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Most Commonly Used Etude Books by Cello Teachers in American Colleges and Universities Ozan Evrim Tunca

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Most Commonly Used Etude Books by Cello Teachers in American Colleges and Universities Ozan Evrim Tunca Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Most Commonly Used Etude Books by Cello Teachers in American Colleges and Universities Ozan Evrim Tunca Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC MOST COMMONLY USED ETUDE BOOKS BY CELLO TEACHERS IN AMERICAN COLLEGES AND UNIVERSITIES By OZAN EVRIM TUNCA A treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 Copyright © 2003 Ozan Evrim Tunca All Rights Reserved The members of the Committee approve the treatise of Ozan Evrim Tunca defended on March 5, 2003. Lubomir Georgiev Professor Directing Treatise Carolyn Bridger Outside Committee Member Phillip Spurgeon Committee Member Eliot Chapo Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Burcu iii ACKNOWLEDGEMENTS: I would like to extend my gratitude to Professor Lubomir Georgiev for his expertise and encouragement. Dr. Nilüfer Çapar, graduate assistant at the Florida State University College of Educational Research and Evrim Genç, graduate assistant at the Florida State University College of Education, spent valuable time in helping with the statistical part of the surveys. I owe thanks to the American String Teachers Association for providing their list of primary cello teachers in American colleges and universities and to Dr. Jennifer Dalmas at Florida State University College of Music for proofreading. I would like to thank Burcu Tunca, my lovely wife, for being there for me and giving me her tireless support during my research and study. Finally, I cannot forget to thank Sabahattin, Nermin and Fulya Tunca for making my study abroad possible. iv TABLE OF CONTENTS List of Etude Books Included in This Study………………………………… vi List of Tables.………..……………………………………………………… vii List of Musical Examples…………………………………………………… ix Abstract……………………………………………………………………… xi INTRODUCTION…..……………………………………………………… 1 Chapter Page 1.ETUDE BOOKS INCLUDED IN THE SURVEY…………………… 6 2.RESEARCH METHOD……………………………………………… 35 3.RESULTS……………..……………………………………………… 37 APPENDIX A - SURVEY SENT TO THE CELLO TEACHERS………… 50 APPENDIX B- HUMAN SUBJECTS RESEARCH APPROVAL………… 52 APPENDIX C- INFORMED CONSENT DOCUMENT…..………………. 53 BIBLIOGRAPHY…………………………………………………………… 54 BIOGRAPHICAL SKETCH..………..……………………………………… 57 v LIST OF ETUDE BOOKS INCLUDED IN THIS STUDY Etude Book Page Jean-Louis Duport, 21 etudes………………………………………………. 7 Justus Johann Friedrich Dotzauer, 113 Violoncello-Etüden………………… 10 Josef Merk, 20 Studies, op. 11……………………………………………… 13 Adrien François Servais, Sei Capricci per Violoncello, op. 11…………….. 16 Auguste Joseph Franchomme, 12 Capricen, op. 7…………………………. 19 Auguste Joseph Franchomme, 12 etudes, op. 35…………………………… 20 Alfredo Piatti, 12 Capricci, Op. 25 per Violoncello………………………… 23 Friedrich Wilhelm Ludwig Grützmacher, Technology of Cello Playing, op. 38, vol. I……………………………………… 27 Friedrich Wilhelm Ludwig Grützmacher, Technology of Cello Playing, op. 38, vol. II……………………………………… 28 David Popper, High School of Cello Playing, op. 73………………………. 31 Alwin Schroeder, 170 Foundation Studies for Violoncello………………… 34 vi LIST OF TABLES 1. Studies that Involve Specific Techniques……………………………….. 9 2. Studies that Involve Specific Techniques……………………………….. 11 3. Studies that Involve Specific Techniques……………………………….. 14 4. Studies that Involve Specific Techniques……………………………….. 18 5. Studies that Involve Specific Techniques………………………………… 20 6. Studies that Involve Specific Techniques……………………………….. 21 7. Studies that Involve Specific Techniques……………………………….. 25 8. Studies that Involve Specific Techniques……………………………….. 29 9. Studies that Involve Specific Techniques…..…………………………… 32 10. Studies that Involve Specific Techniques………………………………. 34 11. Professional Teaching Experience of the Participant………………….. 38 12. Classification of School………………………………………………… 38 13. Participants’ Familiarity with the ASTA String Syllabus……………… 40 14. Participants’ Familiarity with the Royal Conservatory of Music’s Cello Syllabus…………………………………………… 40 15. Participants’ Familiarity with Maria de Rungs’ Cello Syllabus……….. 41 16. Participants’ Familiarity with Other Cello Syllabi…………………….. 41 vii 17. Participants’ Usage of Teaching Material Used as a Student…………………..…..…………………………… 42 18. The Quantity of Etudes Practiced per Semester by the Participants’ Students………………………………………… 42 19. Relationship Between Professional Teaching Experience of the Participants and Familiarity with ASTA String Syllabus…………… 43 20. Relationship Between Professional Teaching Experience of the Participants and Familiarity with the Royal Conservatory of Music’s Cello Syllabus…………………………… 44 21. Relationship Between Professional Teaching Experience of the Participants and Familiarity with Maria de Rungs’ Cello Syllabus……………… 45 22. The Most Commonly Used Cello Etude Books………………………… 46 23. The Criteria for Choosing the Etudes…………………………………… 47 viii LIST OF MUSICAL EXAMPLES Example Page 1. Duport, Etude no. 3, mm. 1-4……………………………………………. 7 2. Duport, Etude no. 8, mm. 1-3……………………………………………. 7 3. Duport, Etude no. 10, mm. 1-3…………………………………………… 8 4. Duport, Etude no. 1, mm. 1-6……………………………………………. 8 5. Dotzauer, Etude no. 95, mm. 1-7, mm. 39-41…………………………… 11 6. Merk, Etude no. 13, mm. 38-40………………………………………….. 13 7. Merk, Etude no. 10, mm. 1-3, mm. 38-43……………………………….. 13 8. Merk, Etude no. 4, mm. 57-61…………………………………………… 14 9. Servais, Caprice no. 3, mm. 1-3………………………………………….. 16 10. Servais, Caprice no. 2, mm. 77-80…………………………………….… 17 11. Servais, Caprice no. 4, mm. 70-75……………………………………… 17 12. Servais, Caprice no. 6, mm. 1-4…………………………………………. 18 13. Franchomme, Caprice no. 5, mm. 1-3…………………………………… 19 14. Franchomme, Etude no. 3, mm. 44-50………………………………….. 21 15. Franchomme, Etude no. 4, mm. 1-4…………………………………….. 21 16. Piatti, Caprice no. 1, mm. 12-15………………………………………… 23 17. Piatti, Caprice no. 9, mm. 1-2…………………………………………… 24 ix 18. Piatti, Caprice no. 12, mm. 51-53………………………………………. 25 19. Grützmacher, Etude no. 9, mm. 1-2…………………………………….. 28 20. Grützmacher, Etude no. 17, mm. 128-131……………………………… 28 21. Popper, Etude no. 6, mm. 36-37………………………………………… 31 22. Popper, Etude no. 23, mm. 1-4………………………………………….. 32 x ABSTRACT Scales, etudes, performance repertoire and orchestral excerpts are the basic teaching materials for the cello student. In addition to scales and arpeggios, etudes provide both the basic facility and the technical foundation for the student’s development. Etudes offer a concentrated study of one or more technical aspects in a short musical form. Depending upon when and whom written, etudes differ both in style and technical demands. Cello students entering colleges or universities are initially at different playing levels and although they may require different study materials, there are some common cello etude books that may apply to the majority. The purpose of this treatise is to serve as a reference source for common cello etudes used by teachers in American colleges and universities. This study provides an orientation to pedagogical materials currently in use, and it analyzes the criteria and rationale behind them. The research for this treatise utilizes surveys sent to college cello teachers from the list provided by the American String Teachers Association. All responses in the survey were coded to be analyzed in the Statistical Package for the Social Sciences using the Frequencies and Crosstabulations subprograms. A total of thirty-three completed surveys were received. Primary questions were the most widely used cello etude books in American colleges and the criteria used by teachers in selecting cello etude books for their students. xi The participant’s familiarity with cello syllabi, similarities between the etudes and teaching material that the participant used as a student, and the quantity of etudes practiced per semester by the participant’s students were also questioned. The relationship between the professional teaching experience of the participants and their familiarity with cello syllabi were cross-examined. xii INTRODUCTION Background and Significance Scales, etudes, performance repertoire, and orchestral excerpts are the basic teaching materials for the cello. Every young cellist has to study all of these components to become a professional. In addition to scales and arpeggios, etudes provide the basic facility and technical foundation for the student’s development. Louis Potter writes, "The practice and study of etudes is [sic] an indispensable part of a student's technical and musical development and progress. Etudes should be an integral part of a balanced diet or curriculum that includes: 1) Abstract exercises and studies (scales, arpeggios, finger and bow development exercises); 2) etude study; and 3) performance repertoire (pieces, sonatas, concertos, etc.)."1 Etudes offer a concentrated study of one (or more) technical aspect in a short musical form. Depending upon when and by whom written, etudes differ in style and demands. There have been many studies written for the cello for hundreds of years and more are being written today. The choice of etudes, like the other training materials, may vary from country to country, school to school and teacher to teacher. One of the most commonly discussed issues is the sequence of the etude books. According to Potter, "The mark of a really resourceful
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