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1 the Influences of Émile Jaques-Dalcroze's The Influences of Émile Jaques-Dalcroze’s Eurhythmics Found in Frank Martin's 8 Préludes Pour Le Piano Item Type text; Electronic Dissertation Authors Poon, Chiew Hwa Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 15:12:28 Link to Item http://hdl.handle.net/10150/625643 1 THE INFLUENCES OF ÉMILE JAQUES-DALCROZE’S EURHYTHMICS FOUND IN FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO by Chiew Hwa Poon ______________________ Copyright © Chiew Hwa Poon 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Chiew Hwa Poon, titled The Influences of Émile Jaques-Dalcroze’s Eurhythmics found in Frank Martin’s 8 Préludes pour le piano and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Musical Arts. _____________________________________________________ Date: 5/1/17 Tannis Gibson _____________________________________________________ Date: 5/1/17 Lisa Zdechlik _____________________________________________________ Date: 5/1/17 Shelly Cooper Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. _______________________________________________________ Date: 5/1/17 Dissertation Director: Tannis Gibson 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Chiew Hwa Poon 4 ACKNOWLEDGEMENTS I wish to express my deepest gratitude to my major professor, Professor Tannis Gibson. Thank you for being my teacher and believing in me. You have been a tremendous inspiration to me in how you live as a passionate and artistic pianist and a dedicated and supportive teacher. It has been the greatest privilege to study with you and work with you. Thank you, Dr. Lisa Zdechlik. I am grateful to work with you as a student and teaching assistant. Your generous suggestions and advice are always important to me. I would not teach in the way I do now without your patience, knowledge and guidance. I really appreciate your effort and encouragement in making me a better teacher. Thank you, Dr. Shelly Cooper for serving as my committee member. I am thankful for your support and intelligent ideas. Observing how you teach early childhood classes and understanding the principles behind the methods has been one of my most rewarding experiences throughout my studies. I would like to thank my colleagues Chia-Chun Ko, Hye-Yeon Park, Amy Burmeister, Woan Ching Lim and Kimberly Prins Moeller. Your friendship, love and support has been a wonderful gift to me throughout my journey. Thank you for sharing your precious talent and time with me. Finally, a special thank you to my family for your love, trust and endless support. I would not have made it without you all. Words are not enough to express how grateful I am to have all of you as part of my life. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ..................................................................................7 LIST OF FIGURES ....................................................................................................... 10 ABSTRACT………………………………………………………………………………...……….…...12 CHAPTER I: INTRODUCTION ................................................................................... 13 Intent and Scope................................................................................................. 13 Review of Scholarly Literature ........................................................................... 17 CHAPTER II: BRIEF BIOGRAPHY OF FRANK MARTIN AND OVERVIEW OF HIS MAJOR WORKS.................................................................................. 21 Life and Musical Background of Frank Martin ................................................... 21 Stylistic Development and Overview of Martin’s Major Works.......................... 24 Early Compositional Style ...................................................................... 24 Mature Compositional Style ................................................................... 26 CHAPTER III: BRIEF BIOGRAPHY OF ÉMILE JAQUES-DALCROZE AND OVERVIEW OF HIS EURHYTHMICS METHOD .............................. 30 Dalcroze’s Life and the Development of his Educational Method ....................... 30 Dalcroze Eurhythmics ........................................................................................ 34 CHAPTER IV: THE CONNECTIONS BETWEEN FRANK MARTIN AND ÉMILE JAQUES-DALCROZE ......................................................................... 38 CHAPTER V: FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO .......................... 44 Background ........................................................................................................ 44 Influences of J.S. Bach and Arnold Schoenberg ................................................. 47 6 CHAPTER VI: EURHYTHMICS ELEMENTS FOUND IN FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO AND EURHYTHMICS-BASED ACTIVITIES ........................................................................................ 51 Irregular Measures ............................................................................................. 53 Unequal Beats .................................................................................................... 65 Polyrhythm ........................................................................................................ 73 Rhythmic Counterpoint ...................................................................................... 81 Canon……………………………………………………………………….……………………88 CHAPTER VII: CONCLUSION ................................................................................... 93 APPENDICES………………………………………………………………………..…………….……97 REFERENCES …………………………………………………………………………….…………..103 7 LIST OF MUSICAL EXAMPLES Musical Example 4.1. Polymeter and polyrhythm in Martin’s Etude rythmique, mm. 1-9…………………………………………………………. 38 Musical Example 5.1. B-A-C-H motif in Martin’s 8 Préludes pour le piano, Prélude I, mm. 1-3………...……………………………………. 46 Musical Example 5.2. B-A-C-H motif in Martin’s 8 Préludes pour le piano, Prélude II, mm. 1-2…………………..………………………..... 46 Musical Example 5.3. Pseudo-twelve-tone row in Martin’s 8 Préludes pour le piano, Prélude VI, mm. 1-2…………………………………………….. 47 Musical Example 5.4. Twelve tone rows in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 17-20………...………………………………. 48 Musical Example 6.1. Irregular measures in Kavaldjiev’s Dilmano, Dilbero, mm. 1-9…………………………………………………………. 52 Musical Example 6.2. Irregular measures exercises in Dalcroze’s La Rythmique, Volume 2, Méthode Jaques-Dalcroze, Mesure alternées, p. 1.… 53 Musical Example 6.3. Irregular measures in Martin’s 8 Préludes pour le piano, Prélude IV, mm. 1-6………………………………….......…..…. 54 Musical Example 6.4. Dalcroze’s subdivision of long note-values into different groupings, Rhythm, Music and Education……………………… 55 Musical Example 6.5. Exercises in 6 beats, Dalcroze’s La Rythmique, Volume 2, p. 2…………………………………………………... 55 Musical Example 6.6. Meter changes in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 39-41………………………….......…………. 55 Musical Example 6.7. Meter changes in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 80-82………...………………………………. 56 Musical Example 6.8. Meter changes in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 88-89…………...……………………………. 56 8 Musical Example 6.9: Implied meter changes in Martin’s 8 Préludes pour le piano, Prélude VI, mm. 1-2………………………………………….…. 57 Musical Example 6.10. Irregular measures exercise using chords from Martin’s 8 Préludes pour le piano, Prélude IV, mm. 1-6……………….…. 60 Musical Example 6.11. Dalcroze’s Unequal Beats examples……………………….…... 63 Musical Example 6.12. Unequal beats in Kavaldjiev’s Dilmano, Dilbero, mm. 1-2.….... 64 Musical Example 6.13. Unequal beats in Martin’s 8 Préludes pour le piano, Prélude IV, mm. 1-3………………………….………………... 65 Musical Example 6.14. Unequal beats in Martin’s 8 Préludes pour le piano, Prélude VIII, mm. 48-49………..…………………………….… 67 Musical Example 6.15. Dalcroze’s Unequal Beats example……………………….…… 67 Musical Example 6.16. Exercises of different groupings in Martin’s 8 Préludes pour
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