Teses / dissertações: "Quartets"

1

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

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2

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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3

Nikan, Mehran. "Template-assembled synthetic G-quartets (TASQS)". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5825.

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Fabrication of functional supramolecular structures requires a certain degree of control which may not be achieved by relying solely on noncovalent interactions. The current study aims to investigate the effect of a rigid cavitand template on morphology, function and stability of lipophilic G-quadruplexes. The first Chapter of this thesis introduces different aspects of G quadruplex chemistry and explains how these structures are particularly suited for the creation of supramolecular architectures. The second Chapter of this thesis presents the synthesis and self-assembly of a new class of supramolecular architectures composed of four guanosines attached to a rigid cavitand template. These structures, named template-assembled synthetic G-quartets (TASQs), were synthesized via the “click” reaction and manifest an ordered topology dictated by the template. The lipophilic TASQs were found to self-associate spontaneously to form a singular basket-like structure in chloroform. Moreover, it was found that TASQs form cation-free G-quartets which exhibit remarkable stability under this condition. The third Chapter of this thesis describes the preparation, characterization and solution study of the cation-bound complexes TASQNa⁺, TASQK⁺, TASQCs⁺, and TASQSr²⁺. Cations play a major role in controlling the morphology and stability of G-quadruplexes. The analysis of the cation-specific structures of TASQs reveals the formation of a monomeric G quartet for Na⁺ and Sr²⁺,a dimeric system for Cs⁺ and a mixture of monomers and dimers for K⁺. The factors governing the formation of these structures were evaluated, the selectivities of TASQs for cations were determined, and the cation-dependent structural transformations were studied. The fourth Chapter describes the efforts towards synthesizing a hydrophilic TASQ via the “click” reaction. The following steps have been taken: 1) a water-soluble cavitand has been successfully synthesized and characterized, which can potentially serve as a hydrophilic template, and 2) two oligonucleotides have been appropriately functionalized and preliminary coupling reactions were attempted. The next phases of this research along with potential future directions are discussed in Chapter five.

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4

Bare, Grant. "Synthesis of template-assembled nucleotide quartets". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42842.

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The thesis work described herein addresses a desire to isolate a guanine quartet and other unknown nucleobase quartets in Nature's solvent, water. Template-assembly of the nucleobase quartets or tetrads by the application of a cavitand template molecule was utilized as a synthetic strategy. Several synthetic precedents were sought and included developing DNA synthetic methodologies for four-fold nucleotide coupling of deoxyguanosine onto an individual substrate, imparting solubility in water on the resultant supramolecular constructs, and designing molecules capable of stabilizing G-quartet or G-tetrad self-assemblies. Chapter 1 forms an introduction for this work by summarizing significant reports in the scientific literature on nucleic acid structure and function and on known template-assembled syntheses of nucleic acid elements. Chapter 2 describes the development of phosphite triester and phosphoramidite DNA synthetic methodologies for synthesizing water-soluble phosphate-linked cavitand-nucleotide conjugates. The synthesis of triazole-linked cavitand-guanosine conjugates with imparted water-solubility is dealt with in Chapter 3. In Chapter 4, evidence is provided for the observation of unimolecular cation-free template-assembled guanine and thymine quartets in methanol solvent using the phosphate-linked architecture. Finally, Chapter 5 describes the first potential isolation of a single G-tetrad in water through template-assembly directed by a phosphate-linked cavitand-nucleotide conjugate. This species is shown to interact with small molecule binders of G-quadruplex DNA and inhibitors of the human telomerase enzyme. The novel supramolecules synthesized in this thesis have been shown to assist in the discovery of unusual DNA based structures, to act as a minimal model of human telomeric G-quadruplex DNA, and to serve as artificial receptors for potential anticancer therapeutics.

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5

Chua, Daniel. "Beethoven's 'Galitzin' quartets : an analytical study". Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239822.

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6

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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7

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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8

Puerta, José Luis, e José Luis Puerta. "A Performance Guide to Latin-American Guitar Quartets: The Quartets of Ernesto Cordero, Leo Brouwer, and Sérgio Assad". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/622968.

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Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.

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9

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

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10

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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11

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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12

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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13

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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14

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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15

Lindsay, Anne. "The real presences in T.S. Eliot's Four Quartets /". Title page, contents and introduction only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arl748.pdf.

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16

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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17

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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18

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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19

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

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20

Hui, Benjamin Wei Qiang. "Construction of template-assembled pyrimidine-based quartets and quadruplexes". Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/48391.

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Pyrimidine-based quartets and quadruplexes are unstable and thus are rarely encountered in nature. Uracil (U) and thymine (T) quartets in the solution state have only been found as part of pre-existing G-quadruplex scaffolds and the corresponding quadruplexes have not been reported. Studies on such systems might shed light on their role in nucleic acid topology and stability. This thesis describes the assembly and structural characterization of these motifs in vitro as a result of grafting the respective nucleosides onto resorcinol-based cavitands. These rigid macrocycles serve as molecular templates on which these motifs are preorganized. Reduction of entropic loss improves thermodynamic stability and promotes self-assembly. A convergent synthetic strategy was employed for accessing these cavitand-nucleoside conjugates. Cavitands and nucleosides were prepared separately using established literature methods, and the final coupling step of the two components entailed a copper (I)-catalyzed azide-alkyne cycloaddition, or a "click" reaction. NMR spectroscopy was used extensively in signal assignment, structure elucidation and oligomeric state analysis. CD spectroscopy was employed in some cases to provide further confirmation of defined structure. Findings indicated the spontaneous self-assembly of a U-quartet in CDCl3 at both 25 ºC and –20 ºC. In the presence of a metal cation (Sr²⁺), symmetric homodimerization of two U-quartets occurs at 25 ºC. The corresponding U-quadruplex unit was identified in DMSO-d₆ at 25 ºC. The T-quartet was shown to be nonexistent at 25 ºC, but assembles at a low temperature of –40 ºC. iii No evidence for metal cation uptake was found at 25 ºC. Assembly of the T-quadruplex was confirmed in DMSO-d₆ at 25 ºC. In all of these systems, stacking of the nucleobase and triazole linker rings was indicated suggesting π-stacking interactions to be a significant contributor to overall stability.
Science, Faculty of
Chemistry, Department of
Graduate

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21

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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22

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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23

Bakulina, Olga. "Polyphony as a loosening technique in Mozart's «Haydn» quartets". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92332.

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This study explores the relationship between texture and form in Mozart's six string quartets dedicated to Haydn and claims that texture can act as a form-defining factor. Building on William Caplin's theory of formal functions and on his distinction between tight-knit and loose formal organization, I argue that polyphonic texture serves as a loosening device through grouping-structure conflicts and thus acts as one of the determinants of medial and sometimes concluding formal functionality. Polyphony is also used as a means of contrast, distinguishing two formal sections that use the same motivic material but that differ from each other with regard to textural and formal organization. I define and give examples of contrast pair, a concept that embraces questions of formal functionality, formal structure textural types, and motivic material. Therefore this concept allows one to combine two different, but compatible approaches: the theory of formal functions and motivic analysis.
Cette étude explore la relation entre texture et forme dans les six quatuors à cordes de Mozart dédiés à Haydn, et soutient que la texture peut être un facteur déterminant de la forme. En m'inspirant des concepts de fonctions formelles de William Caplin et de la distinction qu'il apporte entre certaines organisations formelles très rigoureuses et d'autres moins structurées, je soutient que la texture polyphonique est utilisée comme élément relâchant lors de conflits groupes-structure, et ainsi agit comme un des éléments détérminants de fonctions formelles médianes, et parfois conclusive. La polyphonie est également employée comme moyen de contraste, en distinguant deux sections formelles utilisant le même matériau motivique mais qui diffèrent entre elles au niveau de la texture et de l'organisation formelle. Je définis et donne des exemples de paires de contrastes, un concept englobant les questions de fonctionnalité formelle, structure formelle, types de texture et matériau motivique. Ce concept permet donc de combiner deux approches différentes, mais compatibles: le théorie de la fonction formelle at l'analyse motivique.

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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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Hamilton, Katherine Lucy. "The vocal quartets of Johannes Brahms : a contextual study". Thesis, Royal College of Music, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576941.

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26

Day, Thomas Anthony. "Four Quartets and poetic dialogue : Eliot, Davie, Hill, Tomlinson". Thesis, University of Warwick, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412994.

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27

Irvine, Thomas. "Mozart’s ›Haydn‹ Quartets, ›Ausführung‹, and the Aesthetics of Nuance". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71939.

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28

Rice, Kathryn Elizabeth. "Pedagogical Applications in the Clarinet Quartets of Yvonne Desportes". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707316/.

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Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

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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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30

Finan, Ernest Thomas IV. "The idea and the reality: experience and Four Quartets". Thesis, Boston University, 2003. https://hdl.handle.net/2144/27647.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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31

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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32

Liu, Bo. "Template-assembled synthetic G-quartets as targets for anticancer drugs". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42814.

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DNA is a classic target for small-molecule ligands. In order to reduce significant toxicities of anticancer drugs resulting from unspecific interactions with DNA duplexes, it aroused great interest to investigate the specific interactions of ligands with a secondary DNA structure, G-quadruplex, formed by a guanine-rich DNA sequence. Induction and stabilization of G-quadruplex structures by ligands have been shown to inhibit telomerase activities and regulate the transcription and expression levels of oncogenes in cancer cells; therefore, the design of synthetic G-quartets under physiological conditions as minimal models of G-quadruplexes or artificial receptors of anticancer drugs has become an important and promising approach to clarify binding mechanisms, as well as to develop practical high-performance anticancer drugs. This thesis explores the recognition behavior of the second generation of hydrophilic template-assembled synthetic G-quartets (TASQs) using fluorescence spectroscopy and CD spectroscopy with PIPER, TMPyP4, AZATRUX, BSU 1051 and BRACO-19. The results show that PIPER, TMPyP4, AZATRUX can stack on top of a G-tetrad plane via π-π stacking with stoichiometries of 1:1 and high binding affinities (KPIPER=1.65×10⁷ M⁻¹, KTMPyP4= 8.5×10⁵ M⁻¹, KAZATRUX=2.55×10⁶ M⁻¹); however, BSU 1051 and BRACO-19 have no such behavior with TASQs. All the spectra and binding mechanisms are similar to known mechanisms or computer-aided molecular simulation models, suggesting that the second generation of hydrophilic TASQs can imitate the natural terminal G-tetrad planes of G-quadruplexes. Moreover, this artificial receptor has selectivity over different ligands with an ability to contribute to the screening of small-molecule ligands, as well as the investigations of binding mechanisms of new anticancer ligands. The main works in this thesis are shown as follows: 1. Introduction to DNA duplexes, G-quadruplexes, template-assembled synthetic G-quartets, anticancer drugs (i.e. PIPER, TMPyP4, AZATRUX, BSU-1051, BRACO 19, telomestatin), and characteristic methods. 2. Synthesis of water-soluble template-assembled G-quartets (TASQ 13), PIPER, and AZATRUX. The binding properties of these ligands with TASQ 13 were characterized by spectroscopic methods so as to show the binding abilities and binding modes of different drugs to TASQ 13. 3. Conclusions and future work.

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33

Moyle, Joanna. "Towards a common style : 'Four quartets' and biblical wisdom poetry". Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416520.

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Noel-Tod, Jeremy. "T.S. Eliot, Four Quartets and the poetics of mock-prophecy". Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612176.

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Winterbach, Veranza. "Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets". Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.

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Includes bibliographical references.
Gabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.

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36

Von, Bergen Megan Kimberly. "Spiritual meaning and the prophetic mode in T.S. Eliot's Four quartets". Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4147.

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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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38

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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Rainbolt, Steven Robert. "Vocal chamber duets, trios, and quartets an examination of the genre /". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3163.

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Von, Bergen Megan Kimberly. "Spiritual meaning and the prophetic mode in T.S. Eliot’s Four quartets". Thesis, Kansas State University, 2010. http://hdl.handle.net/2097/4147.

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Master of Arts
Department of English
Michael L. Donnelly
Among the body of criticism on T.S. Eliot’s Four Quartets, critics such as Cleo McNelly Kearns and Alireza Farahbakhsh have recently interpreted the poet’s “intolerable wrestle / With words and meanings” (EC II) in light of deconstructionist theory. Although the poetry does recognize the difficulty of speaking about spiritual experience, it does not embrace the resulting linguistic miscommunication. In fact, the poems resist such a move, identifying the spiritual danger of such miscommunication; instead, they seek to overcome these difficulties and accurately communicate spiritual experience – an aim achieved in the context of biblical prophecy. Louis Martz argues that the Quartets are, in fact, not prophetic; however, he defines prophecy in terms of its social interests, rather than in terms of the interest in the human-divine relationship that characterizes both biblical tradition and Eliot’s poetry. I want to argue that reading the Quartets in the context of biblical prophecy, filtered through mystical tradition, explains their ability to transcend linguistic difficulty and explore spiritual experience in human language. In biblical tradition, the prophets overcome linguistic difficulty through a direct encounter with God, which purifies language of error and equips them to speak of divine reality. In Eliot’s Quartets, the poetry undergoes a similar purifying experience meant to replace linguistic error with a meaningful exploration of spiritual experience. For the Quartets, linguistic purification is accomplished by means of the mystical via negativa. Appropriating images associated with the via negativa, the poetry denies language tied to direct perception of spiritual reality and adopts instead a language that conveys such experience through unfamiliar words and images. In that language, the poetry is purified of its errors and made capable of exploring the human relationship with God. A poetry identified with the Incarnation, this solution communicates in human language the reality of spiritual experience. In this communication, the poetry at last explores spiritual experience in a way freed of miscommunication and meaningful for the audience, thereby fulfilling its prophetic aims.

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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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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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43

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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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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45

Ayling, Benjamin Charles II. "An historical perspective of international champion quartets of The Society For The Preservation and Encouragement of Barber Shop Quartet Singing in America, 1939-1963". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1304016438.

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Ayling, Benjamin Charles. "An historical perspective of international champion quartets of The Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, 1939-1963 /". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488193665233569.

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Middleton, Arthur S. "The centrality of paradox : the influence of Heraclitus on Eliot's Four quartets /". Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133901856.

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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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49

Roberts, Heidi Francie. "The moment in the garden spiritual autobiography and T.S. Eliot's Four quartets /". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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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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