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If it were my piece I wouldn't mention the key and maybe come up with some kind of unique naming scheme like a combination of two words that describe it or treat it as a tone poem. To distinguish it from other pieces that are similar to it you could just slap a "No. 1" to the end of it.

Including the key of the piece in the title was done originally in order to disambiguate. When opus numbers were used inconsistently and composers didn't always number their compositions, adding the key helped convey the work you referred to. Many times, nicknames also helped disambiguate cases where 2 pieces had the same key. That's why we have Schubert's "Great" C major symphony (now known as the 9th symphony, D.944) and his "Little" C major symphony (now known as the 6th symphony, D.589). These names where useful before Schubert's catalog of works was determined and his symphonies numbered. I think adding the key of your piece to the title is a little superfluous now. If you use a generic title like "symphony" or "quartet", just add a number, and if it's a programmatic title (e.g. idk "Summer Dreams"), then no other qualificative is needed. If you use progressive tonality, naming the key in the title is even more unnecessary.

Thanks for listening. I'll keep the rhythmic aspect in mind for my next composition!

By convention, usually it's the key it starts in.

That's a neat piece! The developing variation aspect is interesting. In terms of instrumental writing, I'm not sure of some things, though. At measure 184, the first violin has a tremolo in the lower voice (implying up+down bows or at least some interrupted bowing), and the upper voice is slurred (implying a single bow stroke). The shifts between pizz. and arco (and vice-versa) seem possible, but they won't be a piece of cake. Be especialy careful with the ones from pizz to arco. Too many fast changes between pizz and arco are more typical of virtuoso writing. I also noticed you have many arpeggios in stacks of 5ths. I understand you're trying to take advantage of the natural tuning of the isntruments, but these aren't that easy when there are no open strings. For example, violins and violas can't play a triple stop with 2 perfect 5ths (you can probably force things and use a "barre chord", but it won't sound very in tune). Cellos can, but it's a bit awkward. They aren't impossible if the notes aren't simultaneous, but it's not that natural (despite what it seems). The "natural" chord voicings in strings are 6ths, not 5ths. Keep composing!

Really nice! Personally, I would have loved to hear more contrast with the staccato which you only briefly hinted at measures 63-64 but otherwise a beautiful work.

yep, friggin love ragtime