Revisiting the Past: Harmony, Structure and Narrative in Ralph Vaughan Williams’s Piano Quintet in C Minor

Simple item page
dc.contributor.advisorDavis, Andrew
dc.contributor.committeeMemberWhittaker, Dennis
dc.contributor.committeeMemberBrooks, Wayne
dc.contributor.committeeMemberGrabiec, Andrzej
dc.creatorGaviria, Carlos Andres
dc.creator.orcid0000-0003-3555-4241
dc.date.accessioned2020-08-03T16:32:57Z
dc.date.available2020-08-03T16:32:57Z
dc.date.createdAugust 2020
dc.date.issued2020-08
dc.date.submittedAugust 2020
dc.date.updated2020-08-03T16:33:02Z
dc.description.abstractVaughan Williams’s Piano Quintet in C minor is a rarity in the world of classical music: a complete multi-movement work by a major composer that was kept hidden from the light of day for eight decades after its premiere before being published and publicly presented once again. Because of the many years in which the work was unknown to performers and scholars, little has been written about the history, the structure, and the guiding influences on this piece, making it fertile ground for new research. This document aims to provide a better understanding of the piece from a historical and theoretical framework. Chapter 1 is an historical exploration of Vaughan Williams’s life around the time of the Quintet’s composition, in search of biographical clues that may explain why he removed the piece from the catalogue. Chapters 2, 3 and 4 explore the three movements of the Quintet from different perspectives. Chapter 2 investigates Vaughan Williams’s relinquishment of traditional structural tonal devices in favor of modal ones, as well as his use of formal structure—based on Hepokoski and Darcy’s Sonata Theory. Chapter 3 explores the concept of “Englishness” in the second movement, based on the framework of English pastoralism, and explores the dual meaning of Arcadia as it relates to expressive meaning in the second movement. Chapter 4 surveys the use of variations in the last movement and the movement’s relationship to Vaughan Williams’s Violin Sonata in A minor (1953), for which the composer used the same theme in the third movement. The concluding chapter, Chapter 5, investigates more closely the question of musical meaning in the Quintet, tracking the possible meaning of a single musical module throughout the three movements using the concepts of markedness and gesture, and tying together all the threads discussed in the previous chapters.
dc.description.departmentMusic, Moores School of
dc.format.digitalOriginborn digital
dc.format.mimetypeapplication/pdf
dc.identifier.urihttps://hdl.handle.net/10657/6793
dc.language.isoeng
dc.rightsThe author of this work is the copyright owner. UH Libraries and the Texas Digital Library have their permission to store and provide access to this work. Further transmission, reproduction, or presentation of this work is prohibited except with permission of the author(s).
dc.subjectVaughan Williams
dc.subjectQuintet
dc.subjectmodal
dc.subjectgestures
dc.subjectnarrative
dc.subjectpastoral
dc.subjectArcadia
dc.subjectmarkedness
dc.titleRevisiting the Past: Harmony, Structure and Narrative in Ralph Vaughan Williams’s Piano Quintet in C Minor
dc.type.dcmiText
dc.type.genreThesis
thesis.degree.collegeKathrine G. McGovern College of the Arts
thesis.degree.departmentMusic, Moores School of
thesis.degree.disciplineMusic
thesis.degree.grantorUniversity of Houston
thesis.degree.levelDoctoral
thesis.degree.nameDoctor of Musical Arts

Files

Original bundle

Now showing 1 - 1 of 1
Thumbnail Image
Name:
GAVIRIA-DISSERTATION-2020.pdf
Size:
5.74 MB
Format:
Adobe Portable Document Format
Download

License bundle

Now showing 1 - 2 of 2
No Thumbnail Available
Name:
PROQUEST_LICENSE.txt
Size:
4.43 KB
Format:
Plain Text
Description:
Download
No Thumbnail Available
Name:
LICENSE.txt
Size:
1.81 KB
Format:
Plain Text
Description:
Download

Collections

Published ETD Collection