{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/70875"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/70875","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The String Chamber Style and the String Quintet Medium in the Nineteenth Century","abstract":"This study examines chamber style in the nineteenth century from the perspective of composition and performance, and demonstrates the role of scoring in the definition of string chamber style. Scoring, the specific manner in which musical content is assigned to instrumental timbres and then distributed among the parts, is discussed as an integral part of the composition and performance of chamber music. Changes in the view of chamber style during the nineteenth century show that instrumental parity in late Romantic string chamber music was gradually achieved as part of a stylistic process. Scoring is the musical element in which the growth and intensification of the meaning of chamber style occurred. The distinctive features of the string quintet are described in terms of sonority, breadth of form, and balance.","abstract_html":"This study examines chamber style in the nineteenth century from the perspective of composition and performance, and demonstrates the role of scoring in the definition of string chamber style. Scoring, the specific manner in which musical content is assigned to instrumental timbres and then distributed among the parts, is discussed as an integral part of the composition and performance of chamber music. Changes in the view of chamber style during the nineteenth century show that instrumental parity in late Romantic string chamber music was gradually achieved as part of a stylistic process. Scoring is the musical element in which the growth and intensification of the meaning of chamber style occurred. The distinctive features of the string quintet are described in terms of sonority, breadth of form, and balance.","abstract_has_math":false,"creators":["Wheeler, Margaret Jean"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Temperley, Nicholas"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-12-16T04:13:19Z","date_published":"2014-12-16T04:13:19Z","updated_at":"2026-07-22T22:26:03Z","subjects":["Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(UMI)AAI9503350"],"render_values":[{"text":"(UMI)AAI9503350","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/70875","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Temperley, Nicholas"]},{"key":"dc:creator","label":"Author","values":["Wheeler, Margaret Jean"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-12-16T04:13:19Z","10000-01-01","1994"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"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":["D.M.A."]},{"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":["Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/70875","(UMI)AAI9503350"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This study examines chamber style in the nineteenth century from the perspective of composition and performance, and demonstrates the role of scoring in the definition of string chamber style. Scoring, the specific manner in which musical content is assigned to instrumental timbres and then distributed among the parts, is discussed as an integral part of the composition and performance of chamber music. Changes in the view of chamber style during the nineteenth century show that instrumental parity in late Romantic string chamber music was gradually achieved as part of a stylistic process. Scoring is the musical element in which the growth and intensification of the meaning of chamber style occurred. The distinctive features of the string quintet are described in terms of sonority, breadth of form, and balance.","The dissertation also surveys publication of the string quintet medium in the nineteenth century (1817-1899), using Whistling and Hofmeister' s Handbuch der musikalischen Litteratur (1817-1827) and Hofmeister's Musikalischer-literarischer Monatsbericht (1829-1899) to create a database of music for five string instruments. Instrumentation, i.e., the performing forces, and categories of title are examined. Titles are categorized around the use of the term quintet and include solo works, programmatic titles, and arrangements as well as quintets. The database presents information on title, instrumentation, genre, and chronology and provides data for the larger question of the relationship between title and genre in nineteenth-century chamber music. The database will also aid in identifying and compiling a definitive list of string quintets.","Made available in DSpace on 2014-12-16T04:13:19Z (GMT). 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Scoring, the specific manner in which musical content is assigned to instrumental timbres and then distributed among the parts, is discussed as an integral part of the composition and performance of chamber music. Changes in the view of chamber style during the nineteenth century show that instrumental parity in late Romantic string chamber music was gradually achieved as part of a stylistic process. Scoring is the musical element in which the growth and intensification of the meaning of chamber style occurred. The distinctive features of the string quintet are described in terms of sonority, breadth of form, and balance.","The dissertation also surveys publication of the string quintet medium in the nineteenth century (1817-1899), using Whistling and Hofmeister' s Handbuch der musikalischen Litteratur (1817-1827) and Hofmeister's Musikalischer-literarischer Monatsbericht (1829-1899) to create a database of music for five string instruments. Instrumentation, i.e., the performing forces, and categories of title are examined. Titles are categorized around the use of the term quintet and include solo works, programmatic titles, and arrangements as well as quintets. The database presents information on title, instrumentation, genre, and chronology and provides data for the larger question of the relationship between title and genre in nineteenth-century chamber music. The database will also aid in identifying and compiling a definitive list of string quintets.","Made available in DSpace on 2014-12-16T04:13:19Z (GMT). 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