Thesis (M.A.)--University of Rochester, 1986. / Typescript (Photocopy). Includes bibliographical references (leaf 173). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1235

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains x, 84 p. : music. Includes bibliographical references.

Treatise (D.M.A.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations.

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Sob a égide da arquitetura moderna, as competências da programação visual e do desenho industrial fundiram-se pelas mãos dos arquitetos João Carlos Cauduro e Ludovico Antonio Martino na criação, desenvolvimento e implantação de projetos sistêmicos de identidade corporativa e ambiental. Em São Paulo, circunscrito no ápice do paradigma moderno entre os anos 1960 e 1970, este design total não só realizou vultosas e perenes identidades visuais para os setores produtivos e operacionais brasileiros, como também materializou icônicos espaços públicos para a metrópole paulistana corroborando, em última instância, a consolidação dessas matrizes paradigmáticas de projeto as quais, àquele momento, socializaram um conhecimento tipológico e metodológico, reiterando um antigo ideário e aproximando o arquiteto de suas funções civis dentro das novas necessidades de comunicação e informação da cidade. / Under the shield of modern architecture, the competencies of visual programming and industrial design were merged by the hands of architects João Carlos Cauduro and Ludovico Antonio Martino, through the creation, development, and implementation of systemic projects of environmental and corporate identity. In São Paulo, in the 1960s and 1970s and circumscribed by the apex of the modern paradigm this total design not only yielded important and long standing visual identities for the Brazilian productive and operational sectors, but also materialized iconic public spaces for the metropolis, corroborating the consolidation of those projects paradigmatic matrices in the last instance. These matrices, at that moment, introduced in the society a typological and methodological knowledge, reiterating an old ideology and bringing the architect closer to his civil functions within the citys new needs for information and communication.

Sob a égide da arquitetura moderna, as competências da programação visual e do desenho industrial fundiram-se pelas mãos dos arquitetos João Carlos Cauduro e Ludovico Antonio Martino na criação, desenvolvimento e implantação de projetos sistêmicos de identidade corporativa e ambiental. Em São Paulo, circunscrito no ápice do paradigma moderno entre os anos 1960 e 1970, este design total não só realizou vultosas e perenes identidades visuais para os setores produtivos e operacionais brasileiros, como também materializou icônicos espaços públicos para a metrópole paulistana corroborando, em última instância, a consolidação dessas matrizes paradigmáticas de projeto as quais, àquele momento, socializaram um conhecimento tipológico e metodológico, reiterando um antigo ideário e aproximando o arquiteto de suas funções civis dentro das novas necessidades de comunicação e informação da cidade. / Under the shield of modern architecture, the competencies of visual programming and industrial design were merged by the hands of architects João Carlos Cauduro and Ludovico Antonio Martino, through the creation, development, and implementation of systemic projects of environmental and corporate identity. In São Paulo, in the 1960s and 1970s and circumscribed by the apex of the modern paradigm this total design not only yielded important and long standing visual identities for the Brazilian productive and operational sectors, but also materialized iconic public spaces for the metropolis, corroborating the consolidation of those projects paradigmatic matrices in the last instance. These matrices, at that moment, introduced in the society a typological and methodological knowledge, reiterating an old ideology and bringing the architect closer to his civil functions within the citys new needs for information and communication.

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Pat Martino är en gitarrvirtuos och lärare som har skrivit mycket om sitt sätt att betrakta gitarren och improvisation. Genom böcker och instruktionsvideor har han delgett hur han nyttjar sina egna improvisationskoncept. I detta arbete utvecklas en metod med syfte att ge djupare förståelse för vad det innebär att spela som Pat Martino. De 10 första fraserna i fyra improviserade solon av Pat Martino analyserades. Fraserna analyserades efter var de började och slutade, hur långa de var, vilket tonspråk och  tonalitet som användes i förhållande till bakomliggande ackord samt deras melodiform. Resultatet blev en metod som tydligt visar frasernas grundläggande placering, hur Martino förhåller sig till specifika ackord och hur han bygger upp vissa delar av ett solo. Denna metod kan fungera som ett komplement till stilanalys av gitarrister. Exempel på företeelser som metoden gav information om är: Den konstanta placeringen av en lång fras över takt 5, den överhängande majoriteten av fraser som börjar på den tredje 16-delen inom den första 16-delsgruppen samt Martinos tendens att avsluta en fras fallande.