Diss.--Universität Passau, 1998. / Bibliogr. p.351-370.

Akademisk Avhandling--Philosophie--Stockholm, 1999. / Bibliogr. p. 225-243. Index.

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.

Révélées au grand jour à partir de l’année 2007, par leur implication dans la crise des subprime puis parleur rôle procyclique dans celle des dettes souveraines, les agences de notation ont été l’objet d’uneattention toute particulière du législateur qui se devait d’assurer l’intégrité des marchés et de restaurer laconfiance des investisseurs au lendemain d’un véritable cataclysme financier. Conflits d’intérêts, opacité,méthodologies défaillantes, crédibilité équivoque, comportements anti-concurrentiels, les critiquesadressées à l’encontre de l’oligopole, dominant l’industrie de notation, étaient nombreuses. L’adoptionsuccessive de dispositifs règlementaires n’a pu permettre un affranchissement de l’influence de cepouvoir privé économique, dont l’enracinement règlementaire date du lendemain de la GrandeDépression de 1929 et le développement est étroitement lié à celui de la titrisation. Bien au contraire, lesnouvelles règlementations qui auraient dû encadrer «l’activité» plutôt que les «structures» n’ont eu, aucoté de certaines initiatives louables, eu pour effet principal que la consécration d’un régime spécial.Même les affronts à l’ordre public économique n’ont été que rarement lavés par une justice qui setrouvait, sauf rares exceptions, en manque d’armes adéquats et par un régulateur encore trop balbutiant.Rattrapés par des enjeux en constante mutation, les quelques acquis liés à la transparence et au contrôledes agences de notation tendent déjà à être remis en cause. Le législateur, quant à lui, semble déjà êtrepassé à autre chose, et ce, alors que point à l’horizon des nouveaux marchés de nouvelles bulles oùagissent encore les agences de notation. / As a result of their involvement in the subprime crisis and pro-cyclical role in the sovereign debt crisis,the credit rating agencies have been, since 2007, subject to the specific attention of the lawmaker whichhad to ensure integrity of the financial market and restore investors’ confidence in the aftermath of a realfinancial cataclysm. The criticisms against the oligopoly that dominates the rating industry were manyand include, inter alia, conflict of interest, opacity, deficient methodologies, lack of credibility and anticompetitivebehaviours. The successive adoption of regulatory and legislative measures was not enoughto achieve emancipation from the influence of this economic private power which maintains rootswithin the market regulatory framework since the aftermath of the Great Depression of 1929 and whosedevelopment is closely linked to securitization. Instead, the new regulations that should have governedan “activity” rather than “structures” have, alongside some commendable initiatives, resulted in theconsecration of a specific regime. Even the violations of the economic public order were rarely punishedby a justice which, except for anecdotic cases, was missing adequate legal weapons to address thosesituations or by a regulator still too immature. However, due to an environment constantly changing, thefew benefits obtained in terms of the rating agencies’ transparency and control, are already in the processof being jeopardised. The lawmaker seems to have moved on to other topics, while on the horizonappear new bubbles in new markets where rating agencies are very active.

Frank Norris's novel McTeague can be read as an intense reflection on the limitations of language surrounding fluid sexualities in late-nineteenth century America. Through a queer theoretical lens, I examine the ways in which Norris collapses his characters and narrative in order to demonstrate those limits. Trina and McTeague suffer acutely from their inability to articulate their sexualities, and the narrator of the novel does little to compensate for the characters\' failure to speak. The novel, which is a collection of broken genres, further exposes the fact that various kinds of rigid narrative forms cannot sufficiently frame or articulate fluid sexualities. Through character, narrative, and genre breakdown, Norris reflects how the nineteenth century's lack of language regarding those who occupy a variety of sexualities can tear people and language apart. / Master of Arts

This paper is an analysis of two poems by the American New York School poet Frank O’Hara. The two poems analysed here are “The Day Lady Died” and “Adieu to Norman, Bon Jour to Joan and Jean-Paul.” Both poems have O’Hara’s distinctive ‘I do this, I do that’ style which is characterised by a conversational tone and a narrative of everyday events in New York City. O’Hara’s poetry has long been criticized by the literary community for being targeted to a coterie circle, specifically to his friends and artists in the New York School in the 1950s and early 1960s. Because these criticisms partly derive from the considerable amount of proper names O’Hara includes in many of his poems, the following analysis will be based on the proper names included in the poems. By using two different theories/typologies to analyse the poems, this paper finds the proper name to be a core part of the narrative of the poems and an important source of information for the context in which the poems were written.

<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>

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