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Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet. / Wong Kong Yu. / Thesis submitted in: December 2002. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves ). / Abstracts in English and Chinese. / Abstract --- p.1 Page / Scores with Notes: / Chapter 1. --- Quintet for Winds and Piano / Note --- p.2 Pages / Score --- p.30 Pages / Chapter 2. --- Preludes and Fugues for Piano Solo / Note --- p.2 Pages / Score --- p.31 Pages / Chapter 3. --- Variations for String Quartet / Note --- p.2 Pages / Score --- p.9 Pages / Total Duration: 38 minutes

Thesis (MMus)(Comp)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript.

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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published_or_final_version / Music / Master / Master of Philosophy

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.