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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St SELECTED TWENTIETH-CENTURY STRING QUARTETS: AN APPROACH TO UNDERSTANDINGSTYLE AND FORM Item Type text; Dissertation-Reproduction (electronic) Authors Walker, Mary Beth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 13:06:11 Link to Item http://hdl.handle.net/10150/290437 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. 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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR 77-20,621 WALKER, Mary Beth, 1931- SELECTED TWENTIETH-CENTURY STRING QUARTETS: AN APPROACH TO UNDERSTANDING STYLE AND FORM. The University of Arizona, A.Mus.D., 1977 Music Xerox University Microfilms , Ann Arbor, Michigan 48106 SELECTED TWENTIETH-CENTURY STRING- QUARTETS: AN APPROACH TO UNDERSTANDING STYLE AND FORM by Mary Beth Walker A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC EDUCATION In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 7 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Mary Beth Walker entitled Selected Twentieth-Century String Quartets: An Approach to Understanding Style and Form be accepted as fulfilling the dissertation requirement for the degree of Doctor of Musical Arts £</• Vni' » Dissertation Diriectar Date ' As members of the Final Examination Committee, we certify that we have read this dissertation and agree that it may be presented for final defense. 3/0/ / 77 A —~r~^— /22. J 2Z Final approval and acceptance of this dissertation is contingent on the candidate*8 adequate performance and defense thereof at the final oral examination. STATEMENT BY AUTHOR This dissertation has been submitted in partial ful­ fillment of requirements for an advanced degree at The Uni­ versity of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allow­ able without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the in­ terests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED; PREFACE The purpose of this study is to introduce analysis of early twentieth-century music to serious music students by using chamber music as the medium. The paper is designed as an independent study project for the student interested in such music. The scope of most music literature books—for exam­ ple, Bernstein and Picker 1972, Boyden 1970, Gillespie 1972, Hoffer 1971—is so large that chamber music and twentieth- century music are covered only briefly. On the other hand, twentieth-century analyses of chamber music in many music journals—for example, Journal of Music Theory, Perspectives of New Music—are much too technical for most music stu­ dents. This study, therefore, offers analyses that are de­ tailed but presented in a way that a student will be able to read and, hopefully, understand them with a minimum of help from a teacher or from a music dictionary. This paper is organized into six chapters, followed by a list of abbreviations, a glossary of terms, and a se­ lected bibliography. Chapter 1 sets forth the educational emphasis and purpose of the paper. Chapters 2 through 5 contain the analyses of the selected quartets: Maurice iii Ravel's Quartet in ff Major, Bela Bartok's fourth String Quartet, Alban Berg's Lyric Suite, and Anton Webern's String Quartet, Op. 28. Chapter 6 is a concluding statement of ideas contained in this paper. The list of abbreviations includes those used in the figures and examples in this paper. The glossary consists of a list and definitions of relevant twentieth-century musical terms used in this paper. The analyses in the paper are original with the author. Much research, however, was done before the analy­ ses were made. Articles in English in scholarly music jour­ nals concerned with the general styles of the selected composers or the specific works were consulted. Also, pub­ lished books on the composers and their compositions were used. Books written on significant musical trends and de­ velopments of the twentieth century were utilized. Unpub­ lished dissertations on the composers or the specific quartets were used. Writings on Barto'k and Berg are more numerous than on Ravel. Very little research on Ravel is available in English. A large amount of research is avail­ able on Webern but very little on String Quartet, Op. 28. Only the more significant works related to this study have been listed in the selected bibliography. It is hoped that the materials in this study can be of value to students wanting to know more about problems and techniques in analyzing some of the music of our century. Dr. Edward W. Murphy, Dr. 0. M. Hartsell, and Dr. James R. Anthony have been most helpful in the writing of this dissertation. The writer is appreciative of their guidance. Appreciation is also expressed for the construc tive suggestions made by Dr. John R. Pitch and Dr. Koste Belcheff, who were added to the committee in the final stages of the dissertation. ACKNOWLEDGMENTS Excerpts from Bela Bartdk, Fourth String Quartet, (c) Copyright 1929 by Universal Edition. Renewed 1956. Copyright and Renewal assigned to Boosey & Hawkes, Inc. Used by permission. Excerpts from Alban Berg, Lyric Suite. © Copy­ right 1927 by Universal Edition. Copyright renewed 1955 by Helene Berg. Used by permission. Excerpts from Maurice Ravel, Quartet in F Major. Published (n.d.) by International Music Company. Used by permission. Excerpts from Anton Webern, String Quartet, Op. 28. (c) Copyright 1939 by Hawkes & Son (London), Ltd. Copyright assigned 1955 to Universal Edition A.G., Vienna. Used by permission. vi TABLE OP CONTENTS Page LIST OP ILLUSTRATIONS ix ABSTRACT xi CHAPTER 1. INTRODUCTION 1 2. RAVEL: QUARTET IN P MAJOR 10 Pirst Movement 11 Second Movement 19 Third Movement 23 Fourth Movement 30 3. BARTOK: FOURTH STRING QUARTET 37 Pirst Movement 38 Second Movement 46 Third Movement 51 Fourth Movement 56 Fifth Movement 59 4. BERG; LYRIC SUITE . .' 68 First Movement 71 Second Movement 81 Third Movement . 86 Fourth Movement 93 Fifth Movement 98 Sixth Movement 106 5. WEBERN: STRING QUARTET. OP. 28 . 117 First Movement 121 Second Movement 126 Third Movement 130 6. CONCLUSION 135 vii viii TABLE OF CONTENTS—Continued Page LIST OP ABBREVIATIONS 141 GLOSSARY OP TERMS 142 SELECTED BIBLIOGRAPHY 144 LIST OP ILLUSTRATIONS Figure Page 1. Ponnal Outline of Ravel's Quartet in P Major, Mvt. I 12 2. Formal Outline of Ravel's Quartet in P Major, Mvt. II 19 3. Formal Outline of Ravel's Quartet in F Major, Mvt. Ill 24 4. Formal Outline of Ravel's Quartet in F Major, Mvt. IV 30 5. Formal Outline of Bartok's Fourth String Quartet, Mvt. I 38 6. Formal Outline of Bartok's Fourth String Quartet, Mvt. II 47 7. Formal Outline of Bartok's Fourth String Quartet, Mvt. Ill 51 8. Formal Outline of Bartok's Fourth String Quartet, Mvt. IV 57 9. Formal Outline of Bartok's Fourth String Quartet, Mvt. V 60 10. Basic Set in Berg's Lyric Suite ......... 70 11. Formal Outline of Berg's Lyric Suite, Mvt.1 71 12. Set Forms in Berg's Lyric Suite, Mvt.
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