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View Committee 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: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ “Modern Marvels:” A Pedagogical Guide to Lowell Liebermann’s Album for the Young, Op. 43 A doctoral document submitted to the Graduate Thesis and Research Committee of the College-Conservatory of Music, University of Cincinnati In partial fulfillment of the requirements for the degree of Doctor of Musical Arts In the Division of Keyboard Studies of the College-Conservatory of Music by Adam Clark May, 2008 B.M., University of California, Santa Barbara (2002) M.M., University of Texas, Austin (2004) Project Advisor: Dr. Michelle Conda ABSTRACT Lowell Liebermann’s Album for the Young, Op. 43 is his only venture into the realm of pedagogical composition to date. Written in 1993 and published in 1995, it is a collection of eighteen small pieces for young pianists, progressing in difficulty from elementary (National Music Certificate Program (NMCP) Level 1) through late- intermediate (NMCP Level 8) levels. It contains both traditional and more recent compositional devises as well as numerous technical challenges, such as cross-rhythms, layered textures, and hand crossings. The pieces are intelligent and appealing, and can be a valuable tool for introducing or reinforcing a variety of theoretical and performance related concepts. Despite the numerous pedagogical merits of this work, it has unfortunately been overlooked by the body of theoretical, pedagogical, and performance related research available. It is in response to this apparent neglect, and due to its high quality and appeal, that this document offers a pedagogical guide to Lowell Liebermann’s Album for the Young, aimed at promoting, informing, inspiring, and assisting piano teachers in presenting its numerous theoretical and pedagogical aspects. The paper is divided into six chapters. Chapter One contains introductory comments as well as rationale for why the document has been written. Chapter Two contains biographical information on Liebermann, as well a discussion of his compositional style. Chapter Three contains background information on the Album for the Young, as well as general descriptions and grading of each piece in the set. Chapter Four offers numerous technical and interpretive suggestions for a variety difficulties encountered in each piece. Chapter Five offers a discussion of the most notable iii compositional features at work in each piece. Chapter Six contains concluding remarks as well as recommendations for further research. iv v ACKNOWLEDGEMENTS I would like to express my deepest appreciation and thanks to the following individuals for their contributions and assistance in completing this project: Michelle Conda, my advisor and mentor. “Thank you” cannot begin to express my appreciation for all that you have done for me. I am forever grateful for your instruction, guidance, enthusiasm, and countless hours of time spent on my behalf. Thank you for the confidence you have had in me and the many opportunities that you brought me. Eugene Pridonoff, my piano instructor and member of my document review committee. You have shown me so much and have helped me grown in so many ways as a musician. I am truly appreciative for your guidance and insight over the years. Michael Chertock, member of my document review committee. Thank you for your willingness to assist me by serving on this committee. Also, a thank you for the energy and insight you brought to the music courses which I took with you. Your accomplishments and high level of dedication are an inspiration to me. Elizabeth Pridonoff, my piano instructor. You have offered me so much valuable knowledge, insight, and guidance. You are a joy to be around and were a joy to study with. Richard Van Dyke, mentor and friend. Thank you for introducing me to this great collection and for your continued support and encouragement throughout the writing process. You have helped me probably more than you know. Charles Asche, my piano instructor at the University of California at Santa Barbara. You are the foundation upon which any success I have had has been possible. I will never forget your countless hours of dedicated and inspired instruction. Your honesty, insight, and example as a pianist and teacher have been a continual source of inspiration and motivation throughout my life. My brother, Arlo Clark, for your love and support, and countless hours of listening to me practice when we were kids. Thank you for always being there for me. My parents, Bill and Alice Clark, for your never-ending love, support, and encouragement. Truly, this would not have been remotely possible without you. I love you both so much. vi TABLE OF CONTENTS Abstract ............................................................................................................................. iii Acknowledgements ........................................................................................................... vi Table of Contents ............................................................................................................. vii List of Musical Examples ................................................................................................. ix List of Figures .................................................................................................................. xii Chapters I. Introduction Recent Research ......................................................................................... 1 Rationale .................................................................................................... 1 II. Biographical Sketch and Compositional Style Biographical Sketch ................................................................................... 5 Compositional Style ................................................................................... 8 III. Background, Descriptions, and Leveling Background .............................................................................................. 14 Descriptions ............................................................................................. 15 Leveling ................................................................................................... 20 IV. Technical and Interpretive Solutions ............................................................. 22 “Dance” .................................................................................................... 22 “Song” ...................................................................................................... 24 “Endless Melody” .................................................................................... 27 “Boogieman”............................................................................................ 28 “Ghost Waltz” .......................................................................................... 31 “Ostinato” ................................................................................................ 33 “Marching Off to War” ............................................................................ 35 “Rainy Day” ............................................................................................. 37 “Broken Heart” ........................................................................................ 40 “Lullaby”.................................................................................................. 42 “Starry Night” .......................................................................................... 44 “Hommage à Fauré” ................................................................................ 46 “Funeral March for a Pet Rat” ................................................................. 48 “Hommage à Alkan” ................................................................................ 50 “Melancholy” ........................................................................................... 52 “Barcarolle” ............................................................................................. 56 “The Little Baby Rhino” .......................................................................... 58 “Toccata” ................................................................................................. 60 vii V. Notable Compositional Features ................................................................... 64 “Dance” .................................................................................................... 66 “Song” ...................................................................................................... 68 “Endless Melody” .................................................................................... 69 “Boogieman”............................................................................................ 71 “Ghost Waltz” .......................................................................................... 72 “Ostinato” ................................................................................................ 74 “Marching Off to War” ............................................................................ 76 “Rainy Day” ............................................................................................. 79 “Broken Heart” .......................................................................................
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