University of Cincinnati
Total Page：16
File Type：pdf, Size：1020Kb
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Tracing the Stylistic Elements of Robert Starer’s Pedagogical Works to the Twilight Fantasies and Sonata for Piano, No. 3 Document Division of Graduate Studies At the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music August 2007 by Richard G. Van Dyke 7636 Yorkshire Place Cincinnati, OH 45237 [email protected] M.M. University of Cincinnati – College Conservatory of Music, 1988 B.S. University of Wisconsin – Oshkosh, 1976 Committee Chair, Dr. Michelle Conda Advisor: Professor Michelle Conda University of Cincinnati College – Conservatory of Music Abstract Tracing the Stylistic Elements of Robert Starer’s Pedagogical Works to the Twilight Fantasies and Sonata for Piano, No. 3 by Richard Gerard Van Dyke Chairperson of the Supervisory Committee: Professor Michelle Conda, Keyboard Division This document’s primary function is to trace the twentieth-century stylistic elements present in Robert Starer’s music, including lyricism, rhythm, atonality and technique. It includes the discussion and grading of the four pedagogical sets, Games with Names, Notes and Numbers, Sketches in Color-Set One, Sketches in Color-Set Two and At Home Alone, providing a resource in selecting repertoire for the National Music Certificate Program. Three advanced works, Excursions for a Pianist, Twilight Fantasies, and Sonata for Piano, No. 3, are discussed, outlining their formal design and structure. The document draws together the selected compositions by Starer, tracing the stylistic elements common in the elementary, intermediate, and advanced works. © Copyright & Richard Van Dyke 2007 All rights reserved ACKNOWLEDGEMENTS. I wish to convey my heartfelt appreciation to the following for their assistance and support in completing this project. Michelle Conda, my advisor and mentor. Thank you for the encouragement and support that was pivotal in completing this project. I am especially grateful for your meticulous review and patience in preparing both the lecture recital and document on this topic. Elizabeth Pridonoff, my private piano instructor and friend. I am especially grateful for your support and coaching at lessons over the years. I may have never returned to complete this final requirement without your guidance and encouragement to look at twentieth-century music. Michael Chertok, member of document review committee. Thank you for agreeing to be on the committee responsible for reviewing this document. Your comments are greatly appreciated. Trudi Gaurke and Hal Leonard Publishing Corporation for their cooperation to grant permission to print the musical examples, promoting further research in pedagogical and twentieth-century music. Michelle Greenlaw and Marcia Lee Goldberg at MMB Music Inc. for their cooperation to grant permission to print the musical examples from Twilight Fantasies, promoting further research in pedagogical and twentieth-century music. Justin Kolb and Gail Lew for sharing their personal experiences with Robert Starer. Amy Immerman, Sheila Vail and Atarah Jablonsky, colleagues and fellow members of MTNA. Thank you for welcoming me as a member of the Ohio Music Teachers National Association and getting me involved as an independent music teacher. Lenore Wilkinson, colleague and friend (in memoriam). Thank you for your support in helping me to build my private studio. It was you who introduced me to the music of Robert Starer. Eugene Pridonoff, Richard Morris, Carolyn Britton, Beverly Hassel, Sister Mary Ambrosine (in memoriam), and Sister Mary Aloise (in memoriam), previous piano instructors. Thank you for inspiring me to study the piano throughout the years. Your guidance has been instrumental in my musical education that is shared with my fellow teachers and students. My Piano Students. I especially need to thank my students. Their inquisitive minds push me to continue research and to seek out new and different music. Alice Hampson, Edith Phillips, Mary Athen, Elizabeth Driessen, JoAnne Greenwood, Thomas Kersten, and Robert Van Leeuwe, close friends and family. Thank you for your support and encouragement over the years. TABLE OF CONTENTS Abstract................................................................................................................................... Acknowledgements............................................................................................................... Table of Contents................................................................................................................. i List of Musical Examples.................................................................................................. iii List of Tables and Graphs................................................................................................vi Chapters I. Introduction......................................................................................................2 Recent Reasearch....................................................................................6 Rationale...................................................................................................8 II. Biographical Summary.................................................................................11 Musical Output .....................................................................................13 III. Pedagogical Works.......................................................................................16 Games with Names, Notes, and Numbers................................................19 Sketches in Color-Set One.........................................................................21 Sketches in Color-Set Two.........................................................................23 At Home Alone........................................................................................26 IV. Excursions for a Pianist..................................................................................31 V. Twilight Fantasies...........................................................................................38 VI. Sonata for Piano, No. 3.................................................................................46 First Movement.....................................................................................46 Second Movement................................................................................49 Third Movement...................................................................................53 VII. Starer’s Stylistic Elements .......................................................................58 Lyricism ..................................................................................................58 Rhythm ...................................................................................................61 Tonality vs. Atonality...........................................................................69 Serialism..................................................................................................74 Other Technical Similarities................................................................77 VIII. Summary, Conclusion, and Recommendations..................................81 Summary.................................................................................................81 Conclusion .............................................................................................82 Recommended Research.....................................................................86 Bibliography .......................................................................................................................90 Appendices.........................................................................................................................96 Appendix A - Permissions ................................................................................96 ii MUSICAL EXAMPLES Number Page 4-1 Excursions for a Pianist, mm. 1-4 34 4-2 Excursions for a Pianist, mm. 78-86 35 4-3 Excursions for a Pianist, mm. 234-247 37 5-1 Twilight Fantasies, m. 1 39 5-2A Twilight Fantasies, “cello” motive, m. 1 40 5-2B Twilight Fantasies, “minor 6th” motive, m. 1 41 5-2C Twilight Fantasies, “rhythm” motive, m.1 41 5-3 Twilight Fantasies, mm. 2-13 42 5-4 Twilight Fantasies, mm. 15-29 43 5-5A Twilight Fantasies, “march” motive, mm. 53-56 44 5-5B Twilight Fantasies, “fireworks” motive, m. 63 44 6-1A Sonata for Piano, No. 3, “A Theme,” 1st Movement, mm. 1-8 48 6-1B Sonata for Piano, No. 3, “B Theme,” 1st Movement, mm. 10-19 48 6-2 Sonata for Piano, No. 3, 1st Movement, mm. 24-26 49 6-3 Sonata for Piano, No. 3, “A Theme,” 2nd Movement, mm. 1-15 50 6-4A Sonata for Piano, No. 3, “B Theme,” 2nd Movement, mm. 25-29 51 iii 6-4B Sonata for Piano, No. 3, “B Theme,” 1st Movement, mm. 10-11 51 6-5 Sonata for Piano, No. 3, “C Theme,” 2nd Movement, mm. 67-75 52 6-6 Sonata for Piano, No. 3, 3rd Movement, mm. 1-3 53 6-7 Sonata for Piano, No. 3, 3rd Movement, mm. 19-27 54 6-8 Sonata for Piano, No. 3, 3rd Movement, mm. 60-73 55 6-9 Sonata for Piano, No. 3, 3rd Movement, mm.