LIGETI’S “STRING QUARTET No.1”; STYLISTIC INCONGRUENCE? by Bianca ŢIPLEA TEMEŞ

“… Compared to Ligeti’s String Quartet no.2, Métamorphoses nocturnes is a piece that has been less explored, although it towers over the author’s early creations. …”
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‘Chess studies’ for String Quartet: Composition based on chess by Alberto Hortigüela, Sara Carvalho

“… This article proposes a first approach to the possibilities of adapting mathematical elements derived from chess to musical composition based on the analysis of the composition process of the work Chess Studies for String Quartet, composed in 2020 by the 1st author of this paper. …”
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TRADITION AND INNOVATION IN WORKS DEDICATED TO THE STRING QUARTET BY GIACOMO PUCCINI by Raluca IRIMIA

“…The instrumental chamber compositions of Giacomo Puccini, Crisantemi, 3 Minuetti, and his String quartet mirror the particularities of his operatic works. …”
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String Quartets by Rafał Augustyn and Their Role Within the Tradition of the Genre by Aleksandra FERENC

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GYÖRGY LIGETI’S SECOND STRING QUARTET: BIOGRAPHICAL INFLUENCES AND NEW TECHNIQUES by Tudor FERARU

“…In attempting to solve the question, particular interest is taken in Ligeti’s Second String Quartet. It is a mature composition, a synthesis (although Ligeti disliked the word) of earlier Bartók-Kodály influences, features borrowed from Stravinsky and Berg, micropolyphony from previous works, and the cooled expressionism of late 1960s. …”
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Video Visualization of a String Quartet Performance of a Bach Fugue: Design and Subjective Evaluation by Olivier Lartillot, Dana Swarbrick, Finn Upham, Carlos Eduardo Cancino-Chacón

“…Bach's The Art of Fugue , performed by the Danish String Quartet. At the surface level of the musical structure, the rich fluctuation of pitch shaped by each musician was depicted in the form of undulating pitch curves. …”
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SOME ASPECTS OF VERTICAL TYPOLOGIES IN THE LAST STRING QUARTET OF W. A. MOZART, KV 590, F MAJOR by Attila FODOR

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Strykekvartetter og elektronikk by Mathieu Lacroix

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Mendelssohns Beethoven-Rezeption als Beispiel musikalischer Zitiertechnik by Ariane Jeßulat

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Zyklizität und Drama(turgie) in Scelsis viertem Streichquartett by Volker Helbing

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Zur Artikulation von Tonfeldern bei Brahms, Debussy und Stockhausen by Michael Polth

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ARNOLD SCHÖNBERG’S RECORD COLLECTION AT THE ARNOLD SCHÖNBERG CENTER, WIEN by Eike FEß

“…Music examples included Schönberg’s own recording of Transfigured Night op. 4 and the Kolisch Quartet performances of his String Quartets. These acoustic documents illuminate Schönberg’s performance aesthetics and compositional intentions. …”
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Introducing the MusicLab Copenhagen Dataset by Simon Høffding, Rebecca Josefine Five Bergstrøm, Laura Bishop, Pedro Lucas, Kayla Burnim, Carlos Cancino-Chacón, Alena Clim, Mathew Good, Niels Chr. Hansen, Eirik Slinning Karlsen, Live Håndlykken Kvale, Bruno Laeng, Olivier Lartillot, Eigil Lippert, Remy Martin, Nanette Nielsen, Rahul Omprakash, Thea Sørli Paulsrud, Fernando Rosas, Dana Swarbrick, Solveig Sørbø, Finn Upham, Atilla Vrasdonk, Jonna Vuoskoski, Sebastian Wallot, Wenbo Yi, Anne Danielsen, Alexander Refsum Jensenius

“…MusicLab Copenhagen was a unique research concert featuring the world-renowned Danish String Quartet in a naturalistic setting. The audience was split between one group physically located in the hall, another group listening to a radio broadcast, and a third group watching a live stream. …”
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The Idea of <i>Notational Ekphrasis</i> in Words and Music by Thomas Gurke

“…This chapter will focus on the presence of musical notation in literary texts, their aesthetic, (inter-)medial presence and potentialities, in paradigmatic Modern short stories such as Katherine Mansfield’s “The Wind Blows” (1915), Virginia Woolf’s “The String Quartet” (1921) and Vladimir Nabokov’s “Music” (1932). …”
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Organiser l’invention technologique et artistique ? by Nicolas Donin, Samuel Goldszmidt, Jacques Theureau

“…A method of collective activity data collection and analysis was tested by following a particular design process, both technological and artistic, developed over the course of two years at IRCAM – the design of an “Augmented quartet” by a group which included a researcher/developer, a composer, a computer music designer, a string quartet and other participants. Several notions and methods of activity-centred design proved relevant to the analysis of collected data: the notions of design object (in particular when defined as a situation and not as a device) and of its processual definition, the notion of intermediate situation, and the participatory methods of future operators in the design process. …”
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Neurosyphilis and classical music: the great composers and “The Great Imitator” by Matheus Kahakura Franco Pedro, Francisco Manoel Branco Germiniani, Hélio A. G. Teive

“…His tinnitus was musically represented in his first String Quartet. Conclusion: Neurosyphilis victimized several notorious composers. …”
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The cadenza woodwind dataset: Synthesised quartets for music information retrieval and machine learningZenodo by Gerardo Roa Dabike, Trevor J. Cox, Alex J. Miller, Bruno M. Fazenda, Simone Graetzer, Rebecca R. Vos, Michael A. Akeroyd, Jennifer Firth, William M. Whitmer, Scott Bannister, Alinka Greasley, Jon P. Barker

“…Music scores were selected from the OpenScore String Quartet corpus. These were rendered for two woodwind ensembles of (i) flute, oboe, clarinet and bassoon; and (ii) flute, oboe, alto saxophone and bassoon. …”
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Multiscale synchronisation dynamics reveals the impact of an improvisatory approach to performance on music experience by Takayuki Nozawa, Madalina I. Sas, David Dolan, Hardik Rajpal, Fernando E. Rosas, Christopher Timmermann, Pedro A. M. Mediano, Keigo Honda, Shunnichi Amano, Yoshihiro Miyake, Henrik J. Jensen

“…In a classical music concert-experiment performed by a string quartet, we contrast a Let-go performance mode, characterised by a more creative and improvisatory approach that encourages risk-taking and spontaneous expression, with a more Strict mode which requires adhering closely to the score, common in many Western classical music performance environments. …”
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