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English Studies is an academic discipline that includes the study of literatures written in the English language (including literatures from the UK, the U.S., Ireland, Canada, Australia, New Zealand, Hong Kong, the Philippines, India, South Africa, and the Middle East, among other areas), English linguistics (including English phonetics, phonology, syntax, morphology, semantics, pragmatics, corpus linguistics, and stylistics), and English sociolinguistics (including discourse analysis of written and spoken texts in the English language, the history of the English language, English language learning and teaching, and the study of World Englishes).

More broadly, English studies explores the production and analysis of texts created in English (or in areas of the world in which English is a common mode of communication). It is not uncommon for academic departments of "English" or "English Studies" to include scholars of the English language, literature (including literary criticism and literary theory), linguistics, law, journalism, composition studies, the philosophy of language, literacy, publishing/history of the book, communication studies, technical communication, folklore, cultural studies, creative writing, critical theory, disability studies, area studies (especially American studies), theatre, gender studies/ethnic studies, digital media/electronic publishing, film studies/media studies, rhetoric and philology/etymology, and various courses in the liberal arts and humanities, among others.

In most English-speaking countries, the literary and cultural dimensions of English studies are typically practiced in university departments of English, while the study of texts produced in non-English languages takes place in other departments, such as departments of foreign language or comparative literature. English linguistics is often studied in separate departments of linguistics. This disciplinary divide between a dominant linguistic or a literary orientation is one motivation for the division of the North American Modern Language Association (MLA) into two subgroups. At universities in non-English-speaking countries, the same department often covers all aspects of English studies including linguistics: this is reflected, for example, in the structure and activities of the European Society for the Study of English (ESSE).

English major[link]

The English Major (alternatively "English concentration," "B.A. in English") is a term in the United States and a few other countries for an undergraduate university degree focused around the consumption, analysis, and production of texts in the English language. The term may also be used to describe a student who is pursuing such a degree.

Students who major in English reflect upon, analyze, and interpret literature and film, presenting their analyses in clear, cogent writing. Although help-wanted postings rarely solicit English majors specifically, a degree in English hones critical thinking skills essential to a number of career fields, including writing, editing, publishing, teaching and research, advertising, public relations, law, and finance.

History of English Studies[link]

Initially, English Studies comprised a motley array of content: the practice of oratory, the study of rhetoric and grammar, the composition of poetry, and the appreciation of literature (mostly by authors from England, since American literature and language study was only added in the twentieth century).^[1] In Germany and several other European countries, English Philology, a strongly positivistic and historically interested practice of reading pre-modern texts, became the preferred scholarly paradigm, but English-speaking countries distanced themselves from philological paradigms soon after World War I.^[2] At the end of this process, English departments tended to refocus their work on various forms of writing instruction (creative, professional, critical) and the interpreting of literary texts, and teacher education in English recovered from the neglect it had suffered because of more science-oriented paradigms.^[3] Today, English departments in native-speaking countries re-evaluate their roles as sole guardians of the discipline because English is less and less native speakers' unique 'property' and has to be shared with the millions of speakers and writers from other countries for whom English is an essential means of communication and artistic expression.^[4]

The English major rose into prominence in American colleges shortly after the introduction of the electives system^[when?]. It provided an opportunity for students to develop skills in analytical reading with the aim of improving their writing, as well as exercises in rhetoric and persuasive expression that had been traditionally only taught in classical studies and available to the very few due to language barriers and a shortage of professors who could actively engage students in the humanities. Outside the United States (originating in Scotland and then rippling out into the English-speaking world) the English major became popular in the latter half of the 18th century during a time when religious beliefs were shaken in the face of scientific discoveries.[1] Literature was thought to act as a replacement for religion in the retention and advancement of culture, and the English Major thus provided students with the chance to draw moral, ethical, and philosophical qualities and meanings of older studies from a richer and broader source of literature than that of the ancient Greek and Latin classics.

English Studies[link]

See also Literature and linguistics, along with List of academic disciplines

• English linguistics
• English sociolinguistics
• Discourse analysis in English
• English Stylistics (linguistics)
• World Englishes
• History of the English Language
• Composition studies
• Rhetoric
• Technical communication
• English language learning and teaching
• English Literature
  • American literature, including:
    • African American literature
    • Jewish American literature
    • Southern literature
  • Australian literature
  • British literature (literature from some regions of the United Kingdom may be written in Celtic languages)
  • Canadian literature (a significant amount of Canadian literature is also written in French)
  • Irish literature
  • New Zealand literature
  • Scottish literature
  • Welsh literature

Skills acquired[link]

In the past an academic degree in English usually meant an intensive study of British and American literary masterpieces. Now, however, an English Major encompasses a much broader range of topics which stretch over multiple disciplines. While the requirements for an English Major vary from university to university, most English departments emphasize three core skills: analyzing literature, a process which requires logic and reflective analysis; creativity and imagination with regards to the production of good writing; and an understanding of different cultures, civilizations, and literary styles from various time periods. Prospective English Majors can expect to take college courses in academic writing, creative writing, literary theory, American and British literature, multicultural literature, several literary genres (such as poetry, drama, and film studies), and a number of elective multidisciplinary topics such as history, courses in the social sciences, and studies in a foreign language. To the end of studying these disciplines, candidates for a Major in English attain skills in rhetoric, literary analysis, an appreciation for the diversity of cultures, and an ability to clearly and persuasively express their ideas in writing.

Examples of courses[link]

Most English courses fall into the broader categories of either Literature-based studies, which focus on classical authors and time periods, or Rhetorical studies, which concentrate on communication skills in preparation for specialization in a variety of professional fields. While specific graduation requirements vary from university to university, students can expect to study some of the following courses.

Courses in Writing and Composition: such as Academic and Professional Writing, which stress analytical writing and train students to produce clear, cohesive arguments; and Creative Writing workshops.

Courses in American Literature: Depending upon the university, these courses can either be broken down by time period, such as Nineteenth Century Gothic Fiction; authors, such as classes on Hawthorne, Hemingway, or Frost; or Literary schools and movements, such as Naturalism or Transcendentalism.

Courses in British Literature: Like American Literature, courses may focus on time periods, authors, genres, or literary movements. Examples include Shakespeare's Tragedies, History and Theory of British Drama, Medieval English Literature, the Victorian Novel, and Chaucer's The Canterbury Tales.

Courses in Multicultural Literature: The value of bringing a range of cultural and multidisciplinary perspectives to the study of English literature is being increasingly recognized in a number of universities. Examples include Multi-cultural Literatures in Medieval England, Latina Narratives, and Studies in Jewish Literature.

Rhetorical Courses: Focus on techniques of persuasive arguing in the written form, as well as skills which involve the analysis of written texts.

Career opportunities[link]

A major in English opens a variety of career opportunities for college graduates entering the job market. Since students who graduate with an English degree are trained to ask probing questions about large bodies of texts and then to formulate, analyze, and answer those questions in coherent, persuasive prose—skills vital to any number of careers—English majors have much to choose from after graduation. The most obvious career choices for English Majors are writing, publishing, journalism, and teaching. However, other less intuitive job options include positions in advertising, public relations, acting, law, business, marketing, and directing.

References[link]

• O'Hara, Shelly. What Can You Do with a Major in English. Hoboken: Wiley Publishing Inc., 2005. ISBN 0-7645-7605-4
• The University of Chicago Courses and Programs of Study The College 2006-2008. [2]
• de Vane, William Clyde. The English Major. College English, Vol. 3, No. 1 (Oct., 1941), pp. 47-52 [3]
• On the History of the English Major, [4]

External links[link]

• European Society for the Study of English (ESSE)
• Association of Departments of English in the US and Canada
• Conference on College Composition and Communication
• Sigma Tau Delta, Int. English Honor Society
• Modern Language Association (MLA)
• Organizations Related to the MLA

Ralph Vaughan Williams OM ( /ˌreɪf ˌvɔːn ˈwɪliəmz/;^[1] 12 October 1872 – 26 August 1958) was an English composer of symphonies, chamber music, opera, choral music, and film scores. He was also a collector of English folk music and song: this activity both influenced his editorial approach to the English Hymnal, beginning in 1904, in which he included many folk song arrangements set as hymn tunes, and also influenced several of his own original compositions.

Life[link]

Early years[link]

Ralph Vaughan Williams was born on 12 October 1872 in Down Ampney, Gloucestershire, where his father, the Reverend Arthur Vaughan Williams (the surname Vaughan Williams is an unhyphenated double-barrelled name of Welsh origin), was vicar. Following his father's death in 1875 he was taken by his mother, Margaret Susan née Wedgwood (1843–1937), the great-granddaughter of the potter Josiah Wedgwood, to live with her family at Leith Hill Place, a Wedgwood family home in the Surrey Hills. He was also related to the Darwins, Charles Darwin being a great-uncle. Though born into the privileged intellectual upper middle class, Vaughan Williams never took it for granted and worked all his life for the democratic and egalitarian ideals in which he believed.^[2]

The Darwin-Wedgwood-Galton family tree, showing Vaughan Williams's relationships to Charles Darwin and Josiah Wedgwood

As a student he had studied piano, "which I never could play, and the violin, which was my musical salvation." After Charterhouse School he attended the Royal College of Music (RCM) under Charles Villiers Stanford. He read history and music at Trinity College, Cambridge,^[3] where his friends and contemporaries included the philosophers G. E. Moore and Bertrand Russell. He then returned to the RCM and studied composition with Hubert Parry, who became a friend. One of his fellow pupils at the RCM was Leopold Stokowski and during 1896 they both studied organ under Sir Walter Parratt. Stokowski later went on to perform six of Vaughan Williams's symphonies for American audiences, making the first recording of the Sixth Symphony in 1949 with the New York Philharmonic, and giving the U.S. premiere of the Ninth Symphony in Carnegie Hall in 1958.

Another friendship made at the RCM, crucial to Vaughan Williams's development as a composer, was with fellow-student Gustav Holst whom he first met in 1895. From that time onwards they spent several 'field days' reading through and offering constructive criticism on each other's works in progress.^[4]

Vaughan Williams's composition developed slowly and it was not until he was 30 that the song "Linden Lea" became his first publication. He mixed composition with conducting, lecturing and editing other music, notably that of Henry Purcell and the English Hymnal. He had already taken lessons with Max Bruch in Berlin in 1897 and in 1907–1908 took a big step forward in his orchestral style when he studied for three months in Paris with Maurice Ravel.^[1]

In 1904, Vaughan Williams discovered English folk songs and carols, which were fast becoming extinct owing to the oral tradition through which they existed being undermined by the increase of literacy and printed music in rural areas. He travelled the countryside, transcribing and preserving many himself. Later he incorporated some songs and melodies into his own music, being fascinated by the beauty of the music and its anonymous history in the working lives of ordinary people. His efforts did much to raise appreciation of traditional English folk song and melody. Later in his life he served as president of the English Folk Dance and Song Society (EFDSS), which, in recognition of his early and important work in this field, named its Vaughan Williams Memorial Library after him. During this time he strengthened his links to prominent writers on folk music, including the Reverend George B. Chambers.

In 1905, Vaughan Williams conducted the first concert of the newly founded Leith Hill Music Festival at Dorking which he was to conduct until 1953, when he passed the baton to his successor, William Cole.^[5]

	Fantasia on a Theme by Thomas Tallis noicon Performed by the U.S. Army Band Strings.
Problems listening to this file? See media help.

In 1909, he composed incidental music for the Cambridge Greek Play, a stage production at Cambridge University of Aristophanes' The Wasps. The next year, he had his first big public successes conducting the premieres of the Fantasia on a Theme by Thomas Tallis (at the Three Choirs Festival in Gloucester Cathedral) and his choral symphony A Sea Symphony (Symphony No. 1). He enjoyed a still greater success with A London Symphony (Symphony No. 2) in 1914, conducted by Geoffrey Toye.

Two World Wars[link]

A statue of Ralph Vaughan Williams in Dorking.

Vaughan Williams was 41 when World War I began. Though he could have avoided war service entirely, or tried for a commission, he chose to enlist as a private in the Royal Army Medical Corps. After a gruelling time as a stretcher bearer in France and Salonika,^[6] he was commissioned as a Second Lieutenant in the Royal Garrison Artillery on 24 December 1917.^[7] On one occasion, though too ill to stand, he continued to direct his battery while lying on the ground.^[8] Prolonged exposure to gunfire began a process of hearing loss which eventually caused severe deafness in old age.^[2] In 1918, he was appointed Director of Music, First Army, and this helped him adjust back into musical life.

After the war, he adopted for a while a somewhat mystical style in Flos Campi, a work for solo viola, small orchestra and wordless chorus, and in A Pastoral Symphony (Symphony No. 3), which draws on his experiences as an ambulance volunteer in that war, including a cadenza for trumpet in the second movement based on a bugler practicing and repeatedly hitting a wrong note, a flattened seventh, which Vaughan Williams alludes to in the symphony. The work was premiered on 26 January, 1922, in London, with Adrian Boult conducting. From 1924 a new phase in his music began, characterised by lively cross-rhythms and clashing harmonies. Key works from this period are Toccata marziale, the ballet Old King Cole, the Piano Concerto, the oratorio Sancta Civitas (his favourite of his choral works) and the ballet Job: A Masque for Dancing, which is drawn not from the Bible but from William Blake's Illustrations of the Book of Job. He also composed a Te Deum in G for the enthronement of Cosmo Gordon Lang as Archbishop of Canterbury. This period in his music culminated in the Symphony No. 4 in F minor, first played by the BBC Symphony Orchestra in 1935. This symphony contrasts dramatically with the "pastoral" orchestral works with which he is associated; indeed, its almost unrelieved tension, drama, and dissonance have startled listeners since it was premiered. Acknowledging that the Fourth Symphony was different, the composer said, "I don't know if I like it, but it's what I meant." Two years later, Vaughan Williams made a historic recording of the work with the same orchestra for HMV (His Master's Voice), his only commercial recording. During this period, he lectured in America and England, and conducted The Bach Choir. He was President of the City of Bath Bach Choir between 1946 and 1959. He was appointed to the Order of Merit in the King's Birthday Honours of 1935,^[9] having previously declined a knighthood.^[2] He also gave private lessons in London to students including Irish composer Ina Boyle.^[10]

Vaughan Williams was an intimate life long friend of the famous British pianist Harriet Cohen. His letters to her reveal a flirtatious relationship, regularly reminding her of the thousands of kisses that she owed him. Before Cohen's first American tour in 1931 he wrote "I fear the Americans will love you so much that they won't let you come back."^[11] He was a regular visitor to her home and often attended parties there. Cohen premiered Vaughan Williams's "Hymn Tune Prelude" in 1930, which he dedicated to her. She later introduced the piece throughout Europe during her concert tours. In 1933 she premiered his Piano Concerto in C major, a work which was once again dedicated to her. Cohen was given the exclusive right to play the piece for a period of time. Cohen played and promoted Vaughan Williams's work throughout Europe, the USSR, and the United States.

His music now entered a mature lyrical phase, as in the Five Tudor Portraits; the Serenade to Music (a setting of a scene from act five of The Merchant of Venice, for orchestra and sixteen vocal soloists and composed as a tribute to the conductor Sir Henry Wood); and the Symphony No. 5 in D, which he conducted at the Proms in 1943. As he was now 70, many people considered it a swan song, but he renewed himself again and entered yet another period of exploratory harmony and instrumentation. His very successful Symphony No. 6 of 1946 received a hundred performances in the first year. It surprised both admirers and critics, many of whom suggested that this symphony (especially its last movement) was a grim vision of the aftermath of an atomic war: typically, Vaughan Williams himself refused to recognise any programme behind this work.

Later work[link]

Vaughan Williams plaque in Dorking parish church. He founded the Leith Hill Music Festival in 1905, with which he kept a lifelong involvement

Before his death in 1958, he completed three more symphonies. His Seventh, Sinfonia Antartica, which was based on his 1948 film score for Scott of the Antarctic, exhibits his renewed interest in instrumentation and sonority. The Eighth Symphony, first performed in 1956, was followed by the much weightier Symphony No. 9 in E minor of 1956–57. This last symphony was initially given a lukewarm reception after its first performance in May 1958, just three months before his death. But this dark and enigmatic work is now considered by many^[12] to be a fitting conclusion to his sequence of symphonic works.

He also completed a range of instrumental and choral works, including a Tuba Concerto, An Oxford Elegy on texts of Matthew Arnold, and the Christmas cantata Hodie. He also wrote an arrangement of The Old One Hundredth Psalm Tune for the Coronation Service of Queen Elizabeth II. At his death he left an unfinished Cello Concerto, an opera Thomas the Rhymer and music for a Christmas play, The First Nowell, which was completed by his amanuensis Roy Douglas (b. 1907).

Despite his substantial involvement in church music, and the religious subject-matter of many of his works, he was described by his second wife as "an atheist ... [who] later drifted into a cheerful agnosticism."^[13] It is noteworthy that in his opera The Pilgrim's Progress he changed the name of the hero from John Bunyan's Christian to Pilgrim. He also set Bunyan's hymn Who would true valour see to music using the traditional Sussex melody "Monk's Gate". For many church-goers, his most familiar composition may be the hymn tune Sine nomine written for the hymn "For All the Saints" by William Walsham How. The tune he composed for the mediaeval hymn "Come Down, O Love Divine" (Discendi, Amor santo by Bianco of Siena, ca.1434) is entitled "Down Ampney" in honour of his birthplace.

He also worked as a tutor for Birkbeck College.^[14]

In the 1950s, the composer supervised recordings of all but his Ninth Symphony by Sir Adrian Boult and the London Philharmonic Orchestra for Decca.^[15] At the end of the sessions for the mysterious Sixth Symphony, Vaughan Williams gave a short speech, thanking Boult and the orchestra for their performance, "most heartily," and Decca later included this on the LP.^[16] He was to supervise the first recording of the Ninth Symphony (for Everest Records) with Boult; his death on 26 August 1958 the night before the recording sessions were to begin provoked Boult to announce to the musicians that their performance would be a memorial to the composer.^[17] These recordings, including the speeches by the composer and Boult, have all been reissued by Decca on CD.

Vaughan Williams is a central figure in British music because of his long career as teacher, lecturer and friend to so many younger composers and conductors. His writings on music remain thought-provoking, particularly his oft-repeated call for all persons to make their own music, however simple, as long as it is truly their own. Vaughan Williams was laid to rest in Westminster Abbey.

Marriages[link]

He was married twice. His first marriage was to Adeline Fisher (daughter of the historian Herbert William Fisher) in 1896. Adeline was cousin of Ruth Fisher de Ropp,^[18] who was the mother of Robert S de Ropp. Robert's father, a semi-destitute European nobleman, was unable to pay for his son's post-secondary education. Consequently, Ralph and Adeline Vaughan Williams paid for Robert’s education at the Royal College of Science, in South Kensington, where he eventually specialised in biology and earned a PhD. De Ropp went on to be a successful research scientist and well-known author of books on human potentials.^[19] Adeline Fisher Vaughan Williams died in 1951 after many years of suffering from crippling arthritis.

Vaughan Williams had an affair with the married poet Ursula Wood beginning in 1938. After Wood's husband died in 1942, Wood became Ralph's literary advisor and personal assistant and moved into his Surrey home, apparently with the tacit approval of Adeline, for whom Wood served as a caretaker until Adeline's death in 1951.^[20] Wood wrote the libretto to his choral work The Sons of Light, and contributed to that of The Pilgrim's Progress and Hodie.^[21] Wood and Vaughan Williams married in 1953 and moved to London and occupied a house at 10 Hanover Terrace, Regents Park until the composer's death five years later. In 1964 Wood published RVW: A Biography of Ralph Vaughan Williams. She served as honorary president of the Ralph Vaughan Williams Society until her death in 2007.

Style[link]

Vaughan Williams's music has often been said to be characteristically English, in the same way as that of Gustav Holst, Frederick Delius, George Butterworth and William Walton.^[22] In Albion: The Origins of the English Imagination, Peter Ackroyd writes, "If that Englishness in music can be encapsulated in words at all, those words would probably be: ostensibly familiar and commonplace, yet deep and mystical as well as lyrical, melodic, melancholic, and nostalgic yet timeless." Ackroyd quotes music critic John Alexander Fuller Maitland, whose distinctions included editing the second edition of the Grove Dictionary of Music and Musicians in the years just before 1911, as having observed that in Vaughan Williams's style "one is never quite sure whether one is listening to something very old or very new."

His style expresses a deep regard for and fascination with folk tunes, the variations upon which can convey the listener from the down-to-earth (which he always tried to remain in his daily life) to the ethereal. Simultaneously the music shows patriotism toward England in the subtlest form, engendered by a feeling for ancient landscapes and a person's small yet not entirely insignificant place within them.^[2] His earlier works sometimes show the influence of Maurice Ravel, his teacher for three months in Paris in 1908. Ravel described Vaughan Williams as the only one of his pupils who did not write music like Ravel.^[22]

[edit] Works^[23]

Operas[link]

• Hugh the Drover or Love in the Stocks (1910–20). Romantic ballad opera. Libretto: Harold Child
• Sir John in Love (1924–28), from which comes an arrangement by Ralph Greaves of Fantasia on "Greensleeves"
• The Poisoned Kiss (1927–29; revisions 1936–37 and 1956–57). Libretto: Evelyn Sharp (later amended by Ralph and Ursula Vaughan Williams)
• Riders to the Sea (1925–32), from the play by John Millington Synge
• The Pilgrim's Progress (1909–51), based on John Bunyan's allegory

• The Shepherds of the Delectable Mountains (1921). Libretto: Ralph Vaughan Williams (from John Bunyan) (Later incorporated, save for the final section, into The Pilgrim's Progress)

Incidental music[link]

• The Wasps (1909; to Aristophanes's play The Wasps; best known as an orchestral suite)
• The Bacchae (1911; to Euripides's tragedy)
• The Death of Tintagiles (1913; to Maurice Maeterlinck's 1894 play)^[24]

Ballets[link]

• Old King Cole (1923)
• On Christmas Night (1926)
• Job: A Masque for Dancing (1930)
• The Running Set (1933)
• The Bridal Day (1938–39)

Orchestral[link]

• Symphonies
  • A Sea Symphony (Symphony No. 1), a choral symphony on texts by Whitman (1903–1909)
  • A London Symphony (Symphony No. 2) (1913)
  • A Pastoral Symphony (Symphony No. 3) (1921)
  • Symphony No. 4 in F minor (1931–34)
  • Symphony No. 5 in D major (1938–43)
  • Symphony No. 6 in E minor (1944–47, rev. 1950)
  • Sinfonia antartica (Symphony No. 7) (1949–52) (partly based on his music for the film Scott of the Antarctic)
  • Symphony No. 8 in D minor (1953–55)
  • Symphony No. 9 in E minor (1956–57)
• Heroic Elegy and Triumphal Epilogue (1900)
• In the Fen Country, for orchestra (1904)
• Norfolk Rhapsody No. 1 (1906, rev. 1914))^[25]
• The Wasps, an Aristophanic suite (1909; see Incidental music above)
• Fantasia on a Theme by Thomas Tallis (1910, rev. 1913 and 1919)
• March: Sea Songs (1923), arr. for orchestra 1924 by the composer
• Prelude and Fugue in C minor (1930)
• The Running Set (1933)
• Fantasia on "Greensleeves" (1934)^[26]
• Two Hymn Tune Preludes (1936)
• Partita for Strings (1938)
• Five Variants of Dives and Lazarus (1939)
• Household Music (1940)
• Concerto Grosso, for three parts of strings requiring different levels of technical skill (1950)
• Prelude on an Old Carol Tune (1952)
• Flourish for Glorious John (1957)

Concerti[link]

• Violin
  • The Lark Ascending for violin and orchestra (1914)
  • Concerto Accademico for violin and orchestra (1924–25)
• Viola
  • Flos Campi for viola, wordless chorus and small orchestra (1925)
  • Suite for Viola and Small Orchestra (1934)
  • Romance for viola and piano (1925–1934 circa)
• Piano
  • Piano Concerto in C major (1926–31)
  • Concerto for Two Pianos and Orchestra (1946; a reworking of Piano Concerto in C)
• Oboe Concerto in A minor, for oboe and strings (1944)
• Fantasia (quasi variazione) on the Old 104th Psalm Tune for piano, chorus, and orchestra (1949)
• Romance in D-flat major for harmonica and orchestra (1951) (written for Larry Adler)
• Tuba Concerto in F minor (1954)

Choral[link]

• The Garden of Proserpine, cantata for soprano, chorus & orchestra, setting of Algernon Charles Swinburne (1899)^[27]
• A Cambridge Mass, Missa brevis for SATB, double chorus & orchestra (1899); Doctoral exercise, first performed 3 March 2011.^{[28][29][30][31]}
• Toward the Unknown Region, song for chorus and orchestra, setting of Walt Whitman (1906)
• Five Mystical Songs for baritone, chorus and orchestra, settings of George Herbert (1911)
• Fantasia on Christmas Carols for baritone, chorus, and orchestra (1912); arranged also for reduced orchestra of organ, strings, percussion)
• Mass in G minor for unaccompanied choir (1922)
• Sancta Civitas (The Holy City) oratorio, text mainly from the Book of Revelation (1923–25)
• Te Deum in G major (1928)
• Benedicite for soprano, chorus, and orchestra (1929)
• In Windsor Forest, adapted from the opera Sir John in Love (1929)
• Three Choral Hymns (1929)
• Magnificat for contralto, women's chorus, and orchestra (1932)
• Five Tudor Portraits for contralto, baritone, chorus, and orchestra (1935)
• Dona nobis pacem, text by Walt Whitman and other sources (1936)
• Festival Te Deum for chorus and orchestra or organ (1937)
• Serenade to Music for sixteen solo voices and orchestra, a setting of Shakespeare, dedicated to Sir Henry Joseph Wood on the occasion of his Jubilee (1938)
• "Six Choral Songs To Be Sung In Time Of War" (1940)
• A Song of Thanksgiving (originally Thanksgiving for Victory) for narrator, soprano solo, children's chorus, mixed chorus, and orchestra (1944)
• An Oxford Elegy for narrator, mixed chorus and small orchestra (1949)
• Three Shakespeare Songs for SATB unaccompanied, composed for The British Federation of Music Festivals National Competitive Festival (1951)
• O Taste and See, a motet setting of Psalm 34:8. The original SATB version was composed for the Coronation of HM Queen Elizabeth II at Westminster Abbey in June 1953. (1953)
• Hodie, a Christmas cantata (1954)
• Folk songs of the Four Seasons A Cantata for Women's Voices with Orchestra or pianoforte accompaniment (1950).
• Epithalamion for baritone solo, chorus, flute, piano, and strings (1957)
• A Choral Flourish for unaccompanied SATB chorus, composed for a large choral event in the Royal Albert Hall at the invitation of (and dedicated to) Alan Kirby (c. 1952)
• O How Amiable (1934) An arrangement of a hymn for chorus and organ, originally written for the Abinger Pageant

Arrangements of Christian hymns[link]

Vaughan Williams was the musical editor^[32] of the English Hymnal of 1906, and the co-editor with Martin Shaw of Songs of Praise of 1925 and the Oxford Book of Carols of 1928, all in collaboration with Percy Dearmer.

• A Hymn of Glory Let Us Sing^[33]
• All Creatures of Our God and King^[33]
• Alleluia, Sing to Jesus^[33]
• Amid the Thronging Worshippers^[33]
• At the Name of Jesus^[33]
• "Come Down, O Love Divine"^[33] original hymnody by Bianco of Siena (1434)"Discendi, Amor santo"and entitled "Down Ampney" in honour of Vaughan Williams's birthplace
• Come, Let Us with Our Lord Arise^[33] an Easter anthem
• Come Thou Long Expected Jesus^[33] a carol for the season of Advent
• For All the Saints harmonised from "Sine Nomine"
• God Be With You Till We Meet Again^[33]
• I Love You Lord, My Strength, My Rock^[33]
• I Sing the Mighty Power of God^[33]
• Jesus, Lord, Redeemer^[33]
• "Let All Mortal Flesh Keep Silence", text of the Cherubic hymn of Liturgy of St James, harmonised to the French folk tune Picardy (1906)
• Make Room Within My Heart, O God^[33]
• My God, My God, O Why Have You Forsaken Me? a lament for Good Friday services during Passiontide
• O Come to Me, the Master Said^[33]
• "O Little Town of Bethlehem" a popular Christmas Carol penned by the American Phillips Brooks adapted to the English tune "Forest Green"
• O Sing a Song of Bethlehem^[33]
• On Christmas Night All Christians Sing^[33]
• When the Church of Jesus^[33]

Vocal[link]

• "Linden Lea", song (1901)
• The House of Life, six sonnets by Dante Gabriel Rossetti, set to music (1904)
• Songs of Travel (1904)
• "The Sky Above The Roof" (1908)
• On Wenlock Edge, song cycle for tenor, piano and string quartet (1909)
• Along the Field, for tenor and violin
• Three Poems by Walt Whitman for baritone and piano (1920)
• Four Poems by Fredegond Shove: for baritone and piano (1922)
• Four Hymns: for tenor, viola obbligato and piano (1914)
• Merciless Beauty for tenor, two violins, and cello
• Four Last Songs to poems of Ursula Vaughan Williams
• Ten Blake songs, song cycle for high voice and oboe (1957)

Chamber and Instrumental[link]

• String Quartet in C minor (1897) (early composition)
• String Quartet No. 1 in G minor (1908)
• String Quartet No. 2 in A minor ("For Jean, on her birthday," 1942–44)
• Phantasy Quintet for 2 violins, 2 violas and cello (1912)
• Piano Quintet in C minor for violin, viola, cello, double bass and piano (1903)
• Sonata in A minor for violin and piano (1952)
• Romance for viola and piano (undated)
• Six Studies in English Folk Song, for violoncello and piano (1926)

Organ[link]

• Three Preludes on Welsh Hymn Tunes (Bryn Calfaria, Rhosymedre, Hyfrydol) (1920)
• Prelude and Fugue in C minor (1921)
• A Wedding Tune for Ann (1943)
• The Old One Hundredth Psalm Tune, harmonisation and arrangement (1953)
• Two Organ Preludes (The White Rock, St. David's Day) (1956)

Film, radio, and TV scores[link]

• 49th Parallel, 1940, his first, talked into it by Muir Mathieson to assuage his guilt at being able to do nothing for the war effort
• Coastal Command, 1942
• BBC adaptation of The Pilgrim's Progress, 1942
• The People's Land, 1943
• The Story of a Flemish Farm, 1943
• Stricken Peninsula, 1945
• The Loves of Joanna Godden, 1946
• Scott of the Antarctic, 1948, partially reused for his Sinfonia antartica (Symphony No. 7)
• The England of Elizabeth
• Bitter Springs, 1950

Band[link]

• Rhosymedre (based on a Welsh hymn tune for organ) for concert band (1920)
• (English) Folk Song Suite for military band (1923)
• Sea Songs (1923)
• Toccata Marziale for military band (1924)
• Overture: Henry V for brass band (1933/34)
• Flourish for Wind Band (1939)
• Prelude on Three Welsh Hymn Tunes arranged from the organ piece for brass band (1955) and published by Salvationist Publishing and Supplies
• Variations for brass band (1957)

Recordings[link]

Vaughan Williams enjoys an extensive recorded legacy. Early recordings of individual symphonies made by Henry Wood (London), John Barbirolli (Fifth), Adrian Boult and Leopold Stokowski (both in the Sixth), and the composer's own recording of the Fourth, preceded several complete cycles. Stokowski's 1943 NBC Symphony broadcast of the Fourth Symphony has also been issued on CD, as has his 1964 Proms performance of the 8th with the BBC Symphony Orchestra. Sir Eugene Goossens recorded the 1920 edition of A London Symphony with the Cincinnati Orchestra for RCA Victor in 1941, the only recording of that version of the score ever made. Boult taped the first cycle (Symphonies 1–8) for Decca in the early 1950s, completing it with No. 9 for the Everest label in 1958; he re-recorded all nine for EMI between 1967 and 1972. Other cycles have followed from André Previn, Bernard Haitink, Bryden Thomson, Vernon Handley, Leonard Slatkin and Richard Hickox.

Several other foreign conductors have also recorded individual Vaughan Williams symphonies: Dimitri Mitropoulos and Leonard Bernstein both recorded the Fourth Symphony with the New York Philharmonic, the same orchestra with which Leopold Stokowski had made the first recording of the Sixth Symphony in 1949. This work was also recorded by Maurice Abravanel and the Utah Symphony in 1966. Paavo Berglund also recorded the Fourth and Sixth Symphonies and, among other CD releases, the Portuguese premiere of the Ninth Symphony, with Pedro de Freitas Branco conducting the National Symphony Orchestra of Portugal, has also been issued. Similarly, the US premiere of the Ninth Symphony, given by Leopold Stokowski in Carnegie Hall in 1958 'In Memoriam Vaughan Williams' has also been released on CD by Cala Records.

A first official release of the Symphony No. 5 conducted by the composer in 1952 was recently issued in the U.K. by Somm Recordings.

David Willcocks recorded much of the choral output for EMI in the 1960s and 1970s. Award-winning performances of the string quartets have followed on Naxos, which along with the Hyperion and Chandos labels have recorded much neglected material, including works for brass band and the rarely performed operas.

EMI Classics has issued a budget 30-CD set (34+ hours) with virtually all of Vaughan Williams's works, including alternative settings.

See also[link]

• International Council for Traditional Music
• Music of Sussex

Notes[link]

References[link]

• Vaughan Williams on Music, Ralph Vaughan Williams & David Manning. New York: Oxford University Press, 2008, ISBN 978-0-19-518239-2
• Heirs & Rebels, Ralph Vaughan Williams & Gustav Holst; ed. Ursula Vaughan Williams & Imogen Holst. London, Oxford University Press, 1959.
• Vaughan Williams, Simon Heffer. Northeastern; First American edition (1 March 2001). ISBN 978-1-55553-472-1.

External links[link]

Wikimedia Commons has media related to: Ralph Vaughan Williams

Wikiquote has a collection of quotations related to: Ralph Vaughan Williams

• Free scores by Ralph Vaughan Williams in the Choral Public Domain Library (ChoralWiki)
• Free scores by Ralph Vaughan Williams at the International Music Score Library Project
• 1956 audio interview with Vaughan Williams on his editing of the English Hymnal (from the BBC)
• The Ralph Vaughan Williams Society
• Vaughan Williams Phantasy Quintet Soundbites and discussion of work
• Ralph Vaughan Williams at the Internet Movie Database
• Ralph Vaughan Williams at the British Film Institute's Screenonline
• Heffer, Simon (5 December 2007). "Ralph Vaughan Williams: Uneasy listening". The Daily Telegraph. UK. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/12/05/bmwilliams105.xml. "A stunning new film about composer Ralph Vaughan Williams challenges the myths that obscure his legacy – and exposes the darkness that permeates his work."  (on the occasion of the 50th anniversary of the composer's death)
• Works by or about Ralph Vaughan Williams in libraries (WorldCat catalog)
• "Famous names in the First World War—Ralph Vaughan Williams" from The National Archives, includes extracts from his army service record, and his 1901 Census return.
• Archival material relating to Ralph Vaughan Williams listed at the UK National Register of Archives

Lewis & Clark College is a private college located in Portland, Oregon, U.S. It has an undergraduate College of Arts and Sciences, a School of Law, and a Graduate School of Education and Counseling. Lewis & Clark is a member of the Annapolis Group of colleges with athletic programs competing in the National Collegiate Athletic Association's Division III Northwest Conference. Just under 2,000 students attend the undergraduate College of Arts and Sciences,^[3] which is regarded as "more selective,"^[4] with a student body from more than 50 countries across six continents as well as most U.S. states.^[5] The School of Law is best known for its environmental law program,^[6] while the Graduate School of Education & Counseling is active in community engagement and social justice.

Originally chartered as the Albany Collegiate Institute in 1867 in the town of Albany, the school moved to the Portland campus in 1938 and in 1942 adopted the name Lewis & Clark College after the Lewis and Clark Expedition. Today, the three schools and their supporting offices occupy a campus of 137 acres (554,000 m²), centered on the M. Lloyd Frank Estate on Palatine Hill in the Collins View neighborhood of Southwest Portland.

History[link]

Like many modern universities, the institution that would eventually become Lewis & Clark was initially intended to provide secondary as well as higher education for a specific religious community, in this case Presbyterian pioneers in Oregon's Willamette Valley. To this end the Presbyterian church incorporated Albany Academy in 1858,^[7] making Lewis & Clark one of four Oregon colleges with foundations predating Oregon's statehood (along with Willamette University, Pacific University, and Linfield College). Within a decade of its founding, Albany Academy began to focus more exclusively on higher education, changing its official name to the Albany Collegiate Institution in 1866. Lewis & Clark's official founding date comes from the current charter, which has been legally valid since the Presbyterian church reincorporated the Albany Collegiate Institution as Albany College in 1867.^[7] Unlike most Oregon colleges of the pioneer-era, the college has been coeducational since the first class, which graduated in 1873. The early campus of 7 acres (28,000 m²) in Albany was situated on land donated by the Monteith family. In 1892, the original school building was enlarged, and in 1925 the school relocated south of Albany where it remained until 1937.^[7]

Albany College established a junior college to the north in Portland in 1934, with the entire school moving to Portland in 1939.^[7] The campus grounds later became home to the federal government's Albany Research Center.^[8] In 1942 the college trustees acquired the Lloyd Frank (of the historic Portland department store Meier & Frank) “Fir Acres” estate in southwest Portland, and the school name was changed to Lewis & Clark College.^[7] The original school mascot, the Pirates, was changed to the Pioneers in 1946.

Academics[link]

The three schools of the college include the College of Arts and Sciences (CAS), the Law School, and the Graduate School of Education and Counseling.

CAS departments include Art, East Asian Studies, English, Foreign Languages and Literatures (French, Chinese, German, Greek, Spanish, Latin, Russian, and Japanese), History, Music, Philosophy, Religious Studies, Theatre, Biology, Chemistry, Computer Science, Mathematics, Environmental Studies, Physics, Communication, Economics, Classical Studies, Gender Studies, International Affairs, Latin American Studies, Political Science, Psychology, Sociology and Anthropology, and Academic English Studies.

Lewis & Clark has nationally-regarded programs in Biology, International Affairs, Psychology, Foreign Languages and Environmental Studies. The college has held two worldwide symphonic festivals in the past five years with professional-level performances in Dublin and the Greek islands. Lewis & Clark is ranked 71st in the list of best liberal arts colleges in U.S. News & World Report's 2009 rankings.^[10] Currently Lewis & Clark holds not only the top best Liberal Colleges ranking but also by Princeton Reviews is ranked as the second most beautiful campus ranking in the country.

Lewis & Clark is also known for its active and diverse overseas study program. The college offers approximately 36 programs in various countries, and since the 1960s, more than 60% of all Lewis & Clark undergraduates have studied abroad.^[11] For a small liberal arts college, Lewis & Clark's overseas offerings are impressive in both breadth and scope; there are, for example seven discrete programs in Spanish-speaking countries. Lewis & Clark is also one of the few U.S. institutions with an overseas program in Cuba. This international component is integrated into the college's academics, especially in departments such as International Affairs and Foreign Languages, and is also part of Lewis & Clark College's identity and reputation as an international institution.

Campus[link]

Campus overview[link]

Frank Manor House

Lewis & Clark's 137-acre (0.55 km²) forested campus sits atop Palatine Hill in the Collins View neighborhood of Portland, Oregon, and is contiguous with the 645 acre (2.61 km2) Tryon Creek State Natural Area. Campus buildings include an award-winning environmentally sustainable academic building,^[12] as well as notable historic architecture such as the Frank Manor House and Rogers Hall (formerly Our Lady of Angels convent of The Sisters of St. Francis).^[13]

Due in large part to the college's natural environment, Lewis & Clark was recently named one of America's top ten "Most Beautiful Campuses" by the Princeton Review,^[14] as well as an independent architecture blog.^[15]

Residence halls[link]

Stewart Residence Hall

All students are required to live on campus for the first two years, unless already a Portland resident.^[16] Residence halls include SOA (Stewart-Odell-Akin), Forest, Hartzfeld, Platt-Howard, Copeland and also include East, Roberts, and West, the on-campus apartments.

Several of the student residence halls have themes. Stewart is "Substance Free/Wellness", providing a home for those who wish to live in a drug and alcohol-free environment. Akin is known as the "Multicultural Dorm", hosting a majority of students from outside of the United States as well as some U.S. students with international experience. Platt-Howard: Platt West houses the Platteau student-run arts center, and the "Visual and Performing Arts" (or VAPA) and Howard has an "Outdoor Floor". Spruce, in the Forest complex, offers all-female housing. Juniper, also in Forest, is the "Pioneers in Environmental Action and Service" (PEAS) Floor, more generally known as the "green" floor. Hartzfeld requires sophomore standing or higher to live in. East Hall, Roberts Hall and West Hall are a series of on-campus apartments completed in 2003 and require junior class standing or higher to live in. Many of the apartments have language themes, with residents grouped into a single apartment based on language. Languages include French, Spanish, German, Russian, Chinese, Japanese, and more.

Student life[link]

Sustainability[link]

Roses are abundant at Lewis & Clark College

Sustainability is an important issue for many students, faculty, and college administrators. Currently, wind power provides 100% of the college's total electricity,^[17] and LEED 'Certified' level must be met for all of the college's projects.^[18] Reuters recently listed Lewis & Clark as one of the ten best universities in the United States for studying Cleantech.^[19]

Athletics[link]

Lewis & Clark maintains 9 male and 10 female varsity sports teams, and athletic facilities including Pamplin Sports Center and Griswold Stadium.^[20] Lewis & Clark athletic teams are called the Pioneers, and team colors are orange and black. The Pioneers compete mainly in the Northwest Conference against eight other NCAA Division III institutions in the Pacific Northwest. One in five undergraduates are officially designated student athletes.^[21] Recent accomplishments in varsity athletics include the men's rowing team winning its conference, women's swim team winning third in conference, and men's and women's basketball both earning third in conference.^[22] In the 2011 season, the women's cross-country team placed seventh at West regionals, with the men's team placing 13th.^[23] The 2011-2012 men's basketball team lost in the NWC semifinals putting them in 4th place in the conference.^[24] Additionally, the women's team of that same year placed second in the NWC^[25] and made an appearance in the NCAA DIII National tournament.^[26]

A large number of smaller club and intramural sports such as Ultimate Frisbee,^[27] and Boffing^[28] enjoy broad participation. Lewis & Clark students have invented several intramural competitive sports, including Ninja^[29] and Wolvetch,^[30] which are popular at Lewis & Clark but seldom played elsewhere. While some varsity athletic events are well attended, there has long been tension between varsity athletes and non-athletes regarding perceived social and cultural differences, as well as the substantial financial support varsity sports teams enjoy.^[31][32]

Transportation[link]

Throughout the year the college operates a shuttle bus between campus and Pioneer Square in downtown Portland (called the Pio Express, or colloquially The Raz, due to its operation by Raz Transportation). During winter months there is also a daily shuttle to Mount Hood Meadows Ski Resort. TriMet line 39 operates between the college and the Hillsdale neighborhood where students can transfer to buses to downtown Portland. First year students are not permitted to have cars on campus.

Notable faculty, staff, and trustees[link]

Miller Center for the Humanities

• Stephen Dow Beckham, historian^[33]
• Greta Binford, biologist^[34]
• John F. Callahan, Morgan S. Odell Professor of Humanities and literary executor of Ralph Ellison's estate
• Jerusha B. Detweller-Bedell, Associate professor of psychology and recipient of 2008 U.S. Professor of the Year award from CASE^[35]
• Bob Gaillard - basketball coach
• Michael Mooney - President of the College for 14 years until his resignation in 2003 after reports surfaced in the media of a $10.5 million loss from an investment made outside full knowledge of the board of trustees.^[36]
• Robert B. Pamplin, Jr., entrepreneur, philanthropist, trustee^[37]
• Vern Rutsala, poet^[38]
• Kim Stafford, writer^[39]
• William Stafford, poet^[40]
• Anthony Swofford, former adjunct professor of humanities, author of Jarhead^[41]
• Mary Szybist, poet^[42]

Notable alumni[link]

Flanagan Chapel, site of various on-campus religious services and weddings.

• Becca Bernstein (2000), artist
• Earl Blumenauer (1970, JD 1976), US Representative^[43]
• Don Bonker (1964), former US Representative^[44]
• Larry Campbell (1953), former Speaker of the Oregon House of Representatives^[45]
• Donald Eric Capps (1960), scholar of Pastoral Theology
• Ever Carradine (1996), actress^[46]
• Genevieve Gorder (1996), television personality^[47]
• Jeanne Holm (1956), first female Brigadier General in the United States Air Force and first female Major General in the United States armed forces^[48]
• Percy R. Kelly (1887 from Albany College), Chief Justice of the Oregon Supreme Court
• Marcia S. Krieger (1975), Judge on the United States District Court for the District of Colorado^[49]
• Monica Lewinsky (1995), White House intern and party to the Lewinsky scandal^[50]
• Ronald A. Marks (1978), former CIA official^[51]
• Myah Moore (2003), Miss Oregon USA 2003^[52]
• Markie Post (1975), actress
• Sagala Ratnayaka (1993), Sri Lankan politician and agriculturalist
• Mark V. Olsen, (1977), co-creator of HBO series Big Love^[53]
• Pete Ward (1962), Major League Baseball player^[54]

Notes[link]

References[link]

• Lewis & Clark College (2005). "Academics". Retrieved July 26, 2005.
• Princeton Review (2006). [5]

External links[link]

Wikimedia Commons has media related to: Lewis & Clark College

• Official College Website
• Lewis and Clark College Alumni
• KLC Radio - Lewis and Clark's radio station
• The Pioneer Log - Lewis & Clark's weekly newspaper