Brainstorm with me

I was going to put this in off topic but the subtext said unrelated to music so I couldn't think of anywhere else to put this.

I am way behind on my dissertation and today was suppose to be one of my tutorials but my lecturer had to cancel. Now, I can continue with some aspects but one problem I was hoping to address with my supervisor is bugging me.

In my dissertation, after the intro and a chapter of string quartet groups, I am planning several chapters which focus on one or a few composers. One of these has been prolific within the British string quartet genre but only two of his quartets have been recorded, either of them are the ones I have scores for. On top of this, the scores I have don't appear to have been analyzed in any book or journal. I have search Google scholar and the other music databases in this regard.

I have debated in the intro of this particular chapter that this composer has been overlooked because he is considered a traditionalist but I need some analysis of the works to demonstrate and show how this particular composer approaches quartet writing. The problem is analysis without some sort of research material is not my strong point but I don't want to exclude this composer from my dissertation because he has made a valuable contribution to the genre.

What do we think?

Sounds like you have some intense work ahead of you. :\ I've been there with poli sci papers. Maybe some analyses of similar composers might help orient you to what you should be looking for?

OK, I am currently working on and editing a 1000 word section on the ideology of the composition of string quartets in the latter half of the century.

One particular section I am concerned about is a section where I explain Ferneyhough's viewpoint on the string quartet. In his writings, Ferneyhough states that the quartet provides "rules of play forcing [him] to re-orientate [himself] entirely within the boundaries of what might (platitudinously) be termed the 'purely musical.'” (in the context of the 2nd Quartet)

Now I am arguing here that what Ferneyhough is saying that after a decade of writing works for unconventional ensembles with little solo repertory, that the string quartet provides rules and a history of style, textural understanding, extensive known colour effects. As such, this environment allows the return to compositional concerns which are not related to figuring in the best aesthetic qualities of the instruments and that allow for creativity to be the prime thought process behind the work. And that 'rules of play' refer to these in additional to the limitations of the instruments

Do you think I have got this quotes meaning right?

i believe your interpretation is pretty poor.

I think the quote is more about the social/historical limitations that create a "purely musical" atmosphere. String quartets contain a lot of cultural baggage!!

I think the quote is more about the social/historical limitations that create a "purely musical" atmosphere. String quartets contain a lot of cultural baggage!!

I disagree. In my dissertation, I have looked at many quartets and ideology. None of them, apart from Hugh Wood who in in a different ball game when it comes to this reflect classical thinking in their composition. As a result, my dissertation has a theme of looking at a string quartet environment that has become increasing coloristic through usage of extended techniques and form has broken away from the 4 movement traditional idea and texture that has become more individualistic with American composers Carter and Ives* as well as Ferneyhough and Dillon in Britain treating the ensemble has four soloists rather than as one homogenous ensemble.

Such movements as therefore nothing to do with the social and historical limitations of the genre since the repertory of the later 20th century required highly professional string quartets to perform them rather than amateur 'in the home' music of the past.

I managed to find the extract online if you go here and look up page 117-118 you'll find the quote. Maybe having it in the context will help unlock the answer.

* I mention these only for to explore the concept of the scope of this trend. My dissertation is firmly in the realms of the British quartet.

"In contrast to many works of the last decade, in which I undertook an 'aesthetic investigation' of several areas of musico-cultural interaction, the medium of the string quartet has imposed its own rules of play..."

I'm fully willing to admit that I'm way off, but it sounds to me like he's saying that investigation of the cultural significance of the string quartet puts a limit on what can be done non-musically (I'm thinking staging, acoustics, electronics).

Thus, he had to:

"reorientate myself entirely within the boundaries of what might be termed the 'purely musical'."

"In contrast to many works of the last decade, in which I undertook an 'aesthetic investigation' of several areas of musico-cultural interaction, the medium of the string quartet has imposed its own rules of play..."

I'm fully willing to admit that I'm way off, but it sounds to me like he's saying that investigation of the cultural significance of the string quartet puts a limit on what can be done non-musically (I'm thinking staging, acoustics, theatrics).

Thus, he had to:

"reorientate myself entirely within the boundaries of what might be termed the 'purely musical'."

When you put it that way, I agree. I can think of several quartet ideologies which oppose this, including the use of amplification or shoving 4 players into helicopters :P but in the case of that work, it fits.

Thanks for the help.