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University of Oklahoma Graduate College UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE CONTRIBUTIONS OF ELVINA TRUMAN PEARCE TO PIANO PEDAGOGY A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By TODD VAN KEKERIX Norman, Oklahoma 2020 THE CONTRIBUTIONS OF ELVINA TRUMAN PEARCE TO PIANO PEDAGOGY A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Barbara Fast, Chair Dr. Jane Magrath Dr. Jeongwon Ham Dr. Sanna Pederson Dr. Catalin Teodoriu © Copyright by TODD VAN KEKERIX 2020 All Rights Reserved. ACKNOWLEDGMENTS I want to express my heartfelt appreciation and gratitude to the people who have supported the pursuit of my doctoral studies. The completion of this degree would have been nearly impossible without the guidance and encouragement from all of the people mentioned here, and more. Foremost to Barbara Fast, my committee chair: Thank you for your unwavering support and leadership while I was undertaking this study and for sharing your wisdom, experience and heart throughout my doctoral studies. Your tenacity and spirit have truly inspired me to become a better teacher. Secondly, to my academic committee including current and past members. Dr. Jane Magrath: Thank you for your pedagogical wisdom and guidance throughout my degree. I admire your dedication to your students. Dr. Jeongwon Ham: Thank you for piano repertoire expertise and superb piano instruction. To Dr. Sanna Pederson: Thank you for making me decide on a topic. To Dr. Frank Riddick, Dr. Caleb Fulton, and Dr. Catalin Teodoriu: Thank you for the time and energy that each of you gave for this document and beyond. Special gratitude is reserved for an incredible woman, Elvina Truman Pearce, who graciously gave of her time and shared her memories during the in-person interviews. You have inspired my aspirations as a professor and teacher of students young and old. Likewise, I am truly grateful for the teachers, former students, and former colleagues of Ms. Pearce who took their own time to reflect and provide perspectives on Pearce’s incredible pedagogical wisdom and contributions to our profession. To Julie iv Rieth, thank you for selflessly sharing your observation notebook from your time as a pedagogy student of Ms. Pearce at Northwestern University. To Craig Sale, thank you for all the suggestions, encouragement and documents you have provided along the way. I could not have completed this project in its entirety without your assistance. To the library gurus, Matthew Stock at the University of Oklahoma, and Madelyn Washington at the University of Houston. Thank you for your incredible research support. Special thanks to the archivists, specifically at North Central College and Northwestern University for your valuable and pertinent information. I would also like to thank my many friends and colleagues who have provided support during my doctoral work, especially Katie Womack and Kristin Yost. We have come a long way since our days on ‘the runway.’ Katie, thank you for your wisdom and crafting with my words. To Rebecca Pennington and Phyllis Lehrer, thank you for your assistance with The New School for Music Study archives. Special thanks to my family, my parents, and lifelong friends who make life worth living. I would not be here without your support. Finally, to my wonderful and supportive partner, Casey Garza. You encouraged my pursuit of this degree with grace and tenacity. I am thankful for your encouragement and for the life we share. v TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... IV TABLE OF CONTENTS ............................................................................................................................ VI TABLE OF FIGURES ................................................................................................................................ IX ABSTRACT ................................................................................................................................................... X CHAPTER 1: INTRODUCTION ................................................................................................................. 1 PURPOSE OF THE STUDY ............................................................................................................................... 7 NEED FOR THE STUDY .................................................................................................................................. 9 ORGANIZATION OF THE STUDY .................................................................................................................... 9 PROCEDURES .............................................................................................................................................. 10 LIMITATIONS .............................................................................................................................................. 12 REVIEW OF SIMILAR STUDIES .................................................................................................................... 13 Studies on Piano Performers ................................................................................................................ 14 Studies on Piano Pedagogues .............................................................................................................. 18 Studies of Historically Important Piano Pedagogues ........................................................................................ 19 Studies of Individuals Involved with the Frances Clark Center ....................................................................... 20 Studies of Composer-Pedagogues ..................................................................................................................... 22 Contributions to the Field of Piano Pedagogy .................................................................................................. 25 Other Significant Studies Considered ............................................................................................................... 28 CHAPTER 2: BIOGRAPHICAL SKETCH OF ELVINA TRUMAN PEARCE .................................. 30 EARLY YEARS AND ADOLESCENCE ............................................................................................................ 30 YOUNG ADULTHOOD AND EDUCATION ...................................................................................................... 34 A CAREER PIVOT ....................................................................................................................................... 37 THE OPENING OF THE NEW SCHOOL FOR MUSIC STUDY ........................................................................... 42 PROFESSIONAL CAREER ............................................................................................................................. 44 KEYBOARD COMPANION AND ACCOLADES ................................................................................................ 49 CHAPTER 3: PERSPECTIVES ON PEARCE AS PIANIST ................................................................. 52 INTRODUCTION .......................................................................................................................................... 52 THE DEVELOPMENTAL YEARS (1936-1952) .............................................................................................. 53 THE VENGEROVA YEARS – NEW YORK CITY (1952-1955) ........................................................................ 59 THE FRANCES CLARK YEARS (1955-1964) ................................................................................................ 62 THE ILLINOIS YEARS (1964-PRESENT) ....................................................................................................... 68 PERSPECTIVES ON PEARCE’S PIANISM ....................................................................................................... 71 CHAPTER 4: PERSPECTIVES ON PEARCE AS TEACHER AND PEDAGOGUE ......................... 73 INTRODUCTION .......................................................................................................................................... 73 TEACHER INFLUENCES ............................................................................................................................... 75 TEACHING PRECEPTS ................................................................................................................................. 81 Student-centric ...................................................................................................................................... 83 Self-discovery ....................................................................................................................................... 85 Sequencing ............................................................................................................................................ 86 Repertoire Introduction ........................................................................................................................ 88 Practice ................................................................................................................................................. 90 vi Modeling ............................................................................................................................................... 92 Teacher Talk ........................................................................................................................................
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