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Thematische Bibliographien / Clarinet with string quartet / Dissertationen

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Dissertationen zum Thema „Clarinet with string quartet“

Autor: Grafiati

Veröffentlicht am 24. Juni 2021

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1

Rothenberg, Florie. "Music for clarinet and string quartet by women composers." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

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This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

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2

Rubio, Carrion Maria. "Performance and analysis of Brahms quintet op. 115 for clarinet and string quartet : Searching for a deeper interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4156.

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In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed. From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece. After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.

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3

Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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4

Willson, Simon. "A portfolio of compositions presented for the degree of PhD in music composition at the University of Aberdeen." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=136866.

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This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently. Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language. In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance. From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

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5

O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

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McConnell, Sarah E. "Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248493/.

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Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.

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7

Ben-Tal, Oded. "String quartet /." May be available electronically:, 2002. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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8

Baird, David Olen Rudy Paul. "String beans and rice three dances for jazz quartet and string quartet /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>"A thesis in music composition." Advisor: Paul Rudy. Typescript. Duration: 15:00. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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Santa, Ana Alfredo. "Passenger - for string quartet." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27216.

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Passenger is a multi-version musical composition of approximately 40 minutes in length scored for string quartet. The formal design of the piece involves reconfiguring its large-scale form each time it is performed. During any given performance the piece is an uninterrupted and continuous flow of music, but its distinct seven-segment structure allows a reordering of the music’s segments in a chosen sequence where each segment is played once, and only once, starting with a fixed opening segment. Once the order of the segments is selected each segment connects to the next through a series of overlapping transitions that present an unbroken listening experience. The total number of possible variations for Passenger is 720. Comparatively, each possible rendering of the piece offers a wide degree of change in order to demonstrate how impermanent large-scale form operates as a compositional technique. Its changing structure was created with the intention of promoting a variety of readings of the composition’s musical content by altering the chronological placement of large sections of music. Subsequent listening experiences will explore alternative pathways with which to cover familiar musical material and contribute to the music’s overall interpretation. The goal of this project is to rethink the role of form, and to use it as an agent of change capable of generating new and expressive methods of music making and listening.

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Arbury, David Bryant. "String quartet no. 2." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3493.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Schultz, Arlan Nelson Renner Martha. "String quartet no. 1 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3166407.

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12

French, Daniel W. "String quartet in C major." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/449.

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13

Prestia, Chrysa. "Temporum mobile : for string quartet /." May be available electronically:, 2004. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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14

Hinger, Lesley Raine. "Desolation sound for string quartet." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11014.

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Thesis (D.M.A.)--Boston University<br>This dissertation for the Doctor of Music Arts degree in Composition consists of an eight minute, single-movement work for string quartet titled desolation sound, that was written between 2013-2014. This piece was first read by the Arditti String Quartet on March 24, 2014 at Boston University, and premiered in Cambridge, Massachusetts on April 18, 2014 by Micah Ringham (violin), Lilit Hartunian (violin), Ashleigh Gordon (viola) and Rachel Barringer (violoncello).

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15

Malchow, William R. "String Quartet in Three Movements." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2572.

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16

Gotlib, Jacob Rudy Paul. "The slow splintering for string quartet, percussion quartet, and electronics /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>"A thesis in music composition." Advisor: Paul Rudy. Typescript. Duration: 12:24. Vita. Includes performance notes. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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17

ZHAO, LINGYAN. "STRING QUARTETS." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147967807.

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18

OKPEBHOLO, SHAWN E. "SECOND QUARTET." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115873910.

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19

Touizrar, Mohamed. "String Quartet No. 1: dialogues funerailles." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107665.

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String Quartet No. 1: Dialogues Funérailles is a composition that models the predominantly narrative dialectic of the string quartet genre. Dialectic is modeled from the structural level of the piece through to the surface interaction of the four instruments. The pitch plan involves a four-stage pitch structure whose final stage produces two contrasting pitch fields (A and B). Each of the five movements of the quartet takes a different view of the pitch system, creating a formal dialogue between five entities, whose topic is explored through textural changes and contrasting uses of the overall structure.<br>Le quatuor à cordes, no 1 : Dialogues Funérailles, fait appel à la dialectique narrative prédominante du genre des quatuors à cordes en tant que modèle. La dialectique se conforme au niveau structurel jusqu'à l'interaction des quatre instruments à la surface de la composition. Le plan des hauteurs s'arrange autour d'une structure de hauteurs à quatre étapes, dont l'ultime étape produit deux agrégats contrastés (A et B). Chacun des cinq mouvements du quatuor approche ce système de hauteurs de façon particulier, créant ainsi un dialogue formel entre cinq objets, dont le sujet est exploré par moyen des changements de la texture et l'emploi contrastant de la structure englobante.

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20

Baaklini, Roula. "Leyla and Mejnun for String Quartet." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/831.

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Leyla and Mejnun for string quartet relates a classical Middle Eastern love story. A young poet named Qays Ibn Al-Mulawwah fell in love with his cousin Leyla. He went mad when her father prevented him from marrying her. The music consists of four interwoven movements. The Prelude is based on a motif in F# played by the first violin, then by the second violin on Bb, and finally by the viola and cello altogether, respectively in D and Ab. It ends with a final restatement of the motif on the second violin with pizzicato on the three other instruments. The Prelude is followed by a dramatic transition that leads to the Love Theme which is treated as a theme and variations. The third movement is a Scherzo based on a Middle Eastern dance called Dabke. It ends with an Epilogue whose materials stem from the Prelude.

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Ahn, Seungchul. "The Musical Moment: For String Quartet." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1289579429.

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22

Winders, Christopher. "Concerto grosso for string quartet and orchestra /." Digitized version, 2008. http://hdl.handle.net/1802/7635.

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Thesis (Ph. D.)--University of Rochester, 2008.<br>Duration: ca. 15:00. Includes program and performance notes. Accompanied by: Cycle of cycles : ordering principles suggested by George Perle's twelve-tone tonality / by Christopher Clay Winders (x, 45 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7635

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23

Robin, Gregory Jude. "Sections a quartet for flute and string trio /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2149.

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24

Tseng, Su-ling. "Gerald Finzi's Concerto for clarinet and string orchestra /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983130.

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25

Bowers, Greg Jerome. "String quartet no. 2 : by-products of mass media /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11378.

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26

Mays, Jessica. "Com Saudades for alto voice, harp and string quartet." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104806.

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Com Saudades is a collection of six short pieces composed for alto voice, harp and string quartet. The suite explores the concept of saudade, a term of yearning specific to Portuguese culture that is often the subject of Fado music. The vocal text includes six contrasting poems by Fernando Pessoa (1888-1935) including two written in English, each presenting a unique outlook on saudade. The suite also pays homage to Portuguese guitarist and composer, Carlos Paredes (1925-2004).<br>Com Saudades est une suite de six pièces pour voix d'alto (contralto), harpe et quatuor à cordes. La composition met en valeur le concept de saudade, terme propre à la culture portugaise qui signifie à la fois tendresse et désir ; ce concept est souvent le sujet de la musique appelée Fado. Le texte chanté comporte six poèmes de Fernando Pessoa (1888-1935), dont deux ayant été écrits par lui-même en anglais. Chaque poème dévoile un aspect spécifique du concept de saudade. La suite rend hommage aussi au compositeur guitariste portugais, Carlos Paredes (1925-2004).

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27

Moran, David W. (David Wayne). "Chaos, Cosmos, and Communion: Three Movements for String Quartet." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278804/.

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The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.

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Crafton, Elizabeth B. "Preferential Strategies in Elliott Carter's String Quartet No. 2." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278805/.

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For the purposes of expressive intent, Carter developed compositional strategies that possess qualities congruent with the musical language in his Second Quartet (1959). He employed strategies including tempo modulation, triple groupings, and large-scale ratios to assemble the musical discourse and to guide the listener's perception of large-scale continuity. I label these devices collectively as "preferential strategies" because it is Carter who selects certain pre-compositional ideas that organize musical material and demarcate structural locations. Tempo modulations that organize dual meters and triple groupings that interact in transitional and transformational ways demonstrate his concern with controlling the overall time continuity through local level organization. Large-scale ratio relations between nine interlocking sections of this four movement work illustrate how Carter employs a local strategy that projects a large-scale structure. Recognizing that Carter's ultimate compositional goal prioritizes temporal processes, these proposed preferred strategies articulate a convergence of musical elements.

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Cain, Peter L. "A “Farewell” to His Past: Krzysztof Penderecki’s Clarinet Quartet and Sextet." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336683462.

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Papiotis, Panagiotis 1985. "A computational approach to studying interdependence in string quartet performance." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/361107.

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This dissertation proposes a computational data-driven methodology to measure music ensemble interdependence - the degree to which musicians interact and influence each other’s actions in order to achieve a shared goal - using a string quartet ensemble as a case study. Combining elements from multiple disciplines, this methodology involves the acquisition of multimodal performance data under experimental conditions, the extraction of numerical features that describe the performance in terms of distinct musical dimensions (intonation, dynamics, timbre, timing), the computational estimation of interdependence for each performance dimension individually, and the assessment of the capability of listeners to perceive interdependence. Our results show that it is possible to detect interdependence in string quartet performance in different performance dimensions, as well as to compare its relative amount across different recordings and relate the results to the underlying goal of the score. The experimental data have been published online as an open research dataset.<br>Esta disertación propone una metodología computacional basada en datos para medir la interdependencia entre los intérpretes de un conjunto musical - el grado en que los musicos interactuán e influyen sus acciones para conseguir un objetivo común - utilizando un cuarteto de cuerda como caso de estudio. Esta metodología implica la adquisición de datos multimodales de interpretaciones bajo condiciones experimentales, la extracción de descriptores numéricos que describen la interpretación en términos de distintas dimensiones musicales (entonación, dinámica, timbre, tempo), la estimación computacional de la interdependencia de cada dimensión individualmente y la evaluación de la capacidad de oyentes para percibir la interdependencia. Nuestros resultados muestran que es posible detectar la interdependencia en distintas dimensiones de interpretación, así como comparar su peso relativo a través de distintas grabaciones y relacionar los resultados con el objetivo fundamental de la partitura. Los datos experimentales han sido publicados online en forma de base de datos abierta para la investigación.

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Locke, Brian. "Zemlinsky's fragmentary string quartet from 1927, edition, analysis and aesthetics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28608.pdf.

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32

Cuffman, Timothy James. "A practical introduction to just intonation through string quartet playing." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3065.

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Intonation is one of the most important issues facing performers of string quartets. Often, string students learn to play in tune strictly in terms of their own melodic line. To play in tune in a string quartet requires an understanding of the underlying harmony and how intonation can be fluid and flexible in an ensemble. This paper offers students an introduction to harmonic intonation and provides exercises to put this knowledge into practice. The text begins with instruction and exercises related to perfect intervals, which form the basis for intonation. Next, consonant intervals are discussed along with exercises for practice and ear training. Chords are constructed and practiced upon the basis of this interval practice. Student quartets are then asked to play excerpts from the repertoire presented as harmonic reductions and as originally written in order to connect the theoretical knowledge to the string quartet repertoire. Finally, chorales by J.S. Bach arranged for string quartet are provided for continuing practice of intonation in tonal harmony. It is not the attempt of this project to teach music theory or present a comprehensive study of the many issues and challenges related to intonation in string quartet playing. The aim of this essay is to provide students with a solid foundation and practical application of basic principles of playing in tune in a string quartet.

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DeAngelo, Justin. "Zen and the art of motorcycle maintenance : score and analysis /." View online, v.1, 2008. http://repository.eiu.edu/theses/docs/32211131458621.pdf.

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34

Turner, Richard John. "Style and tradition in string quartet performance : a study of 32 recordings of Beethoven's op. 131 quartet." Thesis, University of Sheffield, 2004. http://etheses.whiterose.ac.uk/12790/.

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Thirty-two recordings of the Op. 131 string quartet by Beethoven, dating from 1924 to 1995, are compared to examine questions concerning changes and differnces in the performance style of string quartets. The background and historical context of the ensembles involved are explored and discussed, and the recordings are analysed using a number of objective measurement techniques. Aspects of performance style including choice of tempo, tempo flexibility, portamento and vibrato are measured and subjected to statistical analysis in order to determine the existence of trends over time or other stylistic groupings. Current theories and assumptions concerning historical change and national styles of performance are tested in the light of this evidence. It is concluded that the aspects of performance style studied offer no support for theories of national style or the influence of teaching, and that historic trends can only be partially substantiated in the case of portamento and vibrato. The evidence as a whole suggests a wide diversity of performance style at all periods, and contrasts with the conclusions of previous studies in other musical genres including solo instrumental and orchestral. Consideration of this evidence against the background of performance philosophy and some sociological studies of string quartets leads to the conclusion that the string quartet ensemble is uniquely constituted to encourage a searching, co-operative and innovative approach to the development of a performance-oriented interpretation and to discourage the thoughtless ossification of a handed-down performance template.

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Kim, Kyŏng-ŭn. "The harmonic language of Arnold Schoenberg's second string quartet op. 10 /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59283.

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Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works.<br>This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.

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36

Crane, Patricia Ann. "Hierarchical relationships in the string quartet struggles for power and popularity /." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1433380.

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37

Blanche, Linda Susanne. "Selected etudes for the development of string quartet technique : an annotated compilation /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/12025689.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.<br>Issued also on microfilm. Includes tables. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 123-125).

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McFarlane, Meredith L. B. "The string quartet in the late eighteenth-century England : a contextual examination." Thesis, Royal College of Music, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576938.

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Gushue, Ariane C. "Self-Expression Through The String Quartet: An Analysis of Shostakovich's String Quartets No. 1, No. 8, and No. 15." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/710.

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As a little boy, Dmitriĭ Dmitrievich Shostakovich pressed his ear against the wall to hear his neighbors play chamber music. He matured into one of the most prominent Soviet era composers. While the majority of academic interest Shostakovich centers on his symphonic works, his string quartets provide a window into a more intimate facet of Shostakovich’s life. This thesis explores first, why Shostakovich turned to the string quartet after some of the most fearful years of his life: his demise and rise after the scathing Pravda letter that all but threatened his life. Second, this thesis analyzes three of Shostakovich’s String Quartets: No. 1, No. 8, and No. 15. String Quartet No. 1, despite its simplicity, illuminates tender expressivity. Following years of intense artistic and personal scrutiny, Shostakovich sought an escape into an aural world of innocence. However, the quartet proves more complex than its surface suggests. Obscured harmonic complexities, intimate dialogue between instruments, and subtle recollection of prior movements lend the quartet a deeper meaning than its aural simplicity suggests. Decades later, amidst personal crisis, Shostakovich turned to the quartet, again. Composed in 1960, the year of his invocation into the communist party, String Quartet No. 8 demonstrates how Shostakovich utilized the string quartet as an avenue for personal self-expression. The intertwining of his musical signature with constant self-quotations and allusions confirms the deep, personal reflection the quartet provided Shostakovich. This study recounts the quotations previously uncovered by David Fanning, but goes beyond identification and relates the content of the quotations to Shostakovich’s emotional turmoil at the time of his party invocation. Finally, enduring anguishing physical pain and facing death, Shostakovich turned to the string quartet at the end of his life. String Quartet No. 15 provided Shostakovich an external outlet for his internal dialogue on death. Sentiments of meditation, fury, resistance, anguish, and resignation musically intertwine during Shostakovich’s longest and most painful string quartet. This study demonstrates how Shostakovich used the string quartet as a medium for deeper self-expression.

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Ginder, Jon. "The Fields We Watched." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459292665.

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Bottoni, Jennifer C. "The Heart's Portrait: An Emily Dickinson Fascicle for SATB Choir and String Quartet." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/200.

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The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.

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Hahn, Chun-Fang Bettina. "Schoenberg and Bakhtin : dialogic discourse in the String quartet, op. 10, no. 2 /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162238.

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Thesis (Ph. D.)--Indiana University, 2004.<br>Computer printout. Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0021. Chair: Marianne C. Kielian-Gilbert. Includes bibliographical references (leaves 242-254), abstract, and vita.

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Moore, José Leonardi. "An Analysis and Performance Editions of Five Puerto Rican Danzas for String Quartet." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594371.

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This document examines the history and characteristics of the danza in Puerto Rico, offering a brief historical description from its evolution in the mid-nineteenth century to the present day. This document also outlines the form of this genre to educate the reader on the different elements and sections included in these pieces. Five works from this genre are included, and newly edited versions are provided with fingering, bowing, and articulation suggestions. These works are intended for intermediate and advanced string players. The Royal Conservatory of Music's grade-by-grade rubric is used to classify these pieces by level. Two of these danzas are classified as Intermediate and three are classified as Advanced, based on the techniques required to play these pieces. Information about some of the most important chamber music ensembles in Puerto Rico, and a brief explanation of rhythm and performance approach, are included to offer a better idea of how to perform these pieces. The "elasticity of triplets," which is the basic rhythmic figure used in these danzas, is explained in detail to help the string players understand the performance practice used while performing these pieces. An entire section is dedicated to the composers and arrangers, with biographical information, as well as information about their compositions. A detailed explanation of suggested fingerings, bowings, and articulations is provided. Original parts and new, digitized versions of these arrangements are also included. The result of this research shows that these pieces are a valuable addition to the string quartet repertoire. The appealing melodies, in conjunction with the technical challenges, will help students achieve a great level of performance without exceeding their technical abilities.

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Cadrin, Paul. "A tonal analysis of the First String Quartet, opus 37, by Karol Szymanowski." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26779.

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In 1917, at the peak of the most productive period of his creative life, the Polish composer Karol Szymanowski (1882-1937) undertook his First String Quartet in C, opus 37. Of the four movements originally planned, three were published in 1925. These three movements reflect important directions in the evolution of the composer's style: from a youthful fervor toward German late romanticism (First Movement), through Szymanowski’s discovery of French impressionism (Second Movement), to his most daring experiment with polytonality (Third Movement). The complexity of this work, particularly of its tonal-harmonic language, raises questions which this dissertation proposes to answer. In order to do this, a three-tiered approach is used. At a first level, the surface of the work in all its details is represented as a network of lines according to stated criteria of continuity. At a second level, the structurally decisive outer-voices are extracted and the verticalities providing the harmonic framework for linear motions identified. Finally, at a third level, the tonal-harmonic structure is represented through multilevelled Roman numeral designations, on the one hand; and, on the other, broad directions of motion encompassing major sections and entire movements are portrayed in outer-voice frameworks. Following a discussion of these methodological stages, each movement is analyzed in detail. A summary of significant principles of polytonality introduces a discussion of Szymanowski's application of these in the Third Movement. As a broad commentary on the composer's style and technique in the First Quartet, the final chapter examines particular procedures manifest in all three movements. Voice-leading graphs for the entire Quartet are appended.<br>Arts, Faculty of<br>Music, School of<br>Graduate

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Egan, Eric Skytterholm. "Portfolio of compositions containing Symphony No. 104, From The Eumenides, Lost Words, String Quartet No. 2, String Quartet No. 3, 12 Miniatures, Non-Stable Equilibrium and a commentary on the compositions." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/292/.

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Portfolio Contents: Symphony No. 104 - for orchestra From The Eumenides - for mezzo soprano and cello Lost Words - for large ensemble and singers String Quartet No. 2 - for string quartet String Quartet No. 3 - for string quartet 12 Miniatures - for amplified classical guitar Non-Stable Equilibrium - for violin and piano Commentary The portfolio of compositions contains seven pieces for a variety of vocal and instrumental and forces. Symphony No. 104, From The Eumenides, Lost Words, String Quartet No. 2 and 12 Miniatures are cycles of miniatures, while String Quartet No. 3 and Non-Stable Equilibrium are throughcomposed. The latter two pieces were also conceived in brief musical sections. Each individual miniature or section is typified by focus on a single musical idea and their sequence was determined with the aim of contrasting and complementing different musical characters and styles. As a rule, the musical material was instinctively conceived and the music intuitively written. In the compositional process, particular attention was paid to clarity of form and musical expression. It is the composer?s desire that each section or movement be perceived as a coherent unit with an individual musical identity. The commentary for the portfolio is divided into two parts. The first explores the theoretical framework behind the music. A number of different issues are addressed, the most prominent of which are the miniature format, the concept of experiential form and the notions of intuition and musical style. The second part of the commentary presents the individual compositions in a chronological order with a particular focus on compositional process, structure and form.

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Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.

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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

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Lee, Ming-Wen. "Brahms's string quartet in C minor, op. 51, no. 1 : context, analysis and interpretive approaches /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11265.

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BARNETT, JESSICA R. "ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179372958.

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House, Jeremy Michael. "COMPOSITION VII." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586111221681235.

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Clifford, Robert John. "Aspects of meter and accent in selected string quartet movements by Beethoven and Bartok." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277928.

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Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.

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