Ip Kim Ho. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.

Thesis (M.Mus.)--Chinese University of Hong Kong, 1995. / Chapter 1. --- STRING QUARTET NO.1 / Chapter 2. --- SEA INTERLUDE / Chapter 3. --- TRAGEDY

by Hui Cheung Wai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. / Chapter 1. --- String Quartet No2 / Chapter a) --- programme notes --- p.I. i -ii / Chapter b) --- music score / Chapter ´Ø --- 1st movement --- p.1-15 / Chapter ´Ø --- 2nd movement --- p.16 -25 / Chapter ´Ø --- 3rd movement --- p.26-51 / Chapter 2. --- """Disappearance"" for orchestra" / Chapter a) --- programme notes --- p.II. i -iv / Chapter b) --- music score --- p.1-46 / Chapter 3. --- """Wu Wu"" (Sorcery Dance) for piano" / Chapter a) --- programme notes --- p.III. i -ii / Chapter b) --- music score --- p.1-12

Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Includes bibliographical references. Also available in printed format.

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded June 16, 1997, June 29, 1998, June 25, 2001, and Mar. 4, 2002. Includes bibliographical references (p. 51-52).

Duet no.1 in Eb / Otto Nicolai -- Stuck on the tracks / Allison Maupin -- Duo / Ron Newman -- Bouncer / Donald Grantham -- Trombone quartet op.117 / Derek Bourgeois. / text

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.

This study describes the integration of harmonic idiom and tonal design in Schoenberg's First Quartet, op. 7. Two general questions are answered: whether the composition should be judged by common-practice-period norms, and whether a coherent tonal structure is truly discernible. Chapter 1 first surveys the existing literature. It then describes a prime motivator of foreground chromaticism in the quartet—the chromatic surrounding of tonic and dominant pitches—and discusses two features of large-scale pitch organization applicable to Schoenberg's first-period music that contravene common-practice-period norms: tonal structure consisting of a pattern of keys, and systematic use of dual or even multiple tonics in place of monotonality. Examples illustrate three types of graphic representation of tonal duality to be used in the study. The next four chapters describe tonal process within and across the four "movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which studies Part I, reveals systematic avoidance of V-I function in the opening key, D, tonal rivalries between D and each of its two semitone-related keys, and the beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on Part II of the quartet, demonstrates continuation of the rivalry between tonics D and Dt> by their use as competing secondary tonics within the Scherzo, and the harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4, on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the furthering of the tonal plot in a section that engages in a "plagal" system of tonality, and the beginning of a large chromatic surrounding of A. Chapter 5 shows that Part IV eschews a simple relationship between the A-major tonic of the Rondo and the D-major tonic of the Coda by allowing the infiltration of elements of the Db-major collection. Chapter 6 summarizes the evidence contradicting a monotonal understanding of the composition and reviews evidence that the demonstrated multi-tonal coherence is part of the musical reality of the work.

This sequential reading of Four Quartets attends closely to form, rhythm, image, idea, syntax, tone, and mood, examining the relations of one to another and of one part of the cycle to another. It draws on earlier studies which are mainly thematic, but it concentrates primarily on analysis of the poetry itself. Such a commentary does not set out to prove a single hypothesis, and therefore does not lend itself to simple summary. But it emphasises, inter alia, these features. 1. The Quartets are rightly read as a unified cycle. The first three, though relatively complete in themselves, are built upon and retrospectively modified by their successors in a complex pattern; and the recurring and developing themes are not fully resolved until the end of little Gidding. On the other hand, the five individual parts that go to make up each Quartet are not self-contained, and cannot properly be read in isolation. (Such readings fail especially to make sense of the Part IV lyrics. ) 2. The poetry is meditative lyric, or lyric meditation, rather than personal confession or philosophic statement. The poet's voice often speaks generically. The whole cycle - like each Quartet itself - begins with individual perception or experience and, through meditation upon it, broadens into universal statement at the end. The point of departure is generally some time - transcending experience; the concluding meditation generally relates the perceptions of the timeless to perceptions about the nature of art and the nature of love, both human and divine. 3. Despite occasional lapses, usually in Part II or Part III, assertions of large scale failure (in The Dry Salvages especially) are not justified by close scrutiny of the poetic texture. Analysis of structural, tonal, metrical and syntactic features vindicates even the alleged prosaically flat passages. 4. The poetry works largely with traditional imagery, plain diction, orthodox syntax and pervasive four-stress rhythm. There are several departures from all these, yet a rjght reading will see them as deliberate variations, for specific purposes, on the given norms. The general aim of the thesis is to demonstrate that the poems are less difficult in thought and peculiar in method than has often been supposed. / Thesis (Ph.D.)-University of Natal, Durban, 1989.

Thesis (M.A.)--University of California, San Diego, 2008. / The 2nd work for piano, amplified guitar, baritone saxophone, and tuba. Accompanying disc is DVD-ROM, and contains sound files of recordings of works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 8:00 ; ca. 6:00 ; ca. 11:00-12:00. Explanatory or program notes precede each work.