Relevant bibliographies by topics / String quartets – Analysis / Dissertations / Theses
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Dissertations / Theses on the topic 'String quartets – Analysis'

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Published: 4 June 2021
Last updated: 29 January 2023

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1

Yang, Benjamin H. (Benjamin Hoh). "A Study of the Relationship Between Motive and Structure in Brahms's op. 51 String Quartets." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332309/.

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In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution
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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 analyze
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Williams, Joseph T. "Discontinuous continuity?: structural analysis of Sofia Gubaidulina's string quartets /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1186507085.

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Thesis (Master of Music)--University of Cincinnati, 2007.<br>Advisor: Dr. Catherine Losada. Title from electronic thesis title page (viewed Nov. 29, 2007). Includes abstract. Includes bibliographical references.
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WILLIAMS, JOSEPH T. "DISCONTINUOUS CONTINUITY?: STRUCTURAL ANALYSIS OF SOFIA GUBAIDULINA'S STRING QUARTETS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1186507085.

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Black, Brian. "Schubert's apprenticeship in sonata form, the early string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29892.pdf.

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Elphick, Daniel. "The string quartets of Mieczysław Weinberg : a critical study." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-string-quartets-of-mieczyslaw-weinberg-a-critical-study(a156efef-b055-4415-8949-87791374c6bc).html.

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As attention on the music of Mieczysław Weinberg (1919-1996) has increased in the years after his death, so has the need for an analytical study of his musical style and language. This thesis surveys Weinberg’s changing style through a genre that spans almost his entire output: the string quartet. His close friendship and artistic affinity with Shostakovich helps make his music accessible to a wider audience, though closer examination reveals Weinberg’s individuality and a quite distinct language from that of his mentor. In support of this contention, a wide range of analytical approaches is d
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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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Watters-Cowan, Peter Edward English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Nigel Butterley??s string quartets: compositional processes from sketch to score." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43676.

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Nigel (Henry) Butterley (b. 1935) is recognised as one of Australia??s foremost contemporary composers. His works span most compositional genres. By making a case for the value of sketch study in the process of musical analysis, the principal purpose of this thesis is to augment understanding of Butterley??s music and in particular, his compositional processes and procedures through the various stages of the genesis of a composition, from the sketch to final score. Butterley??s string quartets, composed between the years 1965 to 2001 provide the basis for this study; these works are contextual
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Marchini, Marco 1984. "Analysis of ensemble expressive performance in string quartets: a statistical and machine learning approach." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/285204.

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Computational approaches for modeling expressive music performance have produced systems that emulate human expression, but few steps have been taken in the domain of ensemble performance. Polyphonic expression and inter-dependence among voices are intrinsic features of ensemble performance and need to be incorporated at the very core of the models. For this reason, we proposed a novel methodology for building computational models of ensemble expressive performance by introducing inter-voice contextual attributes (extracted from ensemble scores) and building separate models of each individua
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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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Mui, Kwong-chiu. "Exploration in new music portfolio of compositions and analysis /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B43894574.

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Mui, Kwong-chiu Tan Dun Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Exploration in new music : portfolio of compositions and analysis /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22132016.

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Thesis (M. Phil.)--University of Hong Kong, 2001.<br>Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.
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Hawkett, Andrew. "An empirical investigation of the concept of memes in music using mass data analysis of string quartets." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19290/.

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Dawkins introduced the concept of the meme as the cultural equivalent to the gene (1989, pp. 189-201). To illustrate the concept, Dawkins cited ‘tunes, ideas, catch-phrases, clothes, fashions, ways of making pots or of building arches’ (1989, p. 192) as examples of memes. All of Dawkins’ examples are elements of culture that have evolved over time. Because music is a part of culture, then under Dawkins’ hypothesis, memes should exist in music. After all, the first of Dawkins’ examples was a ‘tune’. Jan expanded on Dawkins’ ideas with a thorough investigation into memes in music (2007). This wa
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Gargiulo, Catherine. "Rhythmic Emancipation, Confrontation and Triumph: An Analysis of String Quartets Nos. 1 and 4 by Bela Bartok." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1035.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music
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Sommerville, David L. "Consistency, context and symmetry in Alberto Ginastera's String quartets nos. 1 (1948) and 2 (1958, first version) /." Digitized version, 2009. http://hdl.handle.net/1802/11067.

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Thesis (Ph. D)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11067
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BATES, KAREN ANNE. "THE FIFTH STRING QUARTET OF BELA BARTOK: AN ANALYSIS BASED ON THE THEORIES OF ERNO LENDVAI." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188175.

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The purpose of this paper is to present the non-traditional theo- retical techniques of Erno Lendvai and introduce the application of these techniques in a detailed analysis of the Fifth String Quartet of Bela Bartok. The theories of Lendvai are based on the Fibonacci Series, a series of integers which he assigns to consecutive half-step gradations of the chromatic scale. The numbers 1,2,3,5,8... are manipulated to produce two important cornerstones of his theory, namely mi-pentatony and alpha harmonies. According to Lendvai, mi-pentatony, directly related to the Hungarian folksong idiom, is t
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Jeffery, Christopher. "Serial meaning : a semiotic/narratological analysis of Arnold Schoenberg's Third string quartet, first movement." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50448.

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Thesis<br>ENGLISH ABSTRACT: The aim of this study is to contribute to the investigation of the methods in which serial technique expresses meaning in the first movement of Arnold Schoenberg's Third Quartet, Op.30. It aims to add to the debate concerning Schoenberg's use of conventional formsparticularly sonata form-in his serial music, by investigating how he manipulates the row to playa narrative function, seemingly in opposition to its homogeneous nature. The analytical section consists of a semiotic analysis based on the work of Jean- Jacques Nattiez. It incorporates a narratologica
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梅廣釗 and Kwong-chiu Mui. "Exploration in new music: portfolio of compositions and analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894574.

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Britton, Jason Grant 1972. "Harmony, voice leading, and motive in Beethoven's last quartet." Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/8150.

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xiii, 188 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Beethoven's last five string quartets have engaged the imagination and curiosity of performers, listeners, and critics at a level that has rarely been touched in the world of chamber music, or beyond. Throughout the late quartets' history, musicians have scrutinized the works in search of a logic that might demystify their stylistic and structural peculiarities. This present study continues this pursuit as it examines analytically (through Schenker
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Bishop, David Martin. "Chromatic and diatonic pitch-class motives and their influence on closural strategies : analytical studies of three middle-period string quartets of Ludwig van Beethoven /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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21

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,
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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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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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24

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
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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
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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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Wang, Amanda. "An analysis of Krzysztof Penderecki's String Quartet No.3: "Leaves of an Unwritten Diary"." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12876.

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Thesis (D.M.A.)--Boston University<br>Penderecki's String Quartet No. 3: Leaves from an Unwritten Diary was commissioned by the Shanghai Quartet in 2008 and premiered at a special 75th birthday concert honoring the composer. The quartet is a single movement work consisting of four to five short sections of contrasting tempos and character. Stylistically, the quartet is quite representative of his chamber works since the 1990's, and stands in sharp contrast to the first two quartets from the avant-garde period. The purpose of this dissertation is to provide an historical background, formal and
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Ellison, Timothy Lee. "An analysis of Joel Puckett's Short Stories| A concerto for string quartet and wind ensemble." Thesis, The University of North Carolina at Greensboro, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3722514.

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<p>ELLISON, TIMOTHY LEE, D.M.A. An Analysis of Joel Puckett's Short Stories: A Concerto for String Quartet and Wind Ensemble. (2014) Directed by Drs. John R. Locke and Kevin M. Geraldi. 33 pp. The purpose of this study is to examine Joel Puckett's work, Short Stories, a new concerto for string quartet and wind ensemble. Composed for the University of North Carolina at Greensboro Wind Ensemble and premiered at the 2013 National Convention of the College Band Directors National Association, this document provides insight and background information to future performers and conductors through re
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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
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Treybig, Carolyn Marie. "Amy Beach : an investigation and analysis of the Theme and variations for flute and string quartet, op. 80 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Du, Plessis Jacques. "Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017818.

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Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conc
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Abramovay, Juliano Taques Bittencourt. "Quarteto de cordas em sol menor de Claude Debussy: reiterações e aspectos formais." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-20012015-122015/.

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O Quarteto de cordas em sol menor de Claude Debussy é uma obra marcada por importantes dicotomias. Composta em 1893, ela se encontra permeada de elementos harmônicos e formais ligados à tradição tonal e ao final do século XIX, particularmente ao compositor César Franck. Ao mesmo tempo, a peça utiliza procedimentos que são observados apenas em obras maduras do compositor, nas quais o tonalismo se encontra pouco presente, e análises que dependam exclusivamente de elementos tonais mostramse pouco eficientes para o Quarteto. Essa relação entre tradição e inovação é investigada nesta pesquisa, que
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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 ob
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Lively, Michael. "Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of the "Krakow" Sketch Materials." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31540/.

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Beethoven's complex manipulation of formal structures, especially his tendency to build important connections and transformative continuities between non-adjacent sections of musical works, may be seen to function as an attempt to control and sometimes to distort the listener's perception of both the narrative process of musical directionality, as well as the subjective interpretation of time itself. Temporal distortion often lies at the heart of Beethoven's complex contrapuntal language, demonstrated equally through the composer's often enigmatic disruption of phrase-periodic gestures, as wel
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Bernard, de Raymond Louise. "« Les quatuors à cordes « viennois » et « parisiens » d’Antoine Reicha : édition critique et étude stylistique »." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040206.

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Les nombreux écrits théoriques d’Antoine Reicha sont bien connus de la musicologie, qui voit dans le théoricien un personnage central du XIXe siècle. Sa production musicale reste cependant encore largement ignorée. Ainsi, les 20 quatuors à cordes de Reicha édités de son vivant n’ont encore fait l’objet d’aucune étude approfondie : les 8 premiers sont publiés en 1804-1805 lors du séjour viennois de Reicha, les 12 suivants paraissent dans les années 1820, après son installation définitive à Paris. Leur publication entre deux grandes capitales de la musique s’étend des derniers quatuors de Haydn
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Lee, Jae-Moon. "A thousand plateaux." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/274259.

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The puzzle known as tangram was the inspiration behind this composition. Just as the seven pieces of the tangram create shapes, seven contrasting musical fragments appear as thematic materials from which to draw sonic imagery. Sapphic Fragments for two sopranos This composition was constructed from “broken” materials - an analogy for Sappho's dismembered poem. These broken materials were arranged in a pointillistic manner. I drew inspiration from M.C. Escher's works to vary thematic fragments of this work. M.O.N.T.A.G.E. for flute, clarinet, violin and cello This work was influenced by the vid
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Holdcroft, Z. T. (. Zillah Theresa). "String techniques, notation systems and symbols in selected 20th century string quartets." Thesis, 1999. http://hdl.handle.net/10500/16959.

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This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest t
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"Readings and re-readings of Béla Bartók's fifth and sixth quartets." 2006. http://library.cuhk.edu.hk/record=b5896469.

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Wong Hiu Lam.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.<br>Includes bibliographical references (leaves 104-109).<br>Abstracts in English and Chinese.<br>Abstract --- p.iv<br>Abstract (Chinese Translation) --- p.v<br>Acknowledgements --- p.vi<br>Chapter Chapter 1 --- Introduction --- p.1<br>Overview of Bartok's six quartets --- p.1<br>Literature review --- p.4<br>Objectives --- p.9<br>Chapter Chapter 2 --- "Karpati, Antokoletz and Wilson's Analytical Approaches" --- p.11<br>Karpati's idea of mistiming --- p.11<br>Antokoletz's interval cycle and interval ratio --- p.1
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"Conversation, Dark haze, San-shui Xi-nan." 1998. http://library.cuhk.edu.hk/record=b5896306.

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by Ho Tsz-Yan, Rebecca.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Chapter Part I: --- p.page<br>Chapter ´Ø --- Abstract --- p.1<br>Chapter Part II:<br>Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3<br>Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6<br>Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25<br>Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28<br>Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65<br>Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69<br>Chapter Part III：<br>Chapter ´Ø --- Biogr
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Hung, Liang-Yen, and 洪良燕. "An Analysis of Johannes Brahms' 《String Quartet No. 35 Op. 67》." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/qegxuv.

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碩士<br>國立臺南大學<br>音樂學系音樂科教學碩士班<br>102<br>This thesis provides an analysis of Johannes Brahms’s String Quartet No. 3, Op. 67, as a reference to music educator and researcher. This thesis consists of five chapters: the first one, Introduction, confirms the direction and scope of this research. The second and third chapters explore the life and works of Johannes Brahms, with a focus of his music style, especially his chamber compositions. The fourth chapter provides a detailed analysis of tonalities, formal structures, modulations, harmonic vocabularies, motives, and melodic materials of his String
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Chen, Feng-Te, and 陳豐德. "The Composition Ideas and Analyses of Feng-Te Chen’s Work《String Quartet》." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/17462354645133323016.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>101<br>Abstract This piece of music was created about one year ago in June 2012. In the paper author describes the use of musical form, the composing skill of tonality, harmony and counterpoint; as well as how musical instruments influence music temperament. The author one by one analyzes, summarizes and clarifies the outline of the creation of this piece (of music). This piece of music adopts traditional sonata form written in string quartet as music style of oriental nation blended with harmony, counterpoint of the romantic school; moreover, it includes author’
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Blalock, Marta. "Analysis and performance problems of Vítězslava Kaprálová's String quartet, op. 8 (1935-1936)." 2008. http://purl.galileo.usg.edu/uga%5Fetd/blalock%5Fmarta%5F200812%5Fdma.

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Lin, Chia-Ying, and 林佳穎. "An Analysis in Gy#westeur055#rgy Ligeti’s String Quartet No.2 and Self Compositional Concepts." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/37219099893608775679.

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Lee, Shin-Wei, and 李心薳. "An Analysis of LU Yen’s String Quartet: A Flower On A Rainy Night and Self Compositional Concepts." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4kz7g4.

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碩士<br>臺北市立大學<br>音樂學系<br>106<br>Abstract Lu Yen (1930-2008) is one of the most important composer and educator in Taiwan. He was dedicated to composing in his entire life and immersed his life into music. Lu’s music is diverse in its style and abundant in its quantity. As time goes by, the style and features in his music were different from each stage of life. In this paper, the author focuses on chamber music String Quartet: A Flower on A Rainy Night (1987) by Lu Yen as the core of the study. The main research method based on the literature review and the analysis of Lu Yen’s manuscript, to i
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Chen, Kuang-Chan, and 陳光展. "KUANG-CHAN CHEN COMPOSITION RECITAL WITH A SUPPORTING PAPER THE MUSICAL IDEAS AND ANALYSIS OF INK SPREAD FOR STRING QUARTET." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/30998140998936053465.

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碩士<br>國立交通大學<br>音樂研究所<br>104<br>This is a string quartet consists of four movements. The piece was titled “Ink Spread” to illustrate the multivariate brushworks of the traditional Chinese painting. The four movements were then given subtitles of “Flowers and Birds”, “Lotus of Ink”, “Valiant Horse”, and “Spirited Waterfall”, each houses the “Meticulous”, “Freehand”, “Line Drawing”, and “Ink Splashing” schools of brushwork techniques; utilizing the unique bravura and essence of the different schools to paint the musical contour of the four movements. The Ink and Wash painting represents the pinn
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Thuot, Marie-Ève. "L’organisation des personnages musicaux et son impact sur la forme dans le Quatuor à cordes no 2 de Leoš Janáček." Thèse, 2010. http://hdl.handle.net/1866/10370.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).<br>Ce mémoire propose une analyse des dimensions formelle et mélodique du Quatuor à cordes no 2 (1928) du compositeur tchèque Leoš Janáček (1854-1928). Ces paramètres et leurs liens mutuels sont étudiés au moyen de la notion de « personnage musical », qui s’inspire du concept de «personnage rythmique» d’Olivier Messiaen. L’analyse de l’organisation mélodique dans l’ensemble du quatuor permet ainsi de démontrer com
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Rudovský, Martin. "Variace B-dur Zdeňka Fibicha." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-323764.

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The discovery of the autograph of Fibich's Variations in B-flat major for piano from 1877 not only extends the collection of known and completed compositions by Zdeněk Fibich, but they also present the single preserved concert variations for piano within his oeuvre. Thanks to the Variations, we can have a better insight into Fibich's compositional technique, for in 1883, he reworked them for a string quartet. Among other things, the comparative analysis reveals the latter work to be an unjustly neglected treasure. Also interesting is the fact that the origin of other significant sets of variat
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