Thesis (M.M.)--University of Rochester, 1946. / Typewritten. Bibliography: l. 112. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4946

Thesis (doctoral)--Universität Köln, 1983. / Includes bibliographies and index.

Thesis--Columbia University. / Includes bibliography.

Thesis (D.M.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 110-111).

To summarize in general the use of modes by Vaughan Williams, it could be said that the works that have been analyzed are characterized by frequent use of the traditional modes, but in a very free manner. The "Kyrie" of the Mass, "Pretty Bess," "Jolly Rutterkin" and Te Deum are confined somewhat closely to given modes, with some changes of mode, changes of tonality and use of altered chords. The "Gloria," "Credo," "Sanctus," "Osanna I," "Benedictus," "Osanna II" and "Agnus Dei" of the Mass, however, contain many striking chromaticisms. These chromaticisms are the result of use of many altered chords, a good deal of modulation and much combining of modes, often with startling cross-relations. The use of seventh chords in "Pretty Bess," "Jolly Rutterkin" and Te Deum further complicates the picture from that of the sixteenth century.

Thesis (doctoral)--University of Bristol, 1993. / BLDSC reference no.: DX181689.

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

Diss.--Berlin, 1995. / Bibliogr. p. 194-207.

Thesis (M.M.)--University of Texas at El Paso, 2009. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

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.