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Faculty of Music



Martin read musicology at the Liszt Academy of Music (Budapest), receiving highest honours in both his BA and MA degrees. Between 2016 and 2019, he was a member of the Department for Hungarian Music History of the Hungarian Academy of Sciences. In his capacity as a professional staff member, he engaged in the diverse activities of the department, including editing books, source study of nineteenth- and early twentieth-century operatic performance materials, international collaborations, and staging exhibitions. In 2019, Martin presented a conference paper on Béla Bartók’s rubato playing style at the international musicological symposium ‘Bartók and the Piano’ in Budapest. He also acted as assistant editor in the preparation of the 2019 issues of the international musicological journal Studia Musicologica. Furthermore, he has published articles on the early nineteenth-century operatic production practice of the Hungarian National Theatre and the historical performance practice of Brahms's symphonies. Martin is a member of the Hungarian Musicological Society.

Martin’s main research interests include historical performance practice (especially of the nineteenth and twentieth centuries); performance analysis; primary source study (especially of the nineteenth and twentieth centuries); early sound recordings; and musical creativity. His PhD research, supervised by Professor John Rink and funded by the Richard and Annie Greenhalgh Graduate Studentship in Music, focuses on the emergence of musical structure in orchestral performance. To explore that issue, he takes Wilhelm Furtwängler's conducting style as a case study. Drawing on a rich variety of primary sources, Martin’s doctoral project follows a mixed-methods approach: a close examination of Furtwängler’s writings and annotated conducting scores complements a range of computer-based recording analyses. Ultimately, his dissertation will address the following issues: conductors’ approaches to musical structure; the formulation of structural representations and the role of analysis therein; the durability and malleability of such representations; discrepancies between conductors’ verbalised beliefs and their musical practice; conductors’ musical annotations and their relation to structural representation; and mid-twentieth-century orchestral performing styles.

Martin considers outreach an important part of his professional activity and welcomes invitations for pre-concert talks and public presentations on post-1700 music history. Besides his research, Martin also writes concert and opera reviews and programme notes.


Key publications: 


‘Erkel Ferenc első operai hangszerelése: Mercadante Il Giuramentója a Nemzeti Színházban’ [Ferenc Erkel’s First Operatic Orchestration: Mercadante’s Il Giuramento at the National Theatre], Magyar Zene (Journal of the Hungarian Musicological Society), 58.2 (May 2019), 168–97


Book chapter

'Brahms és a zenekari tempóflexibilitás: a történeti előadógyakorlatok vizsgálatának problémái' [Brahms and Orchestral Tempo Flexibility: The Pitfalls of Studying Historical Performance Practices], in Zenetudományi dolgozatok 2019–2020 [Musicological studies], ed. by Katalin Kim (Budapest: Institute for Musicology, 2021, forthcoming)



Assistant Editor

Zenei repertoár és zenei gyakorlat a 18. századi Magyarországon [Polyphonic Music in the Cities, Churches and Aristocratic Courts of Hungary], ed. by Katalin Szacsvai Kim (Budapest: Institute for Musicology, Research Centre for the Humanities of the Hungarian Academy of Sciences, 2017)


Studia Musicologica, 60.1–4 (2019)


Conference Paper

'Parlando-Rubato in Bartók's Piano Playing', Bartók and the Piano musicological symposium, 14 September 2019, Institute for Musicology, Budapest