O Quarteto de cordas em sol menor de Claude Debussy é uma obra marcada por importantes dicotomias. Composta em 1893, ela se encontra permeada de elementos harmônicos e formais ligados à tradição tonal e ao final do século XIX, particularmente ao compositor César Franck. Ao mesmo tempo, a peça utiliza procedimentos que são observados apenas em obras maduras do compositor, nas quais o tonalismo se encontra pouco presente, e análises que dependam exclusivamente de elementos tonais mostramse pouco eficientes para o Quarteto. Essa relação entre tradição e inovação é investigada nesta pesquisa, que traz como enfoque duas características diretamente relacionadas: a maneira como Debussy utiliza elementos repetidos nesta peça, assunto pesquisado por Sylveline Bourion, e aspectos relativos à forma cinética, elemento descrito por Richard Parks. Uma comparação entre o primeiro movimento do Quarteto e o primeiro movimento da Sonata para flauta, viola e harpa, peça do final da carreira de Debussy, é oportuna para que sejam observados elementos formais semelhantes aplicados em contextos diferentes. / Claude Debussy\'s String quartet in G minor is a work characterized by important dichotomies. Written in 1893, the piece is permeated by harmonic and formal elements attached to the tonal tradition and to the end of the 19th century, and specially to the composer César Franck. At the same time, the Quartet uses procedures observed only in Debussy\'s mature works, in which the presence of tonalism is weak, and analyses that rely exclusively on tonal elements are proven to have little efficiency regarding this piece. The relation between tradition and innovation is examined in this research, which focuses on two related characteristics: the way in which Debussy uses repeated elements in this piece, a matter also examined by Sylveline Bourion, and aspects related to the kinetic form described by Richard Parks. A comparison between the Quartet\'s first movement and the first movement from the Sonata for flute, viola and harp, composed at the end of Debussy\'s career, is useful for observing similar formal elements applied in different contexts.

O Quarteto de cordas em sol menor de Claude Debussy é uma obra marcada por importantes dicotomias. Composta em 1893, ela se encontra permeada de elementos harmônicos e formais ligados à tradição tonal e ao final do século XIX, particularmente ao compositor César Franck. Ao mesmo tempo, a peça utiliza procedimentos que são observados apenas em obras maduras do compositor, nas quais o tonalismo se encontra pouco presente, e análises que dependam exclusivamente de elementos tonais mostramse pouco eficientes para o Quarteto. Essa relação entre tradição e inovação é investigada nesta pesquisa, que traz como enfoque duas características diretamente relacionadas: a maneira como Debussy utiliza elementos repetidos nesta peça, assunto pesquisado por Sylveline Bourion, e aspectos relativos à forma cinética, elemento descrito por Richard Parks. Uma comparação entre o primeiro movimento do Quarteto e o primeiro movimento da Sonata para flauta, viola e harpa, peça do final da carreira de Debussy, é oportuna para que sejam observados elementos formais semelhantes aplicados em contextos diferentes. / Claude Debussy\'s String quartet in G minor is a work characterized by important dichotomies. Written in 1893, the piece is permeated by harmonic and formal elements attached to the tonal tradition and to the end of the 19th century, and specially to the composer César Franck. At the same time, the Quartet uses procedures observed only in Debussy\'s mature works, in which the presence of tonalism is weak, and analyses that rely exclusively on tonal elements are proven to have little efficiency regarding this piece. The relation between tradition and innovation is examined in this research, which focuses on two related characteristics: the way in which Debussy uses repeated elements in this piece, a matter also examined by Sylveline Bourion, and aspects related to the kinetic form described by Richard Parks. A comparison between the Quartet\'s first movement and the first movement from the Sonata for flute, viola and harp, composed at the end of Debussy\'s career, is useful for observing similar formal elements applied in different contexts.

Dans cette étude doctorale, nous analysons l'évolution des approches stratégiques de Tony Blair sur le processus de paix entre Israël et les Palestiniens à la suite de la mutation institutionnelle du Premier ministre en Représentant du Quartet. Nous examinons les postulats des théories de socialisation selon lesquels la socialisation dans les institutions internationales peut produire des changements dans la perception du problème et les identités des agents. Afin d'évaluer s'il y avait des changements dans les approches de Tony Blair en qualité de médiateur du Quartet, nous avons étudié sa vision du problème durant les années où il fut Premier ministre britannique. Pour cette raison, notre travail doctoral représente une étude de deux cas qui correspondent aux deux contextes institutionnels. Le premier cas est divisé en deux parties inégales : a) du 11 septembre, 2001 à janvier 2006; b) de janvier 2006 à juin 2007. Cette division est justifiée par notre choix des événements de début 2006 qui auraient pu potentiellement changer la conception de Tony Blair (la victoire de Hamas dans les élections nationales). Le corps empirique de premier cas constitué par les données qualitatives (principalement, 48 discours de Tony Blair, ses mémoires "A Journey") nous révèle une certaine stabilité dans son approche sur le processus ("de haut en bas"). De l'autre côté, les données empiriques relatives aux activités de Tony Blair en qualité de médiateur à partir de juin 2007 nous démontrent un changement stratégique dans son approche ("de bas en haut" accompagné par "de haut en bas"). Nous avons examiné ces changements dans sa position à la lumière de deux distinctions analytiques justifiées soit par l'adaptation au nouvel environnement stratégique (l'approche néoréaliste), soit par la reconsidération de son ancienne expérience et les changements idéationnels (l'approche constructiviste). Cette étude est une contribution sur l'un des conflits les plus complexes de l'histoire de la géopolitique contemporaine. Son objectif est d'analyser l'effet de la socialisation du médiateur dans une structure internationale - à savoir le Quartet - sur sa vision conceptuelle du problème qui a conservé sa stabilité dans le contexte institutionnel précédent.

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

自十九世紀中葉，猶太人第一次遷徙到巴勒斯坦，已經過一百五十餘年。猶太民族與世居巴勒斯坦的阿拉伯人，原本還算和睦相處。惟隨著歐洲民族主義的復興，猶太人在受到歐洲人迫害後，亦隨之興起在巴勒斯坦建國的思想。猶太復國主義崛起（Zionism），巴勒斯坦的歷史，從此展開了新頁。 猶太人自廿世紀第二次遷徙至巴勒斯坦後，採取激進的屯墾措施，以巧取豪奪的方法自巴人手中不斷取得土地，擴大版圖，排除在佃地世代務農的巴勒斯坦農民，改僱猶太人，造成佃農生活難以為繼，紛爭於是展開，難以平息，逐漸惡化成衝突，最後導至1936年巴人大規模反抗行動，以巴衝突正式展開，直至二十一世紀。 本論文從歷史發展的脈絡來分析四方路徑圖所提出的解決方案，首先研究自1948至1990年來，在以色列佔領下，以巴衝突的特質（第二章）。其次研究自1991至2002年，第一次巴勒斯坦人民起義後，奧斯陸原則宣言至美國大衛營談判破裂，以巴雙方在終止占領、建立自治政府、移轉權力、交還土地(包含屯墾區)等四方面的履行的情形，來觀察以色列在締結和平協定背後的戰略意圖（第三章）。再研究第二次巴勒斯坦人民起義後，由美國領導，歐盟、俄羅斯及聯合國四方共同參與的四方路徑圖，其所提出的兩國方案，是否可以消弭以巴衝突，從而建立雙方和平。其中值得注意的是以色列所採取的兩手策略：─面進行和平談判，一面準備單方隔離計畫。並對路徑圖未來可能的發展提出看法（第四章）。 最後的結論是四方路徑圖所提出的兩國方案似難解決以巴間長期衝突，而達成和平，將來可能的發展是一國方案（第五章）。 / In mid-nineteenth century, the first wave (aliyah) of Jews started to immigrate to Palestine. Jewish immigrants and indigenous Palestinians were getting along peacefully in Palestine at the outset. But after a spate of nationalism rose in Europe, Jews became the persecuted. Political Zionism thrived among Jews, which initiated the idea of building their own state in Palestine. A new chapter in the history of Palestine was written. Jewish immigrants to Palestine since the second aliyah were much more progressive. They were particularly interested in establishing a Jewish state and hoped to create Jewish settlements independently worked by Jewish farm laborers. This land buying policy led to tensions with Palestinian peasants, who were unable to find work among the new immigrant communities. Numerous land disputes deteriorated into tension between the two communities, as more Palestinians were displaced by Jewish land buying policy. Unemployed Palestinians became increasingly hostile towards the Zionists. At last, the first Arab revolt burst out in 1936. From there, the Israeli-Palestinian conflict began and has continued into the 21st century. The thesis analyses the solutions of the Road Map to the Israeli-Palestinian conflict in the context of history. It studies first the characteristics of the conflict from 1948 to 1990 (Chapter One). Then, it observes the past record of the peace process from 1991 to 2002 by the two sides through implementations of DOP, until the collapse of the Camp David Talks that caused the second intifada. By reviewing the past record of peace in contrast with its implementations regarding ending Israeli occupation, building a Palestinian self-government (PNA), transfer of powers and land (including Israeli settlements) to the PNA, one is able to realize the Israeli strategic intentions hidden behind those peace agreements (Chapter Three). Next, the thesis studies the two-state formula proposed by the US-led Quartet Road Map (the US, the EU, Russia and the UN), to understand its feasibility to solve the second intifada and build peace. It should be noted that Israel took a two-handed strategy: preparing for a disengagement plan while negotiating for peace. An appraisal of the future prospect of the Road Map is included in this chapter (Chapter Four). The conclusion of the thesis is that the Quartet Road Map could not solve the prolonged Israeli-Palestinian conflict and reach a sustained peace between the two peoples. Future development of the conflict may result in a one-state solution (Chapter Five).

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

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.

Thesis (M.Phil.)--University of Hong Kong, 2001. / Includes bibliographical references. Also available in print.

xiii, 188 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Beethoven's last five string quartets have engaged the imagination and curiosity of performers, listeners, and critics at a level that has rarely been touched in the world of chamber music, or beyond. Throughout the late quartets' history, musicians have scrutinized the works in search of a logic that might demystify their stylistic and structural peculiarities. This present study continues this pursuit as it examines analytically (through Schenkerian techniques) the harmonic, contrapuntal, and motivic procedures in Beethoven's last complete composition, the String Quartet in F major, op. 135. Most of the published analytical commentaries on the F major quartet approach the work more or less exclusively from a motivic standpoint. Arnold Schoenberg (1941), Rudolf Reti (1951), Deryck Cooke (1963), and Christopher Reynolds (1988) have all praised op. 135 for its highly unified motivic structure; what their studies show--at least in a general sense--is that there is undoubtedly a motivic strategy that ties much of op. 135 together. But what are we to do when the details of one motivic reading opposes another? Or what if a particular reading contradicts the way we understand a passage aurally (which happens often when the proposed reading is incongruous with the music's harmonic-contrapuntal structure)? What criteria should we use to evaluate a motivic analysis? Clearly, we need a set of principles and standards that will help answer these questions and advance us beyond mere intuition. The position taken in this study echoes John Rothgeb's argument that "proposed thematic relationships must bear scrutiny in the light of the Schenkerian theory of structural strata," and that incompatible readings should be "dismissed as spurious" (1983, 42). In the pages that follow, Schenkerian approach is adopted to help assess existing motivic readings of op. 135 within the requisite contexts of harmony and voice leading. The method is also used to help generate a rational, hearable analysis that reveals motivic relationships that reside at deeper, hidden levels of structure. / Adviser: Jack Boss