Suchergebnisse

The purpose of the article is to identify the features of the artistic concept of "A Sea Symphony" by R. Vaughan Williams and the key role in its formation of the literary source of the work. The methodology of the work is based on the application of analytical, structural, comparative and intertextual methods, which makes it possible to expand the horizons of cognitive search and identify intertextual semantic connections within the studied phenomenon. The scientific novelty is that for the first time in Ukrainian musicology the literary source of "A Sea Symphony" by R. Vaughan Williams receives analytical coverage as an important component of the holistic artistic concept of the work. Conclusions. As a result of the work carried out, it was established that the poetic texts by W. Whitman's "Leaves of Grass" became the literary source of the symphony. They are both separate poems of the poet and fragments from his poems. Combining them, the composer builds his own compositional and dramatic logic, subordinate to the idea of revealing the significance of the mythological image of the sea, which appears in the symphony as a polysemantic archetypal complex. Features of the composer's work with a poetic text, the validity of certain notes, replications, transpositions while maintaining and accentuating its key role in building the musical and artistic whole are revealed. The specificity and principles of the distribution of poetic texts between parts of the work, as well as vocal parties, solo and choral, are determined.

The Concerto for Bass Tuba by Ralph Vaughan Williams was the first concerto written for solo tuba, and remains a staple in the repertoire today. The Vaughan Williams Concerto came about in the twentieth century due to the rapidly evolving role of the tuba within the orchestra, brass and military bands, eventually inspiring Vaughan Williams to write for the tuba as a solo instrument. The Vaughan Williams Concerto influenced Edward Gregson's Tuba Concerto, as it is directly quoted in the development section of Gregson's first movement. There are also marked similarities between the two concerti in terms of form, range, and intervallic material. The Vaughan Williams and Gregson Concertos both influenced two works for the tuba by British composers that would come about in the subsequent decades: the Concerto for Tuba and Strings by Roger Steptoe, and Capriccio by Rodney Newton. Steptoe's Concerto is mostly atonal, yet the influence of Vaughan Williams and Gregson on its form, style, and intervallic relationships is still discernable. Newton borrows fanfare-like elements from Gregson while utilizing motivic material that is similar to Vaughan Williams. The goal of this paper is to show the influence of the Concerto for Bass Tuba by Vaughan Williams on the British tuba concerto as it evolved throughout the twentieth and twenty-first centuries.

Despite the coincidence of the so-called "British Renaissance" of classical music and the First World War, two events central to British cultural development at the turn of the century, little research exists regarding their interrelation. Using primary and secondary documents found in Laramie and London, this project seeks partly to fill that gap, examining two choral works which served as their respective composer's reactions to WWI. Gustav Holst's "Ode to Death" and Ralph Vaughan Williams' "Dona Nobis Pacem" were both analyzed for motivic, formal, and orchestrational means used in settings of war-related texts. Additionally, biographical information and correspondences were used to provide context for the works and to elucidate opinions and emotions the composers had toward the war and its affiliated issues, including violence, politics, and the spirituality of mortality. These feelings were complex and occasionally contradictory. A variety of musical means were found to be used to communicate these nuanced opinions; the composers' perspectives defy such restrictive designations as "pacifist" or "hawkish," and these pieces reflect this.

Despite the coincidence of the so-called "British Renaissance" of classical music and the First World War, two events central to British cultural development at the turn of the century, little research exists regarding their interrelation. Using primary and secondary documents found in Laramie and London, this project seeks partly to fill that gap, examining two choral works which served as their respective composer's reactions to WWI. Gustav Holst's "Ode to Death" and Ralph Vaughan Williams' "Dona Nobis Pacem" were both analyzed for motivic, formal, and orchestrational means used in settings of war-related texts. Additionally, biographical information and correspondences were used to provide context for the works and to elucidate opinions and emotions the composers had toward the war and its affiliated issues, including violence, politics, and the spirituality of mortality. These feelings were complex and occasionally contradictory. A variety of musical means were found to be used to communicate these nuanced opinions; the composers' perspectives defy such restrictive designations as "pacifist" or "hawkish," and these pieces reflect this.