ROSS LEE FINNEY’S 32 PIANO GAMES AND STEPHEN CHATMAN’S AMUSEMENTS:

A COMPARISON OF TWO PEDAGOGICAL APPROACHES TO CONTEMPORARY

MUSICAL ELEMENTS AND TECHNIQUES

Sooyun Kim, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 201 8

APPROVED:

Gustavo Romero, Major Professor Clay Couturiaux, Committee Member Pamela Mia Paul, Committee Member Bradley Beckman, Committee Member Steven Harlos, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School

Kim, Sooyun. Ross Lee Finney’s 32 Piano Games and Stephen Chatman’s Amusements:

A Comparison of Two Pedagogical Approaches to Contemporary Musical Elements and

Techniques. Doctor of Musical Arts (Performance), May 2018, 51 pp., 32 musical examples, bibliography, 36 titles.

Piano instructors often have to work as a bridge connecting music from the past and the future. From a pedagogical viewpoint, contemporary works should be considered just as important as those in the standard repertoire. Yet, most piano instructors are skewed towards modern music and their teaching materials are focused on eighteenth and nineteenth century repertoire. It is essential for them to introduce various kinds of music from different periods and cultures in order to fully develop a student’s musicianship. The purpose of this study is to compare two modern works that are designed mainly for pedagogical purposes: 32 Piano Games

by Ross Lee Finney (1906-1997) and Amusements by Stephen Chatman (b. 1950). These

compositions are intended for beginner and intermediate students and incorporate a number of

contemporary elements and techniques. This study can help instructors and students understand

how these elements are being used and the ways they have evolved over time. Most importantly,

this dissertation can provide teachers with a distinct methodology that enables them to present

modern pieces to beginning level students in a more approachable fashion, further providing

theoretical and technical assets that will allow them to play advanced contemporary music in the

future.

Copyright 2018

by

Sooyun Kim

ii ACKNOWLEDGEMENTS

I would like to thank Maestro Gustavo Romero, as well as the other professors in the committee: Dr. Clay Couturiaux, Dr. Pamela Mia Paul, and Dr. Brad Beckman. They all have been very helpful and supportive of me during the writing of this dissertation. It has been an honor to study with them throughout my years at the University of North Texas College of

Music.

I would also like to thank my parents, who have always given me infinite support towards my music studies. I am also deeply grateful to my friends and colleagues, who have encouraged me to go forward through difficult times. And last but not least, I would like to mention my husband Joseph, who has always been there for me and has helped me throughout this process.

Finally, I would like to thank Henmar Press, for granting me the rights to include excerpts from Ross Lee Finney’s 32 Piano Games in this dissertation. In accordance with their request, I include the following copyright notice: 32 Piano Games Copyright © 1969 by Henmar

Press, Inc. Used by permission of C.F. Peters Corporation.

iii TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ...... iii

LIST OF MUSICAL EXAMPLES ...... vi

CHAPTER 1. INTRODUCTION ...... 1 1.1 Purpose and Significance of the Study ...... 1 1.2 Important Aspects of Contemporary Music in Present Day ...... 3 1.3 Importance of Contemporary Music for Early Level Students ...... 4

CHAPTER 2. ROSS LEE FINNEY, STEPHEN CHATMAN AND THEIR WORKS ...... 8 2.1 Ross Lee Finny and 32 Piano Games ...... 8 2.2 Stephen Chatman and Amusements ...... 8

CHAPTER 3. PEDAGOGICAL APPROACH TO TEACHING CONTEMPORARY ELEMENTS AND TECHNIQUES IN FINNEY’S AND CHATMAN’S WORKS...... 10 3.1 Non-Traditional Sounds and Notations ...... 10 3.1.1 Percussive Effects and Tone Clusters...... 11 3.1.2 Further Application ...... 13 3.1.3 Graphic Notations and Auxiliary Sounds ...... 15 3.1.4 Further Application ...... 18 3.2 Rhythm and Meter ...... 19 3.2.1 Frequent Meter/Tempo Changes in a Composition ...... 19 3.2.2 Further Application ...... 22 3.2.3 Unmeasured Notes and Free Meter...... 24 3.2.4 Further Application ...... 25 3.3 Performance-Related Aspects ...... 27 3.3.1 Improvisation and Indeterminacy ...... 27 3.3.2 Further Application ...... 31

CHAPTER 4. CONCLUSION...... 35

APPENDIX A. EXPLANATION OF NOTATIONS AND SYMBOLS FOR 32 PIANO GAMES AND AMUSEMENTS ...... 37

iv APPENDIX B. CONTENTS AND FEATURES OF 32 PIANO GAMES AND AMUSEMENTS (BOOKS 1-3) ...... 40

BIBLIOGRAPHY ...... 49

v LIST OF MUSICAL EXAMPLES

Page

Example 3.1. No. 17 from 32 Piano Games, “Up and Down;” mm. 1-7 ...... 11

Example 3.2. Nos. 3 & 4 from 32 Piano Games, “Thirds” & “White-Note Clusters.” ...... 12

Example 3.3. “Nose Dive” from Amusements, mm. 3-8...... 13

Example 3.4“Freak Out” from Amusements, mm. 9-12...... 13

Example 3.5. “Final Argument” from Fantasies, mm. 3-6...... 14

Example 3.6. “Dynamic Motion” by , mm. 16-18...... 15

Example 3.7. No. 1 from 32 Piano Games, “Middle, Bottom, and Top.” ...... 16

Example 3.8. No. 28 from 32 Piano Games, “Mountains.” ...... 16

Example 3.9. “Being Obnoxious” from Amusements...... 16

Example 3.10. “Monkey Business” from Amusements, mm. 1-3...... 17

Example 3.11. “Who’s There” from Amusements...... 17

Example 3.12. “Mountain Voices” by Eloise Ristad, mm. 5-9...... 18

Example 3.13. Aeolian Harp by Henry Cowell, mm. 5-8...... 19

Example 3.14. No. 25 from 32 Piano Games, “Going Places;” mm. 1-7...... 20

Example 3.15. No. 26 from 32 Piano Games, “Playing Games.” ...... 20

Example 3.16. “Ping Pong Party” from Amusements, mm. 1-7...... 21

Example 3.17“Earthquake” from Amusements...... 22

Example 3.18. “In the First Pentatonic Major Mode” from 12 American Preludes by ...... 23

Example 3.19. Image by Robert Helps, mm. 21-26...... 23

Example 3.20. No. 1 from 32 Piano Games, “Middle, Bottom and Top.” ...... 24

Example 3.21. No. 29 from 32 Piano Games, “Windows.” ...... 24

Example 3.22. “Daydream” from Amusements...... 25

vi Example 3.23. Last Pieces by ...... 26

Example 3.24. “Quadrille” from Little Suite for Piano by ...... 26

Example 3.25. “Mirror Mimic” from 32 Piano Games, mm. 1-3; mm. 22-36...... 28

Example 3.26. No. 30 from 32 Piano Games, “Mobile.” ...... 29

Example 3.27. “Popping Corn” from Amusements...... 29

Example 3.28. “Broken Music Box” from Amusements...... 30

Example 3.29. “Game of Hypnosis” from Amusements...... 31

Example 3.30. 1-4-2 (Primo) by Carol S. Wickham...... 32

Example 3.31. 2-4-1 (Secondo) by Duane Kramer...... 32

Example 3.32. “Wistful Duet” by Kent Holliday...... 34

vii CHAPTER 1

INTRODUCTION

1.1 Purpose and Significance of the Study

One of the main tasks piano instructors have is to work as a bridge connecting music from

the past and the future. In order to do so, it is necessary to understand that from a pedagogical

viewpoint, contemporary works are just as important as those in the standard repertoire. It is

essential for piano instructors to introduce various kinds of music from different periods and

cultures in order to fully develop a student’s musicianship. The purpose of this study is to compare

two modern works that are designed mainly for pedagogical purposes: 32 Piano Games, by Ross

Lee Finney (1906-1997), and Amusements, by Stephen Chatman (b. 1950). These works are intended for beginner and intermediate students and incorporate a number of contemporary elements and techniques. 32 Piano Games (1969) consists of thirty-two short pieces ranging from beginner to late intermediate level. Amusements is divided into three books: Books 1 and 2 (1976) each include fourteen elementary level pieces, and Book 3 (1978) consists of seven intermediate level pieces.

Both works contain a wide variety of contemporary musical elements and techniques, and this study can help instructors and students understand how these elements are being used and the ways they have evolved over time. Most importantly, this study can provide teachers with a distinct methodology that enables them to present modern music to beginning level students in a

more approachable fashion, further providing theoretical and technical assets that will allow

them to play advanced contemporary music in the future.

At the beginning of the twentieth century, musical composers began seeking a series of

aesthetic values in their music that differed highly from those of past generations. Piano

1 composers shifted towards extreme dissonance or , and also began exploring new

musical sounds and in order to innovate and distance themselves from eighteenth and

nineteenth century Western musical traditions. This included the use of non-traditional notations and techniques. For instance, (b. 1929) and Henry Cowell (1897-1965), two important twentieth century figures, used not only extreme dissonance and in their works, but also numerous graphic notations and extended techniques, such as plucking or dampening of piano strings.

It is very important for piano instructors to introduce various kinds of music from different periods and cultures in order to fully develop a student’s artistry and musicianship. Just as musicians have passed down music that was considered to be “contemporary” during their time, present-day instructors should help students learn modern music and guide them so they too can pass it down to future generations. Additionally, piano instructors should encourage their students to learn new styles in which they can explore different and unusual musical possibilities.1 This does not mean that traditional methods and repertoire from the great masters

should be discouraged. Simply put, musical study should be inclusive of all times and periods.

Currently, the majority of piano methods are based on nineteenth century pedagogical writings.

Frank J. Potamkin points out that modern music is considered of little importance in present day pedagogical methods, and its appearance in teaching materials is very limited:

A great deal of space has been given to the music of the past in almost every publisher’s catalogue. And even present-day publications that follow old line entirely have received perhaps more than enough attention. But very little space has been devoted to music that is “modern”-and also excellent. Because of this, many teachers, desiring to use modern material, have had great difficulty in finding it.2

1 Erna Czovek, Music and the Child: Experience of a Piano Teacher (Budapest: Corvina Kiado, 1979), 59. 2 Frank J. Potamkin, Modern Piano Pedagogy: Its Scope (Philadelphia: Elkan-Vogel, 1936), 187.

2 1.2 Important Aspects of Contemporary Music in Present Day

Currently, most concerts feature the performance of music from the eighteenth, nineteenth, and early to mid-twentieth centuries. It is clear that contemporary music

is not favored as much, either by audiences or performers. This can be attributed in part to the

fact that most classical music listeners have difficulty understanding and appreciating peculiar, or

foreign sounds, such as those appearing in most contemporary works.

In an essay titled A Modernist Defends Modern Music, (1900-1990) addressed some of the critical problems facing the appreciation of modern music. Copland

mentions the fact that these works tend to be less melodic and more dissonant, compared to

music from the nineteenth century or earlier. In fact, he points out that music from the Romantic

period was not fully accepted during its time, but rather grew on audiences over a period of time.

Therefore, contemporary music should not be subject to judgment based on old musical values; rather, it should continue to challenge and stimulate present-day audiences in order to stay current.

Analyzing this topic from a listener’s point of view is very important, but it is also just as

necessary to understand it from a composer’s point of view. Ross Lee Finney, a well-known

composer and piano pedagogue, focused more on the artist’s point of view in terms of changing

present-day musical culture. He stated,

each artist must adapt himself in his own way to this changing culture, holding only those traditions valid that actually aid his expression. Every artist, therefore, in speaking of his work, must first reveal his awareness of a changing culture, and then the manner in which he hopes to blend tradition with change; and, finally, if he wishes, his fears and hopes for the future.3

3 Ross Lee Finney and Frederic Goossen, Thinking About Music: The Collected Writings of Ross Lee Finney (Tuscaloosa: University of Alabama Press, 1991), 131-132.

3 Edgar Varèse (1883-1965) also provided an important opinion on contemporary music from a composer’s perspective. He suggested that modern-day composers should adopt new music tendencies as these come about. Such practices generally involve discarding old traditions, an idea based on the notion that

the more we allow our minds the romantic luxury of treasuring the past in memory, the less able we become to face the future and to determine the new values which can be created in it.4

In the book The Well-Tempered Keyboard Teacher, Marienne Uszler gathers quotes from

present-day pianists who give their thoughts on contemporary music. Most opinions center on

the idea that sonorities in contemporary music are harsh and radical, which in turn discourages

many pianists from performing these types of works.5 Nonetheless, Uszler notes that for this

reason, it is very important to establish the pedagogical value of contemporary music. Such

exploration could be useful to instructors who are reluctant to use modern works as teaching

material or performance repertoire.

1.3 Importance of Contemporary Music for Early Level Students

Before teaching contemporary music and technique, piano instructors need to understand

the historical background and value of these works. It is a fact that contemporary music is a

result of musicians’ decisive will and passion to seek something new that is nonetheless based on

past practices and traditions. In other words, contemporary music is a continuation of the musical

development of past centuries. In the method book New and Old: Twelve Pieces for Piano,

4 Elliot Schwartz et al., Contemporary Composers on Contemporary Music (Expanded ed. New York: Da Capo Press, 1998), 196. 5 Marienne Uszler et al., The Well-Tempered Keyboard Teacher (New York: Schirmer Books, 1991), 374-377.

4 states, “ does not imply a complete break with the past. It is

rather a stage in the long development of music.”6

Béla Bartók’s (1881-1945) Mikrokosmos is generally considered to be the first piano pedagogical method that includes contemporary musical elements. It has become an important foundation for present-day composers interested in using modern techniques. In her book The

Life and Music of Bé la Bartó k, Halsey Stevens describes what she calls “essential characteristics of twentieth century music” that derived from Mikrokosmos; these include bitonality, the use of chords based on fourths, major and minor seconds, whole tone scales, contrapuntal devices such as inversion, mirroring, free canon, chromatic inventions, syncopation and irregular rhythms.7

Piano composers in the early twentieth century were interested in innovating when composing for the piano. They thought of it as a medium that could present a variety of tone colors, including percussive sonorities. In an essay written in 1927, Bartók mentions that the piano’s “inherent nature becomes really expressive only by means of the present tendency to use the piano as a percussive instrument.”8 Amanda Bayley provides a more descriptive view of

Bartók’s ideas:

[the] piano is not an instrument that lends itself to legato, cantabile lines, which are more idiomatic to a bowed or wind instrument, but one in which each tone is produced by a single stroke into the key, that the natural mechanism is of hammer striking string.9

Contemporary composers began using unconventional notations and techniques as they searched for new musical sounds and timbres. In the essay, Non-Traditional Notation and

Techniques, Kevin Richmond discusses the use of six of these contemporary elements: tone

6 Wallingford Riegger, New and Old; Twelve Pieces for Piano (Boosey & Hawkes, 1947). 7 Halsey Stevens, The Life and Music of Bé la Bartó k (New York: Oxford University Press, 1993), 139. 8 Béla Bartók and Benjamin Suchoff, Bé la Bartó k Essays (Lincoln: University of Nebraska Press, 1993), 288. 9 Amanda Bayley, The Cambridge Companion to Bartók (Cambridge: Cambridge University Press, 2001), 94.

5 clusters, indeterminacy, unmeasured notation, sympathetic vibrations, extended piano techniques

and auxiliary sounds. These subjects can easily be addressed at an early level, and students will

greatly benefit from such an exposure. Addressing them at this stage will also simplify the work

of instructors in what otherwise could seem as a complicated subject to teach.10

The piano method book Contemporary Music and the Pianist, written by Alice Canaday, provides a clear explanation of the musical circumstances by which “contemporary composers have expanded and changed the traditional concepts of music.”11 Canaday states that the book

incorporates an important amount of research and personal experiences related to teaching and

performing contemporary music. In Section I of the book, Canaday discusses the concept of

contemporary compositional practice by organizing it into four main categories: musical sound,

, and rhythm; in Section II, Canaday introduces carefully graded modern pieces which are arranged from beginner to advanced level; she also includes an important amount of collected repertoire.

Piano instructors should be more open to introducing contemporary music to their students, even at the beginning level. This will allow youngsters to fully develop both their pianistic skills and musicianship. While contemporary musical sounds tend to seem harsh and strange to older listeners who feel more comfortable with traditional musical sounds, young students being exposed to these types of sonorities from the onset would likely be less prejudiced

towards them. Finney has championed this idea in his book Thinking About Music, where he

explains the relevance of incorporating modern elements in early level method books. He also

10 Kevin Richmond, Non-Traditional Notation and Techniques: In Student Piano Repertoire (MTNA e-JOURNAL, 2013), 2. 11 Alice Canaday, Contemporary Music and the Pianist: A Guidebook of Resources and Materials (Tunbridge, VT: Trillenium Music, 1997), 2.

6 addresses the need for learning such elements at an early age:

Certainly in music the most important development takes place in the babbling age of childhood, between two and four. At this age children often find their creative imaginations frustrated by lack of parental understanding. We exaggerate verbal learning at this early age and neglect the child’s experiments with pitch and time and space…Many a child has been so conditioned before he starts school that he believes that musical “language” is somehow naughty or funny, and not infrequently the whole musical training in school is built upon this flimsy foundation. The child is able to verbalize about art and perhaps even get excited about the recreational activity of doing, but he has built up restraints that prevent his becoming emotionally evolved in the language of music.12

German pianist, author, and musicologist Carl Adolf Martienssen, who further discusses the same issue in his book Music and the Child, also shares this belief. According to

Martienssen, just as a child prodigy approaches music with pure curiosity and musical instinct, any normal child will follow the same path by stimulating their imagination and creativity through this process.13

Finally, Potamkin points out that beginning students are more open toward different

styles of music and they can easily cope with simple techniques at their level; in contrast,

students whose introduction to contemporary music has been delayed may have more difficultly

appreciating modern elements as they progress in their studies.14

12 Finney, Thinking About Music, 52. 13 Czovek, Music and the Child, 30. 14 Potamkin, Modern Piano Pedagogy, 198-199.

7 CHAPTER 2

ROSS LEE FINNEY, STEPHEN CHATMAN AND THEIR WORKS

2.1 Ross Lee Finny and 32 Piano Games

Ross Lee Finney was a leading modern composer and twentieth century piano

pedagogue. He studied with the acclaimed music theorist (1887-1979), as well as prominent contemporary composers (1885-1935) and (1896-

1985). These influential figures were crucial to the development of his compositional style.

Finney was also devoted to teaching, and his students include several distinguished composers such as (1930-2014), William Albright (1944-1998), George Crumb, Roger

Reynolds (b. 1934) and (b. 1938). Finney obviously thought highly of contemporary music, but his mindset was that performers and teachers needed to study modern trends as well as traditional repertoire. Among his output, Finney wrote works in which he stressed the importance of music education for young students. His 32 Piano Games is a valuable method book that includes thirty-two short piano pieces. It features the use of percussive sound effects, graphic notations, and improvisation, along with basic elements. Most importantly, it allows students to explore modern sounds and techniques, while also providing instructors with the means to improve their students’ technique and musicianship.

2.2 Stephen Chatman and Amusements

Stephen Chatman is an outstanding Canadian composer whose choral, orchestral, and piano music is frequently performed. Chatman studied at the with Ross

Lee Finney, (1923-2016) and William Bolcom, and these three figures have been the most influential to his compositional style. In addition to composing, Chatman is also known

8 as a musical pedagogue: he has published numerous piano methods for beginner and

intermediate students. In them, he introduces various contemporary elements and techniques that

are easy to understand and perform. Noteworthy among his output are his three books of

Amusements, which are “designed to expose the young piano student and teacher to a wide

variety of contemporary idioms, styles and means of notation.”15 The work is divided into thirty-

five pieces: book 1 has fourteen elementary level pieces, book 2 has fourteen late-elementary level pieces, and book 3 has seven intermediate level pieces. Compared to Finney’s 32 Piano

Games, Amusements is more advanced in terms of the contemporary techniques it employs.

Nonetheless, the thirty-five pieces are properly divided throughout in ascending level of

difficulty. In these compositions, Chatman uses indeterminacy, an experimental technique. This

is noteworthy in the sense that it can be useful even for piano instructors who might not have

been exposed to music employing this technique. Chatman also includes the use of unmeasured

and graphic notations, auxiliary sounds, extreme dynamics, and improvisational passages. These

can help students broaden their imagination, which is very important when performing any kind

of music.

Piano instructors should teach essential concepts and techniques, in addition to artistry

and musicianship. However, a well-rounded musical education can only be achieved when a

student experiences a variety of music from different historical periods, styles, and cultures.

Finney’s 32 Piano Games and Chatman’s Amusements are valuable teaching tools, especially at

a time when most instructors focus solely on the standard repertoire from the eighteenth and

nineteenth centuries.

15 Stephen Chatman, Amusements (Ontario: The Frederick Harris Music Co., Limited, 2005), 2.

9 CHAPTER 3

PEDAGOGICAL APPROACH TO TEACHING CONTEMPORARY ELEMENTS AND

TECHNIQUES IN FINNEY’S AND CHATMAN’S WORKS

This chapter discusses selected contemporary musical elements and techniques that appear in both 32 Piano Games and Amusements. These are compared and contrasted with each other, in addition to explaining further steps that can lead students to play advanced contemporary repertoire. To better understand these elements and techniques, it is best to divide them into three parts: 1) non-traditional sounds and notations: percussive effects and tone clusters, graphic notations and auxiliary sounds; 2) rhythm and meter: frequent meter/tempo changes in composition, unmeasured notes and free meter; and 3) performance-related aspects: improvisation and indeterminacy. This will be very useful to piano instructors teaching early level students, as they guide them on how to better approach contemporary music.

3.1 Non-Traditional Sounds and Notations

Contemporary piano composers created graphic notations to better notate their new musical sounds and timbres. Their works many times incorporate various touches and the use of techniques such as tone clusters and auxiliary sounds.16 In addition, performing such works requires some distinct physical movements. In order to reach a point where students can perform advanced contemporary works, they should first be able to decipher graphic notations and imagine these novel sonorities in their mind. Then, it is absolutely necessary to make these intended sounds real by means of physical touch or physical movement. These approaches to

16 Auxiliary sounds refer to effects derived from something other than the keyboard. This includes using the human voice, the inner parts of the piano, or other objects.

10 performing contemporary music allow students to fully develop their senses. The practice can be

enhanced if direct experience with this type of music begins at an early age.

3.1.1 Percussive Effects and Tone Clusters.

Producing a percussive tone from the instrument is one of the hallmarks of contemporary

works. A quickly executed dropping motion of the fingers as they strike the key can achieve this.

The result is an “unmusical, harsh, brittle tone of short duration,”17 that adds uniqueness to the

tone. An example of this occurs in No. 17 from 32 Piano Games, “Up and Down.” A repetition

of the note can be observed in three different right-hand registers. Meanwhile, the left hand shows a similar pattern in the lower register as that of the right-hand pattern. These simple non- legato repeated gestures help create a percussive motion (Ex. 3.1).

Example 3.1. No. 17 from 32 Piano Games, “Up and Down;” mm. 1-7

Playing multiple consecutive keys is known as a tone cluster, and this element enlarges the percussive quality of the sound. A few fingers, fist, palm, hand, or the entire forearm can be

17 Potamkin, Modern Piano Pedagogy, 107.

11 used to execute tone clusters, which in turn produces a massive block of sound. 32 Piano Games

introduces an easy way of playing tone clusters. Finney combines every note in “3 White-Note

Clusters” from the previous piece, “Thirds” into tone clusters, and these appear in the score by

way of square shaped note-heads of intervals of 3rds and 5ths. In addition, the music presents no

additional challenges with regards to extreme dynamics or register changes. This allows the

student to focus solely on the proper execution of tone clusters (Ex. 3.2).

Example 3.2. Nos. 3 & 4 from 32 Piano Games, “Thirds” & “White-Note Clusters.”

On the other hand, tone clusters in Amusements use numerous notes from a wider range of the keyboard while also exploring extreme dynamic contrasts. “Nose Dive,” for instance, begins with repeated staccato notes in the high register and ends with an accented tone cluster.

Throughout the piece, repeated notes gradually descend to a lower register, while the right and left hand continuously present dynamic contrasts alternating between fortissimo and pianissimo.

Finally, a series of massive tone clusters at the end of the piece create a huge impression on both

12 performer and audience. This helps the student understand the use of the tone cluster (Ex. 3.3).

In the last part of “Freak Out”, each of the tone clusters using the palm increases its volume, which helps maximize their effect at the end of the piece. In this particular case, the tone clusters are played both by hands and forearms (Ex. 3.4).

Example 3.3. “Nose Dive” from Amusements, mm. 3-8.

Example 3.4“Freak Out” from Amusements, mm. 9-12.

3.1.2 Further Application

In the piece “Final Argument,” from his book Fantasies, Chatman writes a number of

13 tone clusters. It is important to mention that this piece is intended for late-intermediate level

students. Even though the range of the tone clusters is not clearly notated, Chatman does specify

direction on each of them by establishing whether they should be played with either fingers,

palms, or forearms. As such, this piece helps students experience several ways of playing tone

clusters in different ranges. Moreover, the piece also presents additional technical demands.

These include rapid changes of tempo in multi meters, and extreme use of dynamics in a wide

range of registers (Ex. 3.5).

Example 3.5. “Final Argument” from Fantasies, mm. 3-6.

Extensive use of tone clusters also appears in the piano solo work Dynamic Motion, by

Henry Cowell. Compared to Chatman’s “Final Argument,” Cowell clearly notates and specifies the ranges of each tone cluster. Most tone clusters are notated as thick vertical bars covering a two- range, which requires using the entire forearm to execute. Accidentals above each tone cluster are indicated by black key or white key cluster symbols. Encountering such tone clusters can often be beneficial to students, as most find it challenging to a) read a wide range of

14 registered notes in a multi-stave composition, and b) play forearm tone clusters in irregular time values such as triples, quintuplets, sextuplets, and septuplets (Ex. 3.6).

Example 3.6. “Dynamic Motion” by Henry Cowell, mm. 16-18.

3.1.3 Graphic Notations and Auxiliary Sounds

Graphic notations for early level students should not only be written in a way that the composer’s intentions are clear to the performer, but they should also help them connect the intended sound to their imagination. Most graphic notations from 32 Piano Games have been carefully designed so they are easy to perform. Finney provides specific instructions regarding his own graphic notations at the beginning of his work, which can be very helpful to instructors while planning their lessons.

In Ex. 3.7, the graphically notated repetition of Cs indicates a gradual change of tempo and dynamics. Repeated Cs should be played both gradually softer and slower as the horizontal beams get narrower and the vertical lines get wider. With the use of this notation, students can easily understand any similar graphic notations that may appear later in the work (Ex. 3.8).

15 Example 3.7. No. 1 from 32 Piano Games, “Middle, Bottom, and Top.”

Example 3.8. No. 28 from 32 Piano Games, “Mountains.”

Compared to Finney, Chatman uses more abstract graphic notations. This occurs in a number of pieces in Amusements, which is very different from what one generally finds in music scores. Such differences, however, can also be more stimulating to a student’s imagination. An example of this can be seen in “Being Obnoxious,” where there are no staff, meter, or bar lines.

Chatman only provides basic directions and a guide of the notes to be played based on a horizontal line that represents middle C. As such, students are responsible for choosing what random notes they are going to play (see Appendix A). This allows them to take part in the compositional process, which in turn helps them develop improvisational skills (Ex. 3.9).

Example 3.9. “Being Obnoxious” from Amusements.

16 In addition, Chatman uses graphic notations for auxiliary sounds that provide students

with an opportunity to create sonorities that resemble different instruments. In “Monkey

Business,” the performer is required to produce loud percussive sounds by clamping, stamping, shouting or hissing (Ex. 3.10).

Example 3.10. “Monkey Business” from Amusements, mm. 1-3.

The piece titled “Who’s There?” includes more complicated auxiliary sounds, but instructions are limited, and the rhythm is not as complex (Ex. 3.11). Chatman provides a picture of a keyboard, points out specific parts, and gives directions on how to understand and use each

graphic symbol (see Appendix A). By learning and playing auxiliary sounds in various ways,

students will understand that music can be perceived not only by playing what is written in the

score, but can also express abstract images through various sound effects. This is an extremely important characteristic of contemporary music.

Example 3.11. “Who’s There” from Amusements.

17 3.1.4 Further Application

An interesting subject introduced by Chatman is the use of unconventional piano techniques as a tool for expressing programmatic ideas in contemporary music. This was also explored by educator Eloise Ristad (1925-1985), who introduced advanced-level students to play extended piano techniques and various auxiliary sound effects as a way to describe images of nature. In “Mountain Voice,” from the Contempo series, Ristad asks the performer to mark notes on certain piano strings, and to use objects such as a pencil, mallet, and plastic ruler. She provides short descriptions above the graphic notations that guide performers to create various auxiliary sound effects in different ways. These include dropping objects onto the strings while holding the damper pedal, and striking or bouncing strings with a fingernail, pencil eraser or pencil point. These graphic notations guide performers’ improvisational skills, and can also be extremely helpful for students as they try to find appropriate articulations and touch. By experiencing unusual sounds and timbres, students learn how to convey an abstract atmosphere into the music (Ex. 3.12).

Example 3.12. “Mountain Voices” by Eloise Ristad, mm. 5-9.

18 Aeolian Harp, a well-known composition by Henry Cowell, offers advanced level

students a wonderful opportunity to use the internal parts of the piano. The performer must

carefully approach this unconventional technique, and practice thoroughly if success is to be

achieved. In addition, the piano has to be carefully prepared. Cowell provides a detailed

explanation of symbols and performance instructions. The piece requires the pianist to stand up

to see the actual strings, and the performer’s right-hand strums directly on the strings while the

left-hand silently presses on the keyboard. This uncommon way of performing creates a unique

resonance of piano strings and produces a tone color similar to that of an Aeolian harp (Figure

13).

Example 3.13. Aeolian Harp by Henry Cowell, mm. 5-8.

3.2 Rhythm and Meter

3.2.1 Frequent Meter/Tempo Changes in a Composition

Most contemporary music involves meter changes within the same piece. These could happen quickly, with the time signature often changing from one measure to another. Finney introduces multi meter in No. 25, “Going Places.” This piece has a time signature of 4/4, but changes to a 3/4 in the middle of the piece. However, pulsating eighth notes throughout the piece help students to easily grasp the meter change (Ex. 3.14).

In “Playing Games,” which comes immediately after “Going Places,” the meter change is more difficult to assimilate, as the time signature changes from 2/4 to 5/8 to 3/4 within three measures. This is designed to give students a sense of quick changing meters, challenging them

19 to adopt these variations in pace while playing different rhythms and articulations, although

accents and syncopated notes give a strong pulse that helps students to group these rhythms.

These two pieces help students to practice quick changing meters, and to experience irregular

rhythmic practices of contemporary music in different levels of difficulty. (Ex. 3.15).

Example 3.14. No. 25 from 32 Piano Games, “Going Places;” mm. 1-7.

Example 3.15. No. 26 from 32 Piano Games, “Playing Games.”

20 Chatman also uses multi meters for dramatic expression. His piece “Ping Pong Party”

begins in 4/4 and is scattered with numerous grace notes in both hands. This somewhat peculiar composition is meant to depict a ping-pong match, as described by the title of the piece. As the back and forth motion of the ping-pong ball continues, Chatman disrupts the meter with the inclusion of a 5/4-time signature, followed by free meter. This is meant to express the image of a ping-pong ball rolling to the ground as it drops from the table. By being flexible with the tempo and transitioning from 4/4 to 5/4 to free meter, Chatman makes it possible for young students to imagine or even visualize a ping-pong game while playing a piano piece, which helps stimulate

their imagination and creativity (Ex. 3.16).

Example 3.16. “Ping Pong Party” from Amusements, mm. 1-7.

This use of free meter can also be seen in Chatman’s “Earthquake,” which also begins in

4/4. The piece employs various unconventional sounds and performance techniques such as tone

clusters, glissandi, tremolos, extreme dynamic changes, and improvisation as a means to convey

the feeling of an earthquake. As shown in Figure 17, there are seven seconds of unexpected

silence following the black and white key tone clusters that greatly increase the dramatic tension.

This pause accurately depicts the sound of a sudden stop after a massive earthquake. The next

21 few measures can be freely improvised by students, who can play single notes for four seconds

and gradually decrease the tempo for the next four seconds. The right hand plays the notes with upper stems while the left hand plays the notes with the lower stems. This occurs in a wide range of the keyboard, as indicated by composer, and the register of theses single notes is shown differently by the length of each stem. The use of free meter in turn allows students to imagine

and express their own ‘earthquake.’ Creating the sound of this image occurs during a transition

and is followed by an improvisational passage, which adds vividness to the piece (Ex. 3.17).

Example 3.17“Earthquake” from Amusements.

3.2.2 Further Application

Alberto Ginastera’s (1916-1983) “In the first Pentatonic Major Mode,” from 12 American

Preludes, is an advanced level piece that presents students with a complicated texture. It consists

of large chords in multi staves and multi meters. The meter changes are difficult to notice due to

the slow tempo, but it might be challenging for the student to read the chords that appear in

different registers while keeping a steady beat (Ex. 3.18).

Another related composition is Image, by Robert Helps (1928-2001). This piece

incorporates complex rhythms and characteristic of modern compositions. For

example, the work includes and frequent meter changes featuring irregular time

22 signatures such as 5/4, 7/4, 9/16 and 4+1/4+8. There are also numerous combinations of dissonant intervals like minor 2nds, 9ths or major 7ths. An extreme use of dynamics is present as well, in addition to the fact that playing different articulations in a wide range of registers requires quick motions and gestures. These elements are rather complex and require a more developed technique from the performer. As such, this piece can be helpful for advanced level students looking to learn complicated multi techniques (Ex. 3.19).

Example 3.18. “In the First Pentatonic Major Mode” from 12 American Preludes by Alberto Ginastera.

Example 3.19. Image by Robert Helps, mm. 21-26.

23 3.2.3 Unmeasured Notes and Free Meter

Unmeasured notation, also referred to as proportional notation, exists in many different

forms. In its basic form, unmeasured notation lacks time signatures and bar lines. The tempo is

often left to the performer, and note values are free from the heavy and light stresses of meter.

Finney introduced unmeasured notation in the first piece of 32 Piano Games. “Middle, Bottom, and Top” is not challenging from a technical standpoint, but students need to have a very sensitive ear. Phrases are divided by way of a graphically notated pause (see Appendix A), and each one produces a different tone color. This allows students to decide the length of each pause depending on the resonance created at the conclusion of each phrase (Ex. 3.20).

Example 3.20. No. 1 from 32 Piano Games, “Middle, Bottom and Top.”

A similar situation occurs with No. 29, “Windows.” The horizontal lines indicate that notes should be held, and students can decide their length in order to create layered sounds throughout the unmeasured framework (Ex. 3.21).

Example 3.21. No. 29 from 32 Piano Games, “Windows.”

24 In “Daydream,” Chatman directs students to experiment with different dynamics as the pedal holds a very limited number of notes. Chatman allows students a certain degree of freedom in choosing touches and dynamics that seem appropriate based on paying close attention to the blending of tones in various registers. The lines between notes indicate phrase groupings and order of notes, something of particular importance in unmeasured notation. By playing this piece several times, students can try different approaches as they listen and respond to the notes they are playing (Ex. 3.22).

Example 3.22. “Daydream” from Amusements.

3.2.4 Further Application

The first composition of Last Pieces, by Morton Feldman (1926-1987), is a slow-paced, unmeasured composition that gives performers a large degree of freedom in terms of sound creation and rhythm. The main goal seems to be allowing performers to fully enjoy certain moments of creativity. Students can choose the duration of each note, and listen to the dissonance created by layers of notes sustained with pedal, as they play in a slow tempo.

25 Feldman suggests breaking down or redistributing some wide intervals for students who have small hands (Figure 23).

Figure 23.

Example 3.23. Last Pieces by Morton Feldman.

In contrast to Last Pieces, “Quadrille,” from Little Suite for Piano, by Lou Harrison

(1917-2003), is a fast-paced, unmeasured composition. The left-hand repeats pairs of continuous sixteenth notes in an Alberti bass pattern throughout the entire piece as an , while the right-hand plays two melodic patterns that vary in different rhythms and lengths. The piece demands a total sense of control from the performer in order to adequately repeat the aforementioned rhythmic patterns steadily in the left hand, while playing different rhythmic progressions with unexpected accents with an irregular beat in the right hand (Ex. 3.24).

Example 3.24. “Quadrille” from Little Suite for Piano by Lou Harrison.

26 3.3 Performance-Related Aspects

Although many contemporary works include distinct graphic notations and very specific

instructions, their interpretation can often allow for a certain degree of freedom in terms of

improvisation and indeterminacy. These contemporary practices are dependent on the

performer’s own choices of what or when to play, and they expand the possibility of modifying

the composer’s work. Author Noa Kageyama further referenced the research done by Charles

Limb and Allen Braun with regard to how certain regions of the brain are activated differently

when improvising or playing from memory. According to Limb and Braun, there are two regions

in the brain: one is activated mostly during problem solving or conscious monitoring of

performance while the other is activated during storytelling, self-expression or describing memory; this is closely related to stimulating the imagination. In the process of improvisation, the second region becomes highly activated whereas the first region is deactivated, and this means musicians can be more creative and able to “spontaneously produce unplanned, novel musical ideas and gestures” when their brain is less burdened from self-monitoring performance.18 This research supports why instructors consider improvisation to be an essential

component of music teaching.

3.3.1 Improvisation and Indeterminacy

Finney explores the element of improvisation in several pieces. One of them is “Mirror

Mimic,” a work in variation form. The piece consists of four variations, which are labeled First

way, Second way, Third way, and Coda (Fourth way). The first two measures of First way and

18 Noa Kageyama, “Why Improvisation Should be Part of Every Young Musician’s Training,” Accessed July 6, 2016. https://bulletproofmusician.com/.

27 Second way begin with thematic fragments, and subsequently develop into long melodic progressions. Finney then leaves a number of empty measures for Third way in order for students to improvise based on the melodic line. As the melody of First way and Second way appears mostly in imitation of the hands or in contrary motion, students can easily grasp how these melodic lines are processed, and can apply those ideas to their improvisation, which can then be used in Third way (Ex. 3.25).

Example 3.25. “Mirror Mimic” from 32 Piano Games, mm. 1-3; mm. 22-36.

28 No. 30 “Mobile,” allows the performer to choose the desired speed and the order of notes

within each of the nineteen boxes indicated in the piece. Each box has a few introductory notes,

and these become a guideline for students to continue the piece through improvisation. As one hand plays written notes while the other hand improvises based on the provided boxes, focusing on both parts can be challenging. Compared to Finney, Chatman’s improvisational piece is more abstract in terms of graphic notations. In “Popping Corn,” he once again provides a horizontal middle C line, along with different sized and articulated notes that indicate dynamics; these are scattered in a wide range of registers. The frequent use of fermatas provides students an added moment where they can listen to the resonance of each group of notes. Furthermore, directions are scarce, allowing students to freely produce sounds as they flow from their imagination (Ex.

3.26 and 3.27).

Example 3.26. No. 30 from 32 Piano Games, “Mobile.”

Example 3.27. “Popping Corn” from Amusements.

In addition, Chatman introduces . Aleatoric music, also known as music of chance or indeterminate music, allows certain compositional changes by performers. During

29 these performances, the order of pitches, rhythmic values or durations of notes can be determined

by the performer’s own choice.19 Chatman’s “Broken Music Box” easily introduces students to experience aleatoric music with his unique visual score presentation. The whole piece consists of six fragments of music in boxes, and these are to be played in any order chosen by the performer.

Students can have up to three seconds between each fragment and each excerpt can be played only once. (Ex. 3.28).

Example 3.28. “Broken Music Box” from Amusements.

In Book 3, Chatman writes a more complicated aleatoric piece titled “Game of

Hypnosis,” designed for advanced level students. The work consists of ten unconnected staves with short musical fragments. Students play all musical fragments once in any order, except for the first one and the last one. Each fragment has a wide range of grace notes and a number of accidentals, which can be rather challenging for the students to read, but they can have numerous

19 Don Michael Randel, The Harvard Dictionary of Music. (Cambridge, MA: Belknap Press of Press, 2003), 32.

30 possibilities to perform differently by choosing their own idea with tempos, dynamics, and the

durations of each note or fragment. These two pieces provide a good opportunity to experience

indeterminacy in music, enjoying performing the piece with a certain degree of freedom

depending on their choices, and prepare them for more advanced aleatoric works. (Ex. 3.29).

Example 3.29. “Game of Hypnosis” from Amusements.

3.3.2 Further Application

1-4-2 and 2-4-1 are great examples of a work for piano duet that features the use of indeterminacy. 1-4-2 (Primo) and 2-4-1 (Secondo) were written by two different composers,

Carol Wickham (b. 1949) and Duane Kramer (b. 1939). They are intended as an aleatoric duet for advanced level students. Both parts have five disconnected staves with time indications, and these are performed independently. The two performers need to have a clock or watch at hand in order to check time indications above each musical fragment, and they can either play or stay

31 silent, as long as they follow the allotted time limits. For instance, the indication at 0:05 of the first fragment in the Primo part means the performer should either begin five seconds after

Secondo has started, or wait silently until the next fragment, which begins at 0:20. As the two

parts do not meet exactly until the fourth fragment, the pianists should listen to each other so that

their parts “differ in terms of sound, silence and synchronization, despite the strict order of events given”20 (Ex. 3.30 and 3.31).

Example 3.30. 1-4-2 (Primo) by Carol S. Wickham.

Example 3.31. 2-4-1 (Secondo) by Duane Kramer.

20 Richmond, Non-Traditional Notation and Techniques, 9.

32 The evolution of contemporary music since the early 20th century coincides with the

development of technology. The use of computer or systems allowed

contemporary composers to move beyond the limitation of old compositional practices, offering

them enormous opportunities to create new sounds.21 One type of electronic music was created

using tape recording systems; the sound was first recorded and then manipulated in various

ways. The piano solo piece “Wistful Duet,” by Kent Holliday (b.1940), introduces students to

contemporary techniques using pre-recorded sound. Holliday asks the performer to record the

rhythm with a comb by tapping on the table or scratching its teeth, or using a pot lid with water.

Prior to the actual recording, he suggests rehearsing many times until the rhythm is played with a

perfectly steady beat. “Wistful Duet” is completed when a student plays the piece along with the

pre-recorded sound, and this creative exercise broadens the student’s imagination and allows

him/her to experiment with new musical sounds. Contemporary music can be not only acoustic,

but can also derive from various sounds from different objects or carriers, such as electronic

equipment. By learning contemporary pieces, students can understand that even noise and non-

musical sounds can also serve as musical components, and be recreated into music through

performance (Ex. 3.32).

21 Leon Dallin, Techniques of Twentieth Century Composition: A Guide to the Materials of Modern Music (Dubuque: WM. C. Brown Company Publishers, 1974), 249.

33 Example 3.32. “Wistful Duet” by Kent Holliday.

34 CHAPTER 4

CONCLUSION

Performers and pedagogues in the 21st century often consider and label contemporary music as a style that is difficult for audiences to appreciate. Such views have led modern-day works to be performed on the concert stage less than they deserve. However, contemporary music is not a style that was just recently adopted by composers. The rise and expansion of modern music should be seen as a result of the natural compositional development that has evolved over a number of centuries. Numerous artists and musicians of the past, from various cultures and periods, have contributed towards its progress. Contemporary music is just one of the many forms of expression that exists today, lying in between past traditions and future experiments. As such, contemporary music should not be undervalued; in fact, it should play a larger role among present-day musicians.

Introducing contemporary music to the general public is very important, as this will allow for an increased understanding of this style, and for the evolution of music evolution in general.

This exposure, over time, can allow audiences to enjoy music on a completely different level. In order for this to happen, present-day musicians should approach contemporary music with an open mind, treating it like any other style, and most importantly, without any bias. Copland pointed out that it is vital for musicians to work very hard with media in order to make contemporary music attractive to audiences. Specifically, the purpose of such a task would be to stimulate people’s curiosity and interest in a way similar to that which makes contemporary literature and films appealing to the general public.

In order to achieve this goal, music teachers should play a vital role, given the influence they have over young students who will become the leading musicians of future generations.

35 Depending on the way that music teachers help students understand and appreciate contemporary music, this will affect how serious music develops and exists in the future. As mentioned earlier, most music teachers’ materials are focused on eighteenth and nineteenth century repertoire, and they are skewed away from modern music. This deprives students of the opportunity to experience other musical languages. This means that future pianists are playing mostly repertoire from the past. This is not to say that music of the past is obsolete or should be forgotten.

Achieving a healthy balance of past and present repertoire would be ideal for pedagogues. They should reconsider the tendency to focus on teaching solely repertoire from past centuries, and become less biased towards modern-day music. If music teachers provide their students with music from different styles and periods, young musicians of the future will have a broad musical perspective, and will respect the value of all musical styles. Such an education can eventually lead to an era where music from all periods coexists and is equally valued and appreciated.

36 APPENDIX A

EXPLANATION OF NOTATIONS AND SYMBOLS FOR

32 PIANO GAMES AND AMUSEMENTS

37 32 Piano Games

A pause of undetermined length

A hold

A long hold

A trill starting fast and slowing gradually

A repetition starting slow and becoming faster

A prolongation of a note

Clusters of white keys played by fingers or fist

Clusters of black keys

A free repetition in any order of the notes indicated lasting the length of the box

Repeat immediately preceding measure

38 Amusements

39 APPENDIX B

CONTENTS AND FEATURES OF

32 PIANO GAMES AND AMUSEMENTS (BOOKS 1-3)

40 32 Piano Games

Tempo/Metronome No Title Meter Features Marking Middle Bottom • Graphic symbols 1 N/A Free Top • Wide range of registers 2 Five Fingers 4/4 ♩ =132 R.H. and L.H. contrary motion • Interval of a third 3 Third 4/4 ♩ =100 • R.H. and L.H contrary motion • Graphic symbols • Tone-clusters in intervals White-Note 4 N/A ♩ =80 of a third Clusters • R.H. and L.H. contrary motion 5 Melody 4/4 ♩ =144 12 tone technique • Graphic symbols • Tone-clusters Moving 3 White- 6 4/4 ♩ =80 • Wide range of register Note Clusters • R.H. and L.H. parallel motion Broken Thirds • Graphic symbols 7 and 3 White- 4/4 ♩ =80 • Note Clusters Tone-clusters • Graphic symbols Everything 4/4 • Tone-clusters 8 ♩ =60 Everywhere 3/2 • Multi meters • Wide range of registers 5 White-Note • Graphic symbols 9 4/4 ♩ =60 Clusters • Tone-clusters • 12-tone retrograde Two handed • R.H and L.H. contrast 10 4/4 ♩ =160 Duet articulation: staccato vs. legato 3 White-Note • Graphic symbols 11 Clusters, High 5/4 ♩ =160 • Repeated tone-clusters and Low • Wide range of register

(table continues)

41 Tempo/Metronome No Title Meter Features Marking • Graphic symbols 12 Seashore 3/4 ♩ =120 • Wide range of register • Tone-clusters • Improvisation 13 Mirror Mimic 4/4 ♩ =152 • R.H. and L.H. contrary motions • R.H and L.H. repeated Tightrope 14 2/2 =112 or faster note: unison, intervals of Walker seconds, and thirds • Multimeters • Hand crossing 15 Confused 3/4 ♩ =80 • Graphic symbols • Tone-clusters • 12 tone technique 16 Going anywhere? 3/4 ♩ =144 • Hand crossing • Wide range of registers 17 Up and Down 4/4 ♩ =88 • R.H and L.H. repeated 18 Happy Dance 4/4 ♩ =144 intervals of a second 4/4 • Multimeters 19 Berceuse ♩ =50 2/4 • Fourth interval • Graphic symbols • R.H and L.H. repeated 20 Argument 4/4 ♩ =120 notes in fast tempo • Tremolo • Chromaticism 21 Thumb Tricks 2/2 ♩ =112 • Diminished thirds • Graphic symbols Black Notes and 22 N/A Free • Repeated tone-clusters White Notes • Dynamic contrast: p vs. f 23 Converging 3/4 ♩ =60 • Accents in irregular beat 24 Running 6/8 ♩. =120 • Hand crossing 4/4 25 Going Places ♩ =104 • Multimeters 3/4

(table continues)

42 Tempo/Metronome No Title Meter Features Marking 2/4 • Multimeters 26 Playing Games 5/8 ♩ =92 • Syncopations 3/4 • Inverted blocked chords 27 Mirror Waltz 3/4 ♩ =100 b/w hands • Graphic symbols 28 Mountains N/A N/A • Extreme dynamic changes 29 Windows N/A ♩ =60 • Graphic symbols • Improvisation 30 Mobile N/A =132 • Unmeasured notation • Multimeters 4/4 31 Arapaho ♩ =144 • Graphic symbols 6/4 • Tone-clusters • Graphic symbols 32 Winter N/A Moderate • Glissando • Tone-cluster trills

43 Amusements, Book 1

Title Meter Tempo marking Features with politeness; Polite Conversation 4/4 Extended melodic line Moderately • Graphic symbols Monkey Business 4/4 with fun • R.H.: Ascending chromaticism • L.H.: Auxiliary sound effects • Graphic symbols • R.H.: Auxiliary sound effects Foolin’ Around 4/4 jokingly • L.H.: Descending chromaticism moderately; Lazy Day 4/4 R.H. and L.H. contrary motion expressively March of the • Repeating rhythmic pattern 2/4 in marching time Penguins • Imitation b/w R.H. & L.H. • L.H.: Habanera rhythmic Lonesome Cowboy 6/8 at a slow trot pattern • Intervals of seconds and thirds Hippopotamus 2/4 sluggishly Syncopation Two-Step as if on the moon; very • Space Shoes 4/4 slow • Proportional notation • Staccato throughout the piece Silly Argument 4/4 with liveliness • Dynamic contrast: ff vs. pp • ff throughout the piece Halloween Trick 2/4 with fright • R.H.: accents throughout the piece • Improvisation • Graphic symbols • Black-white key tone-clusters Kangaroo Parade N/A N/A • Wide range of registers • Extreme dynamic contrast: ff vs. pp • Graphic symbols • Black-white key tone-clusters Nose Dive 3/4 moderately • Descending motion with repeated eighth notes (table continues)

44 Title Meter Tempo marking Features • Graphic symbols • Extreme dynamic contrast: ff vs. pp • Contrast in articulations: 3/4 moderately staccato and accent vs. legato • Black-white key tone-clusters • Hand crossing • Ascending stepwise motions • Syncopations Relaxation in Blue 6/8 at a slow trot • Grace notes • Proportional notation

45 Amusements, Book 2

Title Meter Tempo marking Features • Graphic symbols *Day dream N/A In a daze • No bar lines • Proportional notation • Staccato throughout the piece • Repeated eighth notes in an Giggle 3/4 With shyness irregular beat • Imitation b/w R.H. and L.H. • Indeterminacy *Broken Music • Graphic symbols N/A Moderately; sweetly Box • Short musical fragments in 6 boxes • Graphic symbols *Bozo’s Flippity- Very fast; with 3/4 • Black-white key tone-clusters Flop clumsiness • Pickup • Sostenuto pedal Watching a Spider 3/4 Crawling quickly • R.H. and L.H. in contrary motion • Improvisation • Graphic symbols • Black-white key tone-clusters *Freak-Out 3/4 Moderately • R.H and L.H. in contrary motion • Wide range of registers • Extreme dynamic changes • Graphic symbols *Being Obnoxious N/A N/A • No staff • Dynamic contrast: pp vs. ff 4/4 • Graphic symbols *Ping Pong Party 5/4 A fast game; playfully • Dynamic contrast: pp vs. ff No meter • Grace notes • Multimeters • Proportional notation 3/4 Lost Kite Slowly; calmly • 4/4 Grace notes in wide range of registers • Hand crossing (table continues)

46 Title Meter Tempo marking Features • Graphic symbols. *Leap frog 3/4 With quick motion • Black-white key tone-clusters • Chords in irregular beats • Improvisation *Popping corn N/A Freely • Graphic symbols • No staves Hobo Dance 4/4 Fast; spirited • Grace notes • Graphic symbols • Unmeasured notation *Copy Cat N/A Deliberately • Dynamic contrast: ff vs. pp

• Grace notes in wide range of registers Penn Central 12/8 Like a slow train Extreme dynamic changes Boogie

* Contains non-traditional notations and techniques

47 Amusements, Book 3 (Late-Intermediate Level)

Title Meter Tempo marking Features • Graphic symbols • Proportional notation *Eagle’s Fight 4/4 very fast; forcefully • Accents on irregular beat • Melodic line in lower register • Indeterminacy • Graphic symbols *Game of • 11 disconnected staves N/A N/A Hypnosis • Grace notes in wide range of registers • Free meter • Slow swing rhythmic pattern • Modulation Sneaky 6/8 Slowly • Syncopation • Grace notes • Graphic symbols • Improvisation • Disconnected staves No meter calmly-violently- *Earthquake • Extreme dynamic changes 4/4 eerily • Tone-clusters • Sixteenth note quintuplets • Glissando • Graphic symbols • Unmeasured notation *Who’s There? N/A hauntingly • Auxiliary sound effects • Dynamic contrast: ppp vs. fff • Wide range of registers • Graphic symbols • Tone-clusters • Extreme dynamic changes *Catnip Fit 2/4 very fast • Dynamic contrast: pp vs. ff • Glissando • Grace notes • Slow swing in 6/8 • Syncopation Happy Cowgirl 6/8 N/A • Grace notes • Accents on irregular beat

* Contains non-traditional notations and techniques

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51