Analysis of five works by Herbert Howells, with reference to features of the composer’s style

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/594 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/594 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/594 archive 4031 disk0/00/00/02/36 2009-05-14 11:52:05 2019-01-23 09:51:46 2011-07-19 16:14:29 thesis show 0 Ward Martin John mjward80@googlemail.com Rodmell Paul ftp://ubira.bham.ac.uk/eTheses/236_Ward/ University of Birmingham Analysis of five works by Herbert Howells, with reference to features of the composer’s style unpub M1 30sch_huma Herbert Howells, Herbert Howells’ style, Elegy, Blessed are the Dead, Hymnus Paradisi, Take Him Earth for Cherishing, Stabat Mater The musical examples are not reproduced in this web version of the thesis As much research into Herbert Howells to date has focused on the historical aspects of his life and works, the prime intention of this study is to reveal more about Howells’ compositional processes. With this in mind there are two focuses that enable this investigation. Firstly, the analysis of five contrasting works, providing an understanding of how each composition is constructed. These works are Elegy for Viola, String Quartet and String Orchestra, Blessed are the Dead, Hymnus Paradisi, Take Him, Earth, for Cherishing and Stabat Mater. The second objective is the identification of the more important fingerprints of Howells’ musical style. This will cover harmonic, rhythmic, and melodic features, as well as matters relating to orchestration. 2006-07 2005 graduation 2540806 eng Howells, Herbert - Elegy, Howells, Herbert - Blessed are the dead, Howells, Herbert - Hymnus paradisi Howells, Herbert - Take him earth for cherishing Howells, Herbert - Stabat Mater author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 208 University of Birmingham Music m_ph FALSE na 2006-07 graduation