Esta dissertação refere-se à análise, em seus fundamentos estruturais, estilísticos e instrumentais da obra Guitare pour Orquestre, criada em 1934 pelo compositor suíço Frank Martin (1890-1974) para grande orquestra. O trabalho se desenvolveu através da comparação entre as fontes manuscritas para orquestra e o original para violão, composto um ano antes, conhecido como Quatre Pièces Brèves pour la Guitare. / This dissertation refers to the analysis, in the structural, stylistic, and instrumental fundamentals of the musical composition Guitare pour Orquestre, created in 1934 by the Swiss composer Frank Martin (1890-1974) for the whole orchestra. The paper was developed by the comparison among the manuscripts for orchestra and the original composed for the guitar the previous year, known as Quatre Pièces Brèves pour la Guitare.

Esta dissertação refere-se à análise, em seus fundamentos estruturais, estilísticos e instrumentais da obra Guitare pour Orquestre, criada em 1934 pelo compositor suíço Frank Martin (1890-1974) para grande orquestra. O trabalho se desenvolveu através da comparação entre as fontes manuscritas para orquestra e o original para violão, composto um ano antes, conhecido como Quatre Pièces Brèves pour la Guitare. / This dissertation refers to the analysis, in the structural, stylistic, and instrumental fundamentals of the musical composition Guitare pour Orquestre, created in 1934 by the Swiss composer Frank Martin (1890-1974) for the whole orchestra. The paper was developed by the comparison among the manuscripts for orchestra and the original composed for the guitar the previous year, known as Quatre Pièces Brèves pour la Guitare.

Frank Martin's (1890-1974) 8 Préludes pour le piano has been studied and analyzed by many researchers, yet the influence of one of Martin's most important educational experiences, Dalcroze Eurhythmics, has not been discussed in connection to this work. The purpose of this research is to investigate the influences of Émile Jaques-Dalcroze's (1865-1950) educational method, eurhythmics, on Martin’s compositional writing, specifically the 8 Préludes pour le piano. This research demonstrates the connection between Martin and Dalcroze through several key observations: 1) their close collegial relationship; 2) the influences of Dalcroze Eurhythmics in Martin's approach to rhythm; and 3) Martin's writings on rhythm as connected to Dalcroze Eurhythmics. The examination of Frank Martin’s major piano work, 8 Préludes pour le piano, reveals a strong connection between these composers and their fascination with the expressive power of rhythm. In this paper, I examine the eurhythmics elements evident in Martin’s 8 Préludes pour le piano: irregular measures, unequal beats, polyrhythm, rhythmic counterpoint and canon. Additionally, Dalcroze Eurhythmics-based activities for learning Martin's 8 Préludes pour le piano are offered with the intent of enriching the pianist's experiences in learning and performing this piece and demonstrating the practical application of the method.

<p>Examenskonserten inkluderas som film</p><p>Program: </p><p>     Martin, F       Ballade for trombone and piano</p><p>(1890-1974)</p><p>   Arnold, M       Fantasy for Trombone, Op. 101</p><p>(1921-2006)   </p><p>      Sulek, S       Sonata (Vox Gabrieli)</p><p>(1914-1986)</p><p></p><p>Medverkande:</p><p>Elias Ukkonen Widding - Trombon</p><p>Katarina Ström-Harg - Piano</p>

The purpose of this study is to investigate the management of tessitura in the choir though the use of choral pivoting in Frank Martin's Messe pour double choeur a cappella (1922), since the ranges of a vast number of choral works extend beyond the limits of what the American Academy of Teacher's of Singing have deemed "best" and "safest." According to the American Academy of Teachers of Singing, many great teachers of singing hesitate to allow their "pupils to participate in choral singing because experience has proven that, due to the unusually high tessituras dominating the arrangements of many choral works, harm is done to the voice. "This study includes an in-depth summary of the anatomy and physiology of the vocal mechanism in specific registers and the potential for harm, vocal strain, or vocal fatigue when singers must sing in an extremely high or low tessitura for an extended amount of time. Three methods of vocal pivoting are examined and explanations given as to how choral pivoting may be applied in Messe pour double choeur a cappella.

abstract: This research paper aims to understand Frank Martin’s Huit préludes pour le piano (1948) as a summary of his compositional styles, by demonstrating common elements between the preludes and Martin’s compositions of other genres. Swiss musician Frank Martin (1890-1974) composed in many genres, from theatrical and symphonic works to vocal, chamber, and solo works. Huit préludes pour le piano, his best-known piece for solo piano, merits more recognition in the modern repertoire than it currently receives, as it encompasses a wide range of pianistic techniques, colors, and atmospheres to challenge the mature pianist. This set of preludes represents Martin’s unique compositional sound and style, in which Martin retains a sense of tonal functions despite the intense chromaticism in his music. Featured elements in the Huit préludes include the use of the B-A-C-H motive and its alterations, chromatic yet triadic writing, gliding tonality, baroque elements, dodecaphony, stratification, extreme range and registral shifts, octave doublings and displacements, percussive rhythmic drive, large-scale crescendi, and hidden cyclicism. Martin also uses the 12-tone row as a chromatic tool, but rejects atonality and applies the concept without strict enforcement. Influences of music from past eras are evident in the Huit préludes through various compositional techniques and practices such as contrapuntal lines, chant-like declamatory melodies, imitation, toccata, and pedal-points. This research project explores these various techniques within and between the preludes and his works of other genres, and thus identifies the Huit préludes as a consolidation of Martin’s mature sound and style. / Dissertation/Thesis / Frank Martin, Prelude No. 1 / Frank Martin, Prelude No. 2 / Frank Martin, Prelude No. 3 / Frank Martin, Prelude No. 4 / Frank Martin, Prelude No. 5 / Frank Martin, Prelude No. 6 / Frank Martin, Prelude No. 7 / Frank Martin, Prelude No. 8 / Doctoral Dissertation Music 2017

Frank Martin, while assimilating many of the features of serial technique, found other of its features incompatible to his temperament. The Eight Preludes for Piano mark a point of decision regarding these features. While rejecting the twelve-tone row, he extracted prime cells from the octatonic scale and subjected them to the serial approach. One of these cells, G-flat - F - A - A-flat, evokes the B-A-C-H motive. In view of Martin's admiration for Bach, this similarity is probably not accidental. In any event, this four-note motive permeates the preludes and binds them into a coherent and unified set. Along with some evidence of partial form in the preludes, the concept of continuous variation is the compelling force molding the overall form. Martin disdained atonality on personal and artistic premises. Despite their contemporary textural qualities, the listener perceives c-sharp as a tonal center for the set. Tempo, rhythm, and texture contrasts and complementation between the preludes reveal an obviously preplanned format for the fulfillment of set unity. The consummate knowledge of pianism demonstrated in the preludes places them as a major contribution to twentieth-century piano literature.