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Modality in Three of the Choral Works of Ralph Vaughan Williams: Mass in G Minor, Five Tudor Portraits and Te Deum in E Minor

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.

Identiferoai:union.ndltd.org:unt.edu/info:ark/67531/metadc699453
Date08 1900
CreatorsMcCain, Eula Louise
ContributorsOttman, Robert W., Dorn, Gerhardt George, 1911-
PublisherNorth Texas State College
Source SetsUniversity of North Texas
LanguageEnglish
Detected LanguageEnglish
TypeThesis or Dissertation
Formatvii, 75 leaves: ill., Text
RightsPublic, McCain, Eula Louise, Copyright, Copyright is held by the author, unless otherwise noted. All rights

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