E. J. Moeran (1894-1950), who lived with Warlock for a time and whose song collection Seven Poems of James Joyce (1929) is influenced by him, expanded his style and technique during the 1930s to include a Sibelian thematic growth in his G Minor Symphony (1934-7). The tough vigour of the Sinfonietta (1944) marks a further step towards modernism, although the outer movements of the Violin Concerto (1942), with their poetic dreaming, reveal the continuing influence of both Delius and Vaughan Williams on his style. Herbert Howells (1892-1983) was also indebted to both composers, a ruminative pastoralism suffusing the String Quartet In Gloucestershire (1923), and a Delian sense of loss in the a capella Requiem (1936), subsequently expanded into Hymnus Paradisi (1938). The broader scope of the music of John Foulds (1880-1939), with its integration of some modernist elements, meant that his piano concerto, Dynamic Triptych (1929), can stand beside Vaughan Williams' concerto (1931) without loss of face as can his Ninth String Quartet, Quartetto Intimo (1932), beside Bridge's later quartets.
During his lifetime, Foulds' reputation was based on his light music, the Keltic Lament (1911) catching the public's ear. Other composers, Haydn Wood (1882-1959), Eric Coates (1886-1957) and Frederic Curzon (1899-1973), specialized in this area. Coates' belief that music should play a vital part in everyday life became fact with the advent of broadcasting, and the choice of his music for signature tunes brought it to the notice of a very large audience - the march Calling All Workers (1940), introduced the radio programme Music While You Work, while another march, Knightsbridge, heralded the TV programme In Town Tonight. The syncopated piano novelties of Billy Mayerl (1902-59), such as Marigold (1927) and the suite, Four Aces (1933), became very popular.