{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85811"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85811","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Through the Prism of the Wellspring: From National, to Societal, to Individual in Marin Goleminov's String Quartets","abstract":"This thesis examines three works for string quartet by Bulgarian composer Marin Goleminov written between 1943 and1968, a pivotal period in his creative process that bore witness to the crystallization of his unique artistic voice and compositional style. During this time, he confronted the expression of national sentiment and tradition, followed by inclusion of societal ideals and socialist aesthetics, finally to arrive at the clear articulation of his own individualized soundworld and perspective. The historical and political context of the time clearly influenced the development of his musical style; however, the mature and distinct voice that emerged during the 1960s and continued through the remainder of his career has roots that can be traced back to his first compositions. This thesis seeks to examine how governmental and societal parameters as well as personal choice were integral to the development of Goleminov's later style. Following an initial chapter of biographical information, the second chapter examines the cultural environment surrounding the composition of Goleminov's Starobulgarski Quartet and focuses namely on Bulgaria's pursuit of a national musical style in conjunction with the composer's hypotheses concerning the origins of Bulgarian folk and religious music. The third chapter discusses Five Sketches, one of Goleminov's suites for string quartet, and addresses the impact that socialist realism had on his musical style, particularly with respect to form, harmonic language, and overall accessibility. The final chapter is about the Microquartet, Goleminov's fourth quartet, and provides a more in-depth examination of his mature artistic voice that began in the 1960s, focusing on his understanding of the quartet idiom, choice of harmonic language, stylistic trademarks, and structural approach, many of which are rooted in Bulgarian folk traditions.","abstract_html":"This thesis examines three works for string quartet by Bulgarian composer Marin Goleminov written between 1943 and1968, a pivotal period in his creative process that bore witness to the crystallization of his unique artistic voice and compositional style. During this time, he confronted the expression of national sentiment and tradition, followed by inclusion of societal ideals and socialist aesthetics, finally to arrive at the clear articulation of his own individualized soundworld and perspective. The historical and political context of the time clearly influenced the development of his musical style; however, the mature and distinct voice that emerged during the 1960s and continued through the remainder of his career has roots that can be traced back to his first compositions. This thesis seeks to examine how governmental and societal parameters as well as personal choice were integral to the development of Goleminov's later style. Following an initial chapter of biographical information, the second chapter examines the cultural environment surrounding the composition of Goleminov's Starobulgarski Quartet and focuses namely on Bulgaria's pursuit of a national musical style in conjunction with the composer's hypotheses concerning the origins of Bulgarian folk and religious music. The third chapter discusses Five Sketches, one of Goleminov's suites for string quartet, and addresses the impact that socialist realism had on his musical style, particularly with respect to form, harmonic language, and overall accessibility. The final chapter is about the Microquartet, Goleminov's fourth quartet, and provides a more in-depth examination of his mature artistic voice that began in the 1960s, focusing on his understanding of the quartet idiom, choice of harmonic language, stylistic trademarks, and structural approach, many of which are rooted in Bulgarian folk traditions.","abstract_has_math":false,"creators":["Flesner, Diana Jeanne"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Buchanan, Donna A."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:14Z","date_published":"2015-09-25T22:54:14Z","updated_at":"2026-07-22T22:26:26Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3362783"],"render_values":[{"text":"(MiAaPQ)AAI3362783","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85811","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Buchanan, Donna A."]},{"key":"dc:creator","label":"Author","values":["Flesner, Diana Jeanne"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:14Z","10000-01-01","2009"]},{"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":["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":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85811","(MiAaPQ)AAI3362783"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This thesis examines three works for string quartet by Bulgarian composer Marin Goleminov written between 1943 and1968, a pivotal period in his creative process that bore witness to the crystallization of his unique artistic voice and compositional style. 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Following an initial chapter of biographical information, the second chapter examines the cultural environment surrounding the composition of Goleminov's Starobulgarski Quartet and focuses namely on Bulgaria's pursuit of a national musical style in conjunction with the composer's hypotheses concerning the origins of Bulgarian folk and religious music. The third chapter discusses Five Sketches, one of Goleminov's suites for string quartet, and addresses the impact that socialist realism had on his musical style, particularly with respect to form, harmonic language, and overall accessibility. The final chapter is about the Microquartet, Goleminov's fourth quartet, and provides a more in-depth examination of his mature artistic voice that began in the 1960s, focusing on his understanding of the quartet idiom, choice of harmonic language, stylistic trademarks, and structural approach, many of which are rooted in Bulgarian folk traditions.","Made available in DSpace on 2015-09-25T22:54:14Z (GMT). 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During this time, he confronted the expression of national sentiment and tradition, followed by inclusion of societal ideals and socialist aesthetics, finally to arrive at the clear articulation of his own individualized soundworld and perspective. The historical and political context of the time clearly influenced the development of his musical style; however, the mature and distinct voice that emerged during the 1960s and continued through the remainder of his career has roots that can be traced back to his first compositions. This thesis seeks to examine how governmental and societal parameters as well as personal choice were integral to the development of Goleminov's later style. Following an initial chapter of biographical information, the second chapter examines the cultural environment surrounding the composition of Goleminov's Starobulgarski Quartet and focuses namely on Bulgaria's pursuit of a national musical style in conjunction with the composer's hypotheses concerning the origins of Bulgarian folk and religious music. The third chapter discusses Five Sketches, one of Goleminov's suites for string quartet, and addresses the impact that socialist realism had on his musical style, particularly with respect to form, harmonic language, and overall accessibility. 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