{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/113049"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/113049","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Aaron Cassidy’s Second String Quartet: Resilient structures, indeterminate localities, and performance practice","abstract":"When Aaron Cassidy’s Second String Quartet was premiered in 2010 by the JACK Quartet, the work’s innovative, physical action-based score drew considerable attention in contemporary music circles. Despite the enduring enthusiasm for Cassidy’s multi-colored prescriptive notation, much of the foundational information about his ever-adapting experimental choreographic compositional approach and how to perform his works remains obscure. Drawing on Second String Quartet’s score, recordings, compositional sketches, as well as new on-site research and interviews at the University of Huddersfield, this dissertation examines the work’s aesthetic context, structures, sound, and its interpreters’ performance practice. The analysis provides an introduction to parsing Cassidy’s notation, then focuses on the distinct relationships between the quartet’s resilient yet provocative structures and the indeterminate localities situated within them. In doing so, the choreographic means and sonic results of how Cassidy’s quartet utilizes a non-hierarchical approach to its musical material are discussed in detail. This includes how he creates local, sometimes atemporal, variation networks and deploys the motive-like transitional figures he calls “gestural models.” Approaches to learning and performing this work and Cassidy’s music in general are similarly addressed, with input from Cassidy, JACK Quartet members Chris Otto and John Pickford Richards, line upon line members Matthew Teodori, Cullen Faulk, and Adam Bedell, ELISION Ensemble members Daryl Buckley and Kathryn Schulmeister, and Weston Olencki.","abstract_html":"When Aaron Cassidy’s Second String Quartet was premiered in 2010 by the JACK Quartet, the work’s innovative, physical action-based score drew considerable attention in contemporary music circles. Despite the enduring enthusiasm for Cassidy’s multi-colored prescriptive notation, much of the foundational information about his ever-adapting experimental choreographic compositional approach and how to perform his works remains obscure. Drawing on Second String Quartet’s score, recordings, compositional sketches, as well as new on-site research and interviews at the University of Huddersfield, this dissertation examines the work’s aesthetic context, structures, sound, and its interpreters’ performance practice. The analysis provides an introduction to parsing Cassidy’s notation, then focuses on the distinct relationships between the quartet’s resilient yet provocative structures and the indeterminate localities situated within them. In doing so, the choreographic means and sonic results of how Cassidy’s quartet utilizes a non-hierarchical approach to its musical material are discussed in detail. This includes how he creates local, sometimes atemporal, variation networks and deploys the motive-like transitional figures he calls “gestural models.” Approaches to learning and performing this work and Cassidy’s music in general are similarly addressed, with input from Cassidy, JACK Quartet members Chris Otto and John Pickford Richards, line upon line members Matthew Teodori, Cullen Faulk, and Adam Bedell, ELISION Ensemble members Daryl Buckley and Kathryn Schulmeister, and Weston Olencki.","abstract_has_math":false,"creators":["Lewis, Ralph Sylvester"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Lund, Erik R","Carrillo, Carlos","Haken, Rudolf","Wilson, Steven A"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022-01-12T21:46:46Z","date_published":"2022-01-12T21:46:46Z","updated_at":"2026-07-22T22:24:52Z","subjects":["Aaron Cassidy","Second String Quartet","Decoupling","Experimental Music, New Complexity","JACK Quartet","ELISION Ensemble"],"languages":["en"],"rights":["Copyright 2021 Ralph Lewis"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/113049","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Lund, Erik R","Carrillo, Carlos","Haken, Rudolf","Wilson, Steven A"]},{"key":"dc:creator","label":"Author","values":["Lewis, Ralph Sylvester"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2022-01-12T21:46:46Z","2021-07-16","2021-08"]},{"key":"dc:type","label":"Dc Type","values":["text","Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Aaron Cassidy","Second String Quartet","Decoupling","Experimental Music, New Complexity","JACK Quartet","ELISION Ensemble"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2021 Ralph Lewis"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/113049"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["When Aaron Cassidy’s Second String Quartet was premiered in 2010 by the JACK Quartet, the work’s innovative, physical action-based score drew considerable attention in contemporary music circles. Despite the enduring enthusiasm for Cassidy’s multi-colored prescriptive notation, much of the foundational information about his ever-adapting experimental choreographic compositional approach and how to perform his works remains obscure. Drawing on Second String Quartet’s score, recordings, compositional sketches, as well as new on-site research and interviews at the University of Huddersfield, this dissertation examines the work’s aesthetic context, structures, sound, and its interpreters’ performance practice. The analysis provides an introduction to parsing Cassidy’s notation, then focuses on the distinct relationships between the quartet’s resilient yet provocative structures and the indeterminate localities situated within them. In doing so, the choreographic means and sonic results of how Cassidy’s quartet utilizes a non-hierarchical approach to its musical material are discussed in detail. This includes how he creates local, sometimes atemporal, variation networks and deploys the motive-like transitional figures he calls “gestural models.” Approaches to learning and performing this work and Cassidy’s music in general are similarly addressed, with input from Cassidy, JACK Quartet members Chris Otto and John Pickford Richards, line upon line members Matthew Teodori, Cullen Faulk, and Adam Bedell, ELISION Ensemble members Daryl Buckley and Kathryn Schulmeister, and Weston Olencki.","Submission original under an indefinite embargo labeled 'Open Access'. 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Despite the enduring enthusiasm for Cassidy’s multi-colored prescriptive notation, much of the foundational information about his ever-adapting experimental choreographic compositional approach and how to perform his works remains obscure. Drawing on Second String Quartet’s score, recordings, compositional sketches, as well as new on-site research and interviews at the University of Huddersfield, this dissertation examines the work’s aesthetic context, structures, sound, and its interpreters’ performance practice. The analysis provides an introduction to parsing Cassidy’s notation, then focuses on the distinct relationships between the quartet’s resilient yet provocative structures and the indeterminate localities situated within them. In doing so, the choreographic means and sonic results of how Cassidy’s quartet utilizes a non-hierarchical approach to its musical material are discussed in detail. This includes how he creates local, sometimes atemporal, variation networks and deploys the motive-like transitional figures he calls “gestural models.” Approaches to learning and performing this work and Cassidy’s music in general are similarly addressed, with input from Cassidy, JACK Quartet members Chris Otto and John Pickford Richards, line upon line members Matthew Teodori, Cullen Faulk, and Adam Bedell, ELISION Ensemble members Daryl Buckley and Kathryn Schulmeister, and Weston Olencki.","Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-01-12 without embargo terms","The student, Ralph Lewis, accepted the attached license on 2021-07-14 at 21:59.","The student, Ralph Lewis, submitted this Dissertation for approval on 2021-07-14 at 22:19.","This Dissertation was approved for publication on 2021-07-16 at 13:53.","DSpace SAF Submission Ingestion Package generated from Vireo submission #16947 on 2022-01-12 at 12:45:32","Made available in DSpace on 2022-01-12T21:46:46Z (GMT). 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