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Aur, for string quartet and electronics, is a musical composition that exists as a musical score to be interpreted during live performance, and as an audio recording made by the JACK Quartet in Slee Recording Studios at the University of Buffalo through a grant from the Mark Diamond Research Foundation. The studio recording combines layers of audio material recorded by the JACK Quartet, which have been manipulated through the audio hardware device, the Numark NS7. The Numark NS7, which functions as a pair of digital turntables, was used in the editing process of Aur to manipulate the recorded material of Aur made by the JACK Quartet, and is also employed during the live performance of Aur by an electronics operator or turntablist. The logic of turntablism influences the compositional aesthetic of Aur, and has informed the score-making process. The string quartet performs gestures that mimic turntable behavior, and the parameters of pitch, speed, and tempo are often linked and coupled together, as if the musical work itself were subject to the idiosyncrasies of turntable mechanics. Melodic threads unravel from their orientation to an equal-tempered tuning system, motivic ideas are absorbed into repetitive and cyclical patterns, and extensive play occurs between the spectrum of analogue glissandi and digital pitch-shifting; as if the composer's authorial hand is guided by the mechanical possibilities of the turntable. Throughout the different performative variations of Aur, as described in the score, possibilities are mapped out to examine the various interactions between the string quartet and turntablist. Ultimately, Aur explores the links and associations between pitch, tempo, microtonality, playback speed, string portamenti capabilities, turntable performance practice, cyclicity, repetition, and the immense expressive power generated by glissandi exaggeration.