ABSTRACT In the eighteen years since 9/11 and the collapse of the World Trade Center towers, art composers have created over one hundred composition attempting to come to terms with this tragic event. More than a dozen of these works focus on string instruments to give shape to their artistic expressions in the tradition of other significant war-related music. Four composers in particular responded to 9/11 in different ways, each utilizing string instruments to turn this catastrophe into some of the most important music composed to commemorate the event: Joan Tower (In Memory), Chen Yi (Burning), Gloria Coates (String Quartet No. 8), and Steve Reich (WTC 9/11). Recent trends dealing with testimony, memory, and memorialization illuminate the compositional and instrumental techniques used in these works. From violins creating the sound of a disconnected phone line in Reich’s WTC 9/11 to Coates’s eerie descending and falling glissandi in the second movement of her quartet, it can be argued that strings are perhaps the most effective instruments in their ability to evoke the multiplicity of psychological sensations and sounds to best memorialize tragedies such as 9/11.

中文翻译：

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9/11 的弦乐：弦乐器作品中的挽歌反思、宣泄和重演

摘要自 9/11 和世界贸易中心大楼倒塌以来的十八年里，艺术作曲家创作了一百多首乐曲，试图与这一悲惨事件达成协议。其中十多部作品专注于弦乐器，以在其他重要的与战争相关的音乐传统中塑造其艺术表现形式。特别是四位作曲家以不同的方式回应了 9/11，每个人都利用弦乐器将这场灾难变成了一些为纪念这一事件而创作的最重要的音乐：琼塔（记忆中）、陈毅（燃烧）、格洛丽亚科茨（弦乐四重奏第 8 号）和史蒂夫·赖希（WTC 9/11）。最近涉及证词、记忆和纪念的趋势阐明了这些作品中使用的作曲和乐器技术。