String quartet -- Eternal light : for orchestra -- The Lord's prayer : for baritone, clarinet and piano. / Wong Yat Wai Joseph. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Chapter 1. --- String Quartet --- p.1 / Chapter 2. --- Eternal Light for Orchestra --- p.21 / Chapter 3. --- "The Lord's Prayer for Baritone, Clarinet and Piano" --- p.58

雨(Rain) : for SATB choir and piano -- String quartet no. 1 -- The Ferris wheel fantasia : for double-winds orchestra. / Yu (Rain) : for SATB choir and piano -- String quartet no. 1 -- The Ferris wheel fantasia : for double-winds orchestra. / Kwan Lai-yan Livia. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Chapter 1. --- 雨(Rain ) --- p.1 / For SATB Choir and Piano / Chapter 2. --- String Quartet No.l --- p.23 / Chapter 3. --- The Ferris Wheel Fantasia --- p.41 / For double-winds Orchestra

This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently.  Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language.  In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance.  From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

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.

This thesis is concerned with the historical context and evaluation of the string quartets of Franz Berwald. It will establish the environment within which Berwald composed these quartets, and show the results of his efforts. The material for this investigation was gathered from musical scores and literature about music. Chapter I gives an introduction to the thesis and a short biographical sketch of Berwald. Chapter II surveys the string quartet in the first half of the nineteenth century, citing the work of major composers. This chapter concludes with an examination of the influences on Berwald's musical styles. Chapter III surveys Berwald's musical output and describes the Quartet in G Minor. Chapter IV describes his last two quartets. The evaluations and conclusions are presented in Chapter V.

Wong Hiu Lam. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 104-109). / Abstracts in English and Chinese. / Abstract --- p.iv / Abstract (Chinese Translation) --- p.v / Acknowledgements --- p.vi / Chapter Chapter 1 --- Introduction --- p.1 / Overview of Bartok's six quartets --- p.1 / Literature review --- p.4 / Objectives --- p.9 / Chapter Chapter 2 --- "Karpati, Antokoletz and Wilson's Analytical Approaches" --- p.11 / Karpati's idea of mistiming --- p.11 / Antokoletz's interval cycle and interval ratio --- p.13 / Wilson's interest in structural hierarchy --- p.18 / Chapter Chapter 3 --- "The Fifth Quartet, First and Fifth Movements" --- p.23 / "The Fifth Quartet, first movement" --- p.24 / Form --- p.24 / Pitch centres --- p.26 / Fourths --- p.28 / "The Fifth Quartet, fifth movement" --- p.35 / Form --- p.35 / Pitch centres --- p.37 / Fourths --- p.37 / Symmetries --- p.41 / Chapter Chapter 4 --- "The Fifth Quartet, Second and Fourth Movements" --- p.45 / Bartok's analysis of the Fifth Quartet --- p.45 / Other analyses --- p.46 / Bartok's formal analysis of the second and fourth movements --- p.47 / An extended introduction --- p.48 / Similarities between the second and fourth movements --- p.49 / Prominent intervals and pc sets --- p.49 / Instrumental sequence --- p.53 / Juxtaposition and superimposition of(0123)s and (0167)s --- p.53 / Juxtaposition and superimposition: melody and chordal accompaniment --- p.54 / Thematic kinship --- p.55 / Texture --- p.57 / Chapter Chapter 5 --- "Figuring Thirds in the Fifth Quartet, Third Movement" --- p.59 / Formal structure of the whole quartet and the third movement --- p.59 / Motive a and third-structure --- p.60 / "Definition of ""third-structure""" --- p.61 / Arch-shaped melodies formed by thirds --- p.61 / Third-structures and the diatonic collection --- p.62 / Third-structures and the octatonic collection --- p.62 / Third-structures and the chromatic collection --- p.67 / Referential collections and formal structure --- p.67 / Chapter Chapter 6 --- "The Sixth Quartet, First and Fourth Movements" --- p.69 / Existing Literature --- p.69 / Formal structure --- p.71 / Mesto themes of the two movements --- p.73 / An unusual finale --- p.75 / Fourths --- p.79 / Chapter Chapter 7 --- "Duality in the Sixth Quartet, Second Movement" --- p.84 / Karpati and dual thirds --- p.87 / Dual centres B and G# --- p.88 / (0347)s --- p.90 / Relationship between duality and form --- p.92 / Chapter Chapter 8 --- "The Sixth Quartet, Third Movement" --- p.94 / Chapter Chapter 9 --- Conclusion --- p.100 / Selected Bibliography --- p.104

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

Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1593. Adviser: Heinrich Taube. Includes bibliographical references (leaves 251-258) Available on microfilm from Pro Quest Information and Learning.

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).