonic theory outlined in Chapter 1. In the process, a theoretical model and an accompanying graphical analytical apparatus are developed for the large-scale organization of such diatonic music. Finally, Chapter 3 undertakes analyses of three of Vaughan Williams' works: the overture to The Wasps, the Norfolk Rhapsody No. 1, and the Five Variants of "Dives and Lazarus". These analyses are intended to demonstrate the analytical utility of the theory advanced by Chapters 1 and 2, though they may also serve as models for applying the dissertation's ideas to works by other composers.
|School Location:||United States -- Connecticut|
|Source:||DAI-A 70/01, Dissertation Abstracts International|
|Keywords:||Compositional practice, Diatonic, England, Harmony, Modal, Mode, Post-common-practice, Vaughan Williams, Ralph|
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