MODAL PROLONGATIONAL STRUCTURE IN SELECTED SACRED CHORAL COMPOSITIONS BY GUSTAV HOLST AND RALPH VAUGHAN WILLIAMS by TIMOTHY PAUL FRANCIS A DISSERTATION Presented to the S!hoo" o# Mus%! and Dan!e and the Graduate S!hoo" o# the Un%'ers%ty o# Ore(on %n part%&" f$"#%""*ent o# the re+$%re*ents #or the degree o# Do!tor o# P %"oso)hy ,une 2./- DISSERTATION APPROVAL PAGE Student: T%*othy P&$" Fran!%s T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s T %s d%ssertat%on has been ac!e)ted and ap)ro'ed in part%&" f$"#%""*ent o# the re+$%re*ents for the Do!tor o# P %"oso)hy de(ree in the S!hoo" o# Musi! and Dan!e by0 Dr1 J&!k Boss C &%r)erson Dr1 Ste) en Rod(ers Me*ber Dr1 S &ron P&$" Me*ber Dr1 Ste) en J1 Shoe*&2er Outs%de Me*ber and 3%*ber"y Andre4s Espy V%!e President for Rese&r!h & Inno'at%on6Dean o# the Gr&duate S!hoo" Or%(%n&" ap)ro'&" signatures are on f%"e w%th the Un%'ersity o# Ore(on Grad$ate S!hoo"1 Degree a4arded June 2./- %% 7-./- T%*othy Fran!%s T %s work is l%!ensed under a Creat%'e Co**ons Attr%but%on8NonCo**er!%&"8NoDer%'s 31. Un%ted States L%!ense1 %%% DISSERTATION ABSTRACT T%*othy P&$" Fran!%s Do!tor o# P %"oso)hy S!hoo" o# Musi! and Dan!e ,une 2./- T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s W %"e so*e co*)osers at the be(%nn%n( o# the t4entieth century dr%#ted away #ro* ton&" h%erar! %!&" str$!tures, Gustav Ho"st and R&")h Vaughan W%""%&*s sought 4ays o# integrating ton&" ideas w%th ne4 mater%&"s. By an&"y;%ng the musi! o# Ho"st and V&$(han W%""%&*s us%n( a te!hn%+ue e<)ress"y des%gned for the an&"ysis o# ton&" *usi!&" str$!ture—S! en2er%an An&"ysis—th%s study looks at ways in w %!h the !o*)osers co*b%ned o"d and ne4 te!hn%+ues and w at that means w%th re(ards to our understand%ng o# the%r mus%!1 To do th%s, the current study fo!uses on the s&!red chor&" re)ertory be!ause it can for* a sty"%sti! br%d(e bet4een n%neteenth8!entury ton&"%ty and the co*)osers’ more e<)er%*enta" works. T %s re)ertory also pro'%des an o))ortun%ty #or inter)ret%n( te<t-*usi! conne!t%ons that he") us understand the mus%! at a dee)er "e'e"1 In order to estab"%sh gro$nd4ork for the an&"yti!&" methodo"o(y: I be(%n the study w%th b&!kground in#or*ation on the co*)osers and pre'%ous rese&r!h done on the%r mus%!: after w %!h I sum*ar%ze the%r most pert%nent sty"%st%! features (%n!"$d%ng the%r use o# d%aton%! modes and other p%tch co""e!tions: the%r har*on%!: me"od%!: and !ontr&)untal te!hn%+ues, and the%r for*&" str$!tures)1 I then d%scuss ho4 an an&"yst can %' deter*%ne pro"on(at%on&" str$!ture in Ho"st’s and Vaughan W%""%&*s’s mus%! by estab"%s %ng the ton%! or p%tc 8!"ass center: estab"%sh%n( the conte<t for har*on%! and *e"od%! stab%"%ty: and fo""o4%ng pred%!tab"e for*&" patterns. F%n&""y: I ap)"y the an&"yti!&" methodo"o(y in detai" to V&$( an W%""%&*s’s Benedicite and Ho"st’s The Hymn of Jesus: two substanti&" sin("e8*o'e*ent chor&" works that re)resent both the !onser'at%'e (Benedicite@ and e<)er%*ental (The Hymn of Jesus@ sides o# the co*)osers’ sty"e1 I also co*)&re the an&"yses w%th the te<ts and sho4 ho4 the co*)osers )ortrayed re"%(%ous ideas, e'en at dee)er le'e"s o# the pro"on(ation&" str$!ture1 The mod%#%ed S! en2er%an an&"yti!&" te!hn%+ues used in these an&"yses sho4 that e'en though Ho"st and V&$( an W%""%&*s used a n$*ber o# t4entieth-!entury !o*)osit%on&" te!hn%+ues, the%r pro"on(ation&" str$!tures st%"" fo""o4 e<)e!ted patterns and c"ose"y rese*b"e tr&d%t%on&" str$!tures. ' CURRICULUM VITAE NAME OF AUTHOR0 T%*othy P&$" Fran!%s GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED0 Un%'ersity o# Ore(on: E$(ene Un%'ersity o# Northern Co"orado: Gree"ey Br%( &* Young Un%'ers%ty – Idaho: Re<bur( DEGREES AWARDED0 Do!tor o# P %"oso)hy: Mus%! Theory: 2./-: Un%'ers%ty o# Ore(on Master o# Mus%!: T eory and Co*)osition: 2..B: Un%'ersity o# Northern Co"orado B&! e"or o# Mus%!&" Arts, Brass Ped&(o(y: 2..C: Br%( &* Young Un%'ers%ty – Idaho AREAS OF SPECIAL INTEREST0 Musi!&" Ener(et%!s Extensions o# S!hen2er%an An&"ysis Musi! and Re"%(%ous Re)resentation PROFESSIONAL EXPERIENCE: Gr&duate Te&! %ng Fe""o4: S!hoo" o# Mus%! and Dan!e: Un%'ers%ty o# Ore(on: -..BA-./- Assistant Lab Man&(er: S!hoo" o# Mus%!: Un%'ers%ty o# Northern Co"or&do: 2..EA -..B Musi! T eory Intern Instr$!tor: Mus%! De)&rtment, Br%( &* Youn( Un%'ersity – Idaho: 2..-1 GRANTS: AWARDS: AND HONORS0 Gr&duate Resear!h A4ard: Un%'ersity o# Ore(on Graduate S!hoo": 2./- Brass D%re!tor>s A4ard: Br%( &* Youn( Un%'ersity – Idaho Mus%! De)art*ent, -..C '% Se!ond Pr%;e in the Co*)osition Cate(ory: Outlet: 2..9 Magna c$* L&$de: Br%( &* Youn( Un%'ersity – Idaho: 2..C1 PUBLICATIONS0 Fran!%s, T%*othy1 -..F1 Family Gathering1 Ne4 Yor20 S &4nee Press, In!1 ?!o*)osition for f"ute: oboe: c"ar%net, bassoon: and p%ano@ ———1 2..91 The Reed at the Be&! 1 Outlet: 50G-AGF1 (!o*)osition for f"ute and ar)@ '%% AC3NOWLEDGMENTS I a* dee)"y indebted to Pro#essors J&!k Boss and Ste'e Rod(ers for the%r v&"uab"e )erspe!t%'es and assistan!e in the resear!h and wr%ting o# t %s d%ssertation1 I wo$"d also "%2e to e<)ress my grat%tude to my parents for sho4%ng me ho4 to be b&"an!ed and )ersistent, to my w%#e and c %"dren for stand%n( by me and sup)ort%n( me along the 4ay: and to the many other f&*%"y and fr%ends who o##ered a l%sten%ng e&r: sti*$"at%ng !on'ersations: and positi'e en!our&(e*ent. F%n&""y: I say thank you to Dr1 Ste'e Larson: 4ho passed away w %"e this d%ssertat%on was in pro!ess, for the insp%ration to seek e<!e""en!e in a"" I do1 Benedicite by R&")h Vaughan W%""%&*s © O<#ord Un%'ers%ty Press 1H-H1 Extr&!ts re)rod$!ed by per*%ssion1 A"" r%ghts reser'ed1 '%%% TABLE OF CONTENTS C &)ter P&(e I1 INTRODUCTION111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111/ I1/1 The Re"at%onshi) Bet4een Ho"st and Vaughan W%""%&*s11111111111111111111111111111111111111- I1-1 The Co*)osers and The%r Re"%(%ous Be"%e#s1111111111111111111111111111111111111111111111111111111111111C I191 The Co*)osers and Musi!&" An&"ysis11111111111111111111111111111111111111111111111111111111111111111111111B I1C1 Pro!ed$re for the D%ssertation11111111111111111111111111111111111111111111111111111111111111111111111111111111111/. II1 STYLE AND TECHNIIUE IN VAUGHAN WILLIAMS>S AND HOLST>S SACRED CHORAL MUSIC11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111/9 II1/1 Resear!h on the Musi! o# Ho"st and Vaughan W%""%&*s111111111111111111111111111111111111/C II1/1/1 Syno)ti! Stud%es111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111/C II1/1-1 An&"yti!&" Stud%es1111111111111111111111111111111111111111111111111111111111111111111111111111111111111111/G II1/191 Stud%es o# the Co*)osers’ S&!red Te<t Settings1111111111111111111111111111111111-B II1-1 S$**ary o# Pert%nent Sty"%st%! Features1111111111111111111111111111111111111111111111111111111111111111-H II1-1/1 D%aton%! Modes111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111119. II1-1-1 Har*ony1111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111199 II1-191 Other P%tch Co""e!t%ons and Har*on%! Te!hn%+ues111111111111111111111111111CC II1-1C1 Counter)o%nt111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111F/ II1-1F1 For*&" Str$!tures1111111111111111111111111111111111111111111111111111111111111111111111111111111111111111FE II1-1E1 A Br%e# Sty"%sti! Co*)ar%son11111111111111111111111111111111111111111111111111111111111111111111EF II191 Con!"usions: To4ards an An&"yti!&" Methodo"o(y for the S&!red Musi!11111EE III1 APPLYING SCHEN3ER>S ANALYTICAL TECHNIIUE111111111111111111111111111111111111111111111111111EB III1/1 Resear!h on Pert%nent Extens%ons o# S! en2er%an An&"ysis1111111111111111111111111111EG %< C &)ter P&(e III1/1/1 He%nr%!h S!hen2er and Ton&" De'%at%ons11111111111111111111111111111111111111111111EG III1/1-1 Post8ton&" Pro"on(ation111111111111111111111111111111111111111111111111111111111111111111111111111B9 III1/191 S!hen2er%an An&"ysis in Other Re"ated Re)ertor%es1111111111111111111111111GG III1-1 So*e Ter*%no"o(y111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111H/ III191 The An&"yti!&" Methodo"o(y11111111111111111111111111111111111111111111111111111111111111111111111111111111111HC III191/1 Estab"%s %ng a Ton%! or P%tc 8C"ass Center11111111111111111111111111111111111111111HE III191-1 Estab"%s %ng Har*on%! Stab%"%ty1111111111111111111111111111111111111111111111111111111111/.H III19191 Estab"%s %ng Me"od%! Stab%"%ty11111111111111111111111111111111111111111111111111111111111111//B III191C1 Fo""o4%n( Re!o(n%zab"e and Pred%!tab"e Patterns111111111111111111111111111/-H III1C1 S$**ary o# the Methodo"o(y1111111111111111111111111111111111111111111111111111111111111111111111111111111/9B IV1 VAUGHAN WILLIAMS>S BENEDICITE11111111111111111111111111111111111111111111111111111111111111111111111111111111/9H IV1/1 An&"ysis o# the Te<t and For*&" Design1111111111111111111111111111111111111111111111111111111111111/C.