{"id":{"repo_id":"duquesne","oai_identifier":"oai:dsc.duq.edu:etd-2236"},"canonical_url":"https://search.dev.ndltd.org/etd/duquesne/oai:dsc.duq.edu:etd-2236","repository":{"repo_id":"duquesne","name":"Duquesne","base_url":"https://dsc.duq.edu/do/oai/"},"display":{"title":"Electronic String Quartet #1","abstract":"Electronic String Quartet #1 by Ted Smoker incorporates the expressiveness of live string performance with the sonic capabilities of music technology through the use of electronic effects processing. This piece incorporates pitch-set theory, polytonality, Lydian and Phrygian church modes, microtonal pitch sweeps, and percussive effects. The electronic effects used in the composition were reverb, delay with tempo control, tube-amplifier distortion, and flanger or filter sweep generator. It is intended to be played by five performers -- string instrumentalists and sound engineer. A notation for the electronic effects was invented to provide a clear, simple, and precise system for manipulating the effects in real-time.","abstract_html":"Electronic String Quartet #1 by Ted Smoker incorporates the expressiveness of live string performance with the sonic capabilities of music technology through the use of electronic effects processing. This piece incorporates pitch-set theory, polytonality, Lydian and Phrygian church modes, microtonal pitch sweeps, and percussive effects. The electronic effects used in the composition were reverb, delay with tempo control, tube-amplifier distortion, and flanger or filter sweep generator. It is intended to be played by five performers -- string instrumentalists and sound engineer. A notation for the electronic effects was invented to provide a clear, simple, and precise system for manipulating the effects in real-time.","abstract_has_math":false,"creators":["Smoker, Theodore"],"institution":null,"degree_name":"MM","degree_level":"Immediate Access","degree_discipline":"Composition","degree_department":null,"school":null,"contributors":["Lynn Purse","Carole Riley","Judith Bowman","William Purse"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2005,"date_issued":"2005-01-01T08:00:00Z","date_published":"2005-01-01T08:00:00Z","updated_at":"2026-07-24T02:10:29Z","subjects":["composition","delay","distortion","effects","Electronic","music technology","String Quartet"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://dsc.duq.edu/etd/1220","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Lynn Purse","Carole Riley","Judith Bowman","William Purse"]},{"key":"dc:creator","label":"Author","values":["Smoker, Theodore"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2018-08-03T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Composition"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Immediate Access"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MM"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["composition","delay","distortion","effects","Electronic","music technology","String Quartet"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://dsc.duq.edu/etd/1220"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Electronic String Quartet #1 by Ted Smoker incorporates the expressiveness of live string performance with the sonic capabilities of music technology through the use of electronic effects processing. This piece incorporates pitch-set theory, polytonality, Lydian and Phrygian church modes, microtonal pitch sweeps, and percussive effects. The electronic effects used in the composition were reverb, delay with tempo control, tube-amplifier distortion, and flanger or filter sweep generator. It is intended to be played by five performers -- string instrumentalists and sound engineer. A notation for the electronic effects was invented to provide a clear, simple, and precise system for manipulating the effects in real-time."]},{"key":"dc:title","label":"Title","values":["Electronic String Quartet #1"]}]}],"canonical_facts":{"dc:contributor":["Lynn Purse","Carole Riley","Judith Bowman","William Purse"],"dc:creator":["Smoker, Theodore"],"dc:date.available":["2018-08-03T07:00:00Z"],"dc:description.abstract":["Electronic String Quartet #1 by Ted Smoker incorporates the expressiveness of live string performance with the sonic capabilities of music technology through the use of electronic effects processing. This piece incorporates pitch-set theory, polytonality, Lydian and Phrygian church modes, microtonal pitch sweeps, and percussive effects. The electronic effects used in the composition were reverb, delay with tempo control, tube-amplifier distortion, and flanger or filter sweep generator. It is intended to be played by five performers -- string instrumentalists and sound engineer. A notation for the electronic effects was invented to provide a clear, simple, and precise system for manipulating the effects in real-time."],"dc:identifier":["https://dsc.duq.edu/etd/1220"],"dc:language":["English"],"dc:subject":["composition","delay","distortion","effects","Electronic","music technology","String Quartet"],"dc:title":["Electronic String Quartet #1"],"thesis:degree_discipline":["Composition"],"thesis:degree_level":["Immediate Access"],"thesis:degree_name":["MM"]},"updated_at":"2026-07-24T02:10:29Z"}