Title from accompanying document. / B. Rohrer, saxophone ; F. Proctor, piano and organ ; R. Muse, piano ; C. Miller, piano ; S. Finck, marimba ; F. Sidorfsky, clarinet ; D. Bakke, violin. / Digitized by Kansas Correctional Industries

大部份的批評家都同意時間在艾略特的《四首四童奏》中是個重覆出現的主題。在每首四重奏中都有詩篇處理時間的主題。然而，雖然時間在《四首四重奏》中是個重要的主題，卻鮮少有批評家願意下功夫有系統地研究此一主題。因比，我認為在《四首四重奏》中，時間此一主題仍有許多批判的空間。而這就是我決定要有系統地研究《四首四重奏》中時間主題的原因。 時間在《四首四重奏》中展現許多不同的面貌。如同每首四重奏所顯現的，時間可以是哲理的、神祕的、以及先驗的。因比要將時間的概念簡化為單一的意念是困難的。然而，雖然要定義時間是困難的，我仍將在論文中探討《四首四重奏》中所呈現的時間之不同面相以及追溯時間朝向永恆時刻發展的形態。在本論文，我採取全方位的觀點，俾使我能夠探索時間的多重面貌。最重要的是，我能夠證明永恆的時刻為時間的中心概念。而此一中心概念就是時間形態的基礎所在。 除了導論和結論外，我將論文分為四章，依照四首四重奏的的順序。每首四重奏都體現了一種獨特的永恆時間觀。 「焚毀諾頓」將討論玫瑰花園中深刻的時刻以及模稜兩可的時間中心。 「東科村」將探討不斷循環的時間形態。 「海難岩」將著重在時間和永恆的交叉點。 「小吉丁」將重心放在當下以及由火和玫瑰結合所帶來的永恆時刻。最後的總結是永恆的時刻是艾略特於《四首四重奏》所追求時間形態最終的目標。 / Most critics would agree that time is a recurrent theme in Four Quartets. In each quartet, we have passages which deal with the theme of time. However, in spite of the significance of time as a major theme in Four Quartets. there are none the less few critics who take pains to study the theme of time systematically. Therefore, it still leaves, I think, much room for critical re-evaluation of the importance of time as a theme in Four Quartets. And this is the reason why I decide to do research on the concept of time in Four Quartets both thematically and systematically. Times assumes multifarious guises in Four Quartets. It may be philosophical, mystical, or even transcendental, as each quartet will demonstrate. Thus, it is difficult to simplify the concept of time as a single idea. However, despite the difficulty of defining time in specific terms, I neverthless intend, in my thesis, not only to explore the various aspects of time exemplified in Four Quartets but also to trace the pattern of time as a kind of development leading toward timeless moments. The methodology I adopt in this thesis is an all-embracing perspective which is both larhe and broad enough for me to probe into the different aspects of time and, most important of all, to seek a central, unifying concept of time-the timeless moment-on which the pattern of time is based. Besides, I intend to divide the body of my thesis into four chapters, following the sequence of the four quartets. Each quartet embodies a unique version of timeless moments. “Burnt Norton”will focus on the intensified moment in the rose-garden and the ambivalent center of time-the still point. “East Coker”will focus on the pattern of time as succession of the begining and the end. “The Dry Salvages”will focus on the point of intersection of the timeless with time. “Little Gidding”will focus on the immediate present and the timeless moment which culminates in the union of the fire and the rose. And finally I will conclude with the proposition that the timeless moment is the ultimate goal Eliot would like to achieve in pursuing the pattern of time in Four Quartets.

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).

Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works. / This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.

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).

No description available.

From Introduction: In the middle of the eighteenth century, when Haydn began composing his first string quartets, violin writing was highly advanced and the violin an established solo instrument, its supremacy already firmly endorsed by the Italian Violin Schools of the seventeenth and early eighteenth centuries. The pace of development of the cello, however, was not comparable to that of the violin, despite the fact that the first cello known to us was made in 1572.

This dissertation is comprised of a paper on Tristan Murail’s Mémoire/Érosion (1976) and a pair of my compositions—R[o/u]LE(s) for string quartet with percussion instruments (2016) and Projectile Motion (2018) for string quartet. The paper endeavors to draw attention to the rich, individualized voices within the French spectralist movement during its emerging phase, exemplifying various paths of en/decoding spectral thinking with Murail’s Mémoire/Érosion. In view of the interdisciplinary essence of spectralism, my analytical approach extensively adapts theories, research findings, and a posteriori knowledge from fields such as psychology, computer technology, and marketing so as to diversely reason how spectral thinking may be en/decoded by maneuvering information harnessed from the (pseudo-)spectral sources while interpreting the resultant perceptions. In comparison to the theme of the paper, which is heavily centered on pitch manipulation, the two compositions downplay such a musical dimension in varying degrees for different purposes. First, passive in nature and magnified by the incorporations of the percussion as well as the strings’ scratch tones, the reduced presence of pitch in R[o/u]LE(s) signals an attempt to navigate and investigate the topic of (Taiwanese) identity. Second, actively suppressed, pitch in Projectile Motion virtually becomes residual traces left by the heightened impulses of gesture, which, apart from being where the music largely gains its momentum, can be viewed as an expression of reflecting on issues of intimacy, accessibility, and cultural implications that contemporary music elicits in relation to a valued sector of my personal sphere.