{"id":{"repo_id":"umkc","oai_identifier":"oai:mospace.umsystem.edu:10355/36545"},"canonical_url":"https://search.dev.ndltd.org/etd/umkc/oai:mospace.umsystem.edu:10355/36545","repository":{"repo_id":"umkc","name":"University of Missouri - Kansas City","base_url":"https://mospace.umsystem.edu/oai/request"},"display":{"title":"Composition No. 1, quintet for two violins, viola, cello, and sampler","abstract":"Composition No. 1 is a work for string quartet and interactive electronics. The work is around twenty minutes long and separated into five movements, all of them elided through the use of attaccas. The work's organizational principle is a progression of thematic material, starting with a simple octatonic theme. This theme, in the vein of the Enigma Variations by Edward Elgar, is used throughout the work in a myriad of methods. The sixteenth note motif from the second movement transforms, over the course of the work, to an augmented version, a melodic version, a coloristic, and virtuosic version. The double-dotted-eighth note to thirtysecond note motif presented in the fourth movement transforms into the main motive for the finale. The work's overall goal is a seamless integration of the live string quartet and the electronics. It attempts to present a unified ensemble, where the limited sound-palette of the string quartet is fused in gesture and overall effect with the limitless sonic capabilities of electronic sound.","abstract_html":"Composition No. 1 is a work for string quartet and interactive electronics. The work is around twenty minutes long and separated into five movements, all of them elided through the use of attaccas. The work's organizational principle is a progression of thematic material, starting with a simple octatonic theme. This theme, in the vein of the Enigma Variations by Edward Elgar, is used throughout the work in a myriad of methods. The sixteenth note motif from the second movement transforms, over the course of the work, to an augmented version, a melodic version, a coloristic, and virtuosic version. The double-dotted-eighth note to thirtysecond note motif presented in the fourth movement transforms into the main motive for the finale. The work's overall goal is a seamless integration of the live string quartet and the electronics. It attempts to present a unified ensemble, where the limited sound-palette of the string quartet is fused in gesture and overall effect with the limitless sonic capabilities of electronic sound.","abstract_has_math":false,"creators":["Martin, Stamos James"],"institution":"University of Missouri--Kansas City","degree_name":"D.M.A.","degree_level":"Doctoral","degree_discipline":"Music (UMKC)","degree_department":null,"school":null,"contributors":[],"advisors":["Mobberley, James"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013","date_published":"2013","updated_at":"2026-07-24T05:17:24Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10355/36545","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Mobberley, James"]},{"key":"dc:creator","label":"Author","values":["Martin, Stamos James"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2013-07-23T17:35:39Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2013-07-23T17:35:39Z"]},{"key":"dc:date.issued","label":"Date","values":["2013"]},{"key":"dc:type","label":"Dc Type","values":["Thesis","Musical Score"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music (UMKC)"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Doctoral"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Missouri--Kansas City"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10355/36545"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Title from PDF of title page, viewed on July 23, 2013","Dissertation advisor: James Mobberley","Vita","Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2013"]},{"key":"dc:description.abstract","label":"Abstract","values":["Composition No. 1 is a work for string quartet and interactive electronics. The work is around twenty minutes long and separated into five movements, all of them elided through the use of attaccas. The work's organizational principle is a progression of thematic material, starting with a simple octatonic theme. This theme, in the vein of the Enigma Variations by Edward Elgar, is used throughout the work in a myriad of methods. The sixteenth note motif from the second movement transforms, over the course of the work, to an augmented version, a melodic version, a coloristic, and virtuosic version. The double-dotted-eighth note to thirtysecond note motif presented in the fourth movement transforms into the main motive for the finale. The work's overall goal is a seamless integration of the live string quartet and the electronics. It attempts to present a unified ensemble, where the limited sound-palette of the string quartet is fused in gesture and overall effect with the limitless sonic capabilities of electronic sound."]},{"key":"dc:title","label":"Title","values":["Composition No. 1, quintet for two violins, viola, cello, and sampler"]}]}],"canonical_facts":{"dc:contributor.advisor":["Mobberley, James"],"dc:creator":["Martin, Stamos James"],"dc:date.accessioned":["2013-07-23T17:35:39Z"],"dc:date.available":["2013-07-23T17:35:39Z"],"dc:date.issued":["2013"],"dc:description":["Title from PDF of title page, viewed on July 23, 2013","Dissertation advisor: James Mobberley","Vita","Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2013"],"dc:description.abstract":["Composition No. 1 is a work for string quartet and interactive electronics. The work is around twenty minutes long and separated into five movements, all of them elided through the use of attaccas. The work's organizational principle is a progression of thematic material, starting with a simple octatonic theme. This theme, in the vein of the Enigma Variations by Edward Elgar, is used throughout the work in a myriad of methods. The sixteenth note motif from the second movement transforms, over the course of the work, to an augmented version, a melodic version, a coloristic, and virtuosic version. The double-dotted-eighth note to thirtysecond note motif presented in the fourth movement transforms into the main motive for the finale. The work's overall goal is a seamless integration of the live string quartet and the electronics. It attempts to present a unified ensemble, where the limited sound-palette of the string quartet is fused in gesture and overall effect with the limitless sonic capabilities of electronic sound."],"dc:identifier.uri":["http://hdl.handle.net/10355/36545"],"dc:title":["Composition No. 1, quintet for two violins, viola, cello, and sampler"],"dc:type":["Thesis","Musical Score"],"thesis:degree_discipline":["Music (UMKC)"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["D.M.A."],"thesis:institution_name":["University of Missouri--Kansas City"]},"updated_at":"2026-07-24T05:17:24Z"}