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        <identifier>oai:www.ideals.illinois.edu:2142/45439</identifier>
        <datestamp>2023-07-11</datestamp>
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        <thesis xmlns="http://www.ndltd.org/standards/metadata/etdms/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:dc="http://purl.org/dc/elements/1.1/" xsi:schemaLocation="http://www.ndltd.org/standards/metadata/etdms/1.1/ http://www.ndltd.org/standards/metadata/etdms/1.1/etdms11.xsd http://purl.org/dc/elements/1.1/ http://www.ndltd.org/standards/metadata/etdms/1.1/etdmsdc.xsd">
          <dc:contributor>Alwes, Chester L.</dc:contributor>
          <dc:contributor>Alwes, Chester L.</dc:contributor>
          <dc:contributor>Ward, Thomas R.</dc:contributor>
          <dc:contributor>Coleman, Barrington</dc:contributor>
          <dc:contributor>Blume, Philipp</dc:contributor>
          <dc:creator>Luethi, Dean</dc:creator>
          <dc:date>2013-08-22T16:40:11Z</dc:date>
          <dc:date>2013-08-22T16:40:11Z</dc:date>
          <dc:date>2013-08</dc:date>
          <dc:date>2013-08-22T16:40:11Z</dc:date>
          <dc:date>2013-08</dc:date>
          <dc:description>Ralph Vaughan Williams’ Sea Symphony has become standard choral/orchestral repertoire.
Written between 1903-1910, the premier of this work occurred during the Leeds Festival on
October 12, 1910. This was largest work Vaughan Williams had composed at that time. For the
text of this large work, Vaughan Williams used poetry from Walt Whitman’s Leaves of Grass.
Although he uses Whitman’s poetry, the selection of specific poems and omissions were decided
upon by Vaughan Williams and the subject was the sea.
This missive is written by a choral conductor, for the choral conductor. The aim of this
paper is to provide the choral conductor with the necessary information to better prepare their
chorus. Chapter one details the life of Vaughan Williams through 1910 (the year of the premier).
Chapter two discusses Leaves of Grass and how it may have influenced Vaughan Williams
enough to seek out text from this prolific poet. Chapters three through six discuss the four
movements of the symphony in turn. Rather than analytical or historical conclusions, I discuss
the form of the movements and conclude each chapter with rehearsal strategies to better able the conductor to prepare their chorus. Chapter seven includes my conclusions and appendix A lists
useful warm-ups designed to extend the range of the chorus to meet the needs of Vaughan
Williams’ work.</dc:description>
          <dc:description>Item withdrawn by Mark Zulauf (zulauf@illinois.edu) on 2013-07-02T18:25:01Z
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          <dc:identifier>http://hdl.handle.net/2142/45439</dc:identifier>
          <dc:language>en</dc:language>
          <dc:rights>Copyright 2013 Dean Luethi</dc:rights>
          <dc:subject>Sea Symphony</dc:subject>
          <dc:subject>Vaughan Williams</dc:subject>
          <dc:subject>Choral Orchestral Repertoire</dc:subject>
          <dc:subject>Walt Whitman</dc:subject>
          <dc:subject>Choral Symphony</dc:subject>
          <dc:title>Ralph Vaughan Williams' Sea Symphony: formal structures and analyses informed by poetry</dc:title>
          <dc:type>text</dc:type>
          <degree>
            <department>Music</department>
            <departmentCode>1495</departmentCode>
            <discipline>Music</discipline>
            <disciplineCode>0265</disciplineCode>
            <grantor>University of Illinois at Urbana-Champaign</grantor>
            <level>Dissertation</level>
            <name>A.Mus.D.</name>
            <program>AMUSD:Music -UIUC</program>
            <programCode>10KS0265AMUS</programCode>
          </degree>
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