Five colors for saxophone quartet / Alex Heppelmann -- Three preludes / Kendra Kestner -- La casita de mis viejos / Juan Carlos Cobian -- In C / Terry Riley. / text

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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed May 5, 2009). PDF text: xi, 126 p. : music ; 2 Mb. UMI publication number: AAT 3344729. Includes bibliographical references. Also available in print, microfilm and microfiche formats.

Thesis (Ph. D.)--Princeton University, 1969. / Holograph. "This composition and the essay, The delayed structural downbeat and its effect on the tonal and rhythmic structure of sonata form recapitulation, together constitute the dissertation but are otherwise unrelated." Printed on double leaves.

Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.

Despite the prominence of trombone quartets for student trombonists, there is a lack of pedagogical and performance technique literature related to the genre. Consequently, this project seeks to provide a much-needed resource that developing ensembles and instructors can use to hone their craft and enjoy a more productive quartet experience. This guide for trombone quartets will provide ensembles with fundamental knowledge concerning important aspects of trombone quartet performance such as rehearsal technique, collaboration, logistics, repertoire, and specific musical elements. This essay draws upon an analysis of chamber music literature and resources, interviews with prominent professionals, and the personal experience of the author. The research conducted for the essay informs the resulting guide for performance.

Repository copy includes the score of 16 pages, including 1 page of performance instruction, in a pdf format from the original, edited in Sibelius 8.2.0. / Barzakh means separation in Arabic. Moreover, in the Islamic eschatology, it is a barrier between the physical and spiritual worlds. In this piece, I am using this idea as an inspiration to my creation so that a disrupting sound and its developments are separating the sound worlds and opening new dimensions for new musical spaces. The piece is composed for string quartet and its duration is approximately 9 minutes.

A solo-quartet by Hoffmeister previously unpublished was discovered by the author in the archives of the Gesellschaft der Musikfreunde in Vienna. This work contributes to the modern solo repertoire for double bass, and has considerable musical merit. It is a well written work using cleverly overlapped phrases, counterpoint and imitative writing, and effective juxtaposition of contrasting instrumentation. It lies well on the bass and provides an excellent solo vehicle for advanced bassists.

T.S. Eliot's Four Quartets is full of beautiful and resounding imagery, yet the art of unfolding these images, discovering the movement and drama taking place in and between them, often remains elusive. In this thesis, I approach this problem by offering a detailed reading of Eliot's four poems, tracing the repetition and subtle movements of these patterns of images and the connections between them. I show how in each poem, Eliot develops a set of images that uniquely depicts the entrance of the timeless into time; these images offer ways of framing the problem of responding to revelations of deeper reality, which I take to be the poem's central drama. At the same time, across the whole of the four poems, this reoccurring drama—the issue of the intersection of the timeless with time and the poet's response to this intersection—continues to develop, becoming more complex and layered in each of the poems. Unfolding the different but parallel movements that are enacted across the four poems gives us a better understanding of the way the poems work together as a whole, harmonizing with one another to expand and deepen the individual images and momentary expressions of emotion each poem conveys. / Master of Arts