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Dissertations / Theses on the topic 'String quartets'

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Published: 4 June 2021
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1

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

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2

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

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3

Edwards, Angela M. "Frank Bridge : the string quartets." Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/14826/.

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This study traces the stylistic development of the string quartets. The opening chapter shows the way that his personal idiom emerged in the earliest works. It also explains the analytical approach that has been used. The concept of symmetrical orderings fusing separate elements has been evident in music from all stages of Bridge's output. Overall tonal relationships have linked with inner tonal relationships as well as thematic ideas and chord structures. In addition, symmetry has drawn together the two aspects of Bridge's language, the traditional and the radical, and shown how the way that they are balanced is subtly changed in the course of his development as a composer. The music is explained from two approaches to symmetry, linear and circular. The ascending chromatic scale can be divided symmetrically by a number of intervals, notably seconds and thirds and tritones. Symmetrical orderings of two or more of these intervals are commonly found. The twelve semitones can also be arranged as a circle of fifths and it is this that has been most significant to the study. By adding tonal definition to these pitches, the circle of fifths explains this aspect of the music and also how certain pitches are interchangeable with one another. Therefore, the circle of fifths has also been a useful tool in explaining Bridge's concept of extended tonality. The main part of the study discusses the second and third quartets in depth as they represent the peak of Bridge's creative output and are at the centre of important stylistic changes. The final chapter briefly shows the way that his language continued to develop in the abandoned work and the fourth, and last. quartet.
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4

Finney, Ian James. "The string quartets of Vagn Holmoe." Thesis, Royal Holloway, University of London, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245474.

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The introduction gives a global view of the Holmboe quartet cycle and hints at its place in twentieth-century music history. A brief survey is then made of the unpublished quartets (1926-44) written before the recognized First Quartet. Quotations are made from the manuscripts of these works; there is a discussion of the formative influences on Holmboe through this period, especially from Stravinsky, Bartok and Nielsen. Subsequent chapters divide the published quartet cycle into seven chronological groups. Each of Quartets nos. 1-16 is analyzed in some detail; the discussion of no-1 and nos. 3-12 also includes reference to and quotation of sketches and other manuscript material in the Royal Library, Copenhagen. Most of these chapters have a preliminary discussion on some issue relevant to the period, and which refers to works in other genres: technical issues discussed include the concept of metamorphosis, the motivic motto, serialism and Holmboe's 'late style'. Analysis changes its slant as Holmboe's style changes - analysis of the early quartets is tonal and motivic; that of the middle quartets is motivic tending towards pitch-class set analysis; that of the later quartets returns to large-scale tonal functioning. The last chapter gives a brief survey of Quartets nos. 17-20, and ends with a comparison between the quartet cycles of Holmboe and Shostakovich.
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5

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 of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.
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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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7

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

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8

Liddle, J. A. "Irony and ambiguity in Beethoven's string quartets." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.653893.

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This thesis explores the view that many of the difficulties and apparent eccentricities of Beethoven’s Late Quartets (particularly Op. 130, 132, 133 and 135) may be understood in terms of irony, in the sense that it appears in the philosophical and aesthetic writings of the early German Romantics. A chain of influence is demonstrated between Beethoven and Friedrich Schlegel’s philosophy of Romantic irony, through significant inter-personal relationships as well as through Beethoven’s exposure to Schlegel’s written works. This connection provides a firm hermeneutic basis for considering the composer’s work in terms of irony. The A minor Quartet Op. 132 is given as an example of Beethoven’s Romantic irony, and considered in terms of the constitutive elements of Schlegel’s Romantic irony – Paradox, Parabasis and Self-consciousness. However, this thesis also demonstrates that the irony within the Late Quartets goes beyond the confines of Romantic irony. The paradoxical structures of the Cavatina and Grosse Fuge are considered as examples of “general” or “existential” irony – a form closely related to Schlegelian irony. Moreover, the replacement finale of the Op. 130 quartet is shown to constitute a striking instance of satire: a bitter ironic comment upon the musical conservatism of Beethoven’s critics. This thesis therefore explores the philosophical background and the nature of irony itself, relating all of its forms to one underlying structure and to one fundamental process. This process – “objectification” – is derived from the work of Mikhail Bakhtin, and forms the theoretical basis for the structural approach of the analyses of irony within the thesis. The thesis also considers the relationship between irony and related phenomena such as wit and humour. It suggests that the differences between these concepts correspond to those between Beethoven’s Romantic irony and the wit and humour of his predecessors. Finally, the relationship between irony and ambiguity is also considered.
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9

Choa, Sharon Andrea. "Sonata-fugue in Joseph Haydn's string quartets." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/sonatafugue-in-joseph-haydns-string-quartets(82b5de10-3113-42a1-b683-c101cd19df3f).html.

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10

Oboussier, Jacques Philippe. "Hyacinthe Jadin (1776-1800) : the string quartets." Thesis, University of Exeter, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425491.

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11

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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12

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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13

Crispin, Darla May. "Re-reading the string quartets of Arnold Schoenberg." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409409.

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14

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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15

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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16

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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17

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 deployed in this dissertation, along with a pragmatic methodology for presenting a holistic overview of Weinberg’s quartets. Weinberg’s quartet cycle occupies an important place in twentieth-century music, with parallels to Shostakovich, Bartók, and other Soviet composers, including Myaskovsky, Shebalin, Levitin, and Boris Chaykovsky; correspondences and distinctiveness are explored in the second chapter. The third chapter surveys Weinberg’s musical narratives, with recourse to theories from Kofi Agawu, Boris Asafiev, and Jacques Derrida. Form is the focus of the fourth chapter, where ideas from Mark Aranovsky, and James Hepokoski and Warren Darcy are deployed to highlight Weinberg’s problematising of traditional forms in his music. Chapter five explores Weinberg’s multi-faceted approach to harmony, with concepts expanded from Lev Mazel, Yury Kholopov, and the neo-Riemannian school of analysis. The picture that emerges is of Weinberg’s individuality and distinctive voice, manifested in a controlled experimentalism and a tendency towards extended lyricism. His affinity with better-known composers may prove an approachable entry-point for wider audiences, but many of the most striking elements in his quartet cycle are of his own invention. His quartets stand as an important contextual dimension for understanding Shostakovich’s cycle, and also for appreciating the broader repertoire of Soviet chamber music. As his centenary approaches, engagement with Weinberg’s music continues to increase: this thesis provides contexts and analysis-based conclusions to complement this ongoing revival.
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18

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.
Advisor: Dr. Catherine Losada. Title from electronic thesis title page (viewed Nov. 29, 2007). Includes abstract. Includes bibliographical references.
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19

Black, Brian 1953. "Schubert's apprenticeship in sonata form : the early string quartets." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41985.

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Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.
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20

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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21

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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22

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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23

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.
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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Gray, Vashti Diane. "The critical writings of Henri Blanchard on the Beethoven string quartets." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2319.

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Thesis (M. A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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25

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 contextualised and examined to illustrate his approach to composition in microcosm and also his individual style within the genre of string quartet writing. This study focuses on the examination of preliminary sketches, drafts and holographs, as well as the scores of the completed works. Initially, analysis is based on preliminary sketches; this will be augmented by a formal analysis of the completed works. Traditionally, formal analysis deals with the final product, something that has been created, and in a sense, views a work retrospectively. Sketch study, in contrast, examines the work as it is being created and is concerned with the attendant compositional issues and choices available to the composer and the processes followed as he or she creates the composition. The current work will identify significant common features in all the string quartets, and will trace Butterley??s compositional trajectory through these works demonstrating that individual characteristics of Butterley??s style, emergent as early as 1965, continued to be utilised in 1995 and remain present in the Bagatelle of 2001. That these characteristics remain present in a minut?? is significant, in that the Bagatelle may be seen as a microcosm of the writing style evident in his larger works. This thesis will demonstrate that sketch study and formal analysis may interact in order to provide a more comprehensive interpretation of a composer??s work and enrich the understanding and appreciation of the compositional process and the final product, ultimately impacting on the realisation of a composer??s work through performance.
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Bocanegra, Cheryl D. "Accent and Grouping Structures in the String Quartets of Béla Bartók." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2820/.

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The music of Béla Bartók is defined in part by its unique blend of rhythmic vitality and inventiveness, and his string quartets offer a glimpse into a consistency of technique evident throughout his compositional career. Bartók's rhythmic environments are primarily metrical, but many of his rhythmic configurations are placed in such a way as to potentially override established meter. It is necessary, therefore, to institute an analytical means by which the delineation and comparison of rhythmic structures both within and without the metrical context may be accomplished. An analytical method using Timepoint Accent Structures (TAS) allows for the comparison of rhythms resulting from patterns of accent produced by pitch onset, dynamic stress, articulation or any other accentual factors. Timepoint Grouping Structures (TGS) delineate the number of timepoints present in alternating groups/blocks in a texture, thereby allowing for the recognition of patterning created by these larger groups. By applying TAS and TGS analysis, relationships of rhythmic equivalency, rotation, retrograde, complementation, augmentation, diminution, subset, superset, exchange, compression and expansion are clearly confirmed in the string quartets. In addition, symmetrical structures and arithmetic progressions are discovered. In many ways, Bartók's rhythmic organization mimics his procedures of pitch structuring.
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Kuhn, Judith Ellen. "Shostakovich in dialogue: Form and imagery in the first sic string quartets." Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488767.

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28

McBride, Michael A. (Michael Anthony). "The Warp and Weft of Fabric: A Composition for Strings." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278386/.

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The six-movement work is scored for two violins, a viola, and a violoncello. A new approach toward the decision making of the compositional process is revealed which structures the parameters of the composition along an arbitrary frame of reference. This reference is selected prior to composition and influences every aspect of the work. The reference chosen is an existing musical work used in quotation and for stylistic modeling, paraphrase, and variation. Consonance, dissonance, and thematic development are defined in terms of this source.
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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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30

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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31

Dimoff, Trevor Anthony. "The third impossible thing before breakfast, an octet for saxophone and string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0013/MQ34935.pdf.

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32

Barnett, Jessica R. "Alberto Ginastera's string quartets nos. 1 and 2 consistencies in structure and process /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179372958.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Title from electronic thesis title page (viewed Jul. 10, 2007). Includes abstract. Keywords: Ginastera; string quartet; composing out Includes bibliographical references.
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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 individual performer in the ensemble. We focused our study on string quartets and recorded a corpus of performances both in ensemble and solo conditions employing multi-track recording and bowing motion acquisition techniques. From the acquired data we extracted bowed-instrument-specific expression parameters performed by each musician. As a preliminary step, we investigated over the difference between solo and ensemble from a statistical point of view and show that the introduced inter-voice contextual attributes and extracted expression are statistically sound. In a further step, we build models of expression by training machine-learning algorithms on the collected data. As a result, the introduced inter-voice contextual attributes improved the prediction of the expression parameters. Furthermore, results on attribute selection show that the models trained on ensemble recordings took more advantage of inter-voice contextual attributes than those trained on solo recordings. The obtained results show that the introduced methodology can have applications in the analysis of collaboration among musicians.
L’estudi de l’expressivitat musical ha produït models computacionals capaços d’emular l’expressivitat humana, però aquests models encara no es poden aplicar al cas dels conjunts musicals. Per estudiar l’expressivitat dels conjunts musicals, s’han de tenir en compte dues característiques principals: l’expressió polifònica i la interdependència entre veus. Per aquesta raó, proposem una nova metodologia que es basa en la introducció d’una sèrie d’atributs intervocals, que hem extret de la partitura, que es poden utilitzar per construir models d’expressivitat individuals per a cada un dels músics. Hem col•leccionat un conjunt de peces musicals a partir de l’enregistrament multipista i de la captura de moviments d’un quartet de cordes, en un corpus que recull peces concretes tocades tant en grup com individualment. D’aquestes dades, hem extret diversos paràmetres que descriuen l’expressivitat per a cada un dels músics d’un conjunt de corda. El primer pas ha estat estudiar, des d’un punt de vista estadístic, les diferències entre l’actuació d’una mateixa peça tant en solitari com en grup. Després, hem estudiat les relacions estadístiques entre els atributs intervocals i els paràmetres d’expressivitat. A continuació, hem construït models d’expressivitat a partir de la utilització d’algoritmes d’aprenentatge automàtic amb les dades col•leccionades. Com a resultat, els atributs intervocals que hem proposat han millorat la predicció del paràmetres d’expressivitat. Hem pogut demostrar com aquests models que han après d’actuacions en grup utilitzen més atributs intervocals que aquells que ho han fet d’actuacions en solitari. Aquests resultats mostren que la metodologia i models introduïts es poden aplicar en l’anàlisi de la col•laboració entre membres d’un conjunt musical.
El estudio de la expresividad musical ha producido modelos computacionales capaces de emular la expresividad humana, pero estos modelos todavía no se pueden aplicar al caso de los conjuntos musicales. Para estudiar la expresividad de los conjuntos musicales, se deben tener en cuenta dos características principales: la expresión polifónica y la interdependencia entre voces. Por esta razón, proponemos una nueva metodología que se basa en la introducción de una serie de atributos intervocales, que hemos extraído de la partitura, que se pueden utilizar para construir modelos de expresividad individuales para cada uno de los músicos. Hemos coleccionado un conjunto de piezas musicales a partir de la grabación multipista y de la captura de movimientos de un cuarteto de cuerdas, en un corpus que recoge piezas concretas tocadas tanto en grupo como individualmente. De estos datos, hemos extraído varios parámetros que describen la expresividad para cada uno de los músicos de un conjunto de cuerdas. El primer paso ha sido estudiar, desde un punto de vista estadístico, las diferencias entre la actuación de una misma pieza tanto en solitario como en grupo. Después, hemos estudiado las relaciones estadísticas entre los atributos intervocales y los parámetros de expresividad. A continuación, hemos construido modelos de expresividad a partir de la utilización de algoritmos de aprendizaje automático con los datos coleccionados. Como resultado, los atributos intervocales que hemos propuesto han mejorado la predicción de los parámetros de expresividad. Hemos podido demostrar cómo estos modelos que han aprendido de actuaciones en grupo utilizan más atributos intervocales que aquellos que lo han hecho de actuaciones en solitario. Estos resultados muestran que la metodología y modelos introducidos se pueden aplicar en el análisis de la colaboración entre miembros de un conjunto musical.
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Morrison, Charles Douglas. "Interactions of conventional and nonconventional tonal determinants in the string quartets of Béla Bartók." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27460.

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Although there exists substantial literature on Béla Bartók's music, few sources address his tonal language in a penetrating, analytical way. Analyses often lack precision in demonstrating adaptations of conventional principles of tonal orientation in the often nontraditional contexts of Bartók's music, and are generally inconclusive in explaining the particulars of interaction between conventional and nonconventional tonal determinants. The present study seeks to demonstrate adaptations and interactions of specific conventional and nonconventional tonal determinants, taking these shortcomings into account. In Chapter I, a brief but critical survey of approaches to tonality in Bartók is followed by a redefinition of tonality, which embodies both conventional and nonconventional determinants of centric orientation, many of the latter being analogues of the former. Progression and prolongation are cited as two fundamental processes by which tonal orientation is effected. Because Bartók's string quartets span his compositional career, reflecting global changes in his musical language, they are particularly convenient for study. Chapter II introduces four categories of progression relevant to Bartók's quartets: conventionally functional progressions, nonconventional tonicizing progressions, fifth progressions, and linear progressions. Each is further subdivided, with discussion of the theoretical principles of classification, examination of the existing literature where relevant, and illustration of the element of' progression in question, usually by excerpt from the quartets. Chapter III takes Heinrich Schenker's theory of prolongation as a departure point for the study of nonconventional but analogous procedures in Bartók's quartets. Prolongation over foreground, mid-level, and large-scale spans is studied, and subcategories of mid-level prolongation in particular are discussed in relation to commentary by Wallace Berry, Craig Ayrey, and Arnold Whittall on this vital but problematic concept. Each prolongational determinant is exemplified in passages from the quartets. The focus of Chapter IV is the final movement of Bartók's sixth quartet, the analysis of which illuminates details of interaction between conventional and nonconventional tonal determinants—such interaction being crucial in understanding Bartók's tonality as a unified system of functionally interrelated principles of centric orientation and structural coherence. Chapter V summarizes the findings of the analysis in Chapters II-IV.
Arts, Faculty of
Music, School of
Graduate
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35

Lochstampfor, Mark Lewis. "Stylistic comparisons of primary themes in the string quartets of Haydn, Mozart and Beethoven." Connect to this title online, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1100798307.

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Barrett, Constance Elizabeth. "Towards development of a critical edition of the string quartets of Charles Tomlinson Griffes /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487858417983135.

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37

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.
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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38

Wynne, Donovan. "Composition portfolio." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1003121.

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Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.
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Docherty, Claire Docherty Claire Docherty Claire. "Compostion research folio." Connect to e-thesis, 2009. http://theses.gla.ac.uk/838/.

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Thesis (MMus.) - University of Glasgow, 2008.
MMus. thesis submitted to the Faculty of Arts, Department of Music, Univeristy of Glasgow 2008. Includes bibliographical references. Print version also available.
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Laghi, Simone. "Italian string quartets and late eighteenth-century London : publication and production : with a critical edition of the quartets opp. 2 and 7 by Venanzio Rauzzini (1746-1810)." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/107709/.

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This dissertation presents an overview of the situation of the printed string quartet output in London in the years between 1765 (year of publication of Gaetano Latilla's set) and 1790 (year of publication of last set of quartets by Felice Giardini). Between these years the London publishers printed about one hundred string quartets by musicians operating within or at the margins of the King's Theatre environment. Many of them were opera composers, several were prominent violinists and some of them were singers, as in the case of Venanzio Rauzzini (1746-1810), who published two set of six string quartets. I consider Rauzzini's quartets as highly representative of the whole Italian output for their structure, their destination, their publication history and their simple, light and domestic sensibility. While focusing on Rauzzini's quartets, I take into consideration the publishing market in London and its relations with the continental production, with particular reference to the local Italian publishing industry in the main centres of Venice and Florence I describe how the vibrant London market stimulated the establishment of a network of Italian publishing companies, aimed at satisfying the requests of the local aristocracy and of the foreigners who were visiting Italy during their Grand Tour, eager to get acquainted with everything that represented Italy in a number of artistic expressions. Italian string quartet production has suffered neglect in the modern musicological world, due to the prominence of the Austro-German tradition represented by Haydn and his pupil Pleyel, and later on by Mozart and Beethoven. The Italian output, often considered by scholars as a byproduct of the opera system and a less fortunate sibling of its transalpine counterpart, was indeed a distinct genre, with specific features that were consciously cultivated by the Italian composers who were, in some cases, openly critical towards the 'new wave' of German compositions.
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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 was done on a number of different levels within music, from melodic lines to overall structure, using a range of examples within music. Whilst providing a strong case for memes, Jan was not able to provide evidence from an analysis encompassing a large dataset of music. However, Jan does provide a number of possible methodologies for analysing memes in music, including investigating memes across time periods using single lines of notes (2007, p. 211). The present research expands on Jan’s suggested methodology by looking at short monophonic three- to eleven-note patterns in music across five different non-traditional musicological time periods within a large dataset of string quartets. A search for memes in music is conducted using a range of scores. These are converted to MusicXML documents, which are then imported into a relational database. Data mining is then implemented on the resultant dataset to produce a series of ranking positions for monophonic note patterns within the music based upon the relative frequencies of their appearances within specified time periods. Additionally, a similarity algorithm is used to investigate the possible ancestral relationships between different monophonic note patterns. Within the limitations of the working definitions and assumptions made in the research, it was shown that there is evidence for the evolutionary properties of selection, replication and variation, and the replicator properties of longevity, fecundity and copying fidelity for some monophonic note patterns within the dataset.
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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.
Bachelors
Arts and Humanities
Music
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43

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.
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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44

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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45

Tierney, Paul. "A portfolio of eleven compositions with an accompanying commentary submitted for the degree of PhD in Music Composition at the University of Aberdeen." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=148547.

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This portfolio of eleven scores and an accompanying commentary is an in depth investigation into the use and development of compositional techniques over a wide range of instrumental and vocal combinations.  The scores submitted trace my development as a composer by considering research questions related to structural organisation, harmonic and rhythmic development and how external sources, particularly visual and literary, can be used as a starting point for the compositional process. Included in the portfolio are eleven works, categorised into three sections: instrumental music, solo works, and vocal music. The portfolio researches and examines elements of composition such as harmony, texture and timbral relationships, as well as the use of visual and literary art as a stimulus for composition across all of the instrumental and vocal combinations included.  My interest in the combination of pre-existing compositional methods such as serialism, with particular regards to pitch, and atonality is also examined in many of the scores and documented in the accompanying commentary.
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46

Nkuna, Musa. "A portfolio of original compositions with a commentary." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1018689.

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47

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 the basic scale used by Bartok. Alpha harmonies are derived by the intervallic relationships created through the use of Fibonacci numbers. Erno Lendvai's theories, although not widely known, are a partial answer to the analytical problems Bartok's music presents. His con- cepts allow for tertian chords as well as non-tertian harmonies. By basing his theories on the intervallic relationships which comprise the folksong idiom, Lendvai's theories can account for much of Bartok's music. Lendvai's theory, in contrast to traditional tonality, not only allows the tritone interval between roots of chords, but relies heavily upon it. The axis system and relative chord structures establish polar relation- ships which give the same function to chords whose roots are a tri- tone apart. Through the use of polar exchange, it is possible to shift the tonal center by six key signatures, yet never alter the function of the two polarly related chords. The analysis portion of this paper is designed to give a struc- tural, tonal and harmonic overview of each movement, giving particular attention to three areas: pentatony; relative, modally related and substitute chord harmonies; alpha harmonies. These areas assume varying degrees of importance depending on the particular movement. The theories of Lendvai are too new and untried to place them into any kind of perspective at this time. Lendvai's own writings are concerned more with a few specific pieces of Bartok's works which conform neatly to golden section principles, clear cut use of models (1:2, 1:3, 1:5), or alpha harmonies. His writings avoid thses portions of Bartok's music which defy explanation using this methodology.
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48

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.
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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50

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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