Through the Prism of the Wellspring: From National, to Societal, to Individual in Marin Goleminov's String Quartets
Flesner, Diana Jeanne
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https://hdl.handle.net/2142/85811
Description
Title
Through the Prism of the Wellspring: From National, to Societal, to Individual in Marin Goleminov's String Quartets
Author(s)
Flesner, Diana Jeanne
Issue Date
2009
Doctoral Committee Chair(s)
Buchanan, Donna A.
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D.
Degree Level
Dissertation
Keyword(s)
Music
Language
eng
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.
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