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Cultural Influences Upon Soviet-Era Programmatic Piano Music for Children

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Cultural Influences Upon Soviet-Era Programmatic Piano Music for Children UNLV Theses, Dissertations, Professional Papers, and Capstones 5-1-2017 Cultural Influences upon Soviet-Era Programmatic Piano Music for Children Maria Pisarenko University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Education Commons, Fine Arts Commons, and the Theatre and Performance Studies Commons Repository Citation Pisarenko, Maria, "Cultural Influences upon Soviet-Era Programmatic Piano Music for Children" (2017). UNLV Theses, Dissertations, Professional Papers, and Capstones. 3025. http://dx.doi.org/10.34917/10986115 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. CULTURAL INFLUENCES UPON SOVIET-ERA PROGRAMMATIC PIANO MUSIC FOR CHILDREN By Maria Pisarenko Associate of Arts – Music Education (Piano Pedagogy/Performance/Collaborative Piano) Irkutsk College of Music, City of Irkutsk June 1998 Bachelor/Master of Arts – Linguistics (English Language/ESL/Special Education) Peoples’ Friendship University of Russia, City of Moscow June 2001 Doctor of Philosophy – Linguistics (English Language/ESL/Special Education) Eurasian Linguistic Institute, City of Irkutsk June 2003 Bachelor/Master of Arts – Music Education (Piano Pedagogy/Performance/Collaborative Piano) Gnessin Russian Academy of Music, City of Moscow June 2005 A document submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2017 Copyright 2017 Maria Pisarenko All Rights Reserved Doctoral Project Approval The Graduate College The University of Nevada, Las Vegas June 23, 2017 This doctoral project prepared by Maria Pisarenko entitled Cultural Influences upon Soviet-Era Programmatic Piano Music for Children is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Timothy Hoft, D.M.A. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Interim Dean Anthony Barone, Ph.D. Examination Committee Member Kenneth Hanlon, D.M.A. Examination Committee Member Jennifer Grim, D.M.A. Examination Committee Member Dmitri Shalin, Ph.D. Graduate College Faculty Representative ii ABSTRACT The Russian Revolution and the ensuing Union of Soviet Socialist Republics (USSR) spawned an era of Soviet music education that resulted in generations of gifted musicians. Soviet-era piano composers contributed to the emergence and the development of a unique style of piano training, a Soviet piano school, represented by great pianists and music educators known all over the world. Recent research on Soviet-era piano music focuses on non- programmatic piano compositions. The research conducted in this work appears to be the first to produce a comparative overview of major programmatic piano compositions for children written during the Soviet era. In Cultural Influences Upon Soviet-Era Programmatic Piano Music For Children, the author offers an examination of Soviet-era music history, traditions, aesthetics, as well as the influences of Soviet cultural and political forces upon the creation and development of extra- musical imagery and narratives in Soviet-era programmatic piano music. This work discusses the role of musical meaning, expressed through extra-musical imagery and narratives, which is conveyed by the means of imagination, fantasy, and creativity in programmatic piano compositions. This research examines the role of culture, and the use of cultural references and the cultural toolkit in children’s music education and piano instruction. It also studies the major Soviet-era composers and programmatic piano compositions, and offers a comparative overview of the main categories of extra-musical imagery and narratives that are prevalent among the character pieces composed over the course of Soviet cultural history. The Soviet-era composers reflected the Soviet culture and history in their programmatic piano compositions by using extra-musical imagery and narratives that capture children’s imagination and motivate them in their musical education and piano training. This work iii identifies an important collection of Soviet-era programmatic piano compositions for the use in children’s musical education as well as in future research. The concepts discussed in this paper and the comparative overview of the Soviet-era programmatic piano compositions and their categories represent a valuable source for piano instructors to understand the historical development, significance, and expressive intentions of the network of symbols and narratives that underlies much of the Soviet piano repertoire, to help achieve success with their students. iv ACKNOWLEDGEMENTS I would like to thank Dr. Timothy Hoft and the members of my advisory committee, namely, Dr. Anthony Barone, Dr. Ken Hanlon, Dr. Jennifer Grim, and Dr. Dmitri Shalin, for their continued support throughout my doctoral studies. I am also grateful to Dr. William Epstein of the School of Social Work, University of Nevada, Las Vegas, for his external help and advice on this project. v TABLE OF CONTENTS ABSTRACT...................................................................................................................................iii ACKNOWLEDGEMENTS............................................................................................................ v I. INTRODUCTION....................................................................................................................... 1 Preface................................................................................................................................. 1 Scope of the Study .............................................................................................................. 2 Review of Literature ........................................................................................................... 2 Methodology and Theoretical Approach ............................................................................ 3 II. SOVIET MUSIC EDUCATION................................................................................................ 4 History and Traditions ........................................................................................................ 4 Soviet Aesthetics and Education....................................................................................... 12 III. MUSICAL MEANING AND IMAGINATION IN MUSIC EDUCATION ......................... 16 Children’s Music Education ............................................................................................. 16 Programmatic Themes as Constitutive of Musical Meaning............................................ 18 Musical Imagination, Fantasy, and Creativity in Learning the Piano............................... 20 IV. CULTURE AND CULTURAL REFERENCES IN CHILDREN’S PIANO MUSIC........... 26 Role of Culture in Child’s Music Education..................................................................... 26 Cultural References and Cultural Toolkit in Learning Piano Music ................................ 30 Soviet Cultural Ideas and Cultural Toolkit in Programmatic Piano Music ...................... 34 V. EXTRA-MUSICAL IMAGERY AND NARRATIVES IN SOVIET-ERA PROGRAMMATIC PIANO MUSIC: HISTORY AND TRADITIONS..................................... 39 National Folklore in Soviet Era ........................................................................................ 39 vi Categories of Extra-Musical Imagery and Narratives ...................................................... 44 Fairy Tales and Fairy-Tale Characters...................................................................... 45 Animal Kingdom ...................................................................................................... 51 Nature........................................................................................................................ 52 Times of Day (Morning, Evening, Night) ................................................................ 52 Walking and Taking a Journey ................................................................................. 52 Dolls.......................................................................................................................... 53 Play and Entertainment............................................................................................. 53 Religious Themes...................................................................................................... 54 Emotional States (Light and Dark) ........................................................................... 55 Dances, Songs and European Musical Styles ........................................................... 55 Surreal and Real Marches ........................................................................................
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