Copyright

by

Bonny Kathleen Winston

2003

The Development of a Multimedia Web Database for the Selection of

20th Century Intermediate Piano Repertoire

by

Bonny Kathleen Winston, B.M., M.M.

Dissertation

Presented to the Faculty of the Graduate School of

the University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts

The University of Texas at Austin

May, 2003 Dedication

This dissertation would not have been completed without all of the love and support from professors, family, and friends. To all of my dissertation committee for their support and help, especially John Geringer for his endless patience, Betty

Mallard for her constant inspiration, and Martha Hilley for her underlying encouragement in all that I have done. A special thanks to my family, who have been the backbone of my music growth from childhood. To my parents, who have provided unwavering support, and to my five brothers, who endured countless hours of before-school practice time when the piano was still in the living room. Finally, a special thanks to my hall-mate friends in the school of music for helping me celebrate each milestone of this research project with laughter and encouragement and for showing me that graduate school really can make one climb the walls in MBE. The Development of a Multimedia Web Database for the Selection of

20th Century Intermediate Piano Repertoire

Publication No. ______

Bonny Kathleen Winston, D.M.A.

The University of Texas at Austin, 2003

Supervisor: John M. Geringer

The purpose of this dissertation was to create an on-line database for intermediate piano repertoire selection. After preliminary reviews of existing written annotated indexes and reviews of online databases, I decided to create an Internet database for 20th century intermediate piano literature. One hundred and fifty-four pieces from early-intermediate level to advanced-intermediate level were chosen for inclusion in the database. All pieces selected met at least one of three criteria: emphasis on a specific technical skill, emphasis on a specific form or style found in the more advanced literature (for example, pieces that can be used as lead-in pieces to common forms such as a baroque dance suite), or emphasis on a specific 20th century compositional technique.

The pieces were individually analyzed and categorized into twenty-one data fields. Leveling guidelines were created for early-intermediate, intermediate, and v late-intermediate repertoire. Copyright permission was obtained from individual publishing houses. Audio recording of the pieces used in the database was done on a

Roland KR-577® keyboard and the MIDI files were compressed into MP3 format through Digidesign ProTools 5.1®. Visual representation of the pieces were scanned and saved as GIF files through Adobe Photoshop 6.0®.

The database was designed using PHP as the programming language with

MySQL as the data management system. The interface of the Website was designed using Macromedia Dreamweaver 4.0®, and graphical components were designed using Macromedia Fireworks 4.0®. Entry of the data into the database was done through a secure Internet Web page designed for this project. The data from the database can be viewed and accessed online by any user with an Internet connection.

After uploading the site and registering a URL address (www.pianorep.com),

48 members of MTNA completed an on-line user survey (14.55% response rate).

Survey results indicated that the database was easy to use and valuable in selection of repertoire in individual lessons and in classroom settings.

vi Table of Contents

ABSTRACT ...... iv

LIST OF TABLES ...... x

LIST OF FIGURES...... xii

CHAPTER ONE: INTRODUCTION ...... 1

Introduction...... 1

Need for the Database...... 3

Purpose of the Project...... 7

Definition of Terms ...... 10

Procedure ...... 13

Website Assessment ...... 15

Limitations of the Project...... 16

CHAPTER TWO: REVIEW OF LITERATURE...... 17

Introduction...... 17

The Intermediate Piano Student ...... 18

Technical Skills of the Intermediate Student ...... 19

Choosing Repertoire for the Intermediate Student...... 23

Introduction ...... 23

Technical Considerations in Repertoire Selection...... 24

Indexes...... 25

Presenting Leveling Guidelines...... 32

vii Scales and Passagework ...... 33

Harmony and Texture ...... 34

Melody and Rhythm...... 35

Formal Structure, Phrasing, and Articulation...... 35

Dynamics, Pedaling, and Ornamentation...... 36

Computer Databases and Repertoire Selection ...... 37

Databases and the Internet ...... 39

Twentieth-Century Repertoire for the Intermediate Student ...... 42

Summary ...... 46

CHAPTER THREE: PRELIMINARY DATABASE DEVELOPMENT AND DESIGN ...... 48

Introduction...... 48

Database Programming Using PHP and MySQL...... 48

Web Page Development...... 52

Home Page...... 53

Basic Search Page and Advanced Search Page ...... 54

Glossary Page and Composer Page...... 57

Results Page...... 58

Flowchart of the Web Site ...... 59

CHAPTER FOUR: ANALYSIS AND ENTRY OF REPERTOIRE...... 61

Composer Selection...... 61

viii Repertoire Selection for the Database ...... 64

Copyright Permission ...... 79

Repertoire Analysis ...... 79

Repertoire Leveling ...... 82

Leveling Early-Intermediate Pieces...... 83

Leveling Intermediate Pieces...... 89

Leveling Late-Intermediate Pieces ...... 95

Visual Representation of the Repertoire...... 103

Audio Representation of the Repertoire ...... 104

Entry of the Repertoire into the Database...... 106

CHAPTER FIVE: SCREENSHOTS OF COMPLETED WEBSITE...... 110

Description of the Project ...... 110

Web Page Design ...... 110

Executing a Search with the Basic Search Page ...... 117

Executing a Search with the Advanced Search Page ...... 121

CHAPTER SIX: WEBSITE ASSESSMENT AND DISCUSSION...... 126

User Survey...... 126

Open-Ended Survey Responses...... 136

Changes Made to the Website...... 140

Conclusion ...... 145

Recommendations for Future Database Development ...... 146

ix APPENDIX A: Definition of the Intermediate Student...... 150

APPENDIX B: PHP Programming for Creation of Data Fields ...... 153

APPENDIX C: Definition of Terms From Web Page “Glossary” ...... 161

APPENDIX D: Biographical Information of Composers From Web Page

“Composers”...... 170

APPENDIX E: Copyright Letters Sent to Music Publishers...... 186

APPENDIX F: User Survey ...... 189

APPENDIX G: Permission Letters from Music Publishers and Composers ...... 194

REFERENCES ...... 215

VITA ...... 232

x List of Tables

Table 1.1: Definition of Technological Terms...... 11

Table 2.1 Maxwell’s Subdivisions of Intermediate Piano Literature, from

p. 88b-99a ...... 30

Table 3.1 Preliminary Database Design: Questions to Address Possible Entries

Within Data Fields ...... 51

Table 3.2: Subdivisions of Data Fields Within the Database ...... 56

Table 4.1: Composers Chosen for Inclusion in the Database ...... 62

Table 4.2: Repertoire Chosen for the Database: Compositions that Incorporate

Technical Concepts ...... 66

Table 4.3: Repertoire Chosen for the Database: Compositions Written as Lead-In

Pieces to the More Advanced Repertoire...... 68

Table 4.4: Repertoire Chosen for the Database: Pieces Written With a Twentieth-

Century Compositional Technique ...... 72

Table 4.5: Leveling Guidelines for the Intermediate Repertoire Included in the

Database ...... 101

Table 6.1: Survey Results of 5-point Likert Questions ...... 133

Table 6.2: Ratings for Perceived Usefulness of Search Criteria...... 134

Table 6.3: Ratings for Perceived Usefulness of Three Non-Search Page ...... 135

Table 6.4: Ratings for Yes/No Question Concerning Addition of Field

Subdivisions...... 135

xi List of Figures

Figure 1: Navigation Bar...... 53

Figure 2: Flowchart of Web Site...... 60

Figure 3: “Pagoda” (m.1-4) from “Piano Music For Children, Volume 1” by

Soulima Stravinsky ...... 83

Figure 4: “Arietta Op. 60 No. 6” (m. 1) from “Little Piano Book” by Vincent

Persichetti ...... 84

Figure 5: “Rondo Capriccio” (m.1-4) by Lynn Freeman Olson...... 84

Figure 6: “Tag” (m. 1-4) from “Piano Music for Children, Volume I” by

Soulima Stranvinsky ...... 85

Figure 7: “Etude I” (m. 1-2) from “Mood Studies for Piano” by Paul Sheftel .. 85

Figure 8: “Sonatina No. 1 in C Major, Mvt. 1” (m. 1-4) by Robert Vandall ..... 86

Figure 9: “For the Kid Next Door” (m. 1-4) from “Piano Music for Children,

Volume 1” by Soulima Stranvinsky...... 87

Figure 10: “Garden Pools in Kyoto” (m. 1-4) by Lynn Freeman Olson...... 87

Figure 11: “Game of Tag” (m. 1-4) from “For Children, Vol. II” by Bela

Bartok...... 89

Figure 12: “Toccata” (m. 1-4) by Carolyn Jones Campbell...... 89

Figure 13: “Barcarolle” (m. 1-3) by David Duke...... 90

Figure 14: “Down a Country Lane” (m. 1-4) by Aaron Copland...... 90

Figure 15: “Waltz, Op. 55 No. 2” (m. 1-4) by Vincent Persichetti ...... 91

xii Figure 16: “Answering Back” (m. 1-4) from “Piano Music for Children, Volume

2” by Soulima Stravinsky...... 91

Figure 17: “No. 7” (m. 1-4) from “Gradus, Book I” by Samuel Adler...... 92

Figure 18: “Allegro” (m. 1-4) from “For Children, Volume I” by Bela Bartok .. 92

Figure 19: “Mountains” (m. 1) from “32 Piano Games” by Ross Lee Finney..... 93

Figure 20: “The Three Blind Mice Rollin' Along Toccata” (m. 1-4) from “Seven

Wild Mushrooms and a Waltz” by Arthur Greene ...... 94

Figure 21: “Etude in A Minor, Op. 27, No. 8” (m. 1) by Dmitri Kabalevsky ..... 94

Figure 22: “Cris dans la Rue” (m. 1-3) from “Scenes d’Enfants” by Frederic

Mompou ...... 95

Figure 23: “Nocturne” (m. 1-3) by Marjorie Burgess...... 95

Figure 24: “Nocturne” (m. 1-4) from “Russian Tales” by Grigori Frid ...... 96

Figure 25: “Morning, Op. 65 No. 1” (m. 1-3) by Serge Prokofiev ...... 97

Figure 26: “The Rain and the Rainbow, Op. 65 No. 8” (m. 1-4) by Serge

Prokofiev ...... 97

Figure 27: “Invention in B Minor” (m. 1-4) from “Russian Tales” by

Grigori Frid...... 98

Figure 28: “In the First Pentatonic Minor Mode” (m. 1-4) from “12 American

Preludes, Vol. I” by Alberto Ginastera ...... 98

Figure 29: “Prelude” (m. 1-3) from “Music for Young Pianists” by Miroslav

Lebeda ...... 98

xiii Figure 30: “Chinese Chimes, Op. 95” (m. 1-2) from “Sounds and Colours” by

Jenö Takács...... 99

Figure 31: “Ocean Whisper” (m. 1-2) by B. J. Rosco ...... 99

Figure 32: “Joyous March” (m. 1-4) from “Enfantines” by Ernst Bloch...... 32

Figure 33: “Lyrical” (m. 1-2) from “Three Piano Moods” by William

Schuman ...... 33

Figure 34: Screen Shot of Administrative Page: Adding a Record to

PieceMaster ...... 107

Figure 35: Screen Shot of Administrative Page: Adding “One to Many”

Fields ...... 108

Figure 36: Screen Shot of Home Page...... 111

Figure 37: Screen Shot of Basic Search Page ...... 112

Figure 38: Screen Shot of Advanced Search Page ...... 113

Figure 39: Screen Shot of Composers Page ...... 114

Figure 40: Screen Shot of Glossary Page...... 115

Figure 41: Screen Shot of Leveling Guidelines Page ...... 116

Figure 42: Screen Shot of Sample Basic Search ...... 117

Figure 43: Screen Shot of Titles from Sample Basic Search ...... 118

Figure 44: Screen Shot of Record from Sample Basic Search...... 120

Figure 45: Screen Shot of Sample Advanced Search ...... 122

Figure 46: Screen Shot of Titles from Sample Advanced Search ...... 123

xiv Figure 47: Screen Shot of Record from Sample Advanced Search...... 125

Figure 48: Screen Shot of Web Page: Adding to Validation Tables ...... 140

Figure 49: Screen Shot of Web Page: User Input of Pieces into the Database . 142

Figure 50: Screen Shot of Web Page: Deleting Pieces from the Database...... 144

xv List of Supplemental Files

HTML Pages from Website ...... www.pianorep.com

Advanced.html ...... www.pianorep.com

Basic.html ...... www.pianorep.com

Composers.html ...... www.pianorep.com

Form.html ...... www.pianorep.com

Glossary.html...... www.pianorep.com

Index.html...... www.pianorep.com

Kathy.html ...... www.pianorep.com

Leveling.html...... www.pianorep.com

MP3 Sound Files of Pieces Entered into the Database...... www.pianorep.com

Scanned Images of Pieces Entered into the Database...... www.pianorep.com

Excel® Spreadsheet of Data, 20th Century Repertoire...... www.pianorep.com

v CHAPTER ONE

Introduction

Perhaps the most important task in a music educator’s profession is repertoire selection (Apfelstadt, 2000; Grant, 1991; House, 1965; Intravia, 1972; Madsen &

Yarbrough, 1986; Ralston, 1999; Williamson, 1981). Repertoire should motivate as well as promote learning. In a profession such as music, where performing is an active part of the learning process, repertoire should also be within the technical demands of the student so as to ensure performance success. Improper repertoire selection can lead to ineffective learning, both physically and psychologically

(Ralston, 1999).

Within the field of piano pedagogy, the process of selecting repertoire for any piano student can be a difficult task. Pianists have a large body of literature, second in size only to the collection of vocal repertoire (Freundlich, 1971). The expansiveness of the piano repertoire presents specific challenges during the years of intermediate piano study, for this level of repertoire may be the least familiar to piano teachers (Fuszek, 1980). During the Second National Conference on Piano Pedagogy in 1980, Rita Fuszek brought the problem of intermediate repertoire selection to the attention of many piano pedagogues in a paper entitled “The Black Hole.”

We must thank our colleagues in the science domain for the discovery of the “black hole” for we in music have one also. This black hole in music becomes acute in the piano pedagogy courses. Something incredible happens between the beginning material and the collegiate repertoire. The leap between John Thompson, Book Three, and the first Beethoven Sonata creates a mind-boggling situation. This is the 1 “black hole” into which too many pianists seem to disappear…. It is a phenomenon that has not changed over the thirteen years of developing the piano pedagogy courses in applied teaching. (Fuszek, 1980)

Another experienced piano pedagogue also commented on the expansiveness of the body of intermediate piano repertoire, jokingly noting that in her studio, “the intermediate materials occupy over twice the amount of space used for the ‘before’ and ‘after’ literature” (Appleby, 1993, p. 36). Selecting and choosing repertoire for the intermediate piano student has been called a “formidable task” requiring

“…intimate knowledge of a vast amount of literature. The teacher must be well acquainted with the level of difficulty, style, mood, and specific performance skills required for each piece in an enormous body of literature to match students with repertoire that will stimulate, challenge and ensure continued, logical process”

(Halbeck, 1992, p. 1).

Choosing repertoire for the intermediate student seems important, for it is the years of intermediate study that are often “open-ended and more difficult to define.

For this reason, the substance of intermediate study is often poorly organized and the effect unsatisfactory” (Kraehenbuehl & Chronister, 1972, pg. 18). Unfortunately, this “unsatisfactory” substance of materials during the intermediate years of study that Krahenbuehl and Chronister refer to is not without consequences. It has been noted that the extreme high dropout rate of individual piano students during the intermediate years is due in part to repertoire selection and other lesson content structuring (Scanlan, 1988). Despite this evidence, there is a “serious void” in the

2 “available resources dealing with the teaching of intermediate level repertoire”

(Scanlan, 1988, p. 5).

NEED FOR DATABASE

At the beginning stages of a piano student’s development, the independent studio teacher has repertoire, technical, and pedagogical issues laid out for him or her in the form of a method book. Since William Berold’s publication of William

Berold's Piano Course in 1904, a constant stream of method books has reached the market over the last 100 years. However, despite attempts to be comprehensive learning tools, in actuality method books cannot “guarantee enough pieces at any one level to assure that all students will be capable of internalizing their understanding of the concepts and skills presented” (Camp, 1984, p. 41). Although some method books do address the need for supplemental repertoire, it is possible that many teachers are unaware of the wealth of pedagogical compositions not published alongside a method series, including material at the intermediate level.

One possible problem facing piano teachers is a lack of knowledge of the repertoire. Limitation of knowledge about repertoire directly affects repertoire selection. Since most students remain at the intermediate level throughout their musical career (Appleby, 1993), it is important that piano teachers be able to provide students with intermediate literature that will continue to motivate and develop their skills as musicians. More often than not, teachers end up teaching what they know, what they have been taught, or what is “in the book” (Halbeck, 1992). Teaching only

3 familiar pieces may inhibit growth (Camp, 1992) and is not conducive to learning and performing new repertoire.

One problem that may exist during the years of intermediate study is uneven technical and musical development (Halbeck, 1992). As with many other skill acquisitions, technical problems of the intermediate student often do not emerge at a continuous, even pace. Selection of repertoire to address a student’s lagging technical or musical skill requires that the teacher thoroughly understand the literature available in order to assign pieces that encourage development of particular skills. This is particularly difficult for the beginning teacher (Jarvis, 1987). When drawing from only a limited supply of familiar repertoire, it is possible that the teacher may choose inappropriate repertoire, thereby resulting in a student with gaps in technical skill development. To avoid this, teachers should become knowledgeable with and assign repertoire from as large a body of literature as possible, including unfamiliar pieces.

In the words of Appleby (1993), “we, the teachers, must know the literature…(and) never become static…. Change is not a threat; it is a vehicle to our destination” (p.

36).

Limited familiarity with intermediate repertoire may result from several factors.

Many teachers are unaware of the intermediate repertoire because they themselves have had little experience with the thousands of pieces in this genre (Albergo, 1984).

“While knowledgeable about the compositions they have studied and the better- known concert repertoire, (piano teachers) usually are not aware of the wide range of

4 intermediate teaching literature” (Albergo, 1984, p.27). Lack of knowledge has long been an issue. For example, at the Music Teachers National Association (MTNA) proceedings in 1919, Bryant emphasized the need for piano teachers to become knowledgeable about the entire spectrum of their field, including repertoire, writing that “the wider the knowledge of the art, the better fitted is the practitioner to understand and appreciate its meaning, and to impart it to the pupil” (Clark

1919/1996, p. 24).

A second reason for limited familiarity with the intermediate repertoire may be found in pedagogy training itself. Many piano teachers have not had extensive education within the field of piano pedagogy. In a 1990 MTNA study, 569 members were surveyed by mail. The mailing received a 42.5% response rate. Survey results indicated that only 55% of MTNA members had received pedagogy training prior to teaching. Further, 32.5% “indicated that they initially lacked adequate knowledge of methods and materials” (Crum, 1998, p.23).

Sources do exist currently that help piano teachers in the selection of repertoire.

Written manuals, or repertoire indexes, vary from author to author, presenting descriptive information about the repertoire in different ways. Some indexes simply list pieces, some provide leveling suggestions, and others provide written annotations concerning individual pieces. Perhaps the two most widely used written manuals are

Maurice Hinson’s Guide to the Pianist’s Repertoire (Hinson, 1987) and Jane

Magrath’s The Pianist’s Guide to Standard Teaching and Performing Literature

5 (Magrath, 1995). Other indexes include those by Morhange-Motchane (1982), Bauer

(1994), Thompson (1976), Albergo & Alexander (1984, 1993), Pierce & Fuszek

(1982), Kern & Tutus (1964), Newman (1965), Maxwell (1983), Friskin & Freudlich

(1973), Miller & Wallingford (1975), and Canady (1974).

Although these guides and indexes serve as tools for piano teachers, they also have limitations. A teacher must own the books or have access to a nearby library to retrieve information about pieces found in written indexes. Written annotations lack the important visual and aural aspects of actual music. Therefore, in an ideal situation, piano teachers should have access to a tool for repertoire selection that is easy to use, convenient, and provide visual and aural representations of pieces.

However, “currently there is no all-encompassing aid that instructors can use to assist in the selection of intermediate piano literature for their students” (Wilson, 2000, p.1).

6 PURPOSE OF THE PROJECT

Most studies in the area of private piano teaching have focused on identifying the qualities that make a good teacher, but little research has been done on repertoire selection itself (Crum, 1998). Schmidt expounds on this further, writing:

Little is known about the criteria that applied teachers use to determine lesson literature, content, sequence, and time allotment…. Theory and practice in applied music have traditionally relied on informal speculation, anecdotal evidence, and a cache of teaching methods handed down from one teacher-student generation to the next. (Schmidt, 1992, p.44)

Despite the lack of research in the area of repertoire selection, piano teachers themselves appear to be aware of their own lack of familiarity of the piano literature.

In 1998, Crum conducted a study in which Florida piano teachers responded to questionnaires about their teaching. Under the category of pedagogy, the most frequent response in regard to improving teaching was that the teachers wished that they had “a wider knowledge of literature and pedagogy” (Crum, 1998, p.110).

If the process of selecting intermediate repertoire based on individual knowledge, handed-down knowledge, and use of written text indexes is not meeting the needs of piano teachers, what is the next alternative? In the past few years, some researchers in the area of repertoire selection have turned to technology. A handful of dissertations have been written on this subject, including studies by Halbeck (1992),

Wilson (2000), and Cartwright (1997). Halbeck’s dissertation (1992) was the first attempt in music to develop a computer program to aid in piano repertoire selection.

Halbeck presented the study results on a 3.5-inch computer disk; the data is stored in

7 a common PC formatted database program. However, Halbeck’s study is not easily accessible by the independent piano teacher. The computer disk is only available through inter-library loan request, and is not compatible with technology of today.

Thus the results are unavailable to the piano profession.

Cartwright, in a 1997 dissertation, also presents twentieth-century teaching pieces in the form of a computer database; however, the results are simply printed out on the pages of the dissertation, again rendering the research unavailable to piano teachers and others in the profession. Wilson (2000) was the first in the area of piano pedagogy to present her findings in the form of a Web page on the Internet

(http://home.earthlink.net/~elwilson/main.html). Although Wilson addresses this as a

“database,” the results are not searchable but are merely cross references and hyperlinks across different Web pages. The findings are presented in an index form, with lists of pieces and composers found in selected collections. A user of this site can only view printed information such as title of the pieces found in certain collections. This type of Web site is called a static site, meaning that the user cannot interact with the information. Because this is a static Web site that does not use a multiple search engine, a user cannot ask to perform a search, for example, of all of the pieces by Bartok in G Major.

Although the use of technology in the area of repertoire selection has increased, piano teachers are still not able to easily access information about intermediate repertoire. This is simply because in the past, research concerning

8 repertoire selection has remained in such static areas as printed dissertations, bound research journals, printed indexes, or static Web pages. Thus arises the question:

What would be a feasible model to aid in the selection process of piano repertoire?

One possible solution lies in the use of the Internet, an area initially explored by

Wilson (2000). Presenting a searchable (dynamic) database of intermediate piano literature in the form of a Web page on the Internet seems to have several advantages.

Such a database has the possibility of a worldwide audience, availability of use from the home or studio, the addition of visual and sound components, and flexibility in

Web data entry and maintenance. If needed, the data could also be transferred to different database-driven programs to stay within current technological advances.

The purpose of this dissertation was to develop a Web database of intermediate twentieth-century piano repertoire that can be used as a resource for repertoire selection. The planning stages of the database addressed the following:

1. The creation of the database and Website. This includes such topics as programming languages, layout of the Web pages, and data storage.

2. The selection of pieces for inclusion in the database.

3. The organization, classification, and analysis of the pieces selected for inclusion. These classifications should reflect specific problems concerning technical skills of the intermediate student as well other pedagogical issues.

9 DEFINITION OF TERMS

Since this dissertation focuses on repertoire written for the intermediate student, the general keyboard skills, functional skills, rhythmic skills, and technical skills of three levels of a typical intermediate student are defined in Appendix A.

These descriptions of skills are adapted from the 1995 syllabus of the Southern

Methodist University Piano Preparatory Department (Holland, 1995). Other definitions of technological terms used in this dissertation are listed in Table 1.1.

10 Table 1.1:

Definition of Technological Terms ______Term Definition ______MIDI MIDI is an acronym for Musical Instrument Digital Interface. This is a standard for controlling electronic instruments and sound cards of many personal computers. MIDI translates musical components such as pitch, duration, velocity, and instrumentation into digital signals, much like the ways in which piano playing is transferred to the holes punched on a player piano roll. Output of MIDI sound depends on the playback instrument or sound card. The same MIDI file can vary greatly depending on the quality of the soundcard or instrument.

MP3 MP3 is an acronym for MPEG 1, audio layer 3. It is a type of audio compression that can compress files to approximately one-twelfth the original size. During compression, the extreme highs and lows of the sound waves are removed, thus resulting in a smaller file size.

Database A database is a collection of data stored in a way that is easily accessible, managed, and searched across many data fields. A common database organization is in tabular fields, or fields that can be reorganized many different ways.

Data Fields A data field is a unified collection of data within a database. For example, in this project, all articulations of a specific piece were entered into the data field labeled “articulation.” (Table 1.1 continues)

11 (Table 1.1 continued)

Dynamic Web Site A dynamic Web site is a site that does not simply display information, but rather interacts with the user. For example, in a dynamic Web site, a user may search for information found in a database. The data, stored in a server, is immediately returned to the user. Creating a dynamic Web site require use of a dynamic programming language that is used in conjunction with HTML to interact with the server.

MySQL MySQL is a Platform for developing database management systems using Structured Query Language (SQL), a common programming language for accessing and processing data in a database. MySQL is an open source, meaning that it is a public license that can be downloaded by anyone. MySQL 4.0 was released in 2001.

PHP PHP is a cross platform, HTML embedded scripting language used to create dynamic Web pages. PHP stands for either Personal Home Page Tools or Hypertext Preprocessor. When a user performs a search within a dynamic Web site, it is the PHP coding that sends and retrieves information from the database.

HTML HTML is an acronym for HyperText Markup Language. HTML is a scripting language used to create visual Web pages. The HTML code tells the browser how to display the contents (words and graphics) of a Web page.

WWW WWW stands for World Wide Web. This is a system of servers supporting HTML coded documents, or Web pages. All information is network accessible.

URL URL is an acronym for Uniform Resource Locator. A URL is an address of information stored on the World Wide Web. For example, the URL of this project is http://www.pianorep.com. ______

12 PROCEDURE

In order to address the first planning stage of the database (chapter 3) software and programming languages were selected for this project. After a preliminary review of database management systems and programming languages, the following tools were chosen: MySQL, a freeware database management system, was used to store the data. The programming language used was PHP, a language that acts as a go-between for the visual HTML Web page and the dynamic database. The HTML

Web page was developed using Macromedia Dreamweaver® (version 4.0).

Initial repertoire selection was based on consultations with and suggestions from three experts within the field of piano pedagogy: Gilmson, S. (personal communication, October 2001), Hilley, M. (personal communication, October 2001) and True, C. (personal communication, February 2002) as well as personal analysis of scores. Four written indexes were also used as preliminary guides for repertoire selection (Hinson, 1987; Magrath, 1995; Maxwell, 1983; Thompson, 1976).

All pieces chosen for the project were composed during the twentieth-century; however, not all were written in a twentieth-century compositional style. Some pieces chosen for this project were written in the style of a previous period. For example, a twentieth-century composer may have written an intermediate piece in the style of a Baroque dance suite as a pedagogical means of introducing the stylistic elements of specific components of the dance suite. An example of this is David

Karp’s Lady Margaret’s Suite: 8 Intermediate Piano Solos in the Style of J. S. Bach,

13 published in 1994. The pieces in this collection are written following such Baroque dance suite forms as the Allemande and Sarabande. Such pedagogically composed pieces serve as a bridge between the beginning method books and early-advanced pieces written in styles of specific periods. Pieces composed specifically in a twentieth-century style were also included in this project. Examples include 32 Piano

Games by Ross Lee Finney (published in 1969), which were specifically written to introduce intermediate students to contemporary notation, sonority, and articulation.

Scores of all the pieces were obtained through the UT-Austin libraries, libraries of private piano instructors, inter-library loan, and through private purchase.

The pieces were analyzed and categorized in the database according to the following 21 data fields: Composer, Title, Composer Collection, Catalogue Number,

Level, Harmonic Scheme, Mode, Key, Tempo, Time Signature, Form/Genre/Style,

Articulation, Texture, Harmonic Content, Ornamentation, Technique, Rhythm, Other

Pedagogical Issues, Publisher Collection, Publisher, and Editor. Each piece was analyzed, recorded (first four measures) and scanned (first four measures), and the data were entered into the database. A dynamic Website was designed to allow users to conduct online searches of the database and view entered information from the results of their search. Two additional pages were developed containing biographical information about the selected composers and a glossary of terms used in this project.

14 WEBSITE ASSESSMENT

Assessment of this project was accomplished by a user test. Piano teachers from across the country were asked to interact with the Web site, view all of the main pages, evaluate the sound and visual files, and carry out a mock search. All piano teachers participating in the user test were current members of MTNA (Music

Teachers National Association). After demonstration and opportunities to use the

Website, the users were asked to fill out a questionnaire about their experiences using the Web page and database. The questionnaire was presented in an online format, thereby giving participants a chance to answer the questions at their convenience and submit responses in electronic form. The questionnaire focused on usability, content of the database, and suggestions for further Website development.

15 LIMITATIONS OF THE PROJECT

Since the intermediate piano repertoire is so expansive, limitations were made in choice of repertoire for the database. Only pieces written between 1900 and 2000 were included in the database. In order to provide a broad spectrum of the intermediate literature, restrictions were made regarding the number of compositions by a single composer. Not more than 10 pieces by any one composer were included in the database.

All compositions were limited to the intermediate level of study; of the pieces recommended from the Magrath guide, only those found within the levels 3-7 were used. Magrath’s guide contains pieces from levels 1-10, a subjective leveling system in which the difficulties of pieces are approximated against commonly known repertoire. Level 3 is compared to Kabalevsky’s Pieces for Young People, Op. 39, and level 7 is compared to J.S. Bach’s Little Preludes. Only those pieces that are still in print were included in the database. Only those pieces from publishing houses that agreed to grant copyright permissions were represented by a visual scanned image of the first four measures.

16 CHAPTER TWO

Review of Literature

INTRODUCTION

This review of literature, divided into five sections, focuses on research concerning the intermediate piano student and repertoire selection. The first section deals with a definition of the intermediate piano student and reviews the technical skills developed during the years of intermediate study as well as the technical skills considered too difficult for the intermediate student. Second, the process of repertoire selection for the intermediate student is addressed. This includes technical considerations in repertoire selection as well as a discussion of the main written indexes currently available. Third, the topic of leveling or grading pieces within the intermediate level is discussed. Intermediate leveling guidelines for scales/passagework, harmony, texture, melody, rhythm, formal structure, phrasing, articulation, dynamics, pedaling, and ornamentation are assessed. Many pedagogues disagree on the process of leveling pieces, and these many differing views are discussed. Next, literature is reviewed considering the possibility of using technology, specifically computer databases in the process of repertoire selection.

Databases accessed through the Internet are a promising development in having research information reach a wider audience. Last, a rationale for the inclusion of twentieth-century repertoire in the years of intermediate study is reviewed. In summary, these five categories, the intermediate piano student, the process of

17 repertoire selection, leveling intermediate pieces, computerized database repertoire selection, and twentieth-century intermediate repertoire all assemble information that serve to provide a rationale for the development of an online database for selection of twentieth-century intermediate piano repertoire.

THE INTERMEDIATE PIANO STUDENT

Somewhere between the beginning method books and the advanced repertoire exists a wealth of piano compositions labeled as intermediate. However, what defines the piano student who studies this intermediate repertoire? And what is it about this group of intermediate students that makes repertoire selection such a difficult process? Several pedagogues have attempted a definition of the intermediate level, either through identification of necessary prerequisite and immediate skills, technical requirements of the repertoire, or mental readiness of the student. In The Well-

Tempered Keyboard Teacher, Maris (1991) writes:

A well-motivated student may be ready for early intermediate-level repertoire after one or two years of piano study. Such a projection, however, is dependent on a wide variety of factors including age, readiness for study, intelligence, musicality, physical coordination, amount and quality of practice, continuity of study, quality of teaching, emotional maturity, and encouragement from family and friends. (p. 185)

Bastien (1988) defines the intermediate student as an age group, rather than skill level, writing that “students who continue into the intermediate level generally are motivated, interested, and have a genuine desire to learn. The intermediate

18 student usually is in junior high school. Working with this age group can be either a joy or a source of frustration” (p. 14).

TECHNICAL SKILLS OF THE INTERMEDIATE STUDENT

The years of intermediate piano study are a time to develop both technical and functional skills that help the student develop as a competent and independent musician (Uszler, Gordon, & Mach, 1991). Many pedagogues have outlined technical requirements that should be developed through the intermediate repertoire.

There are both similarities and differences between the viewpoints of the respected pedagogues. There are even contradictory viewpoints concerning intermediate technical skills within collections of writings assembled by the same pedagogues.

For example, in Uszler, Gordon, and Mach’s book, The Well-Tempered Keyboard

Teacher, Maris identifies “contrasts of touch and dynamics within the same hand” as a “device to be avoided at the intermediate level” (p. 184). However, in the next chapter of the same book, Uszler writes that “concentrated attention to independence…within the hand” is a technical skill “that the student develops at the intermediate level” (p. 214). Specifically, “independence within the hand might refer to a number [sic] things: observing different note lengths, playing different articulations…and voicing particular notes or lines” (p. 218).

Concerning the technical issue of three note chords, students at the intermediate level should be able to play triads in all inversions (both broken and blocked) hands separately (Halbeck, 1992; Lyke & Enoch, 1987; Uszler, Gordon, &

19 Mach, 1991). Intermediate students should also be able to identify and play arpeggiated diatonic triads (Kraehenbuehl & Chronister, 1972; Uszler, Gordon, &

Mach, 1991).

Several pedagogues suggest that intermediate students should be able to play all major and minor 5-finger scale patterns (Halbeck, 1992; Kraehenbuehl &

Chronister, 1972; Lyke & Enoch, 1987; Roberson, 1990), tetrachord scales (Halbeck,

1992; Lyke & Enoch, 1987), and major and minor scales in their entirety

(Kraehenbuehl & Chronister, 1972; Uszler, Gordon, & Mach, 1991). Hinson (1995) suggests that at the early-intermediate level students should be playing the C major, G major, D major and F major scales, D minor and A minor scales, and pieces at the difficulty level of J. S. Bach’s Anna Magdalena Notebook. At the intermediate level, students should add the B-flat major, and E minor and G minor scales. The level of difficulty should approximate the pieces in J.S. Bach’s Notebook for W. F. Bach

(Hinson, 1995). Students at the late-intermediate level should add the scales A major,

E major, E-flat major, A-flat major and B minor, C minor, F-sharp minor, and C- sharp minor. Pieces at the late-intermediate level should be similar to J.S. Bach’s

Two-Part Inventions (Hinson, 1995; Bastien, 1988).

According to many pedagogues, articulation skills of the intermediate student should include control of legato and staccato playing (Halbeck, 1992; Lyke & Enoch,

1987; Uszler, Gordon, & Mach, 1991) and a general control of touch and expressiveness between the hands (Roberson, 1990; Uszler, Gordon & Mach, 1991).

20 Intermediate students should be playing subdivisions of triplet and quadruplet groupings (Halbeck, 1992; Lyke & Enoch, 1987). Intermediate students should also be playing selected ornaments, especially mordents, turns, and short trills (Uszler,

Gordon, & Mach, 1991). The intermediate literature should mostly be comprised of a two-voice texture or a single melody with accompaniment (Uszler, Gordon, & Mach,

1991). Other general skills acquired by intermediate students include: finger substitution, double notes, extension of the hand to an octave, independence between hands and within the hand, voicing, changes of texture, use of the full keyboard, and pedaling (rhythmic, syncopated, and una corda) (Uszler, Gordon, & Mach, 1991).

According to Maris (1991), many techniques are too difficult for the intermediate student, and therefore should be avoided. These skills, identified by

Maris in a chapter from The Well-Tempered Keyboard Teacher (Uszler, Gordon &

Mach, 1991) are a subjective view of intermediate technique; Maris does not cite these technical devices in the repertoire. At least one of these points (“contrasts of touch and dynamics within the same hand”) is touched upon in following chapters of the same book (authored by a different pedagogue) as a skill that should be taught at the intermediate level. This again demonstrates the varying viewpoints among pedagogues. Maris’s list of techniques that should be avoided at the intermediate level is as follows:

1. 4-note chords that spread the hand excessively. 2. Three or more independent voices. 3. Rapid changes of intervals in one hand. 4. Complex layers of voices.

21 5. Extremes and complex changes of speeds, dynamics, and textures. 6. Contrasts of touch and dynamics within the same hand. 7. Awkward leaps at fast speeds, rapid changes of location. 8. Frequent changes of hand spacing 9. Ornaments used to display virtuosity—especially long trills. (p. 184)

22 CHOOSING REPERTOIRE FOR THE INTERMEDIATE STUDENT

Introduction

Apfelstadt (2000) has called repertoire selection the “single most important task that music educators face” (p. 19). Within the field of piano pedagogy, repertoire selection presents a specific challenge, for the piano repertoire is the largest in size of any instrument, second only to the collection of vocal repertoire (Freundlich, 1971).

In the Preface to the First Edition of Hinson’s Guide to the Pianist’s Repertoire,

Freundlich (1987) writes:

No single musician can successfully encompass the entire piano repertoire. It is, in fact, by far the largest devoted to any instrument, second only in scope to that for voice. Not only it is beyond the capability of any single pianist to master more than a very limited segment of the repertoire but it is also equally difficult to have even a cursory acquaintance with its scope and be able to sift out material for study and performance from the mass of works accumulated over the years without some organized guiding hand to lead the way. (p. xiii)

Freundlich refers to not only the advanced piano repertoire, but that which falls into the intermediate category as well (Appleby, 1993). Considering the expansiveness of the repertoire, it is not reasonable to expect piano teachers to be familiar with the entire repertoire (Prescott & Chidester, 1938). It is therefore of extreme importance that an effective tool exist to aid teachers in the task of piano repertoire selection.

23 Technical Considerations in Repertoire Selection

When choosing repertoire for the intermediate student, piano teachers should be aware of several factors pertaining to both the repertoire and the student.

Technical demands of each piece should be taken into consideration and matched with the technical skill level of the student. Often, a student may need multiple repetitions of a single technical concept, requiring the private piano teacher locate two, three, or even four pieces that will help the student develop that technical skill.

Scanlan (1988) emphasizes this concept further, writing that in order for skills and

“musical understanding” to develop, materials must be “sequenced in a manner which provides for musicianship to progress at the same rate as music reading and technique” (p. 2). Along with the problem of technical skill development, the issue of matching individual students with pieces that will motivate them should be addressed.

Again, this requires that teachers have knowledge of the character and mood of the piece, and are able to match the pieces with each student. This is a difficult task, especially for inexperienced teachers (Jarvis, 1987).

Many pedagogues agree that piano teachers need to have a thorough knowledge of the intermediate repertoire. Magrath (1995) emphasizes the need for choosing various pieces at the same skill level, writing that the intermediate years are a “period in a student’s study when he or she may seem to be remaining static in terms of progression, and yet is in need of new challenges at the same difficulty

24 level” (p. v). In describing the successful piano teacher, Agay writes that he or she must possess:

a secure knowledge of all relevant musical facts, concepts, and procedures, including the know-how to apply this knowledge within a systematic teaching plan. This also includes a degree of technical competence and a thorough familiarity with the keyboard literature for all periods. (In addition the teacher needs) discriminating taste and judgment in selecting the right teaching repertory for each student. (p.6)

INDEXES

In an effort to aid pianists and piano teachers in selecting repertoire, many experts in the field of piano literature have attempted to categorize the repertoire through the form of a written index. Perhaps the two most widely used written manuals are Maurice Hinson’s Guide to the Pianist’s Repertoire (1987) and Jane

Magrath’s, The Pianist’s Guide to Standard Teaching and Performing Literature

(1995). Hinson’s guide focuses on the standard repertoire, categorizing each piece into the levels of easy, intermediate, moderately difficult, and difficult, providing annotations for most pieces. Magrath attempts to cover not only the standard performing literature for piano, but the standard teaching music as well. Magrath, as

Hinson, annotates her entries with regard to specific technical difficulties as well as her own interpretive view of the piece. Each piece is categorized on a difficulty level of 1-10.

Many other indexes, as Magrath’s and Hinson’s, also annotate with an attempt to level pieces. Stanley Butler, in the 1973 index, Guide to the Best in Contemporary

25 Piano Music (An Annotated List of Graded Solo Piano Music Published Since 1950),

levels pieces on a numbering system from 1-8. Butler gives no guidelines for

categorizing pieces within the levels, but rather provides comparison pieces. For

example, pieces categorized as level one are similar in difficulty to Kabelevsky’s

Song, Op. 39, level two is represented by Bartok’s Sorrow from For Children, Vol. 2,

level three is represented by Bartok’s Teasing Song from For Children, Vol. 2, and

level four is represented by Rebikov’s Children Skating from Silhouettes, Op. 31.

Annotations and technical difficulties are given for each piece. Leveling is also

addressed in Morhange-Motchane’s 1982 Thematic Guide to Piano Literature.

Marhange-Motchane creates two subdivisions of “Easy” and three subdivisions of

“Intermediate.” However, in the forward, Morhange-Motchane states that the leveling is “subjective”, “debatable”, and that “no grading can be absolute” (p. i). On the topic of leveling, there is, according to Maris (1991) “little consistency among publications” (p. 183). However, despite this inconsistency, guidelines for grading repertoire can be established. Such guidelines have been developed and used in this project.

Another available repertoire index is Bauer’s 1994 Master’s thesis, A

Bibliography of Intermediate Level Twentieth-Century Solo Piano Literature. This thesis includes 1,200 entries listed by composer. The entries are not annotated; a select few are graded using the leveling: early-intermediate, middle-intermediate, late-intermediate, and early-advanced. Bauer acknowledges that there are

26 discrepancies among piano teachers on how to level pieces; the leveling used in the thesis is comparison based. Early-intermediate is compared to the Bach or Mozart minuets, middle-intermediate to the Clementi Sonatina, Op. 36, No. 3, late- intermediate to the Bach Two-Part Inventions or Beethoven Sonata Op. 49, and early- advanced is compared to the Khatchaturian Toccata or Ravel Sonatine.

Additional graded indexes include Thompson’s (1976) Teaching and

Understanding Contemporary Piano Music. This descriptive book explains and gives examples of twentieth-century compositional concepts. Pieces are categorized under the levels elementary, intermediate, and advanced; no guidelines are given for how this leveling was determined. This index also includes a glossary of terms, a bibliography of related sources, and a reference list of contemporary teaching pieces.

The index Intermediate Piano Repertoire: A Guide for Teaching by Albergo and

Alexander (1993) is divided into stylistic periods. The intermediate level is subdivided into three additional levels: early, intermediate, and advanced. No representative pieces or guidelines are given for the leveling rationale. Pierce and

Fuszek’s 1982 The P-F Guide: A Conceptual Approach to Piano Instruction includes fourteen levels from beginning to collegiate level, with representative pieces from each period in each level.

Two indexes written during the 1960’s are The Teacher’s Guidebook to Piano

Literature: A Recommended Listing of Graded Repertoire for Elementary,

Intermediate and Lower Advanced Students by Kern and Titus (1964) and A Selected

27 List of Music Recommended for Piano Students by Newman (1965). Kern and Titus’

index has approximately 4,000 entries categorized into four levels of difficulty:

lower elementary, upper elementary, intermediate, and lower advanced. The pieces

are without annotations and arranged by stylistic periods. Newman’s index also

represents all stylistic periods, dividing the pieces into four levels: beginning,

elementary, intermediate, and advanced.

Although not an index, Selective Music Lists: Instrumental and Vocal Solos,

Instrumental and Vocal Ensembles (1963), published by MENC, also shows

examples of intermediate literature and representative pieces listed in three levels.

Grades I-II (Easy) is represented by Irishman Dances by Cowell, Op. 27 and 39 by

Kabalevsky, Touches Blanches and Touches Noires by Milhaud, Little Piano Book by

Persichetti, Scherzino by Sessions, and The Five Fingers by Stravinsky. Grades III-

IV (Medium) is represented by the Romanian Dances by Bartok, Bloch’s Enfantines,

Kabalevsky’s 5 Variations, Op. 51 and Sonatine No. 1, and Prokofiev’s Muisc for

Children, Op. 65. The third level of pieces are considered too advanced for the intermediate repertoire, and therefore not listed in this review of literature.

A highly descriptive and cross-referenced index is Maxwell Music Evaluation

Notebook: Contemporary Piano Literature (1983). This index is divided into three sections covering solo piano literature, collections of solo piano literature, and definitions of terms. Each piece is annotated and leveled using the following terms: very easy, early elementary, elementary, advancing elementary, early intermediate,

28 intermediate, advancing intermediate, early advanced, advanced, difficult, and very difficult. No guidelines are given as to how the pieces are leveled. Each piece is also cross-referenced according to the following categories: audition pleasers, contemporary devices, easy-sounds-hard, one hand only, improvisatory sounds, jazz or popular idiom, memory aids, rote, modes and other scales, musicality, note and sight-reading, pedal, recital, rhythm aids, special appeal, sure-to-please, and technic aids.

Because Maxwell’s index is so thoroughly cross-referenced, the subcategories are further divided. Maxwell’s subdivisions can be found in Table 2.1.

29 Table 2.1

Maxwell’s Subdivisions of Intermediate Piano Literature, from p. 88b-99a

______Category of Repertoire Subdivisions ______Contemporary Devices aleatory, avant garde, barless, bichords, bitonality, canon, clusters, counterpoint, dissonance, atonal, fallboard, wide keyboard range, mirror writing, new notation, no key signature, no meter signature, ostinato, pandiatonicism, parallelism, pedal point, play inside the piano, pointillistic technique, polychords, prepared piano, quartal harmony, quintal harmony, schillinger notation, serial technique, sequences, shifted tonalities, accents, staff (three or more), staff (unusual), sympathetic vibrations, tape recorder, twelve-tone row, wrong-note writing

Technic Aids alternating hands, arpeggios, bring out the melody, chords, double notes, finger control, finger independence, finger facility, glissando, hand-crosses, hand coordination, leaps, melody and accompaniment in same hand, octaves, sustained notes, tremelo, trills, legato vs. staccato, various touches

Rhythmic Aids accelerandos, alternating beat divisions, alternating meter, asymmetric meter, complex rhythms, driving rhythm, duplet vs. triplet rhythm, multimetric, rubato, syncopation

Musicality dynamic range, musical sounds, important phrasing

Sight Reading accidentals, clef changes, both hands in same clef, key changes, ledger lines

Special Appeal adults, boys, girls, spark up a stalled student, teens

Pedal damper pedal, una corda pedal, sostenuto pedal

______

30 Three indexes that do not attempt to level pieces but only categorize them are

Friskin and Freudlich’s 1973 index, Music for the Piano: A Handbook of Concert and

Teaching Material from 1580 to 1952; Piano Music in Collections: An Index (1982) by Fuszek, and Miller and Wallingford’s 1975 Piano Teaching Materials. Friskin and Freudlich’s index is organized by period and composer and annotated descriptions are given of each piece. Fuszek’s index includes 496 multi-composer piano collections arranged by composer, collection, and title of the piece. Miller and

Wallingford’s index simply lists pieces and collections from each stylistic period.

Some additional indexes include: Albergo and Alexander (1984), After the Method

Books: a Guide to Intermediate literature, Canaday (1974), Contemporary Music and the Pianist: A Guidebook of Resources and Materials, and Magrath’s (1983) Avant-

Garde Teaching Materials for Piano.

31 PRESENTING LEVELING GUIDELINES

Despite the efforts made in written indexes to catalogue intermediate pieces through difficulty levels, they are not consistent in leveling ratings (Ralston, 1999). It is evident that a more specific grading scale is needed (Ralston, 1999). If created, such a grading scale could help choose repertoire through systematic calculations rather than through trial and error (Martin, 1957). Studies have shown that repertoire can be chosen and graded based on technical requirements (Hu, 1991; Jones, 1988).

In the field of piano pedagogy, analyses by Scanlan (1988), Ahn (1981), and

Halbeck (1992) have identified functional and technical requirements for several levels within the years of intermediate study. Scanlan, in a 1988 dissertation, was the first to attempt a series of leveling assessment guidelines within three subcategories of the intermediate literature (early-intermediate, intermediate, and advanced- intermediate). These guidelines were also used in Halbeck’s 1992 dissertation.

Scanlan’s categories for assessment include: figuration, harmony, melody, rhythm, formal structure/phrasing, articulation/touches, dynamics, pedal, and ornamentation.

As shown in this review of literature, there is little agreement among pedagogues as to what skills belong in the intermediate years of study. Because of this lack of agreement, a specific set of guidelines for leveling twentieth-century intermediate repertoire was created for this project. These guidelines are discussed in Chapter 4 of this dissertation. The following review of literature is a description of the leveling guidelines used in research by other pedagogues.

32 Scales and Passagework

Under the subcategory of figuration, Scanlan (1988) sets the following guidelines. Scale patterns under a twelfth are designated as early-intermediate, scale patterns up to four octaves belong in the intermediate grouping, and all other patterns extending more than four octaves are considered advanced (late) intermediate.

Halbeck (1992) identifies stricter guidelines, with early-intermediate pieces including five-finger pattern and scale passages up to an octave; those pieces with patterns extending beyond an octave are considered by Halbeck to be mid-intermediate.

If early-intermediate pieces contain chords, all blocked chords should be in the same positions with consistent spacing and voicing (Scanlan, 1988). Broken chords should be contained within the octave. In the intermediate level, blocked chords can be in all positions and broken chords can span up to three octaves including some limited “non-harmonic elaboration” (p. 130). In the advanced- intermediate category, broken chords can span more than four octaves and contain

“extensive non-harmonic elaboration” (p. 130). Other figuration considerations in the early-intermediate category include infrequent and close shifts between hand positions with adequate time to carry out these shifts. Double-thirds, sixths, and octaves also belong to the late-intermediate category (Halbeck, 1988).

33 Harmony and Texture

Early-intermediate pieces usually contain the melody in the right hand and the accompaniment in the left. Occasionally, the melody may shift between the hands.

Early-intermediate pieces should not modulate, should have a consistent harmonic rhythm (meaning that harmonies should not change rapidly) and contain primarily diatonic triads and sevenths (Scanlan, 1988). Two-voice textures are predominant

(Halbeck, 1992). In the intermediate level, the right hand often contains both melody and accompaniment simultaneously, textures and harmonic rhythms are more inconsistent, and modulation can occur (Scanlan, 1988). Hand crossing is frequent and finger substitution is used for legato playing (Halbeck, 1992). In the advanced

(late) intermediate level, importance is given to inner voices found between the hands, both hands can contain melody and accompaniment material, and modulations occur frequently. Borrowed, altered, and embellished chords are used in addition to diatonic triads and seventh chords (Scanlan, 1988).

Triads and dominant seventh chords in all inversions, if played hands separately, can occur in the early-intermediate literature. Chords can also be rolled and broken up to an octave (Halbeck, 1992). The mid-intermediate level includes chords spanning an octave and diminished chords. Broken and rolled chords can include non-harmonic elaboration (Halbeck, 1992). Chords (broken, blocked, or rolled) played hands together in all inversions and spanning an octave are found in the late-intermediate literature (Halbeck, 1992).

34 Melody and Rhythm

Scanlan (1988) identifies melodic movement with intervals less than a fifth as belonging to the early-intermediate level, while the intermediate level can contain leaps up to an octave, and the advanced-intermediate category consists of both steps and large skips in the melody (Scanlan, 1988; Ralston, 1999). Rhythmic issues for the early-intermediate group include consistent tempi and rhythmic patterns with subdivisions of duplets, triplets, and quadruplets. Intermediate pieces can contain more tempo fluctuations, greater subdivisions, cross-rhythms, hemiolas, syncopations, and use of rubato (Scanlan, 1988). Asymmetric rhythms are found in advanced-intermediate pieces as well as free rhythmic notation and frequent fluctuations in tempi. Alternating meter is also found in the advanced-intermediate literature (Ralston, 1999).

Formal Structure, Phrasing, and Articulation

Under Scanlan’s (1988) subcategory of formal structure and phrasing, early- intermediate pieces follow a clear and succinct formal structure with symmetric phrases. Ralston believes that phrase patterns in the early-intermediate literature are usually short (2-3 measures) (Ralston, 1999). Phrases can also be extended through repetition and extended cadences (Scanlan, 1988). Intermediate pieces have a longer, expanded formal structure with some asymmetrical phrasing. These phrases also can be expanded and contracted. Advanced-intermediate pieces have expanded forms including introductions and codas, and frequent asymmetrical phrasing with

35 expansion and contraction. Articulation in early-intermediate pieces includes consistent slur-groupings and similarity between the hands. Intermediate pieces contain more gradations of legato and staccato touches, with occasional differences of articulation between the hands. Advanced-intermediate pieces have slur-groupings that are inconsistent, and different articulations between hands and simultaneously in one hand.

Dynamics, Pedaling, and Ornamentation

Remaining subcategories identified by Scanlan (1988) include dynamics, pedal, and ornamentation. Early-intermediate pieces have narrow dynamic ranges

(usually no abrupt changes), limited use of the damper pedal and infrequent ornaments. The dynamic range in intermediate pieces is more diverse, with different dynamics between simultaneous voices. Pedaling in the intermediate level includes use of the una corda as well as the damper pedal and occasional use of finger pedaling. Advanced-intermediate pieces have frequent abrupt and gradual changes in dynamics (use of pianissimo and fortissimo), a variety of pedal effects and patterns, and technically difficult, yet consistent use of ornamentation.

36 COMPUTER DATABASES AND REPERTOIRE SELECTION

In an effort to aid piano teachers in repertoire selection, a handful of pedagogues have recently turned to technology. Technology in many forms can assist teachers in researching, sequencing, and locating repertoire and potentially expand repertoire familiarity (Cartwright, 1997; Ralston, 1999). Dissertations by

Cartwright (1997), Halbeck (1992), and Wilson (2000) focused on the issue of technology and its role in aiding piano teachers in the repertoire selection process.

Halbeck’s 1992 dissertation presented teaching pieces divided into categories that are organized in a searchable database available from the author by computer disk.

Halbeck’s organizational categories included: title, composer, level of difficulty, tempo, mood, key, length, performance skills, comments, publisher and editor.

Twentieth-century teaching pieces were the focus of Cartwright’s 1997 dissertation.

After a presentation of several teaching pieces using twentieth-century techniques,

Cartwright then provided 418 additional pieces in the form of a computer database

(Microsoft Excel® format). The pieces were organized through the following categories: composer, title, year of composition, tonality/atonality, meter(s), tempo, length, location of piece (single copy/collection/editor/publisher/date of publication), and contemporary technique(s). Wilson, in a 2000 dissertation, analyzed the contents of several collections of intermediate repertoire and created a Web page on the

Internet with hyperlinks cross-referencing the titles of the pieces, composers, and

37 collection name. Wilson’s Web page may be found with the following URL address: http://home.earthlink.net/~elwilson/main.html.

Additional technology-based repertoire studies in the field of music include those by Kidd (1997) and Paprocki (2000). In an effort to determine the amount of contemporary music in orchestral performances, Kidd developed a database with 13 fields containing 7500 entries. Paprocki created a database for chamber music repertoire selection, analyzing and entering 1000 pieces in an effort to produce an organized tool for potential users (Paprocki, 2000).

The use of technology in the field of repertoire selection has been an issue that is growing at a rapid pace. Downie (2000) writes: “Automating access to music information through the use of digital computers has intrigued musicologists, computer scientists, librarians, and music lovers alike. Each has his own purpose in mind and thus there seems to be as many approaches to developing Music

Information Retrieval (MIR) systems as there are users” (p. 1).

Although technical advances have been made in the area of piano repertoire selection, it has been noted that there currently is no complete and thorough tool for repertoire selection (Wilson, 2000). However, the creation of such a tool would be useful to a wide audience, including pedagogy students, private instructors, private students, and music stores (Wilson, 2000). In order for this resource to be most effective, such a device should be convenient and therefore available for use in the instructor’s home (Wilson, 2000) and be “designed as a multi-linked database

38 whereby the instructor could search for particular collections, particular pieces or particular skills that individual pieces would emphasize” (Wilson, 2000, p. 6).

DATABASES AND THE INTERNET

One way in which current research in repertoire selection can reach a wider audience and be used by private instructors in their own home is through database use accessed through the Internet. Research presented through the Internet has several advantages. For one, the Internet allows for multimedia presentation of information through audio, video, and other animated effects (Hong, 2000). Another advantage is the possibility of information reaching a worldwide audience, perhaps reaching a larger distribution of knowledge than through traditional printed word (Madhira,

2000). Information presented on the Internet is free to anyone who has access through such technology (Iddamsetty, 2000). Other advantages of presenting information through the Internet may include: ease of use, reduced communication costs, interactivity, flexibility, customization, accelerated distribution of knowledge and an increased sense of community (Gareau, 2000; Iddamsetty, 2000). Along with retrieval of the data in any part of the world, data can also be maintained and updated through the Web (Arige, 1999). However, one of the more exciting possibilities of the Internet is the exchange of ideas between researchers themselves and between researchers and the common user (Iddamsetty, 2000). This exchange of ideas can help bridge the gap between all user groups.

39 Over the past years, information presented through the Web was commonly in a format called static pages; that is, Web pages that simply presented text and graphical information, as any text-based format would. However, recent changes in technology have brought a system of dynamic Web pages, or Web pages that provide interaction with users through databases and other searchable tools and engines

(Hong, 2000). A database can be defined as “a computerized collection of stored operational data that serves the needs of multiple users…” (Kamojjala, 1999, p. 4).

The data are organized and stored in tables or fields, related or independent of each other (Hong, 2000). Technology used in the creation of databases has existed for many years; however, it is only recently that database programs have been designed to interact with Web pages (Hong, 2000). Some examples of Web pages that store and retrieve information through a database are online banks and online stores such as

Amazon.com®. These sites rely on the user to input information, which is then stored in a database where it may be searched and retrieved at any time. The information entered into the database is organized and managed through a general tool called a Database Management System. Some examples include ORACLE®

(Oracle corporation, 1999) and SQL Server® (Microsoft, 1999) (Kamojjala, 1999).

Conceivably, such a database could be designed to aid piano teachers in the selection of repertoire. Information about pieces could be categorized and stored in a database program, maintained through a database management system, and presented through a dynamic Web page on the Internet. Databases in other fields have been

40 shown to be effective in decision making processes, such as databases designed to aid companies without engineers in choosing the proper products (Iddamsetty, 2000) and databases which simply store data so that the researchers’ efforts may reach a wider audience (Madhira, 2000). It has been found that user confidence is higher, satisfaction is higher, and the user perceives the Web-based search to be of less effort than searches in traditional text environments (Moore, 2000).

A number of Web sites exist pertaining to piano pedagogy. Two of the most widely used Web sites include The Piano Education Page and The Piano Pedagogy

Forum. Neither of these sites are searchable databases of repertoire; however, both sites do contain information pertaining to piano pedagogy. The Piano Education Page

(http://www.unm.edu/~loritaf/pnoedmn.html) maintained by the West Mesa Music

Teachers Association has over 600 pages of text and as of this date has been viewed over one million times. The Piano Pedagogy Forum

(http://www.music.sc.edu/ea/Keyboard/PPF/index.html) is updated three times a year, containing recent scholarly articles pertaining to group piano, keyboard education, piano pedagogy and piano performance. At present, I have been unable to find a

Web page that addresses the specific need of repertoire selection for the intermediate piano student. Nor have I been able to locate a Web page concerning repertoire selection for either beginning or advanced students. Such a Web page would allow many factors (such as technique, tempo, and level) to be taken into consideration

41 through one search (Iddamsetty, 2000). A carefully designed database-driven Web page has the potential to help solve the repertoire selection problem.

The initial design goals for such a Web page might include a user-friendly interface and online data retrieval that is meaningful and accurate (Madhira, 2000).

“The value of the data base would be greatly enhanced by the addition of graphic displays and of audio reproduction” (Halbeck, 1992, p.142). Possible ideas for further development include document sharing, discussions on electronic bulletin boards, file transfers, audio and video streaming of performances and teaching demonstrations, and transmission of stored audio and video (Gareau, 2000).

TWENTIETH-CENTURY REPERTOIRE FOR THE INTERMEDIATE STUDENT

One particular area of intermediate literature that apparently needs more attention is the repertoire composed during the twentieth century (Bauer, 1994;

Cartwright, 1997; Kemmerling, 1980; Regal, 1973). This is a large body of repertoire. For example, Bauer (1994) catalogued over 1,200 twentieth century pieces written at the intermediate level. Teaching intermediate pieces written during the twentieth century can prepare students for twentieth-century techniques used in the advanced repertoire (Gross, 1978). Some twentieth-century techniques include: playing in different keys (right hand playing in one key, left hand playing in another), playing in different meters (right hand playing in one meter, left hand playing in another), use of polychords, pentatonicism, modes, clusters, new pedal techniques, chordal planing, percussive use of the piano, elimination of key signatures, and

42 quartal and quintal harmony (Ehle, 1977). These techniques, when presented in

isolation in the intermediate repertoire, may help build technical skills without being

overwhelming (Burge, 1981). Twentieth-century compositional techniques also

contain elements that tend to be enjoyable for the younger student (Gross, 1978).

Another area of interest within twentieth-century intermediate piano literature

are compositions not written with a specific contemporary technique, but rather

written in the style of a previous period or written to introduce a specific technical

skill. For example, Lady Margaret’s Suite: 8 Intermediate Piano Solos in the Style of

J.S. Bach was composed by David Karp (a twentieth-century pedagogical composer) and published in 1994. These pieces serve to introduce intermediate piano students to the dance styles of the Baroque period. Also, Gillock’s Lyric Preludes in Romantic

Style, published in 1958, are intermediate pieces designed to introduce intermediate students to romantic style pieces. Although both sets of pieces were written and published during the twentieth-century, neither was written in a twentieth-century compositional style, but rather in the style of a previous period. These and other pieces written by pedagogical composers are valuable because they can adequately prepare students for the masterpieces from the 18th, 19th, and 20th century (Grodon,

1975).

Despite the plea from pedagogues that no style period be ignored during the

intermediate years of study (Kraehenbuehl & Chronister, 1972), piano teachers may

avoid twentieth-century compositions, inhibited by either lack of familiarity,

43 education in the area, or both (Regal, 1973). Thompson calls this a “fear of the unknown or a dislike for the unfamiliar” (Thompson, 1976, p. 11). Although these statements were made in the 1970’s, this still remains a prominent thought in contemporary pedagogy. Burge, writing in the last decade of the twentieth-century, believes that “this is due, to a considerable extent, to the unfortunate limitations of our present educational perspectives, which tend to enshrine that which is already established and to regard all else as peripheral” (Burge, 1990, p. ix). Burge goes on, writing: “if piano playing is to remain a living, relevant art, the performance of this music is essential” (Burge, 1990, p. ix). However, this complaint regarding performers’ “alarming paucity of contemporary music” (Thompson, 1976, p. 11) does not begin when a pianist hits the concert stage, but rather when a student enters the first piano lesson. The responsibility to present contemporary music seems to belong to the beginning and intermediate piano teacher.

There appears to exist hesitancy on piano teachers’ part to incorporate contemporary literature into their students’ repertoire (Regal, 1973). This may stem from many reasons, perhaps the most obvious, as noted by composer Violet Archer that “most teachers themselves, in general, are not very, if at all, familiar with twentieth-century music...” (Soo, 1997, p. 43). Because of this, piano teachers may unwittingly send a message of prejudice against twentieth century music to their students (Burge, 1981). As Kemmerling noted in a 1980 dissertation, “many of our present piano students will live in the twenty-first century, but some will complete

44 their musical training without having been exposed to music written after 1940”

(Kemmerling, 1980, p. 2).

There has not been much research regarding twentieth-century pedagogical materials (Cartwright, 1997; Bauer, 1994). “…Although many authors advocate the study of contemporary piano works at the intermediate level, few have conducted research to assist piano teachers in locating and teaching this repertoire” (Cartwright,

1997, p. 11).

Some pedagogues have noted that twentieth-century repertoire should be chosen at the very beginning stage of a student’s lessons (Cartwright, 1997; Soo,

1997) and incorporated along with the best traditional repertoire. Archer writes:

“music from the best traditional repertoire should be taught to the young person right from the beginning along with music from the contemporary trend as soon as sufficient reading facility has been acquired after the beginning stage of his or her piano lesson. The best materials should be chosen even at their simplest” (Drumm,

1965, p. 17). This statement, although made in the 1960’s, still holds true today, in the first decade of the twenty-first century. Unfortunately, “today’s piano methods do not adequately prepare students to perform more recent repertoire…” (Cartwright,

1997, p. 3). It is therefore up to the skills of the independent teacher in organizing such repertoire plans for their students. However, independent piano teachers no longer have to perform this task in isolation. “Recent advances in technology can greatly assist teachers in researching, selecting, sequencing, and presenting repertoire.

45 Computer databases…can streamline the process of finding appropriate repertoire according to several criteria” (Cartwright, 1997, p. 144).

SUMMARY

The intermediate level of piano study is a time to develop many technical and musical skills. These skills should be taken into consideration when choosing repertoire for the intermediate student. Many written indexes exist that can help piano teachers in the selection of repertoire, providing annotations and perhaps leveling guidelines. However, there seems to be much debate as to what technical skills should be learned during the years of intermediate piano study. Although leveling intermediate piano pieces seems to be a disputable subject, it has been shown that through identification of technical demands within a piece, accurate leveling guidelines can be assessed (Scanlan, 1988). Despite the availability of many indexes, written indexes do not provide the important visual and aural aspects of music. It is also not possible to perform searches involving many criteria using written indexes.

One solution to this problem of repertoire selection for the intermediate student lies in the area of technology, specifically the Internet. By providing an index of piano pieces in the form of a database on the Internet, information can potentially reach a worldwide audience, provide the important visual and aural aspects of music through multimedia means, and give users the opportunity to perform searches involving several search criteria. Presenting information about intermediate piano repertoire on the Internet could help piano teachers in the selection of repertoire.

46 Specifically, the area of twentieth-century intermediate piano repertoire is one that can benefit from inclusion in an Internet database. Therefore, creation of an Internet database of twentieth-century intermediate piano repertoire could be a tool to aid piano teachers in the difficult process of choosing repertoire for their intermediate students.

47 CHAPTER THREE

Preliminary Database Development and Design

INTRODUCTION

In order to provide piano teachers with an alternate tool for intermediate repertoire selection, a multimedia database was created and presented in the form of a

Web page on the Internet (www.pianorep.com). The Website and all graphical interfaces were designed and programmed by the author. All decisions regarding the layout of the database, the data fields, and the subdivisions of data were also determined by the author. David Hainsworth, systems analyst of the School of Music at the University of Texas at Austin, wrote the PHP code designed to interact with the

Website. After creation of the Website and programming of the database, 154 intermediate level twentieth-century pieces were chosen, analyzed, recorded, and entered into the database by the author.

DATABASE PROGRAMMING USING PHP AND MYSQL

PHP, which stands for “Personal Home Page Tools,” is a server-side scripting programming language used to run commands within a dynamic Web site. Rasmus

Lerdorf developed PHP in 1994. This programming language is used on over one million Web servers (Meloni, 2000). Uses for PHP include connection to a database, display of dynamic content, and generating commercial based Web sites. Because of its versatile nature, PHP was chosen as the programming language for this project.

MsSQL was chosen as the database software for this project. MySQL is a freeware

48 program available for download at http://www.mysql.com/. Because of its proven success in data management and freeware availability, MySQL was downloaded and installed on the UNIX platform in the computer lab in The University of Texas at

Austin School of Music.

Before initial database development, the entire structure of the project had to be determined. In order for the searches within the database to be successful, all of the tables and data fields had to be linked. This linking and design of the tables and fields was done through initial PHP programming. Once data were entered into the database, the relationships of the fields to each other could not be altered. It was therefore important that the planning stage of the database was thorough and exact.

The first decision within the initial database planning stage was the subdivision of the data itself. Several sources were consulted to determine how others within the field of pedagogy have categorized and analyzed intermediate repertoire. Specifically, the categorical fields of Maxwell (1983), Cartwright (1997), and Halbeck (1992), were studied. Also, two pedagogy professors at The University of Texas at Austin were consulted concerning the analytical fields for this database:

Gilmson, S. (personal communication, October 2001) and Hilley, M. (personal communication, October 2001). In each field consideration, the private independent studio teacher was assumed to be the main user of this database. After research and consultations, the following twenty-one data fields were chosen: Composer, Title,

Composer Collection, Catalogue Number, Level, Harmonic Scheme, Mode, Key,

49 Tempo, Time Signature, Musical Style, Articulation, Texture, Harmonic Content,

Ornamentation, Technique, Rhythm, Other Pedagogical Issues, Publisher Collection,

Publisher, and Editor. It was also decided that each repertoire piece would be

represented by a visual (scanned) and audio (MIDI converted to MP3) file of the first

four measures.

Once the categorical fields were determined, the number of possible entries

within each field was decided. This was done so that separate tables could be created

and programmed for each field within the database. Each field could have “zero to

one” entries, “zero to many” entries, “one to many” entries, or “exactly one” entry.

For example, a piece of music may have one or several textures and articulations but only one catalogue number. Therefore, the two fields articulations and textures were determined as “one to many” entries. For example, a piece many have one articulation (legato) and another piece may have several articulations (legato, staccato, tenuto, etc.). The field catalogue number was designated as a “zero to one” entry because some entries may have one and only one opus number (K. number, D. number, etc.). However, some entries may not have any kind of catalogue number, thus needing the possibility of zero entries. Therefore, before creation of the database, the following questions were answered for each field.

50 Table 3.1

Preliminary database design: questions to address possible entries within data fields

Question ______

A Piece of Music can have ______composer(s)

A Piece of Music can have ______title(s)

A Piece of Music can have ______composer collection(s)

A Piece of Music can have ______catalogue number(s)

A Piece of Music can have ______level(s)

A Piece of Music can have ______harmonic scheme(s)

A Piece of Music can have ______mode(s)

A Piece of Music can have ______key(s)

A Piece of Music can have ______tempo(s)

A Piece of Music can have ______time signature(s)

A Piece of Music can have ______form/genre/style(s)

A Piece of Music can have ______texture(s)

A Piece of Music can have ______articulation(s)

A Piece of Music can have ______harmonic content(s)

A Piece of Music can have ______ornamentation(s)

A Piece of Music can have ______technique(s)

______(Table 3.1 continues)

51 (Table 3.1 continued) ______A Piece of Music can have ______rhythm(s)

Every Piece of Music has ______other pedagogical issue(s)

Every Piece of Music has ______image(s)

Every Piece of Music has ______sound clip(s) ______

For every answer that was “Zero to Many” or “One to Many,” a new table was created using PHP and MySQL. Once the possible number of entries were determined for each data field, the tables were created using PHP programming. The initial PHP code used for creation of the data fields was programmed by the author

(see Appendix B); the remaining code for the database was programmed by David

Hainsworth.

WEB PAGE DEVELOPMENT

To allow for the data within the database to be viewed by others, an Internet

Web page was developed. This Web page was designed using Macromedia

Dreamweaver® Version 4.0 with graphical designs created in Macromedia

Fireworks®, Version 4.0. Macromedia Dreamweaver® is a visual editor that generates HTML code through graphical design. In order for the Web page to interact with the MySQL database, the PHP programming was inserted within the

HTML code. Therefore, in order for a search to execute properly, the user’s request

(made through the Web page) would activate the PHP code that would in turn

52 generate results from the MySQL database. The results would then be sent back through the PHP code for display in the dynamic Web page.

The main menu bar of the Web page was developed using Macromedia

Fireworks®, Version 4.0. The five main sections of the Web site were represented on the menu bar: Home, Basic Search, Advanced Search, Composers, and Glossary.

This menu bar serves as a navigation bar for the user, appearing on every page of the

Web site. Each button on the menu bar was designed to have three appearances. If not in use, the button would remain static. When the cursor would roll over the button, the button would move. When the mouse was clicked over the button, the button would change colors. The menu bar was designed in this manner so that the user could easily navigate through the Web site.

Figure 1:

Navigation Bar

Home Page

The main index (Home) page was designed to be a brief introduction to the project. Aside from the main navigation bar, the Home page contains information about the database, e-mail links to the author and PHP programmer, as well as URL 53 links to the publishers who agreed to have their music displayed in this dissertation.

The Home page also contains a link to the leveling guidelines of this project.

Basic Search and Advanced Search Pages

The two main search pages, the Basic Search and the Advanced Search page

differ only in the complexity of search criteria. The Basic Search page only

addresses three main fields within the database: Composer, Pedagogical Level, and

Technical Issues. This basic search page was designed for the user who may not be interested in detailed information about each piece. Each field (Composer,

Pedagogical Level, and Technical Issues) displays search choices through drop-down menus. These drop-down menus were designed to avoid discrepancies in word choices so that the user’s search would be more effective. The field Composer lists all of the composers represented in the database. The field Pedagogical Level includes the choices “early-intermediate,” “intermediate,” and “late-intermediate.”

The field Technical Issues lists twenty-three subdivisions of technical issues found

within piano repertoire at the intermediate level (see Table 3.2). The user also has the

option of entering “Any” as a choice under each field, indicating that that is not

important to the search.

The Advanced Search page is similar in format to the Basic Search page with

the option of additional fields for more exact search criteria. The Advanced Search

page contains the following searchable data fields: Composer, Pedagogical Level,

Harmonic Scheme, Mode, Key, Tempo, Time Signature, Articulation, Ornamentation,

54 Texture, Rhythmic Issues, Harmonic Content, Musical Style, and Technical Issues.

Subdivisions of each field are listed in Table 3.2. The subdivisions of each field were created by the author based on repeated possible entries found during analysis of the literature. For example, when reviewing intermediate piano literature, it was found that such issues as hand crossing and playing the melody in the left hand were reoccurring technical skills of the intermediate student. Therefore, these and other frequent reoccurrences were listed as subdivisions of the field techniques.

55 Table 3.2:

Subdivisions of Data Fields Within the Database

______Data Field Subdivisions ______

Level Early-Intermediate; Intermediate; Late-Intermediate

Harmonic Scheme Tonal; Modal; Atonal; Bitonal; 12-Tone

Mode Major; Minor; Ionian; Dorian; Phrygian; Lydian; Mixolydian; Aolian; Locrian

Tonic C; C#/Db; D; D#/Eb; E; F; F#/Gb; G; G#/Ab; A; A#/Bb; B

Tempo Very Slow; Slow; Moderate; Fast; Very Fast

Time Signature 2/4; 3/4; 4/4; 5/4; 6/4; 7/4; 2/2; 3/2; 4/2; 3/8; 4/8; 5/8; 6/8; 7/8; 9/8; 12/8; Alternating Meter; Changing Meter; Cut Time; None

Articulation Legato; Staccato; Legato vs. Staccato; Non-legato; Accent; Tenuto; Portato; 2 or 3 Note Slurs

Ornamentation Glissando; Trill; Mordent; Grace Note; Turn

Texture Counterpoint; Chordal; Melody and Accompaniment; Parallel Motion; Contrary Motion; Alternating Hands; One Line

Rhythmic Issues Accelerando; Augmentation; Clapping/Tapping; Complex Rhythm; Duplet vs. Triplet; Fermata; No Bar Lines; Rhythmic Precision; Ritardando; Rubato; Swing; Syncopation; Free Rhythm; Hemiola ______(Table 3.2 continues)

56 (Table 3.2 continued) ______Harmonic Content Chromatic Scale; Major Scales; Minor Scales; Pentatonic Scale; Whole Tone Scale; Blues Scale; Mixed Modes; 5 Finger Patterns; Polychordal; Clusters; Harmonics/Overtones; Quartal/Quintal; Angular Melody; “Wrong Note” Writing; Synthetic Scale; Octatonic Scale; 7th Chords

Musical Style Dance; Etude; Invention; Jazz Style; March; Nocturne; Prelude; Ragtime; Romance; Rondo; Sonatina; Scherzo; Tarantella; Toccata; Waltz

Technical Issues Chords, Blocked; Chords, Broken; Chords, Rolled; Repeated Notes; Consecutive Thirds/Sixths; Octaves; Finger Action; Loose Wrist; Crossing Hands; Two Voices in One Hand; Melody in the Left Hand; Wide Leaps in One Hand; Pedal, Sustain; Pedal, Una Corda; Aleatoric Writing; Graphical Notation; Prepared Piano; Inside the piano; Wide Range of Keyboard; Ostinato Pattern; Sequences; 8va; Wide Dynamic Range

______

Glossary Page and Composers Page

Since the database and Web site were designed for all skill levels of piano teachers, a Web page containing a glossary of terms was developed. The glossary was developed to serve as an aid for beginning teachers or teachers not familiar with twentieth-century compositional terminology. The glossary page contains, in alphabetical order, the important terms used in the Web site. Specific consideration was given to terms associated with twentieth-century composition and twentieth- century technical issues. The glossary of terms can be found in Appendix C.

57 Also, a Composers page was developed for the site. This page includes brief

(two-five sentence) biographical information about each composer represented in the

database. Also, since the database does not represent all compositions by the

composers selected for inclusion in this project, a listing of additional intermediate

repertoire was included after each composer’s biography. The composer page was

developed with the user in mind. For example, if a teacher were interested in the

intermediate piano repertoire of Aaron Copland, and only found two pieces by

Copland in the database, the Composers page would provide the teacher with

additional listings of Copland’s intermediate piano compositions. All biographical

information listed on the Website can be found in Appendix D.

Results Page

Once a user completes a search, the titles and composers of the pieces appear

on the results page. The titles of each piece are highlighted in blue, indicating that they are a link to additional information. If the user clicks on the title, an additional page will open in the site, allowing the user to view all of the entered information about the selected piece, including the visual and audio representation of the first four measures.

58 FLOWCHART OF THE WEB SITE

On each Web page, internal links were made so that the user can navigate

between pages of the site. During the initial planning stage of the Web site, the

following links were established. It was decided that the navigation bar would appear

at the top of each page, providing internal links to the Home, Basic Search, Advanced

Search, Glossary, and Composer pages. Additional links were established on the index (Home) page. These were external links to outside music publishers as well as links to the leveling guidelines of the project and e-mail links to the author and PHP programmer. A flowchart of the Web site is represented in Figure 2.

59 Figure 2:

Flowchart of Web Site

Index (Home) Publisher Links E-mail Links

Basic Search Advanced Glossary Composers Search

Results: Leveling Titles of Pieces Guidelines

Full Results Page

60 CHAPTER FOUR

Analysis and Entry of Repertoire

COMPOSER SELECTION

The composers chosen for this project were based on suggestions made by

three experts within the field of piano pedagogy: Gilmson, S. (personal

communication, October 2001), Hilley, M. (personal communication, October 2001)

and True, C. (personal communication, February 2002) as well as annotated

information provided in four written indexes. The four written indexes used were The

Pianist’s Guide to Standard Teaching and Performing Literature (Magrath, 1995);

Maxwell Music Evaluation Notebook: Contemporary Piano Literature (Maxwell,

1983); Guide to the Pianist’s Repertoire (Hinson, 1987); and Teaching and

Understanding Contemporary Piano Music (Thompson, 1976). A total of fifty-seven composers were chosen for this project. All composers wrote piano pieces at the intermediate level and were composing between the years 1900 and 2000.

61 Table 4.1:

Composers Chosen for Inclusion in the Database

______Name of Composer Suggested by Hinson, Magrath, Thompson, Maxwell, Hilley, Gilmson, or True ______Adler, Samuel Hinson; Magrath; Thompson Archer, Violet Hinson; Magrath Bartok, Bela Hinson; Magrath; Maxwell; Thompson; Hilley; Gilmson Beard, Katherine Hilley Beaty, Dan Hinson; Magrath; Maxwell Bernstein, Leonard Hinson; Magrath; Maxwell; Thompson Bernstein, Seymour Hinson; Magrath; Maxwell; Hilley Bloch, Ernst Hinson; Magrath; Maxwell; Thomspon Bober, Melody Hilley Bolcom, William Hinson; Magrath; Maxwell Brubeck, Dave Hinson; Magrath Burgess, Marjorie Hilley Campbell, Carolyn Jones Hilley Caramia, Tony Hilley Chagy, John Hilley Cooper, Paul Hinson; Magrath Copland, Aaron Hinson; Magrath; Maxwell; True Coulthard, Jean Hinson; Magrath Cowell, Henry Hinson; Magrath; Maxwell; Thompson Dello Joio, Norman Hinson; Magrath; Maxwell; Thompson; Hilley; True; Gilmson Duke, David Gilmson Finney, Ross Lee Hinson; Magrath; Maxwell; Thompson Frid, Grigori Gilmson Gillock, William Hilley Ginastera, Alberto Hinson; Magrath; Maxwell; Thompson; Goolkasian-Rahbee, Dianne Hinson; Magrath; Maxwell; Hilley Greene, Arthur Hinson; Magrath; Maxwell Gretchaninoff, Alexandre Hinson; Magrath; Maxwell; Hilley Harris, Roy Hinson; Magrath; Maxwell; Thompson ______(Table 4.1 continues)

62 (Table 4.1 continued) ______Hopkins, Anthony Hinson; Magrath; Maxwell; Thompson Hovhaness, Alan Hinson; Magrath; Maxwell; Thompson Kabalevsky, Dmitri Hinson; Magrath; Maxwell; Thompson; Hilley Karp, David Hinson; Maxwell; Hilley Khachaturian, Aram Hinson; Magrath; Maxwell; Thompson; Hilley Krenek, Ernst Hinson; Magrath; Thompson Lebeda, Miroslav Gilmson McLean, Gordon Gilmson Mier, Martha Hilley Mishell, Kathryn Maxwell; Hilley Mompou, Frederic Hinson; Magrath; Maxwell; Thompson Olson, Lynn Freeman Maxwell; Thompson; Hilley Persichetti, Vincent Hinson; Magrath; Maxwell; Thompson; Hilley Prokofiev, Serge Hinson; Magrath; Maxwell; Thompson; Hilley; Gilmson Rebikov, Vladimir Hinson; Magrath; Maxwell; Thompson; Hilley Rocherolle, Eugénie Hilley Rollin, Catherine Hilley Rosco, B.J. Hinson; Hilley Schuman, William Hinson; Magrath; Maxwell; Thompson; True Sheftel, Paul Hilley Shostakovich, Dmitri Hinson; Magrath; Maxwell; Thompson; Hilley; Gilmson Starer, Robert Hinson; Magrath; Maxwell; ThompsonHilley Stravinsky, Igor Hinson; Magrath; Maxwell; Thompson Stravinsky, Soulima Hinson; Magrath; Maxwell; Thompson; Hilley Takács, Jenö Hinson; Magrath Tcherepnin, Alexander Hinson; Magrath; Maxwell; Thompson; Hilley Thompson, Virgil Hinson; Magrath; Maxwell; True Vandall, Robert D Hilley

63 REPERTOIRE SELECTION FOR THE DATABASE

Repertoire selection from the 57 composers included in the database was based on several criteria. First, all of the pieces chosen for the database were written at the intermediate level. No beginning or advanced pieces were included. Second, all of the pieces chosen were written for solo piano. Third, all of the pieces chosen were currently in print and therefore available for purchase. Current publication status was determined through searches from publication catalogues and through local music stores. Publication catalogues found on the Internet and in traditional printed form were consulted. Further, all of the pieces represented by a visual scan were from publishing houses that agreed to allow the first four measures included in the database. Copyright permission of the first four measures was granted as a result of a letter written to all of the publishers (see Appendix E). The letter explained the educational purpose of the project and listed the pieces (published by that company) intended for use in the database. Finally, since one purpose of the database is to expose piano teachers to a wide spectrum of the twentieth-century piano literature, only a limited number of compositions from each composer were selected (no more than 10 pieces by any one composer).

Following the selection of composers, 1-10 pieces from each composer’s intermediate output were selected for inclusion in the database. Pieces were chosen based on the following three criteria. First, pieces were chosen that emphasized certain technical concepts. For example, some pieces emphasized staccato playing as

64 the main compositional goal, thus allowing students to develop this skill in more detail by studying this piece. Second, some pieces were chosen because they were composed to serve as lead-in pieces to more advanced repertoire. For example, some intermediate pieces written during the twentieth-century were composed in the style of a Baroque suite, a Romantic prelude, or in the contrapuntal style of a two-part invention. Finally, other pieces were chosen because they were composed with the inclusion of a compositional technique prominently developed during the twentieth century. Some examples of this include compositions using clusters, strumming the strings, or use of quartal and quintal harmony. These three criteria for repertoire selection are not mutually exclusive; some piece may fall under two or all three of the categories. For example, hypothetically, a piece of music may emphasize staccato playing (criteria one), be written in the form of a baroque dance suite (criteria two), and contain tone clusters (criteria three). For the purpose of this written dissertation, the main compositional goal of each piece was determined and categorized in the three tables below. In the actual Website database, all aspects of the piece are represented, cross-referenced, and can be retrieved through multiple searches. The pieces chosen for inclusion in the database can be found in Tables 4.2, 4.3, and 4.4.

65 Table 4.2:

Repertoire Chosen for the Database: Compositions that Incorporate Technical Concepts ______Concept

Composer Title ______Hand Crossing

Bartok, Bela Kite Settled on the Branch, Sz. 42:II/2

Kabalevbsky, Dmitri The Juggler, Op. 89, No. 21

Double Notes and Chords

Shostakovich, Dmitri Country Dance

Legato Playing

Kabalevsky, Dmitri A Sad Tale, Op. 27, No. 3 from Children’s Pieces

Khachaturian, Aram Ivan and Natasha from Adventures of Ivan

Loose Wrist

Kabalevsky, Dmitri A Brisk Game, Op. 14, No. 1 from Four Little Pieces

Rhythmic Coordination

Bartok, Bela Allegro, Sz. 42:38

Gretchaninoff, Alexandre Strolling

Repeated Notes

Bartok, Bela Village Dance, Sz. 42:32 ______(Table 4.2 continues)

66 (Table 4.2 continued) ______Kabalevsky, Dmitri The Drummer, Op. 14, No. 2, from Four Little Pieces

Staccato Playing

Bartok, Bela Folk Dance, Sz. 42:6, from For Children

Kabalevsky, Dmitri Country Dance, Op. 39, No. 17 ______

67 Table 4.3:

Repertoire Chosen for the Database: Compositions Written as Lead-In Pieces to the More Advanced Repertoire ______Musical Style

Composer Title ______Etude

Kabalevsky, Dmitri Etude (“fleet fingers”), Op. 27, No. 8

Khachaturian, Aram Ivan is Very Busy, from Adventures of Ivan

Sheftel, Paul Etude I, from Interludes, Mood Studies for Piano

Frid, Grigori A Little Rain (Etude), from A Day in the Country

Two-Part Invention

Dello Joio, Norman Invention, from Suite for the Young

Frid, Grigori Invention in B Minor from Russian Tales

Olson, Lynn Freeman Invention in Blue

March

Duke, David March, Lydian Mode

Kabalevsky, Dmitri Soldiers’ March, Op. 14, No. 4, from Four Little Pieces

Persichetti, Vincent March, from Parades

Prokofiev, Serge March of the Grasshoppers, Op. 65, No. 7

______(Table 4.3 continues)

68 (Table 4.3 continued) ______Rocherolle, Eugénie Majestic March, from Instrumental Inspirations

Nocturne

Frid, Grigori Nocturne from Russian Tales

Olson, Lynn Freeman Nocturne

Rollin, Catherine Summer’s Nocturne

Rollin, Catherine Nocturne in Blue

Sheftel, Paul Nocturne

Prelude

Chagy, John Lyric Prelude

Gillock, William Fountain of Diana from Lyric Preludes in Romantic Style

Gillock, William October Morning from Lyric Preludes in Romantic Style

Gillock, William Serenade from Lyric Preludes in Romantic Style

Lebeda, Miroslav Prelude from Music for Young Pianists

Rondo Form

Kabalevsky, Dmitri Rondo-Song, Op. 60, No. 3

Olson, Lynn Freeman Rondo Capriccio

Scherzo

Bartok, Bela Scherzando, No. 25 from For Children, Vol. 2 ______(Table 4.3 continues)

69 (Table 4.3 continued) ______Bober, Melody Black Cat Scherzo

Vandall, Robert D. Scherzo

Sonatina

Karp, David Sonatina

Olson, Lynn Freeman First Sonatina

Vandall, Robert D. Sonatina No. 1 in C Major

Tarantella

Prokofiev, Serge Tarantella, Op. 65, No. 4, from Children’s Pieces

Vandall, Robert D. Graveyard Tarantella

Toccata

Campbell, Carolyn Jones Toccata

Kabalevsky, Dmitri Toccatina, Op. 27, No. 7 from Children’s Pieces

Olson, Lynn Freeman Rio Toccata

Waltz Bober, Melody Crystal Palace Waltz

Caramia, Tony Finger Snap Waltz from Adventures in Jazz Piano, II

Khachaturian, Aram Ivan Goes to a Party from Adventures of Ivan

Prokofiev, Serge Waltz, Op. 65, No. 6, from Children’s Pieces

Persichetti, Vincent Waltz, Op. 55, No. 2, from Serenade ______(Table 4.3 continues)

70 (Table 4.3 continued) ______Kabalevsky, Dmitri Gentle Waltz, Op. 39, No. 23

Dance Suite

Karp, David Allemande, from Lady Margaret's Suite

Karp, David Sarabande, from Lady Margaret's Suite ______

71 Table 4.4:

Repertoire Chosen for the Database: Pieces Written With a Twentieth-Century Compositional Technique

______Compositional Technique

Composer Title ______12-Tone

Beard, Katherine Here am I, from Twelve Times Twelve

Beaty, Dan All Twelve, from Woodsprite and Waterbug Collection

Krenek, Ernst The Moon Rises, Op. 83, No. 4 from12 Short Piano Pieces Aleatoric Writing

Adler, Samuel Nos. 14-16 from Gradus Book II

Cooper, Paul No. IV from Cycles for Piano

Finney, Ross Lee “Mountains” and “Mobile” from 32 Piano Games

Takács, Jenö Chinese Chimes

Beaty, Dan Mists from Woodsprite and Waterbug Collection

Alternating Meter

Bloch, Ernst Joyous March, No. 5 from Enfantines. Ten Pieces for Children ______(Table 4.4 continues)

72 (Table 4.4 continued) ______Angular Melody

Shostakovich, Dmitri A Happy Story, Op. 69, No. 4 from Six Children’s Pieces

Schuman, William Lyrical

Asymmetric Meter

Beaty, Dan Morning Song from Woodsprite and Waterbug Collection

Harris, Roy Sad News, No. 2 from Little Suite for the piano

Persichetti, Vincent Dialogue, Op. 60, No. 3 from Little Piano Book,

Starer, Robert Crimson, from Sketches in Color, Set 1

Vandall, Robert D. Time Twister

Burgess, Marjorie Nocturne

Campbell, Carolyn Jones Think Five from 7 Preludes for Keyboard

Bitonality

Adler, Samuel No. 10 from Gradus Book I

Beaty, Dan Waterbug from Woodsprite and Waterbug Collection

Rebikov, Vladimir In the Forest

Olson, Lynn Freeman Scherzando ______(Table 4.4 continues)

73 (Table 4.4 continued) ______Changing Meter

Beaty, Dan Doodling from Woodsprite and Waterbug Collection

Bernstein, Leonard For Susanna Kyle, No. 5 from Five Anniversaries

Frid, Grigori Chastushka from Russian Tales

Lebeda, Miroslav The Confused Dancer from Piano Sketches

Starer, Robert Pink from Sketches in Color, Set 1

Stravinsky, Igor No. 1 from Les Cinq Doigts

Tcherepnin, Alexander Bagatelles Op. 5, No. 4

Tcherepnin, Alexander Bagatelles Op. 5, No. 6

Clapping/Tapping

Bernstein, Seymour Roadrunner from Birds, Set II

Bernstein, Seymour The Black Fly from Insects

Clusters

Beaty, Dan Thumderheads from Woodsprite and Waterbug Collection

Bernstein, Seymour Guinea Hen from Birds, Set II

Cowell, Henry Bounce Dance

Finney, Ross Lee Black Notes and White Notes from 32 Piano Games ______(Table 4.4 continues)

74 (Table 4.4 continued) ______Prokofiev, Serge The Rain and the Rainbow, Op. 65, No. 8 from Children’s Pieces

Bolcom, William The Big Bad Mr. Monster Strikes Again from Monsterpieces (and Others)

Graphical Notation

Adler, Samuel No. 19 from Gradus Book II

Harmonics/Overtones

Bartok, Bela Harmonics from Mikrokosmos, Vol. IV

Hopkins, Anthony Ghosts from For Talented Beginners, Book II

Mishell, Kathryn Cast Your Thoughts to Ireland from Piano Solos for More Than Ten Fingers

Takács, Jenö Twilight Music, Op. 92

Use of Jazz Elements

Caramia, Tony New York Blues from Adventures in Jazz Piano I

Caramia, Tony Pleasant Promenade from Adventures in Jazz Piano I

Caramia, Tony The Champaign Shuffle from Adventures in Jazz Piano I

Dello Joio, Norman Small Fry, No. 9 from Suite for the Young

Starer, Robert Bright Orange from Sketches in Color, Set 1 ______(Table 4.4 continues)

75 (Table 4.4 continued) ______Modality

Adler, Samuel No. 7 from Gradus Book I

Bartok, Bela Game of Tag, No. 20 from For Children, Vol II

Bartok, Bela Mixolydian Mode, No. 48 from Mikrokosmos, Vol. II

Bloch, Ernst Rainy Day, No. 8 from Enfantines

Bloch, Ernst Dream from Enfantines

Karp, David Phrygian Foible from Jazz n' Such

Persichetti, Vincent Walk, Op. 55, No. 2 from Serenade No. 7

Stravinsky, Igor No. 4 from Les Cinq Doigts

Stravinsky, Soulima Answering Back, No. 25 from Piano Music for Children, Vol. II

No Bar Lines

Coulthard, Jean Star Gazing

Harris, Roy Bells, No. 1 from Little Suite for the Piano

Starer, Robert Herman the Brown Mouse from At Home Alone

Takács, Jenö Study in Sounds from Sounds and Colours, Op. 95

Persichetti, Vincent Arietta from Little Piano Book, Op. 60

Pentatonic

Bartok, Bela Pentatonic Tune, For Children, Vol. 1, No. 29 ______(Table 4.4 continues)

76 (Table 4.4 continued) ______Dello Joio, Norman Mountain Melody, No. 1 from Suite for the Young

Stravinsky, Soulima Pagoda, No. 14 from Piano Music for Children, Vol. I

Ginastera, Alberto In the first Pentatonic Minor Mode, No. 5 from 12 American Preludes, Vol. I

Polychordal

Beaty, Dan Bells from Woodsprite and Waterbug Collection

Dello Joio, Norman Russian Dancer, No. 6 from Lyric Pieces for the Young

Persichetti, Vincent Prologue, No. 10 from Little Piano Book, Op. 60

Prepared Piano

Greene, Arthur The Three Blind Mice Rollin’ Along Toccata from Seven Wild Mushrooms and a Waltz

Rosco, B.J. Mai (Dance)

Quartal/Quintal Harmony

Mompou, Frederic Cris dans la Rue from Scenes d’Enfants

Olson, Lynn Freeman Garden Pools in Kyoto

Stravinsky, Soulima For the Kid Next Door, No. 7 from Piano Music for Children, Vol. I

Ragtime Elements

Bober, Melody Raspberry Rag ______(Table 4.4 continues)

77 (Table 4.4 continued) ______Mier, Martha Ragtime Charlie

Strumming/Striking/Plucking Strings

Adler, Samuel No. 17 from Gradus Book II

Bernstein, Seymour Phoenix from Birds, Set II

Cooper, Paul No. IX from Cycles for Piano

Goolkasian-Rahbee, Dianne What Do I Hear?, Op. 3, No. 10 from Pictures

Hovhaness, Alan Midnight Bell from Visionary Landscapes

Rosco, B.J. Ocean Whisper from Gallery of Sound Patterns

Whole Tone

Adler, Samuel No. 3 from Gradus Book I

Bartok, Bela No. 136 from Mikrokosmos, Vol. V

McLean, Gordon The Lotus Awakes

Wide Keyboard Range

Duke, David Barcarolle

Prokofiev, Serge Morning, Op. 65, No. 1 from Children’s Pieces

Finney, Ross Lee Everything Everywhere from 32 Piano Games

Wrong Note Writing

Archer, Violet Jig

Shostakovich, Dmitri March, Op. 69, No. 1 from Six Children’s Pieces ______

78 Copyright Permission

Once the pieces were chosen for the database, letters requesting copyright permission were sent to all of the publishers (see Appendix E). Some publishers replied within a matter of days, others took up to seven months to respond. In some instances, specific publishers did not hold copyrights to all of the pieces in their collection. In many cases, the publishers were helpful in supplying names of publishing houses that could indeed grant copyright permission or names of living composers who could grant copyright permissions for their own works. Of the publishing houses contacted, three were unable to grant copyright permission for this dissertation. Two publishers granted copyright permission, but the fee for use of their works was too high, therefore, their pieces were not used in this project. The remaining eighteen publishing companies did grant copyright permission with the stipulation that this project would not be used for anything other than educational means.

Repertoire Analysis

After copyright permission was granted, repertoire chosen for the database was analyzed according to the twenty-one data fields chosen in the database planning stage: Composer, Title, Composer Collection, Catalogue Number, Level, Harmonic

Scheme, Mode, Key, Tempo, Time Signature, Musical Style, Articulation, Texture,

Harmonic Content, Ornamentation, Technique, Rhythm, Other Pedagogical Issues,

Publisher Collection, Publisher, and Editor. During the planning stage, each data

79 field was assigned an exact variable. Some fields were assigned a variable of one,

meaning that each piece chosen for the database fulfilled that field one and only one

time. Fields under this category included: Composer, Title, Level, Harmonic

Scheme, Mode, Key, Tempo, Time Signature, and Other Pedagogical Issues. For such

fields that may change during the piece, such as key or mode, the initial key and

mode of the piece was used. If the time signature changed during the piece, the field

“changing meter” or “alternating meter” was used. Some fields were assigned a

variable of zero to one, meaning that each piece did not necessarily have to fulfill this

field, but if it did, it would only have one entry. Fields under this category include:

Composer Collection, Catalogue Number, and Musical Style. I made all

determinations for the dominant musical style. The remaining fields were assigned a

variable of zero to many, meaning that each field may or may not be fulfilled at least

once, with possibilities of multiple entries. For example, one piece may have several

articulation markings, thereby needing several entries under the field Articulation.

Fields under this category include: Articulation, Texture, Harmonic Content,

Ornamentation, Technique, Rhythm, Publisher Collection, Publisher, and Editor.

Among these twenty-one data fields, some were further subdivided.

Subdividing a field resulted in creation of drop-down menus, allowing the user to search the database with an additional level of precision (see Table 3.2). Some of the fields were not subdivided simply because each entry for each piece was unique (non- recurring) and therefore different. For example, each piece had a different title.

80 Therefore, creating subdivisions of the field title would result in as many drop-down menu choices as there were entries. Since more than 150 pieces were to be included in the database, such a long list of subdivisions would be unmanageable by the user.

Other fields were not subdivided to allow for inclusion of extended text. For example, the field Other Pedagogical Issues was not subdivided, allowing this field to serve as a paragraph of text describing the piece in prose. The fields that were not subdivided included: Title, Composer Collection, Publisher Collection, Catalogue

Number, and Other Pedagogical Issues. The field Composer Collection represents the collection that the composer assigned to the piece (for example, “Mikrokosmos

Volume II” by Bartok); the field Publisher Collection represents the name of the book assembled by the publishing house (for example, “Solo Spectacular, Book 3” published by Alfred).

Most of the fields were subdivided further. The subdivisions were chosen based on simplicity and possibilities for practicable application. For instance, almost all pieces chosen for the database had a different tempo marking, ranging from verbal explanations of the tempo (allegro, briskly, etc.) to exact metronome markings

(quarter note=96). If the pieces were entered at their exact tempo markings, searches would not be possible, for of the 154 piece analyzed, it was found that almost every tempo marking was unique; rarely was a tempo marking of one piece identical to the tempo marking of another piece. Because of this, the tempo markings of all pieces were categorized into the following tempi indications so as to simplify the repertoire

81 selection process: Very Slow, Slow, Moderate, Fast, and Very Fast. Other fields that were further subdivided included: Level, Harmonic Scheme, Mode, Key, Tempo,

Time Signature, Articulation, Ornamentation, Texture, Rhythm, Mood, Music Style,

Technique, and Harmonic Content. Subdivisions were created based on categories of analysis of other written indexes found in the literature on intermediate repertoire as well as my own individual analyses of pieces.

All pieces were analyzed from my own pedagogical viewpoint. Some issues such as what the piece may address from a technical or pedagogical standpoint are topics that are open to interpretation. No outside research was conducted dealing with the interpretive suggestions of specific pieces made by others within the field.

The compositional intent of the composers was not represented in the database. All interpretive aspects concerning the analyzation of the pieces were based on my own decisions.

REPERTOIRE LEVELING

Because the intermediate level often spans several years of piano study, pieces were subdivided into three categories of the intermediate level: early-intermediate, intermediate, and late-intermediate. In order for this leveling to be consistent and therefore useful for the piano teacher searching the database, guidelines for each level were established. A description of the entire leveling guidelines for this project can be found in Table 4.5.

82 Leveling Early-Intermediate Pieces

For this project, early-intermediate pieces were designated as pieces playable by students in the final stages of method books such as Alfred’s Basic Piano Library

Levels 4 and 5 (Palmer, Manus, & Lethco, 1995), The Music Tree Level 2B (Clark,

Goss, Holland, & Betts, 2000), or Piano Adventures Levels 4 and 5 (Faber & Faber,

1998). Early-intermediate pieces are characterized by extreme consistency in phrasing, articulation, melody, and rhythm and considerable limitations of technical skills. In the technical area of coordination between the hands, early-intermediate pieces often contain movement of only one hand at a time. Often, both hands will contain rhythmic or melodic similarities or imitations. An example of this is

Soulima Stravinsky’s Pagoda from Piano Music for Children, Volume 1 (Figure 3).

As shown in the first four measures of this piece, the emphasis is first on the left hand and then on the right, giving the early-intermediate student a chance to focus on the technical skills of one hand at a time.

Figure 3:

“Pagoda” (m.1-4) from “Piano Music For Children, Volume 1” by Soulima Stravinsky

83 This technique of limited focus on one hand is also found in Vincent Persichetti’s

Arietta Op. 60 No. 6 (Figure 4) and Lynn Freeman Olson’s Rondo Capriccio.

Figure 4:

“Arietta No. 6” (m. 1) from “Little Piano Book”, Op. 60 by Vincent Persichetti

Figure 5:

“Rondo Capriccio” (m.1-4) by Lynn Freeman Olson

84 When the two hands play together in early-intermediate literature, often the accompanying hand (usually the left hand) contains a very limited harmonic pattern.

As seen in Soulima Stravinsky’s Tag from Piano Music for Children, Volume 1

(Figure 6), the left hand accompaniment pattern is a simple repeated F-sharp, giving the student a chance to focus on the technical demands of the melodic line found in the right hand.

Figure 6:

“Tag” (m. 1-4) from “Piano Music for Children, Volume I” by Soulima Stranvinsky

Another common simple accompaniment pattern found in early-intermediate repertoire is the interval of an open fifth, as seen in Paul Sheftel’s Etude I from

Interludes, Mood Studies for Piano (Figure 7).

Figure 7:

“Etude I” (m. 1-2) from “Mood Studies for Piano” by Paul Sheftel

85 Another characteristic of early-intermediate music is slow, simple, harmonic rhythm. Often composers will keep a harmony for an extended period of time (a measure or more), allowing the student to remain in the same hand position. This is seen in Robert D. Vandall’s Sonatina No. 1 in C Major, Mvt. 1. As shown in Figure

8, Vandall keeps the harmony of C major through measures 3 and 4, allowing the student to remain in the left hand position of a root position C Major triad.

Figure 8:

“Sonatina No. 1 in C Major, Mvt. 1” (m. 1-4) by Robert Vandall

86 Another characteristic of early-intermediate music is development of simultaneous technical skills in both hands through parallel motion. Usually, this parallel motion demonstrates identical articulations and phrasing, as shown in

Soulima Stravinsky’s For the Kid Next Door (Figure 9) and Lynn Freeman Olson’s

Garden Pools in Kyoto (Figure 10).

Figure 9:

“For the Kid Next Door” (m. 1-4) from “Piano Music for Children, Volume 1” by Soulima Stranvinsky

Figure 10:

“Garden Pools in Kyoto” (m. 1-4) by Lynn Freeman Olson

Other common characteristics of early-intermediate piano repertoire include: extensive use of 5-finger patterns and simple scale and arpeggio patterns of less than an octave, similar articulations between the hands, and consistent pedaling. Melodic material of early-intermediate literature is usually a single line melody. Often this 87 melody is played with the right hand or distributed between the two hands. Melodic ideas are also often sequential, using similar articulation and rhythmic patterns. Use of triads and intervals is usually limited under the span of an octave. Long scale and arpeggiated passages are usually achieved through hand crossing and distribution of material between the two hands. Overall, early-intermediate pieces are characterized by extreme use of repetition found in accompaniment patterns, sequential melodic ideas, and slow harmonic changes. This repetition allows early-intermediate students to slowly develop emerging technical skills through repetition of patterns.

88 Leveling Intermediate Pieces

The intermediate level is characterized by a gradual movement away from the

limitations of technique found within early-intermediate repertoire. For example, the

accompaniment material of intermediate repertoire is more extensive than the early-

intermediate repertoire, however still containing repetition. An example is Bela

Bartok’s use of broken triadic patterns in Game of Tag from For Children, Volume II

(Figure 11) and Carolyn Jones Campbell’s use of arpeggiated accompaniment patterns in Toccata (Figure 12).

Figure 11:

“Game of Tag” (m. 1-4) from “For Children, Vol. II” by Bela Bartok

Figure 12:

“Toccata” (m. 1-4) by Carolyn Jones Campbell

89 Within the intermediate level, triads and other chordal patterns are also used more frequently in accompaniments. An example of this is seen in David Duke’s

Barcarolle (Figure 13).

Figure 13:

“Barcarolle” (m. 1-3) by David Duke

Intermediate level repertoire also places emphasis on independence between the hands by presenting each hand with a moving melodic line. This is shown in

Aaron Copland’s Down a Country Lane (Figure 14), Vincent Persichetti’s Waltz, Op.

55 No. 2 (Figure 15) and Soulima Stravinsky’s Answering Back from Piano Music for

Children, Volume 2 (Figure 16).

Figure 14:

“Down a Country Lane” (m. 1-4) by Aaron Copland

90 Figure 15:

“Waltz, Op. 55 No. 2” (m. 1-4) by Vincent Persichetti

Figure 16:

“Answering Back” (m. 1-4) from “Piano Music for Children, Volume 2” by Soulima Stravinsky

91 For techniques within one hand, intermediate level pieces begin developing the skill of playing two voices in one hand. Often this skill is presented gradually, as in Samuel Adler’s No. 7 from Gradus, Book I (Figure 17). In this piece, the left hand fifth finger holds down a tied B while the third, second, and first fingers play an additional moving voice.

Figure 17:

“No. 7” (m. 1-4) from “Gradus, Book I” by Samuel Adler

Movement around the keyboard becomes more common within the intermediate literature. However, as before, this skill is patterned and emphasized through repetition. For example, in Bela Bartok’s Allegro from For Children, Volume

1 (Figure 18), the left hand jumps an interval of an octave in the first measure. This pattern is repeated again in the third measure.

Figure 18:“Allegro” (m. 1-4) from “For Children, Volume I” by Bela Bartok

92 When pieces contain twentieth-century compositional devices such as

clusters, movement around the keyboard in the intermediate level is also emphasized

in a limited, patterned environment. This is shown in Ross Lee Finney’s Mountains

from 32 Piano Games.

Figure 19:

“Mountains” (m. 1) from “32 Piano Games” by Ross Lee Finney

Extended techniques (such as playing inside the piano) and prepared piano

techniques are introduced in intermediate level repertoire, but also in a limited way.

For example, in Paul Cooper’s No. IX from Cycles for Piano, one hand strums on the strings while the other hand plays on the keyboard. The notes and range of movement is limited, allowing the student to focus on the new use of extended techniques. Arthur Greene’s The Three Blind Mice Rollin' Along Toccata from Seven

Wild Mushrooms and a Waltz (Figure 20) is an example of an intermediate level prepared piano piece, with limited preparation of the piano before performance.

93 Figure 20:

“The Three Blind Mice Rollin' Along Toccata” (m. 1-4) from “Seven Wild Mushrooms and a Waltz” by Arthur Greene

Other characteristics of the intermediate literature include increased

arpeggiated patterns played by one hand, octaves in the left hand, melodies in the left

hand, increased use of changing meter, and different articulations between hands.

Scale patterns within the intermediate level also begin to increase in length.

Frequently, composers will use ascending and descending scale passages to develop

fluency and to reiterate scale fingerings. This can be seen in Dmitri Kabalevsky’s use

of material from the A Minor natural scale in Etude in A Minor, Op. 27, No. 8 (Figure

21).

Figure 21:

“Etude in A Minor, Op. 27, No. 8” (m. 1) by Dmitri Kabalevsky c & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ o ? c œ œ œ œ œ œ œ œ œ- #œ-

94 Leveling Late-Intermediate Pieces

The late-intermediate pieces contain similar technical issues as the intermediate level pieces; however, late-intermediate pieces expand these techniques, stepping away from patterns and consistency. For example, chordal patterns are expanded to include wider-spaced chords (as shown in Figure 22) often containing a melody line, requiring the student to voice the chord to the top of the hand (see Figure

23)

Figure 22:

“Cris dans la Rue” (m. 1-3) from “Scenes d’Enfants” by Frederic Mompou

Figure 23:

“Nocturne” (m. 1-3) by Marjorie Burgess

Figure 23 also demonstrates the expansion of the technique of playing two voices in one hand.

95 Movement around the keyboard in the late-intermediate literature is less confining, containing less patterned material. As seen in Grigori Frid’s Nocturne from Russian Tales, the left hand accompaniment pattern, composed of different intervals, moves quite freely around the lower half of the keyboard. The right hand part also demonstrates the increased use of playing two voices in one hand.

Figure 24:

“Nocturne” (m. 1-4) from “Russian Tales” by Grigori Frid

This freedom of movement around the keyboard can also be seen in two of

Serge Prokofiev’s works for children: Morning, Op. 65 No. 1 (Figure 25) and The

Rain and the Rainbow, Op. 65 No. 8 (Figure 26). Morning presents C Major chords in root positions on either extreme of the piano, followed by melodic movement in the center of the piano. In The Rain and the Rainbow, Prokofiev presents hand crossing and clef changes, requiring that the student freely switch from one hand to the other in many different positions around the keyboard.

96 Figure 25:

“Morning, Op. 65 No. 1” (m. 1-3) by Serge Prokofiev

Figure 26:

“The Rain and the Rainbow, Op. 65 No. 8” (m. 1-4) by Serge Prokofiev

Other expansions of technique in the late-intermediate period include extended legato techniques through finger substitution (see Figure 27), complex rhythmic patterns (see Figure 28) and quick tempi to develop finger dexterity (see

Figure 29)

97 Figure 27:

“Invention in B Minor” (m. 1-4) from “Russian Tales” by Grigori Frid

Figure 28:

“In the First Pentatonic Minor Mode” (m. 1-4) from “12 American Preludes, Vol. I” by Alberto Ginastera

Figure 29:

“Prelude” (m. 1-3) from “Music for Young Pianists” by Miroslav Lebeda

98 In late-intermediate pieces, twentieth-century compositional techniques are often explored to a greater extreme. For example, in Jenö Takács’ Chinese Chimes,

Op. 95, the performer is given 8 notes to choose from to play within 5-10 seconds.

This degree of freedom using aleatoric devices is greater than that found in the early- intermediate and intermediate literature.

Figure 30:

“Chinese Chimes, Op. 95” (m. 1-2) from “Sounds and Colours” by Jenö Takács

In B. J. Rosco’s Ocean Whisper, the student is expected to combine many elements at the same time to develop coordination: use of two pedals simultaneously, plucking the strings, and playing on the keys.

Figure 31:

“Ocean Whisper” (m. 1-2) by B. J. Rosco

99 Other common technical devices found in the late-intermediate literature include use of consecutive thirds (see Figure 32), use of melodic elements outside of typical 5-finger patterns and scale patterns (see Figure 33), extensive use of melody in the left hand, and accompaniment patterns spanning over an octave.

Figure 32:

“Joyous March” (m. 1-4) from “Enfantines” by Ernst Bloch

Figure 33:

“Lyrical” (m. 1-2) from “Three Piano Moods” by William Schuman

The complete leveling guidelines used for this project are listed in Table 4.5 and on the Website.

100 Table 4.5

Leveling Guidelines for the Intermediate Repertoire Included in the Database

Early-Intermediate Intermediate Late-Intermediate

Scales/Passagework

1. 5-finger patterns and 1. 16th note runs in scale 1. Scale Passages of two simple scale and arpeggio patterns with a range of octaves or less patterns of less than one one octave or less octave

2. Blocked chords in the 2. Blocked chords in all 2. Blocked chords can same position positions span up to one octave

3. Broken chords 3. Free movement around 3. Movement around the contained within the the keyboard using keyboard not as patterned octave repeated patterns and as the early-intermediate phrases repertoire

4. Hand crossing used to 4. Repeated thirds 4. Repeated and achieve long arpeggiated consecutive thirds patterns.

Harmony/Texture

1. Predominantly melody 1. Introduction to playing 1. Introduction to playing in right hand, two voices in one hand two voices in both hands accompaniment in left hand

2. Occasional exchange of 2. Extended 2. Harmony may contain single line melody accompaniment patterns arpeggiation patterns over between the hands including broken triads, an octave in one hand. arpeggiation, and blocked triads

(Table 4.5 continues)

101 (Table 4.5 continued) 3. Simple accompaniment 3. Octaves in the left hand 3. Repeated and patterns with consistent consecutive octaves in harmonic rhythms, usually both hands lasting a measure or more

4. Accompaniment 4. Large leaps in the left 4. Large leaps in both patterns are usually simple hand are presented as a hands do not necessarily blocked and broken triads reoccurring pattern. have to follow a and intervals up to a 6th. reoccurring pattern.

Melody

1. Single-line melody. 1. Independence between 1. Common melodic Two voices or voicing a the hands is emphasized. voicing as the highest note melody on the top of a of a chord. chord is rare.

2. Melodic ideas are 2. Introduction to melody 2. Extensive melody in the sequential, using similar in the left hand left hand fingerings and patterns within the hand

3. Little or no 3. Introduction to simple 3. Use of trills, turns, ornamentation turns and trills mordents, and glissandi

4. The melody is often 4. Some different 4. Different articulations presented as parallel articulations between the can occur frequently movement between the hands (legato against between the hands. hands with similar staccato, 2-note slurs rhythmic patterns and against legato, etc.) similar articulations.

5. Use of extended 5. Extended techniques are 5. When incorporating techniques is very limited consistent and slow paced. extended techniques, and frequently involves For example, one hand changes can be frequent part of the piano that can may strum the strings and and rapid. be easily reached by a one hand may play the young child, for example, keys. tapping on the wood. (Table 4.5 continues)

102 (Table 4.5 continues) 6. Further development of legato techniques such as finger substitution

Pedaling and Dynamics

1. Pedaling is consistent, 1. Frequent use of sustain 1. Additional use of the for example, one change pedal una corda and sustain per measure. pedals. Introduction of such pedal techniques as rhythmic pedaling, flutter pedaling, etc.

2. Consistent dynamic 2. Large dynamic range 2. Frequent, abrupt range changes in dynamics

Rhythm

1. Consistent rhythm 1. Rhythm fluctuation 1. Rhythm fluctuation

2. Consistent tempi 2. Tempo fluctuation 2. Frequent use of tempo fluctuation and quicker tempi.

3. Rhythmic subdivisions 3. Rhythmic subdivisions 3. Complex rhythmic of duplets, triplets, and greater than quadruplets patterns quadruplets

4. Exchange of rhythmic 4. Changing and ideas between the hands. alternating meter introduced

Visual Representation of the Repertoire

Each piece analyzed for inclusion in the database was also categorized by a visual representation of the first two to four measures of each piece. Although it was desirable to have four measures of each piece, some pieces were composed with such

103 twentieth-century devices as graphical notation or written without barlines. Such compositional devices create measures that can carry over the entire width of a printed page. Therefore, to keep all of the files sizes at similar lengths, only two measures were used for the pieces with extended measure length. To create a visual representation, the first page of each score was scanned into Adobe Photoshop®

(version 6.0) using a black and white format. The files were then cropped, leaving only the first two to four measures of each piece remaining. After cropping, the files were then changed to a 3:1 ratio grayscale so that text could be added. Either above or below each score, the words “©Used by Permission” were inserted. At the request of some publishers, additional copyright remarks were added. The files were then reduced in size to a width of 145 pixels, retaining the height to width ratio of each scanned score. After size reduction, the files were then saved in a GIF Web format.

The files were converted to a GIF format so as to reduce file size and therefore increase Web download and viewing time.

Audio Representation of the Repertoire

In order to provide the user with an accurate audio representation of each piece, a MIDI file of the first four measures of each piece was also created. Each piece was recorded in real time using a Roland KR-577® digital piano and saved as a standard MIDI file on a removable disk. If pieces specified twentieth-century compositional techniques such as harmonics or playing inside the piano (demanding an acoustical instrument), they were recorded on an acoustic grand piano and

104 transferred to MP3 files. Since the quality of MIDI files is dependent on the quality of the equipment running the file, it was decided that MIDI should not be the final format of the audio file. For example, most computer users generate sound files from their computer sound card. Even if a file were recorded on a high quality MIDI instrument, the same transferred file, when replayed using a computer sound card, would replay at a noticeably lesser quality.

In order to alleviate this problem of varying sound quality output among potential database users, the MIDI files were all converted to MP3 files. MP3 is a type of audio compression that can reduce audio file size to approximately one- twelfth the original size (see definition of terms, table 1.1). A cable connected the output (mono) of the Roland KR-577® digital piano into a sound mixing board connected to a Macintosh® G4. The MIDI files were then transferred from the output of the recorded Roland KR-577® files to an audio editing program, Digidesign

ProTools® (version 5.1). Once captured within ProTools ® as sound wave files, each piece was then “normalized” so as to achieve the same amplitude across the files.

The files were then compressed, converted, and saved as MP3 files.

105 ENTRY OF THE REPERTOIRE INTO THE DATABASE

All of the pieces in the database were entered through a secure administrative

Web page. This administrative Web page was only accessible by the PHP programmer and myself. To access this Web page, I entered a set username and password from any computer with an Internet connection. Once logged on to the administrative web page, a screen would appear titled “Adding a Record to

PieceMaster” (PieceMaster being the label of the main table in the database). A screen shot of this page is found in Figure 34.

106 Figure 34:

Screen Shot of Administrative Page: Adding a Record to PieceMaster

From this administrative page, the following “zero to one” fields can be entered: Title, Harmonic Scheme, Mode, Key, Musical Style, Pedagogical Level,

Composer, Time Signature, Tempo, Catalogue Number, Composer Collection,

Publisher’s Collection, Editor, and Pedagogical Issues. Some of these fields can be left blank. Once the button “Add Record” is clicked, the person entering the data is

107 redirected to a page that allows entry of the “one to many” fields. A screen shot of this Web page is found in Figure 35.

Figure 35:

Screen Shot of Administrative Page: Adding “One to Many” Fields

This page can be accessed as many times as needed to enter the necessary information about a piece. For example, suppose that a piece of music has three rhythmic issues that it addresses: ritardando, fermata, and accelerando. In order to

108 enter all three of these, the Web page “Adding ‘one to many’ fields” is accessed three times, clicking “Add Record” at the end of each additional entry.

Analysis and entry into the database of all 154 pieces was done by me. I entered data using computers at the University of Texas at Austin School of Music computer lab and through Internet connection at remote computer access locations.

109 CHAPTER FIVE

Screenshots of Completed Website

DESCRIPTION OF THE PROJECT

The purpose of the project was to develop a multimedia Internet tool to aid piano teachers in repertoire selection for their intermediate students. The Web page developed as part of the dissertation project can be found at www.pianorep.com. This

URL address is registered and will remain available until at least February 22, 2004.

WEB PAGE DESIGN

The Home Page is designed to inform the user of the purpose of the Website and to provide links to the Websites of publishers who agreed to have a visual scan of their music represented in this site. The Home page also contains the main navigation bar with links to the Advanced Search page, the Basic Search page, the Glossary page, and the Composers page. A link to the leveling guidelines is also provided within the contents of the Home page. A view of the basic design of the Home page can be seen in Figure 36.

110 Figure 36:

Screen Shot of Home Page

111 The Basic Search Page is designed to allow users to search within the three main data fields: Composer, Pedagogical Level, and Technique. A total of 57 composers were selected for this project (see Table 4.1). Three pedagogical levels

(early-intermediate, intermediate, and late-intermediate) and 23 technique subdivisions are available as search criteria (see Table 3.2). The Basic Search page also contains the main navigation bar with links to the other pages. The design of the

Basic Search page can been seen in Figure 37.

Figure 37:

Screen Shot of Basic Search Page

112 The Advanced Search Page is designed in the same manner as the Basic

Search page. However, the Advanced Search page contains all of the searchable data fields (Composer, Level, Harmonic Scheme, Mode, Key, Tempo, Time Signature,

Articulation, Ornamentation, Texture, Rhythmic Issues, Harmonic Content, Musical

Style, and Technical Issues). The subdivisions of these data fields can be seen in

Table 3.2 or by accessing the drop-down menus from the web page, http://www.pianorep.com/. The design of the Advanced Search page can be seen in

Figure 38.

Figure 38:

Screen Shot of Advanced Search Page

113 The Composers Page provides brief biographical information about the 57 composers represented in the database. An alphabetical bar with anchors to the composers is presented at the top of the Composers page so that users can easily navigate through the biographies without scrolling through the entire page. The

Composers page also contains the main navigation bar. The design of the Composers page can be seen in Figure 39.

Figure 39:

Screen Shot of Composers Page

114 The Glossary Page contains brief definitions of the main terms used in this dissertation. Like the Composers page, the Glossary page also has an alphabetical bar with anchors at the top of the page so that users could easily jump to words beginning with specific letters. The glossary page also contains the main navigation bar. The design of the Glossary page can be seen in Figure 40.

Figure 40:

Screen Shot of Glossary Page

115 The Leveling Guidelines Page contains a summary of the guidelines used to determine the three levels of intermediate repertoire used in this dissertation (early- intermediate, intermediate, and late-intermediate). The Leveling Guidelines page is accessible through a link from the Home Page. The user must click on the words

“intermediate level” to access the Leveling Guidelines page. The Leveling

Guidelines page also contains the main navigation bar. The design of the Leveling

Guidelines page can be seen in Figure 41.

Figure 41:

Screen Shot of Leveling Guidelines Page

116 EXECUTING A SEARCH WITH THE BASIC SEARCH PAGE

The Basic Search Page is designed for the user who wishes to perform a simple search using only three basic criteria: Composer, Pedagogical Level, and

Technique. For example, if a user searches for all of the early-intermediate pieces in the database containing broken chords, his or her computer screen would look like the screen shot shown in Figure 42.

Figure 42:

Screen Shot of Sample Basic Search

117 Once the “submit” button is clicked, the user is directed to a screen that gives a listing of all of the pieces (title and composer) that fit this descriptive search. A sample of the results of this search is shown in Figure 43.

Figure 43:

Screen Shot of Titles from Sample Basic Search

118 The user now has the option of exploring any of these pieces in further detail by clicking the words “View Record.” Suppose the user wishes to know more about the piece Etude I by Paul Sheftel. If the user clicks on “View Record” next to the piece, he or she is directed to a web page showing the complete information about that piece. This sample screen shot is shown in Figure 44.

At the top of each record, a 2 to 4 measure excerpt of the score is shown.

Visual excerpts of pieces with copyright permission are included. An audio recording of the first four measures appears directly under the visual excerpt. The audio recording is in MP3 format, converted from standard MIDI files. The excerpt is playable using Quicktime®. After the visual and audio excerpts, the entered written descriptions of the pieces are displayed. (For a complete listing of the fields, see

Table 3.2 in Chapter 3). The zero to one fields are displayed below the audio excerpt control and the zero to many fields are displayed in a table at the bottom of the page.

The table is of varying size depending on how many data fields were entered for each piece. For example, the piece Etude I by Paul Sheftel contains five different entries concerning technique; therefore the table row for the field Technique(s) is five cells long.

119 Figure 44:

Screen Shot of Record from Sample Basic Search

120 EXECUTING A SEARCH WITH THE ADVANCED SEARCH PAGE

The Advanced Search page is designed for the user who wishes to have the option of searching for pieces using up to fourteen search criteria. The word “any” is the default setting of all of the drop-down menus, indicating to the user that he or she has the flexibility of only searching the fields pertaining to his or her interest. For example, suppose a user wants to search for all of the intermediate pieces written in a

Waltz style with Legato articulation and Melody and Accompaniment texture. All other fields are left blank with the default setting of “any.” A sample of this search is found in Figure 45.

121 Figure 45:

Screen Shot of Sample Advanced Search

122 Once the user clicks on the “submit” button, he or she is redirected to a Web page that displays the title and composer of each piece that fits the result of the search. A sample of the results of this search is shown in Figure 46.

Figure 46:

Screen Shot of Titles from Sample Advanced Search

123 Once at this page, the user has the option of viewing any of the listed pieces by clicking on the words “View Record.” For example, suppose a user wishes to view the piece Waltz by Vincent Persichetti. Clicking on “View Record” next to the title of that piece would redirect the user to a page containing all of the entered descriptive information about this piece. A sample of this page is found in Figure 47.

124 Figure 47:

Screen Shot of Record from Sample Advanced Search

125 CHAPTER SIX

Website Assessment and Discussion

User Survey

After creation of the Internet Website and entry of 154 intermediate pieces into the database, the project was assessed with a user survey. Three hundred thirty piano teachers from across the United States were requested by e-mail to interact with the 5 main pages of the Website (www.pianorep.com), evaluate the audio and visual files, evaluate the search criteria and subdivisions, and perform a mock search. After interaction, the participants were asked to complete an online survey (see Appendix

F) pertaining to their use of the Website and its applicability to their work as piano teachers. The survey included nine ratings, one yes/no question, and five open-ended questions. All piano teachers who were asked to participate in this survey were current members of MTNA (Music Teachers National Association). The majority

(211) of useable e-mail addresses of these 330 teachers were obtained from the attendance record of the 2002 National MTNA Pedagogy Saturday Convention in

Cincinnati, OH. The survey was also sent by e-mail to 44 state MTNA chapter heads,

15 student members of MTNA, as well as 60 MTNA members of the Austin, Texas chapter. The e-mail addresses were all obtained from records of MTNA membership.

Three weeks after the initial survey request was sent, a reminder e-mail was sent to the 330 participants asking them to again consider interacting with the Website and

126 completing the survey. Forty-eight piano teachers (14.55%) responded to the survey.

The results of the survey can be seen in Tables 6.1, 6.2, 6.3, and 6.4.

Since the survey was designed to be anonymous, it was impossible to see which piano teachers actually responded to the survey. However, after completing the survey, four piano teachers e-mailed me directly asking for more information about the project. One teacher asked if she could share this site with colleagues and students. Also, the Web address of this dissertation project was listed in the June/July

2002 issue of American Music Teacher, the magazine published by MTNA. Because of this, it was assumed that this Website would eventually circulate to a wider audience of piano teachers.

One of the goals in creating this Website (www.pianorep.com) was to design a site that was easy to use, easy to navigate, and easy to complete searches using the database. Most of the survey participants felt that they were very experienced (n=22) or experienced (n=17) Internet users. Based on their Internet experience, most participants felt that this Website was easy to navigate (n=37). When given a mock search to do (find an intermediate level Scherzo that emphasized the technique

“finger action”) the majority (n=34) of participants felt that this type of search was easy to do. It was therefore assumed that the design goals of creating this Website to be simple and easy to navigate were successful. For this project, simplicity of use included a Website that was free of excess clutter and advertisement space. All pages of the Website were designed with identical background and font colors, so as to give

127 the user the feeling of an integrated site. The navigation buttons were designed to be in a prominent part at the top of each Web page, and clearly moved and changed color when the user moved a curser over the buttons.

Another goal of the Website was to provide piano teachers with aspects of pieces that are not traditionally accessible to them in the form of a written index. The two main multimedia components of this Website were the visual scanned 2-4 measure excerpts of the pieces (with copyright permission) and the four measure audio excerpts in MP3 format. Almost 77% of the participants felt that the visual excerpts were very useful (n=20) or useful (n=16). The survey participants also indicated that the audio excerpts were either very useful (n=9) useful (n=13) or somewhat useful (n=11). Because of these survey responses, it was therefore concluded that the use of multimedia audio and visual excerpts provided piano teachers with useful supplemental means of repertoire selection.

The survey also sought to determine the usefulness of the 14 searchable data fields (Composer, Level, Technical Issues, Harmonic Scheme, Mode, Key, Tempo,

Time Signature, Articulation, Ornamentation, Texture, Rhythmic Issues, Harmonic

Content, and Musical Styles). The two fields Mode and Time Signature were found to be the least useful, with 6 participants rating these two fields as “not useful at all.”

The field Technical Issues was judged to be the most useful, with 42 participants rating this field as “very useful.” The majority of participants indicated that all of the fields were either very useful or useful. It appears that most teachers were concerned

128 with technical aspects of the piece over such issues as key and time signature.

However, one of the design principals of the online database was to provide users with flexibility in searches. Therefore, users did not have to use all of the fields in every search. For example, if a user was just concerned with technical issues and not the time signature or mode of the piece, he or she has the option of only searching for pieces using that specific search criterion.

Participants were also given the option of commenting on additional search criteria that they would like to see added to the Website. Suggestions from participants included addition of: the nationality of each composer, form, time period, characteristic of the piece, stylistic elements, length of piece, approximate performance time, publisher, and complete listing of editions. One participant suggested making a clear distinction between “pedagogical” and more traditional composers, and another participant wished to search for pieces based on hand size of the younger students. It seemed that many piano teachers were concerned not only with finding pieces that fit their search criteria, but also interested in locating the physical score of the piece, whether through the name of the publisher(s) or through locating the pieces through online means, such as downloading sheet music.

Teachers also seemed concerned with the practicality of the piece in performance, such as length and performance time, an issue that was not addressed in this project.

Because the database was designed to be flexible in data entry and maintenance, the survey also addressed additional subdivisions that could eventually

129 be added to the existing data fields. Eight participants wished to see additional subdivisions added while 38 participants felt that the subdivisions were sufficient.

Some of the suggested additions included: “large leaps”, “scale fingerings”,

“complex fingerings”, pieces in “5-finger positions”, and “mirror writing” under the field Technical Issues. Under the field Musical Style, one participant wished to see an

Impressionistic category added. For the field Ornamentation, one participant wished to see a subdivision dealing with “improvised ornaments”. Under the field Rhythmic

Issues, one participant wished to see the addition of the subdivision “cross-rhythms.”

Another wished to see the addition of “dotted rhythms.” One participant did not like the subdivision “rhythmic precision”, stating that “aren’t all (most anyway) pieces teaching this?” Under the field Harmonic Content, one participant wished to see the addition of the subtopic “9th chords.” One participant suggested that the term “pedal, sustain” be changed to “pedal, damper.” Another suggestion included moving the term “aleatoric writing” from the field Technical Issues to a field dealing with compositional issues. Another suggestion was that pieces with improvisatory elements should be added.

Although these responses were varied, the specificity of the responses showed that piano teachers had an interest in this project and an interest in formulating the database to meet their specific needs as piano teachers. Since this database is the first of its kind designed for piano teachers in locating repertoire, it would be interesting to

130 further develop the design of this database or the design of future databases in order to meet these specific needs.

The survey also addressed the usefulness of the three non-search pages on the

Website: the Glossary Page, the Composers’ biographical information Page, and the

Leveling Guidelines Page. The majority (n=31) of participants rated the Composer’s

Page as “very useful”, as well as the Glossary Page (n=30) and the Leveling

Guidelines Page (n=26). Again, the flexibility of Web design is in the multidirectional use of the site. Unlike printed text, in which is static in terms of sequence of material, a Web page is designed to be accessed as needed. Therefore, the three non-search pages exist on this Website and are available for access for all to use. However, if a user had no interest in the composers’ biographical information, or no use for glossary definition, he or she did not need to access these pages. This flexibility allows for the Website to be designed for many different levels of experience in piano teachers, all conceivably accessing different information.

The survey also addressed the question of potential further use by the participants. Seventy-three percent reported that they would indeed use the Website again in the future, with perceived use rated as “very often” (n=11) and “often”

(n=24). In later open-ended questions, participants commented that they would share this Website with others in their field. Two other participants thought that this

Website would be useful for their students to use so that they might have more of an active part in choosing their own repertoire. Three others reported that they would

131 use this Website not only to choose repertoire for their private piano students but also for University theory classes, pedagogy classes, and private piano lessons for non- piano majors. Some reasons for not using this Website in the future included hardware problems (older computer and slow Internet connection) and software problems (such as being unable to download necessary software). Other participants responded about the practicality of using pieces and anthologies that they or their students already owned or were easily available for purchase at the local music store.

The majority of participants also felt that they themselves were introduced to new repertoire through use of this Website (16 participants strongly agreed with this statement and 18 agreed with this statement).

Since the URL of this Website was listed in the June/July 2002 issues of

American Music Teacher, it is possible that many other piano teachers (aside from the

330 who were sent the URL for the survey) will access this Website, providing a greater exposure to the profession than previously thought. The positive responses made by almost all piano teachers who have accessed this Website to date shows the interest in such an alternate tool for repertoire selection. Since this database is the first online database created for twentieth-century intermediate piano repertoire, it may serve as a model for future developments within this field.

132 Table 6.1:

Survey Results of 5-point Likert Questions

Question Response Frequency (low) (high) 12345

I-1: Perceived Experience of Internet Use 0171722

I-2: Judged Navigation to the Five 012737 Main Pages of the Website

II-1: Perceived Difficulty of Mock Search 032834

II-2: Perceived Usefulness of Scanned 1281620 Visual Four Measure Excerpts

II-3: Perceived Usefulness of Recorded 5611139 Audio Four Measure Excerpts

IV-1: Hypothetical Use of Such a Website 1662411 In Choosing Repertoire for Intermediate Students

IV-2: Introduction to New Pieces Through 3281816 Website Use

133 Table 6.2:

Ratings for Perceived Usefulness of Search Criteria

Field Response Frequency

Not useful at all Somewhat useful Very useful Composer 1 13 34

Level 0 9 39

Technical Issues 0 6 42

Harmonic Scheme 4 26 17

Mode 6 23 19

Key 5 22 21

Tempo 2 21 25

Time Signature 6 23 19

Articulation 3 19 26

Ornamentation 4 20 24

Texture 2 22 24

Rhythmic Issues 1 16 30

Harmonic Content 3 23 22

Musical Style 2 11 35

134 Table 6.3:

Ratings for Perceived Usefulness of Three Non-Search Page

Page Response Frequency

Not useful at all Somewhat useful Very useful Composers Page 1 16 31

Glossary Page 1 17 30

Leveling Guidelines Page 3 17 26

Table 6.4:

Ratings for Yes/No Question Concerning Addition of Field Subdivisions ______Answer Response Frequency ______No 38

Yes 8 ______

135 OPEN-ENDED SURVEY RESPONSES

Although this survey had a low response rate (14.55%), the individual responses concerning the database were interesting and could be used in consideration for future website development. After answering Question IV-1, participants were given the opportunity to comment on their potential use of such a

Website. Common answers to this question included use of this Website to locate pieces for theory classes, piano pedagogy classes, group piano classes, and private teaching. Several participants expressed an interest in seeing more pieces added to the website. As one participant commented, “as more pieces are included, the website will only prove more valuable.” Participants commented that this database is valuable because it gives the user a chance to hear a portion of the piece and contains a visual representation of the score. Other reasons for future use were: representation of all genres of piano music in the database, inclusion of music with extended techniques that are approachable for children, representation of music that was “out of the ordinary,” and representation of pieces that were not traditionally taught.

In Question IV-3, participants were given an open-ended question in which they could comment about their overall impression of the Website. Some of the general comments about the Website included: “fine resource”, “excellent”, “very helpful”, “a good idea”, “good organization”, “excellent idea”, “looks great”, “easy to use”, “wonderful work in progress”, “well thought out”, “professional looking”, and

“excellent resource”. One participant commented that he or she would “recommend

136 it to any student, pianist, and teacher who has an Internet connection.” Another participant commented that they liked “having useful information so handy to access.

It’s hard to keep track of so much music now available. And your levels and technical analyses are going to be a plus for me and my studio needs.” Concerning the actual layout of the Website, many participants commented that it was “easy to use”,

“professional”, “easy navigation”, “graphically interesting”, “user friendly” and overall a “good layout.”

Participants also discussed the nature of the pieces in the database, writing that selected pieces give teachers a chance to “go outside of the box with composer or styles that are unfamiliar.” Other participants commented on the ease of access of selecting repertoire through the Internet, calling this Website “practical and handy” and “fast and objectively clear.” Still other participants wrote about the ease of the database in locating pieces that meet specific student needs. In the words of one participant: “I think this Website is just wonderful! This kind of information can help teachers target important areas for improving their students’ skills without wasting a lot of important time going through books. Thank you for all the time you have put into this!”

Other participants enjoyed the Website for the novelty of searching for repertoire pieces through the Internet. One participant wrote: “It’s very easy to use and fun! I found myself exploring all the different categories just to see what would show up. It’s a very thorough Website and could actually be used for a variety of

137 reasons. The definitions were very good, and the cross-referencing of repertoire was very impressive.” Another participant wrote:

Overall, I think this Website is one that will help many teachers in the future. I certainly will reference this site for repertoire to give my students. The fact that you can see the opening measures of a piece also helps one determine if the music will be appropriate for a student. I have never heard of this concept before, and it shows you how modern technology can help aid in every avenue of life and music. Bravo!

In Question IV-4, participants were given the opportunity to comment on the

Website’s applicability to them as a piano teacher. Several respondents wrote of their immediate application of the Website for their own use, reporting that they have

“bookmarked the site”. Two participants wrote of their intent to use the Website in their university piano pedagogy class. Another participant wrote that they would use this Website in locating specific literature for their group piano classes. Other participants discussed their desire to share this Website with others. In the words on one participant: “As a piano teacher, I will not only use this site for my own reference, but I have also started to tell my colleagues to check out the site to aid them in teaching and planning of their students’ repertoire. My colleagues have also provided me with very positive feedback.” Two participants wrote that they would share the URL of this Website with their own intermediate students. Another person wrote: “I have shared the Website with students and they also enjoy looking for their new pieces.” Another participant wrote: “I edit my state’s newsletter and I plan to let our 20th century repertoire columnist know about your site. We will want to make our

138 members aware of this site—it will help expand our horizons as teachers and as pianists also.”

Question IV-5 was an open-ended question in which participants could comment about changes that they would like to see made to the Website. As in previous questions, the most frequent response (9 suggestions) was “add more repertoire.” Other comments concerning this topic included: “add as many pieces and composers as possible so that I could be as comprehensive and useful as possible” and “just add more repertoire through the years.” Other comments included desires to see the entire first page of all pieces and options for downloading, printing, and buying the music online.

Other general comments included “I would not change a thing”’ “no suggestions”’ “very applicable”’ “very valuable resource”, and “great.” In the words of one other participant:

I really wouldn’t change anything!!!! I love this Website and have had so much fun just exploring it! Bravo to you on this wonderful project. Please let me know if I can tell my friends, students, and fellow piano colleagues about this Website. Are you going to charge for the service? Will you also be publishing this in hard copy? Personally, I would suggest you do both. I still know some people who are not comfortable going online. Thank you for all your hard work. This is a great service to the profession.

139 CHANGES MADE TO THE WEBSITE

The most frequent response made by participants in the open-ended questions was to “add more repertoire to the database.” Some participants gave specific suggestions as to what composers should be added to the databases. The majority of participants felt that this Website would increase in use and value to them as piano teachers if the repertoire were expanded. As one participant wrote, “I'd like to see the available repertoire expanded to include thousands of pieces . . . eventually.”

Because of this, two changes were made to the initial database and Website. First, an additional page was added to the secure administration site, to allow the site administrator the options of adding subdivisions to the fields of the database

(validation tables) and drop-down menus found on the basic and advanced search pages. For example, in order to add a composer’s name to the database, I would enter this secure Web page and type the name of the desired composer. A screen shot of this administration Web page is found in Figure 48.

Figure 48:

Screen Shot of Web Page: Adding to Validation Tables

140 Another change that was made to the Website regarding the possibility of adding more pieces to the database was the addition of a user form to the Website.

This form was set up so that users of the Website could enter in any information about a new piece using the set fields as guidelines for repertoire analysis. In order to monitor all additions into the database, all information submitted by users was sent directly to the administrator through e-mail. After receipt of the e-mail, it would then be my decision whether to add this new piece to the database. A view of this Web page can been seen in Figure 49.

141 Figure 49:

Screen Shot of Web Page: User Input of Pieces into the Database

Another statement made by five participants involved lengthening the audio and visual excerpts. Some of the comments written by participants included: “I would need to see the entire piece, which I’m sure infringes on the copyright”; “I feel a 4-measure audio clip is too little”; “lengthen the audio examples to 8-16 measures”;

“show the whole first page of any piece of substantial length”; and “why can’t I see the entire piece?” Although one participant did mention the copyright restrictions,

142 many survey responses regarding visual and audio excerpts were made apparently without knowledge of copyright laws. Many publishing houses denied copyright permission for use of their pieces in this project (even when restricted to four measures), and several other publishing houses only granted copyright permission for a specified length of time, for a legal fee, or with the understanding that this would remain an educational project and not a capital venture. In order to make the users of this Website aware of copyright restrictions, the following statement was added to the top of the User Entry page and Home page: “Due to copyright restrictions, not all pieces in this database can be displayed in a visual format. The excerpts displayed (2-

4 measures) are from pieces published by publishing houses who have agreed to grant copyright permission for this project.”

More changes were made to the Website regarding the Composers Page and the Glossary Page. One participant commented that some of the information about the dates of the composers was incomplete. Another participant commented that some of the titles of the pieces were not in italics. These changes were made to the two pages and uploaded to the current Website.

143 A final change made to the Website was the addition of an administration page that allowed for the deletion of selected pieces in the database. This Web page was added to account for errors made in data entry or changes made in repertoire entered into the database. A screenshot of this Web page is shown in Figure 50.

Figure 50:

Screen Shot of Web Page: Deleting Pieces from the Database

144 CONCLUSION

Repertoire selections for intermediate piano students traditionally are made through the use of printed indexes, recommendations from other piano teachers, knowledge of previously studied and played repertoire, or through use of existing anthologies and collections. This project has shown that repertoire can be chosen through electronic means in the form of an online computer database. It was also shown that using the Internet could enhance repertoire selection through the addition of multimedia such as audio and visual excerpts. Data presented in the form of an online database also has the possibility of reaching a wide international audience, with potential use not only by piano teachers but by piano students as well. Further, piano students participating more actively in the repertoire decision process may be more interested in their repertoire and continue to enjoy piano study. Therefore, a more active participation in repertoire selection may affect retention.

This project also indicated that an online computer database could include flexible Web entry and maintenance of data. This concept gives the administrator(s) of the Website the freedom of updating and changing information from any remote computer with an Internet connection. This has an advantage over traditional printed formats in potential rapid updates or deletion of data. Another advantage of an online database is the possibility of searching for pieces through one or many data fields.

This gives the user the flexibility of performing simple or advanced searches as

145 needed, such as searching by composer only or searching by many components such as composer, level, technical issues, time signature, tempo, etc.

RECOMMENDATIONS FOR FUTURE DATABASE DEVELOPMENT

One limitation of this project was the fact that only a limited number of pieces, chosen by the Website originator, were entered into the database. Since many survey responses focused on the idea of entering more pieces into the database, it would be interesting to reevaluate this Website with the addition of a greater body of repertoire. Some specific composers mentioned by participants for further inclusion included: Muczynski, Raphling, Anthiel, Tansman, Moore, Hanson, La Montaine,

York, Norton, Takemitsu, Sharpley, Alexander, and Evans. It would therefore be useful to piano teachers to not only expand the number of pieces in this specific database, but expand the scope and level of pieces as well. Perhaps another aspect of further development could include separate databases and Websites that address specific genres of literature, such as beginning Baroque piano pieces, or advanced

Romantic piano pieces, or intermediate duet piano music.

In regard to access to the site, one participant remarked that they would continue to use this database as long as access remained free. However, one other participant also mentioned adding the option of purchasing or downloading scores of the pieces online. Since this was an educational project, and since many publishers granted copyright permission only with agreement that this would not be a monetary venture, no purchasing options were considered. However, one suggestion for further

146 Website development would be linking search results to online music publishers or stores that provide purchase options for users of such an online music database.

Another suggestion for further study would be to interview notable figures within the field of piano pedagogy for additional suggestions on twentieth-century intermediate piano repertoire. As shown in the preliminary repertoire selection for this specific database, the opinions of piano pedagogues as to what is “valuable” repertoire are wide ranging. However, gathering intermediate repertoire suggestions from 30-50 respected pedagogues might prove to be valuable. Such a list of suggested repertoire would be beneficial for yet another searchable online database.

Two survey participants commented that they are allowing their own intermediate students to use this database to choose repertoire. It would be interesting to take this idea further and do a study concerning student interest in piano lessons and retention of piano students based on student repertoire selection. Since studies have shown that repertoire does play a role in student retention (Scanlan, 1988), it would be interesting to study whether giving students an active role in repertoire selection affects such variables as practice time and retention as compared to the traditional method of repertoire selection done solely by the teachers themselves.

Another concern by two survey participants was the distinction between

“pedagogical” composers and the more traditional composer. For this project, all pieces written for students, whether written by well-known composers such as Aaron

Copland and Normal Dello Joio or by composers such as Melody Bober who

147 compose specifically for students and publishing houses, were all considered

“pedagogical.” All were considered “pedagogical” simply because they were all composing with the piano student in mind. However, one participant requested to see more pieces that would “appeal to the ‘average’ intermediate student.” It would therefore be interesting for further database development to provide more comprehensive lists for repertoire selection that include either side of the repertoire spectrum. It might be useful to conduct studies on what is considered “pedagogical” and what is considered “traditional” and the opinions of pedagogues as to what separates these two categories of literature.

Another suggestion for further study would be to incorporate existing traditional written indexes and create online databases based on repertoire research that has already been done. One survey participant suggested using the repertoire and annotations found in the index: The Pianist’s Guide to Standard Teaching and

Performing Literature (Magrath, 1995). Incorporation of such earlier work in repertoire analysis and related annotations on Web pages would allow that information to reach a wider audience than previously possible.

A final suggestion for further research centers on the idea of using the Internet and Websites to connect piano teachers around the world. Since the profession of private piano instruction is one that is primarily conducted in isolation, it would be interesting to study the possibilities of using the Internet as a means of communication between teachers within the profession. Some possibilities would

148 include using the Internet as a method of sharing repertoire suggestions, sharing teaching problems and solutions, and sharing aspects of a self-conducted business such as studio policies, billing policies, and tax information.

149 Appendix A

Definition of the Intermediate Student

Adapted from the 1995 SMU Piano Preparatory Department Syllabus, Sam Holland, Director

150 ______Level Skills ______Early Intermediate

Keyboard Theory/Functional Skills Major and minor triads and their inversions Basic (I, IV, V) blocked chord progression Accompany melody with I, IV, and V blocked chords Transpose a single melody line

Rhythmic Skills Combination of 8th and 16th notes Syncopation (8th-quarter-8th)

Technical Skills Hand extension of a 7th Finger extension for broken triads (1-2-3) Alberti, broken chord, and waltz patterns in close position Ornamentations: grace notes and mordents 4-voice, chorale texture Chromatic scales Major scales, one octave, hands separate: C, G, D, A, E, F, B-flat, E- flat, A-flat. Relative minor scales of the same keys

Intermediate Student

Keyboard Theory/Functional Skills Diatonic triads of all major keys Addition of V7 to basic chord progression Transpose chordal textures Accompany melodies with I, IV, V and V7

Rhythmic Skills: 16th notes in compound meter Syncopations across the bar line ______(Table continues)

151 (Table continued) ______

Technical Skills: Hand extension of an 8ve Legato consecutive 3rds All major and minor scales, hands separate Emphasis on rotation Triads and their inversions, including Mm7th chords

Late Intermediate Student

Keyboard Theory/Functional Skills Identification of Modes Identification of all qualities of the 7th chord Secondary dominants Addition of vi and ii to basic chord progression Harmonize scales Transpose 2-voice textures Accompany melodies with I, IV, V7, ii, and vi

Rhythmic Skills Two against three

Technical Skills Extensions and contractions of the hand Increased finger independence Repeated notes Trills Asymmetric rhythmic patterns All major and minor scales, one octave, hands together 3 octave arpeggiation pattern Consecutive 3rds, 6ths, and 8ves ______

152 Appendix B

PHP Programming for Creation of Data Fields

153 CREATE DATABASE PianoRep;

CREATE TABLE PieceMaster ( PM_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, PM_PieceName VARCHAR(100) PM_HS_ID unsigned INT NOT NULL PM_PC_ID unsigned INT NOT NULL PM_MD_ID unsigned INT NOT NULL PM_CP_ID unsigned INT NOT NULL PM_ HP_ID unsigned INT NOT NULL PM_ PL_ID unsigned INT NOT NULL PM_ FS_ID unsigned INT NOT NULL PM_PT_ID unsigned INT NOT NULL PM_ CL_ID unsigned INT NOT NULL PM_ CN_ID unsigned INT NOT NULL PM_ MD_ID unsigned INT NOT NULL PM_ IT_ID unsigned INT NOT NULL PM_ AT_ID unsigned INT NOT NULL PM_ TS_ID unsigned INT NOT NULL PM_ AS_ID unsigned INT NOT NULL PM_ TX_ID unsigned INT NOT NULL PM_ AT_ID unsigned INT NOT NULL PM_ ON_ID unsigned INT NOT NULL PM_ TQ_ID unsigned INT NOT NULL PM_ HC_ID unsigned INT NOT NULL PM_ PI_ID unsigned INT NOT NULL PM_ IM_ID unsigned INT NOT NULL PM_ SC_ID unsigned INT NOT NULL );

A Piece of Music can have exactly one Harmonic Scheme.

CREATE TABLE HarmonicScheme ( HS_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, HS_HarmonicScheme VARCHAR(25) );

If that Harmonic Scheme is “tonal” or “modal” Then the piece has exactly one initial key/mode pitchclass (C, C#, etc)

CREATE TABLE PitchClass (

154 PC_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, PC_PitchClass VARCHAR(2) );

AND Then the piece has exactly one initial key/mode type (Major, Dorian, etc).

CREATE TABLE mode ( MD_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, MD_Mode VARCHAR(25) );

A Piece of Music can have one or many composers

CREATE TABLE Composer ( CP_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, CP_Name VARCHAR(100) );

CREATE TABLE PieceComposer ( PCM_PM_ID unsigned INT NOT NULL, PCM_CP_ID unsigned INT NOT NULL )

A Piece of Music can have exactly one Historical Period (Baroque, Renaissance, etc).

CREATE TABLE HistoricalPeriod ( HP_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, HP_Period VARCHAR(25) );

A Piece of Music can have exactly one Pedagogical Level

CREATE TABLE PedagogicalLevel ( PL_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, PL_Level VARCHAR(25) );

A Piece of Music can have zero or one Formal Structure

CREATE TABLE FormalStructure (

155 FS_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, FS_Structure VARCHAR(25) );

A piece of Music can have one or many titles

CREATE TABLE Title ( PT_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, PT_Ttitle VARCHAR (100) );

CREATE TABLE PieceTitle ( PTL_PM_ID unsigned INT NOT NULL PTL_PT_ID unsigned INT NOT NULL )

A piece of Music can have zero or one collection

CREATE TABLE CollectionName ( CL_ID unsigned INT PRIMARY KEY AUTO_INCREMENT CL_CollectionVARCHAR (100) ); A piece of music can have zero or one catalogue number (opus, K, BWV, etc)

CREATE TABLE CatalogueNumber ( CN_ID unsigned INT PRIMARY KEY AUTO_INCREMENT CN_Catalogue VARCHAR (15) );

A piece of music can have zero or many modulations

CREATE TABLE Modulations ( MD_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, MD_Modulations VARCHAR(50) );

CREATE TABLE PieceModulations ( PMD_PM_ID unsigned INT NOT NULL, PMD_MD_ID unsigned INT NOT NULL )

A piece of music can have zero or one initial tempo

156 CREATE TABLE InitialTempo ( IT_ID unsigned INT PRIMARY KEY AUTO_INCREMENT IT_Tempo VARCHAR (50) );

A piece of music can have zero or many additional tempo(s)

CREATE TABLE AdditionalTempo ( AT_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, AT_AddTempo VARCHAR (50) );

CREATE TABLE PieceAddTempo ( PAT_PM_ID unsigned INT NOT NULL PAT_AT_ID unsigned INT NOT NULL )

A piece of music can have exactly one initial time signature

CREATE TABLE TimeSignature ( TS_ID unsigned INT NOT NULL PRIMARY KEY AUTO_INCREMENT, TS_TimeSig VARCHAR (5) );

A piece of music can have zero or many additional time signature(s)

CREATE TABLE AdditionalTimeSig ( AS_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, AS_AddTimeSig VARCHAR (5) );

CREATE TABLE PieceAddTimeSig ( PAS_PM_ID unsigned INT NOT NULL PAS_AS_ID unsigned INT NOT NULL )

A piece of music can have zero or many textures (contrapuntal, chordal, etc.)

CREATE TABLE Texture ( TX_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, TX_Textures VARCHAR (50)

157 );

CREATE TABLE PieceTexture ( PTX_PM_ID unsigned INT NOT NULL PTX_TX_ID unsigned INT NOT NULL )

A piece of music can have zero or many Articulation(s) (staccato, legato, etc.)

CREATE TABLE Articulation ( AT_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, AT_Articulation VARCHAR (50) );

CREATE TABLE PieceArticulations ( PAT_PM_ID unsigned INT NOT NULL PAT_AT_ID unsigned INT NOT NULL )

A piece of music can have zero or many ornamentation(s)

CREATE TABLE Ornamentation ( ON_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, ON_Ornamentation VARCHAR (50) );

CREATE TABLE PieceOrnamentation ( PON_PM_ID unsigned INT NOT NULL PON_ON_ID unsigned INT NOT NULL )

A piece of music can have zero or many technique(s)

CREATE TABLE Technique ( TQ_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, TQ_Technique VARCHAR (75) );

CREATE TABLE PieceTechnique ( PTQ_PM_ID unsigned INT NOT NULL PTQ_TQ_ID unsigned INT NOT NULL )

158 A piece of music can have zero or many harmonic content(s) (all major triads, I V only, etc)

CREATE TABLE HarmonicContent ( HC_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, HC_Harmonic VARCHAR (25) );

CREATE TABLE PieceHarmonicContent ( PHC_PM_ID unsigned INT NOT NULL PHC_HC_ID unsigned INT NOT NULL )

A piece of music can have zero or many other pedagogical issue(s)

CREATE TABLE PedagogicalIssue ( PI_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, PI_Pedagogical VARCHAR (50) );

CREATE TABLE PiecePedagogicalIssue ( PPI_PM_ID unsigned INT NOT NULL PPI_PI_ID unsigned INT NOT NULL )

A piece of music can have zero or many Image(s) (graphic of finale file)

CREATE TABLE Image ( IM_ID unsigned INT PRIMARY KEY AUTO_INCREMENT, IM_Image );

CREATE TABLE PieceImage ( PIM_PM_ID unsigned INT NOT NULL PIM_IM_ID unsigned INT NOT NULL )

A piece of music can have zero or many sound clip(s) (WAV file)

CREATE TALBE Sound ( SC_ID unsigned INT PRIMARY KEY AUTO_INCREMENT,

159 SC_Sound );

CREATE TABLE PieceSound ( PSC_PM_ID unsigned INT NOT NULL PSC_SC_ID unsigned INT NOT NULL )

160 Appendix C

Definition of Terms From Web Page “Glossary”

161 This glossary is intended to provide brief explanations of terms used in this project. More complete definitions of terms can be found in such musical dictionaries as The New Harvard Dictionary of Music.

8va A symbol indicating that the pitches are to be played either an octave above or octave below written.

12-Tone In 12-tone music, all notes of the scale are of equal importance; there is no hierarchy as in tonal music. When composing 12-tone music, all 12 pitches within an octave are arranged in a predetermined order to create a unique scale. The 12-tone scale can be used in its original order, in reverse order (retrograde), in inversion, or in reverse (retrograde) inversion. This scale can also be transposed to begin on different pitches.

Accelerando A gradual increase in tempo.

Accent An articulation marking usually notated by a > above a

note. This symbol usually indicates that the notes should be stressed or emphasized, sometimes played with a louder, sharper attack.

Aleatoric Writing Also called “music of chance,” aleatoric music is characterized by a deliberate use of indeterminacy. This leaves several aspects of the composition in the performer’s hands. Some elements that may be left to chance include rhythms and pitches. Often a composer will indicate a certain set of pitches or rhythms and then ask the performer to play them in any order. For example, a composer will take a set number of phrases and present them to the performer in no particular order. The performer will decide, at random, the order that these phrases would be performed.

Alternating Meter Alternating time signatures between measures. An example is changing from 3/4 to 4/4 to 3/4 to 4/4, etc.

Asymmetric Meter An uneven subdivision of the metrical pulse, such as 5/4, 7/4, 11/8, etc.

162 Atonality Atonality literally means “without tonic”, meaning that all 12 pitches of the scale are treated equally. See 12-tone, above.

Bitonality Using two tonalities or keys at the same time. In piano music, this is often done between the hands. For example, the left hand may play in A Major while the right hand plays in E-flat Major.

Blues Scale A blues scale is commonly defined as the scale degrees: 1, flat-3, 4, flat-5, 5, flat-7. In C, this would be: C, E-flat, F, G-flat, G, and B-flat.

Changing Meter A piece that does not stay in the same time signature. For example, a piece may start out in 4/4 and then change to 3/4 in the middle of the piece.

Chords, Broken A chordal pattern played with one hand; usually an arpeggiated accompaniment pattern. For example, playing C followed by E followed by G. Broken chordal patterns can span over an octave (an interval of a 10th is common in intermediate music) and should be analyzed by the student to determine what harmony he or she is playing. Broken chords can also take the form of the root of the chords followed by the 3rd and the 5th of the chord played together. This is a common accompaniment pattern in 2/4 or 4/4 time.

Chords, Blocked Blocked triads or 7th chords played with one hand. Blocked chords require careful voicing, frequently placing the melody as the top note of the chord with the remainder of the triad or 7th spelled below. Blocked chords that have all of their notes voiced within the span of an octave are said to be “close” voiced where larger ranges are referred to as open voicings. An example of this is a realization of lead sheet solo piano performance where the melody is contained in the top note of the right hand voicing and the left hand plays the bass line.

163 Chords, Rolled Quickly rolled chords identified by a wavy line in front of the chord. Usually chords are rolled from lowest note to highest. If the composer wishes that the chord be rolled from highest to lowest, a downward pointing arrow usually precedes the rolled chord symbol.

Clusters Playing several adjacent notes at the same time. At the piano, this can be done with the palm of the hand or the entire arm.

Consecutive A series of ascending or descending 3rds or 6ths played Thirds/Sixths with one hand. The technical problems in playing such 3rds or 6ths are evenness of touch and depressing both notes of the interval at exactly the same time. To prepare for such technical issues, scales may be practiced in 3rds and 6ths using many different touches (staccato, legato, non-legato, etc.).

Contrary Motion Movement between two lines in the opposite direction. For example, the right hand may play an ascending C Major scale while the left hand plays a descending C Major scale.

Counterpoint A type of musical texture characterized by 2 or more independent lines. For example, a fugue or a canon.

Crossing Hands Placing one hand over the other. Usually this is done so that more of the keyboard can be used in a composition. Movement across (or under) one hand calls for minimal motion and relaxed arms.

Fermata U A symbol placed over a note or set of notes indicating that the performer may hold that note as long as desired.

Finger Action Quick, toccata-like movement of the fingers. The technical issue “finger action” can be used to develop evenness of touch and facile control of individual fingers.

Glissando A slide between pitches. On the piano, this is usually done by turning the hand over and using the nail of the 3rd finger or thumb to “slide” up or down the keyboard.

164 Grace Note A small note or group of notes. Grace notes are played in different manners; however, usually a grace note is played rapidly before the beat. Sometimes a grace note has a slash through the flag and stem.

Graphical Notation Notation other than what is standard. Graphical notation can take on many forms, however, notated pitches and rhythms are usually determined by a drawn shape. For example, a composer may write a solid black line, indicating that the note is to be held for the length of the line. Or, a composer may draw notes on a 17 line staff, with pitches being approximations of intervals.

Harmonics/Overtones To produce harmonics or overtones on the piano, depress keys silently (thereby lifting the dampers so that the strings can vibrate) and then simultaneously hit another note on the piano. Through the vibrations, you will be able to hear additional pitches.

Inside the Piano Playing “inside the piano” is a 20th century technique that expands the capacity of the instrument. Often a composer calls for the performer to strum the strings like a harp, pluck the strings, run a fingernail up the length of the string, or mute the strings with the hands. Before playing a piece that requires this technique, the correct strings may be labeled with a small bit of tape.

Legato Legato is an articulation meaning to play smoothly and connected. The hands and fingers or the pedal can produce a legato sound. Legato is characterized by the sound of one note slightly overlapping the sound of the next note.

Loose Wrist The technical issue “loose wrist” indicates that the piece must be played without tension in the arms or hands so as to allow quick and relaxed movement around the keyboard. Many students who are comfortable playing only in 5 finger patterns have not learned such relaxation.

165 Melody in the Left Intermediate students often get into a rut of playing the Hand melody in the right hand and chordal patterns in the left. Having a piece with the melody in the left hand requires that the student develop a singing line and control of tone in the left hand also. This is also a good study for balance between the hands so that the right hand does not overpower the left hand melody.

Mixed Modes A piece that uses two or more modes within the composition. For example, D Dorian and D Phrygian or C major and C minor (Ionian and Aeolian).

Mordent A type of ornamentation indicating that the performer should start on the pitch, play one note below that pitch, and then back to the original pitch. M

Octaves An octave is an interval of an 8th, or from middle C to the C immediately higher. This span of an interval of an 8th is often difficult for the intermediate student simply because his or her hands aren’t large enough. Playing repeated octaves require a loose wrist and arm. In this database, the technical issue “octaves” indicates repeated or consecutive intervals of an 8th as well as chords that span the interval of an octave.

Ostinato Pattern A repeated pattern within a piece of music. Usually this pattern is in the left hand, emphasizing a prominent rhythm or harmonic scheme.

Parallel Motion In piano music, the hands move in the same direction when playing in parallel motion. For example, when the right and left hand play a C Major scale (hands together) in an ascending pattern, they are playing in parallel motion.

Pedal, Sustain The right pedal of the piano, often called the “sustain” pedal works by holding the dampers up from the strings after the hammers have struck them, causing the sound to ring. For an intermediate student, the main challenge when using the sustain pedal is timing (when to press and depress the pedal in relationship to what the hands are playing).

166 Pedal, Una Corda The left pedal of the piano is called the “una corda” pedal, translated as “one string.” Most keys on the piano have 3 strings that are hit by the hammer. When the una corda pedal is depressed on a grand piano, the keys shift, causing the hammers to only hit one of the strings, thereby decreasing the volume of the attack.

Pentatonic A five-note scale. One common pentatonic scale consists of the 5 black keys on a piano. An example is the “Big Ben” clock melody. Also common in eastern music or in pieces trying to approximate eastern music.

Polychordal Playing two or more chords of different root or quality at the same time. For example, playing an A Major chord in the right hand and an A-flat Major chord in the left hand.

Portato A type of articulation notated by a staccato under a slur or legato marking. Playing portato is in between a staccato and legato articulation.

Prepared Piano A composition written for piano in which the piano is physically altered before playing. Some simple preparations include placing a piece of paper on the strings or eraser heads or bolts between the strings.

Quartal/Quintal Quartal harmony is composed of the interval of a 4th; quintal harmony is composed of the interval of a 5th. For example, a chord in quartal harmony can be spelled with the pitches C, F, B-flat, E-flat (all 4ths apart.)

Repeated Notes 3 or more notes of the same pitch played in succession by one hand. Repeated notes on the piano present a specific problem, because the key must be released before depressing for the remaining repeated notes. Usually repeated notes are played not by one finger but by a pattern of 2 or more alternating fingers.

Ritardando A decrease in tempo.

Rubato A decrease or increase of tempo within a measure according to the performer’s desire to execute a passage in a musical manner. 167 Sequences Repeated intervallic patterns starting on different pitches. Sequences can be used to teach key areas by emphasizing the same pattern within the key.

Staccato An articulation indicated by a dot above or under a note. Staccato notes are played in a detached manner.

Syncopation A jazz derived rhythm that emphasizes the off beats. For example, ragtime music. Tenuto An articulation indicated by a straight line over the note. Tenuto notes are to be held longer and emphasized more.

Trill An ornamentation that is a quick alternation between two notes. Trills can start on the note written or above the note written.

Turn An ornamentation indicated by a T above a note. The

performer should “turn” around the note, playing one note above, the given note, and one below, ending on the note indicated.

Two Voices in One Not merely chordal or interval harmonies, but two separate Hand voices played by one hand. This technique was common in both the baroque period (Bach’s many-voiced counterpoint) and the romantic period (Schumann’s voices in one hand). This technique also carried over into the 20th century. Playing 2 voices in one hand requires exact balance and tone control. Usually it is best to have the intermediate student practice one voice at a time so that the ear becomes accustomed to each line.

Variable Meter Also called changing meter, pieces written with a variable meter contains free changes of the meter within the piece. This is different from alternating meter in that variable meter does not alternate between only two meters and may or may not change meters in a patterned way. Wide Dynamic Range In this project, wide dynamic range is defined as pieces that contain quick, extreme changes in dynamics, for example, changing from pp to ff in one measure.

168 Wide Leaps in One Sometimes beginning and intermediate students become Hand comfortable with playing within five-finger patterns and therefore become hesitant to move the hands out of the five- finger patterns. A piece that incorporates “wide leaps in one hand” gives students the opportunity to play many different melodic intervals, developing a sense of relaxation and freedom within the hand.

Wide Range of the Pieces that utilize most of the piano. The beginning and Keyboard intermediate student often plays in a set position in the middle of the keyboard. Playing pieces with a wide range helps the student to explore more sounds of the piano.

Whole Tone A whole tone scale is composed entirely of whole steps. A whole tone scale starting on C would be: C, D, E,F-sharp, G-sharp, A-sharp, C.

169 Appendix D

Biographical Information of Composers From Web Page

“Composers”

170 More information about these and other intermediate piano composers can be found in Jane Magrath’s The Pianist’s Guide to Standard Teaching and Performing Literature (1995, Alfred Publishing Company), Maurice Hinson’s Guide to the Pianist’s Repertoire (1987, Indiana University Press), and The Grove Dictionary of Music and Musicians (available both online and in printed format) (www.grovemusic.com).

Adler, Samuel (b. 1928) Adler is an American composer who studied composition with Copland, Hindemith, and Walter Piston. He taught composition at North Texas State University, Eastman School of Music, and The Juilliard School. His works for the intermediate students include Gradus, Book I; Gradus, Book II; Gradus, Book III; The Sense of Touch; and The Road to Terpsichore. Adler’s three volume Gradus series is a collection of graded pieces designed to introduce beginning students to contemporary sounds and techniques. The contemporary devices are explained in detail in the notes preceding the pieces. In his forward to Gradus, Adler writes: “the aim of these books is not to bring about the acceptance or rejection of any system, but rather to widen musical acquaintance and to stimulate the wish to consider more deeply a style, a notational system, or a musical philosophy.”

Archer, Violet (1913-2000) A Canadian composer who studied with Bartok and Hindemith, Archer has taught at the University of Oklahoma, the University of North Texas, McGill University, and the University of Alberta. She was interested in music education and wrote many piano works for children, including Three Scenes; 11 Short Pieces; Minute Music for Small Hands; and Rondo.

Bartók, Béla (1881-1945) Bartok was a Hungarian pianist, ethnomusicologist, and composer who closely studied and collected folk music, particularly Hungarian, Romanian, and Slovak folk music. Bartok was specifically concerned with children’s compositions, for he composed many graded, pedagogical works for children. His six volume Mikrokosmos is a collection of 153 pieces and is considered one of the most important didactic series written during the 20th century. Bartok wrote many pieces for the intermediate students, including Three Popular Hungarian Songs; 14 Bagatelles; 10 Easy Pieces; For Children (volumes 1 and 2); Sketches; Allegro Barbaro; Piano Method; First Term at the Piano; Sonatina; Rumanian Folk Dances; Three Hungarian Folk Tunes; Rumanian Christmas Carols; Nine Small Piano Pieces; Three Rondos on Folk Tunes; and Mikrokosmos (6 volumes).

171 Beard, Katherine Katherine Beard was an independent piano teacher from Indiana. She studied at Julliard. Her compositions for the beginning and intermediate student often serve as excellent lead-in pieces to the more advanced repertoire. Some of her collections include 10 Two-Part Inventions, Bits and Pieces, Creapy Crawly Things, Do What I Do Books 1 and 2, Echoes of America, Great Hymns for Small Hands, More Than One is Twice, Nature Pieces Books 1 and 2, Song for the Left Hand, All That Stuff, Etudes on Intervals, Here and Now, and Twelve times twelve: 12 short pieces in the 12-tone style. Beard’s music is published by Willis Music.

Beaty, Dan (b. 1937) An American composer, Beaty has two collections of pieces written for the intermediate student: Woodsprite and Waterbug Collection and Seven Bagatelles.

Bernstein, Leonard (1918-1990) Bernstein was an American pianist, conductor, and composer who integrated into his works such musical idioms as American jazz and other contemporary devices such as12-tone techniques. His most important works for piano are his set of Anniversaries (Seven Anniversaries 1943, Four Anniversaries 1948, Five Anniversaries 1949-51, and 13 Anniversaries 1990). Each anniversary is a musical portrait that Bernstein wrote for a friend. His friends actually sat for the compositions as a person would sit for a painted portrait.

Bernstein, Seymour (b. 1927) Seymour Bernstein is an American pedagogical composer writing with many 20th century avant-garde compositional techniques such as clusters, tone rows, changing meter, playing inside the piano, etc. He studied at Mannes and The Juilliard School of music and has won many prizes and grants, including grants from the Beebe and Rockefeller Foundations. His pieces for the intermediate pianist include Birds, Set I; Birds, Set II; Insects, Book I; Insects, Book II; Raccoons, Book I; Raccoons, Book II; Belinda The Chipmunk; Köchel and Sheila; Trees; Warbles and Flutters; Out of the Nest; Early Birds; The Pedals; and Dragons: The Contemporary Idiom. His set of character pieces, Insects and Birds contain highly descriptive pieces, evoking images that the titles portray (Black Fly, Dying Moth, Humbug, Praying Mantis; Myna Bird; The Swan (with apologies to Saint-Saëns), The Robin, The Owl, Roadrunner, Condor, The Nightingale, The Guinea Hen, and Phoenix).

Bloch, Ernest (1880-1959) Bloch was a Swiss/American composer who taught at Mannes School of Music, was a founding director of the Cleveland Institute of Music (1920-1925), and was director of the San Francisco Conservatory of Music (1925-1930). His main work for children is a set entitled Enfantines that was composed for his daughters in 1923.

172 Other works for more the more advanced student are Ex-Voto; Poems of the Sea; and Five Sketches in Sepia.

Bober, Melody Bober studied at the University of Illinois. She is a composer, clinician, and private piano instructor. Her music is published by FJH publishing company and Willis Music. Some of her collected works for the intermediate student include: Creepy Critters, Cyclone!, Dynamic Duets, From the Emerald Isle, Romantic Rhapsodies, Standing Ovations, Melody in Motion, Melody in Seasons, Melody in Step, and Tunes in Transit.

Bolcom, William (b. 1938) An American composer, Bolcom has studied with Milhaud and has taught at the University of Michigan since 1973. Bolcom has been an important figure in the revival of ragtime. Many of his compositions are written in the rag style (Seabiscuits Rag; Graceful Ghost Rag). Bolcom has one collection for children entitled Monsterpieces and Others. This set explores contemporary idioms and sounds, with such titles as The Mad Monster, The Sad Monster, The Bad Monster, etc.

Brubeck, Dave (b. 1920) Although mainly an American jazz composer, Brubeck studied composition with Milhaud. He wrote seven pieces for his son entitled Themes from Eurasia and an additional solo piece for the more advanced student, Reminiscences of the Cattle Country.

Burgess, Marjorie An American composer, Burgess has had pieces commissioned by Clavier and the National Federation of Music Clubs. She has written many ragtime pieces for the intermediate student and her lyrical 7/8 Nocturne is dedicated to Ivan Tcherepnin. Some of her other works for the intermediate student include: Along the Esplanade, Autumn Song, Barn Dance, Blue Waltz, Burning Leaves, Cloud Palace, Columbine, Dance of the Chimney Sweep, Halleluia, Humdinger, Mountain Laurel, Skating on a Frog Pond, Stars Reflected in a Lake, Summer Shadows, Sunburst, Topaz, Village Bells, and Where is it?.

Campbell, Carolyn Jones Her 7 Preludes for Keyboard include sound suggestions (such as electronic jazz piano, guitar, etc.) for electronic keyboards. The seven preludes in this set are at the intermediate level; the titles for the pieces are: Chipmunk Play; Navajo Shepherd, Butterflies; Jogging; As Shadows Fall; Think Five; and Jazzy Waltz. Other works for intermediate students include: City Scenes, Café Cancun, Country Rock, Hootenanny, Magic Garden, Moonlight, Native Son, Nocturne, Prelude, Romance,

173 Seashell, Shortnin’ Bread Blues, Soft Lights, Softly Raining, Toccata, Umbrellas in the Rain, and Variations on a Baroque Bass.

Caramia, Tony Professor of piano and director of piano pedagogy studies at Eastman School of Music, Tony Caramia has written several jazz and ragtime pieces for children. His two-volume set Adventures in Jazz Piano is an introduction to jazz, blues, boogie- woogie, and ragtime. Other compositions include: Remembrances (from Piano Solos, Book 5, Hal Leonard Piano Student Library); Porch Swing (from Piano Solos, Book 4, Hal Leonard Piano Student Library); OK Jazz, Jazz Sampler; Four by Four (duet); Jazz Right Now; Jazz Moods; Toccata; Pieces of Blue; Fancinatin’ Rhythms; Six Sketches; Sounds of Jazz (2 Volumes); Folksongs Revisited; Rag Times Four; and Excursions in Jazz Styles. His music is published by Warner Brothers, Kjos Music, Barenreiter Verlag, and Hal Leonard.

Chagy, John John Chagy studied piano at Juilliard. He later taught piano in his independent studios in both New Jersey and Atlanta. Chagy has written many piano pieces for the intermediate student, including: Israeli Sketches, Castanetta, Halequinade, Harvest Dance, the Magic Trumpet, Marionette March, Srenata de Seville, and Sultan’s Caravan.

Cooper, Paul (1926-1996) An American composer who studied with Sessions and Boulanger, Cooper taught at the University of Michigan (1955-1968), the Cincinnati Conservatory (1968-1974), and Rice University (1974-1996). Cooper’s main compositions that can be used during the intermediate level of study are 12 pieces in the Cycles set. All are composed with 20th century techniques such as clusters, aleatoric writing, graphical notation, etc.

Copland, Aaron (1900-1990) An important figure in American music, Copland was a prolific composer who helped establish an American style of composition. He studied with Boulanger in Paris from 1921-1924. He won the Pulitzer Prize in 1944 for his Appalachian Spring, the Kennedy Center Honor in 1979, and many other awards and honorary doctorates. Copland’s works that can be played by the intermediate and advanced students are: Down a Country Lane (this piece was commissioned by Life Magazine in 1962); The Young Pioneers (1935); Sunday Afternoon Music (1935); In Evening Air (1966); Midsummer Nocturne (1947); Midday Thoughts (1944); Proclamation (1973); Our Town (arranged from the film score by Copland himself); Sentimental Melody (1926); The Cat and the Mouse (1920); Three Moods (1920-1921); Four Piano Blues (1926); and Passacaglia (1921-1922).

174 Coulthard, Jean (1908-2000) Coulthard is a Canadian composer who studied with Vaughan Williams at the RCM in London. In the 1930s and 1940s, Coulthard studied with Copland, Milhaud, Schoenberg, and Bartok. Some compositions for the intermediate student include Pieces for the Present (written in an impressionistic style) and Four Piano Pieces. Some of Coulthard’s pieces can be found in the Celebration Series Repertoire Albums (published by The Frederick Harris Music Company).

Cowell, Henry (1897-1965) An American 20th century composer, Cowell is considered the first composer to use the technique of tone clusters in his music. He was the first composer asked to visit the USSR (1929). Although criticized for his non-traditional methods of playing the piano, Cowell was respected by Bartok and Schoenberg. Cowell promoted the cause of new music throughout his life, and his students include Cage, Lou Harrison and Gershwin. His easier compositions for piano are The Irishman Dances; Two Woofs (bitonal pieces); Amerind Suite (composed about American Indians); The Snows of Fuji-Yama; The Tides of Manaunaun, The Banshee (played with a ghost-like sound on the strings of a piano); and Aeolian Harp (strummed like a harp on the inside of the piano).

Dello Joio, Norman (b. 1913) An American Pulitzer Prize and Guggenheim Fellowship winner, Dello Joio has composed many pieces for children, including Suite for the Young (1964) (10 pieces in this set); Lyric Pieces for the Young (1971) (6 pieces); Diversions (5 pieces); Suite for Piano; Nocturne in E; Nocturne in F-sharp Minor (1946); Prelude: To a Young Musician (1943); Prelude: To a Young Dancer (1943); Short Intervallic Etudes (1988); and Salute to Scarlatti (1979). Dello Joio studied at the Juilliard School of Music and was a professor at Sarah Lawrence College (1945-1950), Mannes College (1956-1972), and Boston University (1972-1978). His compositional style stems from his influence from Italian Opera, Catholic Church music, and New York Jazz.

Duke, David (b. 1950) Duke is a Canadian composer who studied with Jean Coulthard and Violet Archer. He also studied musicology at the University of North Carolina and the University of Victoria. He is currently head of the School of Music at Vancouver Community College. Duke has written many pedagogical works, including works for piano, piano 4 hands, violin and piano, cello and piano, guitar, and flute. He has many solo compositions for the intermediate student, published by Waterloo Music. From the series Music of Our Time, Duke has written the following works: The Unicorn's Pavan; Cape Breton Lullaby; Morning Fog; Renaissance Christmas Song; Saraband; Toccata & Invention; Les Raftsmen; Variations; Medieval Christmas Carol; The

175 Anti-Confederation Song; Seagulls; Two Sentimental Waltzes; Fugue; and Three Pieces After Dalza, c. 1507. The following works are from the collection, A Student's Guide to Musical Form: Pavan & Galliard; Variations on a Theme of Rameau; Prelude & Etude; and Modules.

Finney, Ross Lee (1906-1997) Ross Lee Finney was an American composer and professor at Smith College and the University of Michigan. A student of Nadia Boulanger, Alban Berg, and Roger Sessions, Finney was awarded the Guggenheim fellowship in 1937 and 1947 and a Pulitzer fellowship in 1937. His piano works for children include Inventions, 25 Children’s Pieces (1956), 32 Piano Games (1968), 24 Inventions, Children’s Pieces (1970) and Youth’s Companion, 5 Short Pieces (1980). The 32 Piano Games were written to introduce children to contemporary notation, sonority, and articulation. Finney’s musical symbols (such as a solid black mark indicating to play a cluster of notes) are explained in the forward to the Peters Edition. The 32 pieces are progressively difficult, each introducing one or more 20th century compositional concept.

Frid, Grigori (b. 1915) A Russian composer who studied at the Moscow Conservatory, Frid was committed to writing music for children. In 1965 he organized the Moscow Music Club for Young People. Most of his works for children can be found in his Album of Children’s Pieces, Op. 25, Op. 39, and Op. 41.

Gillock, William (1917-1993) An American composer, Gillock was called “the Schubert of children’s composers.” The National Federation of Music Club honored him on many occasions. Gillock wrote his 24 Lyric Preludes in all keys, following the leads of Bach and Chopin. Each piece was “designed to exploit one or more pianistic problems…incidental to musical content” (Gillock, in his forward to the Lyric Preludes). Though written during the 20th century, Gillock composed these preludes in a romantic style. These preludes serve as excellent lead-in pieces to the more advanced romantic repertoire, especially the preludes of Chopin. Gillock wrote many other pieces for the intermediate students; some of his pieces for the mid-intermediate student include: Arabesque Sentimentale, Deserted Plantation, Etude in A Major, Fountain in the Rain, Goldfish, Lazy Bayou, A Memory of Vienna, Nocturne, Portrait of Paris, Sonatina in C, Sonatina in Classical Style, Sonatine, Tarantella, Three Jazz Preludes, and Viennese Rondo.

Ginastera, Alberto (1916-1983) Ginastera was an Argentinean composer who incorporated into his writing themes and rhythms from South America. He was a recipient of a Guggenheim fellowship

176 and used that fellowship to study in the United States from 1945-1947. Although he did not write any pieces for beginning piano study, some of his pieces can be used for the later intermediate and advanced player. These pieces are 12 American Preludes (included in these preludes is a tribute to Copland and Villa-Lobos); Milonga; Rondo on Argentine Children’s Folk Tunes; and Malambo.

Goolkasian Rahbee, Dianne (b. 1938) Goolkasian Rahbee is an Armenian-American composer who studied at Juilliard and the Mozarteum in Salzburg, Austria. “At the age of 40, she began concentrating on composing and has since produced a large body of works for piano solo, orchestra, instrumental ensembles, percussion, and voice. Her music has been performed in Argentina, Armenia, Austria, Belgium, China, England, France, Germany, Hungary, Iceland, Japan, Korea, Latvia, Macedonia, Poland, Russia, Scotland, Slovakia, Slovenia, Canada and throughout the U.S. In 1993, her orchestral work “Tapestry No.1, Proclamation” was recorded on CD with the Slovakian Radio Orchestra, conducted by the late Robert Black. Selected piano music for students is published by Boston Music Company and Carl Fischer. As a first generation Armenian- American whose father was a survivor of the genocide, her music reflects a deep- rooted ethnic background. The strong influences of her first spoken language, Armenian, and the folk music she grew up with, are important elements in her musical language.” Her pieces for beginning and intermediate study are Pictures, Op. 3; Essays for the Piano, Op. 4; Three Preludes Op. 68; Abstracts Op.7; Intermezzo Op.18, No.3; Intermezzo Op.21, No.2; Five Toccatinas (from Essays Op.4); Nocturne Op.32, No.1; Novellette Op.37; Essay No.1; Expressions Op.8; Fragments Op.14; Tarantella (duet) Op.2; Seven Little Etudes Op.74; Seven Small Pieces Op.105; and Children’s Album Op. 107. (Biography taken from Goolkasian Rahbee’s Website, http://www.members.aol.com/grdianneweb).

Greene, Arthur (b. 1945) An American composer, Green’s set Seven Wild Mushrooms and a Waltz is a set of intermediate pieces written for prepared piano. Green provides a clear two-page instruction on how to prepare the piano (without damaging it) using pencil erasers and wood screws.

Gretchaninoff, Alexandre (1864-1956) Gretchaninoff was a Russian born composer who taught at the Moscow Conservatory, in Paris, and in the United States. He was a student of Rimsky-Korsakov. Although writing in the 20th century, many of Gretchanioff’s compositions are written in the romantic style. Gretchanioff wrote many pieces for children, including Five Little Pieces, Op. 3; Children’s Album, Op. 98; A Child’s Day, Op. 109; Sonatine in G Major, Op. 110, No. 1; Sonatine in F Major, Op. 110, No. 2; Grandfather’s Book, Op. 119; Glass Beads, Op. 123; Dew Drops, Op. 127a; Album de Nina, Op. 141;

177 Miniature Suite, Op. 145; 12 Little Sketches for Children, Op. 182; Gouaches, Op. 189; Five Miniatures for Piano, Op. 196; and Suite, Op. 202.

Harris, Roy (1898-1979) An American composer, Harris’s compositions suitable for the intermediate student include Little Suite; American Ballads (these are based on American folksongs); and Toccata. Harris studied with Arthur Farwell from 1924-1925 and with Nadia Boulanger from 1926-1929. He was a recipient of three Guggenheim Fellowships and taught at many Universities, including Westminster Choir College, Juilliard, Cornell University, Colorado College, Peabody College for Teachers, Southern Illinois University and Indiana University.

Hopkins, Anthony (b. 1921) A British composer, lecturer and broadcaster, Hopkins was interested in music for children, conducting children’s concerts and writing operatic works for children, including Rich Man, Poor Man, Beggar Man, Saint; and John the Magic Music Man. Hopkins also wrote two books of progressive piano pieces for children entitled For Talented Beginners, Books 1 and 2. His Sonatine is also suitable for the upper intermediate student.

Hovhaness, Alan (1911-2000) An American Composer of over 400 works (many of those for solo piano), Hovhaness was concerned about making his music easily playable, therefore making many of his pieces suitable for the intermediate pianist. Hovhaness commonly composed using modes, ranging from the traditional diatonic modes to more exotic Eastern influences such as ragas. Some of his works for the intermediate pianist include: Mystic Flute, Op. 22; 12 Armenian Folk Songs, op. 43; Moonlight Night, Op. 52a; Pastoral No.1, Op. 111, No. 2; Macedonian Mountain Dance, Op. 144b; Bare November Day, Op. 210; Sketchbook of Mr. Purple Poverty, Op. 309; Lullaby; and Mountain Idylls. Although not written for the intermediate pianist, Visionary Landscapes, Op. 214 contains a single line piece played entirely inside the piano (strumming the strings). This piece is accessible to the intermediate student.

Kabalevsky, Dmitri (1904-1987) Kabalevsky was a Russian composer who studied at the Moscow Conservatory and was interested in writing teaching pieces for children. He was also active in developing music programs for children in the public schools. His many pieces for the intermediate student include Im Ferienlager, Op. 3/86; Four Preludes, Op. 5; Sonatina in A Minor, Op. 13 No. 1; Sonatina in G Minor, Op. 13, No. 2; Children’s Pieces, Op. 27; Jugendleben, Op. 14; 24 Preludes, Op. 38; 24 Pieces for Children, Op. 39; Variations, Op. 40; Five Sets of Variations on Folk Themes, Op. 51; Variations on Folk Themes, Op. 87; Four Rondos, Op. 60; Preludes and Fugues, Op.

178 61 (these are neo-baroque pieces); Six Pieces for Piano, Op. 88; Spring Games and Dances, Op. 81, Children’s Adventures, Op. 89, and Lyric Tunes, Op. 91.

Karp, David David Karp, nationally known pianist, composer, educator, lecturer and author, holds degrees from the Manhattan School of Music and the University of Colorado. Dr. Karp is Professor of Music and Director of the National Piano Teachers Institute at Southern Methodist University’s Meadows School of the Arts. Alfred Publishing Co., Carl Fischer, Inc., FJH Music, Lee Roberts Music Publications, Shawnee Press, Warner Brothers, and The Willis Music Company publish Karp’s compositions and collections. Dr. Maurice Hinson, Professor of Music at the Southern Baptist Theological Seminary writes, “...a composer of inexhaustible imagination and energy with an amazing insight into what students enjoy playing. Karp has made a significant contribution to the musical awakening of countless young people.” Karp was invited to give a lecture-recital at the 2002 Cliburn Institute on 20th Century Keyboard Compositions by American Composers and he has served on the panel of judges for the last three Van Cliburn International Piano Competitions for Amateurs. David Karp has written many pieces for the intermediate student, including Sonatina, and a collection of five solos in Jazz ‘n Such. Karp often writes in jazz styles and frequently uses modes in his compositions. Some of his additional solo pieces composed for the intermediate student are: Autumn, August Moon, Dance Vivace, Festive Dance, Fire Dance, Icy Blues, Jubilant Sounds, Lady Margaret’s Suite, Shades of times, Sketches in Jazz, Tango in D Minor, Sonatina No. 2, Cornucopia, Solo Souvenirs, Jazz Suite Jazz, Spotlights, Chanuka, Folk and Festivals, Fantasy Lands, Hebrew Holiday and Folk Songs, Leap Little Leap Frog, Rag A Tag Rag, Seasons, Turkish Delight, Autumn Afternoon, Adventures in Sound, Calm Sea, The Clown, Dance Allegro, A Day at the Zoo, Evening in Madrid, Julia’s Theme, The Lost Bouncing Ball, Nocturne in A Minor, Shimmering Moon, Spanish Delight, Still Waters, Spring Breezes, Summer in the Park, Sundown Blues, and Winter Dreams.

Khachaturian, Aram (1903-1978) Both a student and professor at the Moscow Conservatory, Khachaturian (an Armenain composer) wrote several sets of pieces for children. His Children’s Album is in 2 volumes. The pieces from volume 1 are often referred to as Adventures of Ivan, with descriptive titles of a fictional character, Ivan (Ivan Sings, Ivan is Sick, The Birthday, etc.). Other works for the intermediate student include Two Pieces (1926), Sonatina (1959), and Toccata (1932).

Krenek, Ernst (1900-1991) Krenek was an Austrian composer who wrote compositions not from an emotional standpoint but as an exact mental process. He immigrated to America during World War II. His works for the intermediate student include the 12 Short Piano Pieces,

179 Op. 83 (1938) which are all 12-tone pieces written using the same tone row. Another piano work, Echoes from Austria, Op. 166 (1958) is a collection of seven tonal pieces.

Lebeda, Miroslav Born in the Czech Republic, Lebeda is a graduate of the Conservatory of Music in Prague as well as the Prague Academy of Music. Lebeda emigrated to the United States in 1969. He continues to compose; many of his works are written for the intermediate piano student.

McLean, Gordon (1907-1991)

Mier, Martha Mier, who completed her music studies at Florida State University, is an active composer, pianist, and clinician. Her compositions have been featured in Clavier magazine. She has written many pieces for the beginning and intermediate pianist.

Milhaud, Darius (1892-1974) A French composer who immigrated to the United States during World War II, Milhaud taught at Mills College and the Aspen Music Festival. From 1947 until his death, he divided his time between Paris (teaching at the Conservatoire) and the US (teaching at Mills College). His works for children include Touches noirs, touches blanches, op.222, (1941); Acceuil amical, op.326, (1944-1948); Une journée, op.269 (1946); Friendly Welcome; L’Enfant Aime; and L’Album de Madame Bovary

Mishell, Kathryn A pianist, composer, and broadcaster, Mishell currently resides in Austin, Texas.

Mompou, Frederic (1893-1987) A Spanish composer, most of Mompou’s piano works are for the upper intermediate and advanced student. He is best known for writing miniatures reflecting Catalan folksong. Some pieces include Impressiones Intimas (impressionistic writing) (1911- 1914); Pessebres (1914-1916); Scènes d’Enfants (1915-1918); Suburbis (1916- 1917); Fêtes Lointaines (1920); Three Variations (1921); Preludes 5-10 (1930- 1944); Paisajes (1957); Musica Callada, Books 1-4 (1959, 1962, 1966, 1974) (a good introduction to impressionistic writing); and Canciones y Danzas (1921-1971).

Olson, Lynn Freeman (d.1987) Olson, who was an active clinician and composer, studied at the University of Minnesota. He played an important role in the field of piano pedagogy, writing many pieces for the beginning and intermediate piano student and well as co-authoring 3 college texts for group piano teaching. He also co-authored Music Pathways, a series

180 for beginning piano students. Some of his intermediate works for solo piano include: Caribbean Breeze, Circle Dance, Nocturne, Old Tale, On the Country Road Home, Over and Over, Quiet River, Scherzino, Sword Dance, Traffic Jam!, The Water is Wide, Fire Dance, Invention in Blue, Rushing Stream, Song Without Words, Willows in the Rain, Whirligig, The Sailor Goes to Town, Festival in Aragon, Sonatina Americana, Ballad of Don Quixote, Brief Encounter, Caribbean Blue, Connections, Legend from the North, Scherzando, Sunbird, On the High Sea, Yankee Doodle Boy, Spanish Serenade, The Flying Ship, “In Fourteen Hundred Ninety Two”, Monkey on a Stick, Pagent Dance, Rather Blue, Slapstick march, Theme & Variations, and Whirlwind.

Persichetti, Vincent (1915-1987) An American composer who taught at the Juilliard School of Music, Persichetti wrote tonal music with frequent use of modes and occasional use of polytonality. Persichetti’s easiest pieces are found in Little Piano Book, Op. 60, a collection of works that can be used to teach 20th century styles. Other pieces for children include Little Mirror Book, Op. 139 (written in symmetrical inversion); Parades, Op. 57; Four Arabesques, Op. 141; Serenade No. 2, Op. 2; Serenade No. 7, Op. 55; Variations for an Album, Op. 32; Sonatinas Volume 1, Nos. 1-3, Op. 38, 45, and 47; Sonatinas Volume 2, Nos. 4-6, Op. 63-65; Reflective Keyboard Studies, op. 138 (mirror writing); Poems for Piano, Volumes 1 and 2, Op. 4 and 5 (these pieces are written based on 20th century poetry); Poems for Piano, Volume 3, Op. 14 and Three Toccatinas, Op. 142 (neo-classical work).

Prokofiev, Serge (1891-1953) Prokofiev was a Russian composer who wrote didactic works for children, the most accessible being Music for Young People, Op. 65. This is a collection of 12 works of varying difficulty, mostly intended for the late intermediate pianist. These pieces were written in 1935, when music for children was highly regarded in the Soviet Union. Other pieces that can be studied at the intermediate and early advanced level include Sonatina Pastorale, Op. 59, No. 3 (a one movement piece); Tales from the Old Grandmother, Op. 31; Four Pieces, Op. 32; and 10 Pieces, Op. 12.

Rebikov, Vladimir (1866-1920) Rebikov was a Russian composer influenced by the impressionistic style of Debussy. Some of his compositional devices include parallel movement, whole tone scale, and quartal harmonies. His intermediate pieces are The Christmas Gifts (a collection of 14 pieces); Pictures for Children, Op. 37; Silhouettes, Op. 31; and Pieces for Piano.

Rocherolle, Eugénie An American composer, Rocherolle studied at Tulane University and with Nadia Boulanger in Paris. She has written over 60 collections of piano pieces. She is an

181 active composer of intermediate piano music. Some of her collections for the intermediate students include: Classical Theme & Variations, Discoveries, Frisky Business, Rainbow’s End Level 2, Westwinds, American Sampler, Bayou Reflections, Blockbuster!, Boogie Bonanza, Getting Into Intervals, Hands Separately, Instrumental Inspirations, Keepsakes, Miniatures, Montage, New Orleans Remembered, Pages From A Scrapbook, Parisian Promenade, Past Times, Rainbows End Level 3, Seven Scenes, Shall We Gather, Simple Pleasures, Six Moods For Piano, Sonatina In C, Vintage Favorites, Cuatro Rumores Hispanicos, Extravaganza, Just For Friends, Romancing In Style, Sonata No. 2, Souvenirs du Château, and We Gather Together.

Rollin, Catherine Catherine Rollin studied music at the University of Michigan (B.M.) and the Oakland University School of Performing Arts (M.M.). She is an active teacher, clinician and composer whom has had works commissioned by MTNA and Clavier magazine. She has many works for the intermediate student, published by Alfred, including: Autumn Mood; Ballad for a New Millenium; The Best of Catherine Rollin, Book 1 (Winter Waltz, Jazz Cat, Nights in Spain, Malibu Mist, Nocturne for the Left Hand, Blue Bayou Waltz); The Best of Catherine Rollin, Book 2 (Rockin’ in New Orleans, Stars and Wind, Peanut Butter Rag, Summer’s Nocturne, Forest Dawn); Celebration Overture; Concerto in C Major; Concerto Romantique; Dreams of the Heart; El Conquistador; Forest Dawn; Great American Boogie Woogie; The Great Frontier; Jazz Menagerie, Book 2 (The Roadrunner’s (Beep! Beep!) Boogie Woogie, Jazzy Joey, Swan Waltz, Kitten ‘n’ Mousin’ on the Keys, Animal Chit Chat, Swingin’ Through the Trees); Jazz-a-Little Jazz-a-Lot, Book 2 (Boogie ‘Round the Clock, Triplet blues, Cowboy Blues Waltz, Bebop Hop, 3/4 Jump!, Minor Trance Dance, Easy Does it Blues); Legends of the Canyon; Lyric Moments, Book 1 (A Special Place in My Heart, Sweet Memories, Summer’s Dream, Tender Moments, A Song for You, Summer’s Nocturne, Lullaby and Dreamland, Thinking of Summer); Lyric Moments, Book 2 (Daydream, Simple Pleasures, Love Theme, Lament, Prairie Love, A Lovely Mood, First Loss, A Heart Takes Flight); Morning Reverie; The New Virtuoso, Book 1 (Sparks, The Ocean, Chromatic Fantasy, The Storm, Agitato e Delicato, Winter Wind); Nocturne in Blue; Preludes for Piano, Book 1; Preludes for Piano, Book 2; Sounds of Spain, Book 1; Sounds of Spain, Book 2; Spotlight on Baroque Style; Spotlight on Classical Style; Spotlight on Impressionistic Style; Spotlight on Jazz Style; Spotlight on Ragtime Style; and Spotlight on Romantic Style.

Rosco, B.J. (b. 1932) B.J. Rosco is an independent composer and teacher residing in the California area. Her compositions for the intermediate student are inventive and composed with many 20th century techniques. For example, her set Gallery of Sound Patterns includes the use of “modes, tone clusters, parallelism, triads, non-tertian harmony, exotic scale

182 structures, special tone colors, [and] prepared piano…” (Rosco, introduction). Some pieces even call for added props, such as a blender sitting on the piano. Rosco provides a written page of performance notes before each piece, thereby making her pieces accessible even to teachers who have never taught such 20th century concepts.

Schuman, William (1910-1992) Schuman was an American composer who studied with Roy Harris. He was president of The Juilliard School from 1945-1962 and the Lincoln Center of the Performing Arts from 1962-1969. He was one of the most honored American composers and recipient of such awards as the Guggenheim Fellowship, two Pulitzer Prizes, and a Kennedy Center Honor. His Three Piano Moods (1958) are suitable for the upper intermediate or early advanced student. Another set of pieces is Schuman’s Three Score Set (1943), the second piece of this set is written in a bitonal chordal style.

Sheftel, Paul An American composer, Paul Sheftel studied at Juilliard and is currently professor of pedagogy at the Juilliard School of Music. His set Interludes: Mood Studies for Piano is “built on uncomplicated patterns which can be mastered with considerable ease” (Sheftel, Introduction). This set of 18 pieces is accessible to the early intermediate student and includes both performance pieces and etude studies.

Shostakovich, Dmitri (1906-1975) Shostakovich was a Russian composer whose works define the political and social scene of the former Soviet Union. He was also an active pianist and played many of his own pieces throughout his life. His most notable work for children, Six Children’s Pieces, Op. 69 (1944-1945) is a set composed for his 8-year old daughter. Other pieces for the intermediate student include Puppet Dances (Dances of the Dolls) (1952-1962) (these are arranged from the Ballet Suites); Events of a Day; 25 Pieces for Piano; Three Fantastic Dances, Op. 51 (1922); Five Preludes (1920- 1921); Aphorisms, Op. 13; and 24 Preludes, Op. 34 (1932-1933) (modeled after Chopin’s Preludes).

Starer, Robert (1924-2001) Starer was an Austrian born composer who immigrated to the United States and taught composition at the Juilliard School from 1949-1974 and at Brooklyn College CUNY from 1966-1991. Starer was a student of Aaron Copland. He wrote many pieces for the beginning and intermediate pianist, including 12 Pieces for Ten Fingers (1963); Games with Names, Notes and Numbers (1979); Seven Vignettes (1950); Four Seasonal Pieces (1985); Sketches in Color, Set One (1963) (each of these pieces is named after a different color); Sketches in Color, Set Two (1973); Three Israeli Sketches (1957); and At Home Alone (1980).

183 Stravinsky, Igor (1882-1971) Stravinsky was a Russian born composer who became a citizen of France and the United States later in his life. His compositions represented many styles of 20th century thought, including Nationalism, Neo-Classicism and Serialism. His one set of pieces written for the intermediate piano student in 1920, Les Cinq Doigts, is a collection of 8 pieces written using 5 notes. Stravinsky wrote that he “found it rather amusing, with these much restricted means, to try to awaken in the child a taste for melodic design in combination with a rudimentary accompaniment.”

Stravinsky, Soulima (b. 1910) Son of composer Igor Stravinsky, Soulima Stravinsky taught at the University of Illinois and composed many works for children. Some of his works for the intermediate pianist include: Piano Music for Children vols. 1 & 2; Three Fairy Tales; 15 Character Pieces for Piano; Six Sonatinas for Young Pianists; Piano Variations (First and Second Series); The Art of Scales; and Three 3-Part Inventions. The two-volume set Piano Music for Children is a series of 30 graded pieces (19 pieces in Vol. 1 and 11 pieces in Vol. 2). Many of these pieces are written within the 5 finger patterns and explore some twentieth century compositional techniques.

Takács, Jenö (b. 1902) Takács is a Hungarian born composer who studied music in Austria and taught in Egypt at the Cairo Conservatory, at the University of the Philippines in Manila, in Switzerland at the conservatories of Geneva and Lausanne, and in the United States at the Cincinnati College-Conservatory of Music. He frequently wrote in many styles, including using folk melodies, and writing tonal, atonal, micro-tonal, and aleatoric music. His works that can be used at the intermediate level are the Little Sonata, Op. 51; Sounds and Colours, Op. 95; For Me, Op. 76; From Far Away Places, Op. 111; When the Frog Wandering Goes; Sonatine, Op. 2; Something New for You, Op. 116; Miss Sona-Tina Op. 118 and Toccata, Op. 54.

Tcherepnin, Alexander (1899-1977) A Russian composer, Tcherepnin came from a large family of composers. After the Russian revolution, the family moved to Paris in 1921 where Alexander began studying with Isidore Phillip. His 10 Bagatelles, Op.5 were written during this time, when Tcherepnin was only a teenager. Tcherepnin lived in China from 1934-1937, studying Chinese classical music. During that time, he wrote his Piano Method on the Pentatonic Scale. In 1948, he moved to Chicago to teach at DePaul University. He wrote many works for the intermediate student, including Bagatelles, Op. 5; Pieces Without Title, Op. 7; Canzona, Op. 28; Four Romances, Op. 31; The Story of the Little Theresa of the Infant Jesus, Op. 36b; Around the Russian Mountains; Chinese Bagatelles, Op. 51; For Young and Old, Op. 65; Expressions, Op. 81; Episodes; A Sunny Day; Trois Préludes en forme de Blues; Songs Without Words,

184 Op. 82; 17 Easy Pieces in Contemporary Piano Literature; Quatre Nocturnes; Vingt Pièces Faciles; and Album D’Amis.

Thomson, Virgil (1896-1989) Thomson was an American composer. Most of his piano pieces are found in his collection of Portraits, which are musical portraits of his friends, akin to the Bernstein Anniversaries. Thomson composed over a hundred of these portraits. He studied at Harvard and in Paris with Boulanger and was highly influenced by the music of Satie. Thomson was also a music critic and won the 1948 Pulitzer Prize for his film score to Louisiana Story.

Vandall, Robert D. Originally from Ohio, Robert Vandall studied at the University of Illinois. His interest in group-piano caused him to compose many pieces for the intermediate piano ensemble. He is well known for his intermediate compositions, which are based on his own experiences as a studio piano teacher. He has composed many pieces for the intermediate student, including: Afternoon at Cooper’s Rock; Boogie Man; Chordality; Circles; Cityscape; Cloudy Day; Columbine Waltz; Concert Tarantella; Crystal Falls; Daydream; Dynamotion; Enchanted Carillon; Encore Toccata; End of Summer; Escape from Vienna; Exotica; Eye of the Storm; High Point Toccata; Homage to Scarlatti; Iberian nocturne; Illini Romp; Imagination; Improvisation; Jazzy; Lakeside Retreat; Leaves of Green; Left’s Turn Only; Lydian Nocturne; Morning Frost; Movin’; New Philly Blues; Nightfall; Nocturne in Bb Major; North Broadway blues; Painter’s Pallette; Pastorale; Perpetual Motion I; Perpetual Motion II; Play Piano Rag; Procession; Propulsion; Regrets; Remembrance; Reverie; Riff Frenzy; Rings Around the Moon; Rock Zone; Romance; Rondo Rag; Scherzo; Shades of Blue; Sliding on the Ice; Snow Chase; Sty Cool; Strawberry Patch Rag; Summer Nocturne; Summer Toccatina; Swing It!; Tarantella Brillante; Time Twister; Toccata in F Minor; Turbulence; Turnabout; Two A.M. Blues; White Heat; and Winter Nocturne.

185 Appendix E

Copyright Letters Sent to Music Publishers

186 KATHY WINSTON 1308 Romeria dr. Austin, TX 78757 512-459-6075 [email protected] October 30, 2001

Recipient Name Address line 1 City, State/Province Postal Code

To Whom It May Concern:

I am currently a doctoral student at the University of Texas-Austin (DMA music education, piano pedagogy), working on my dissertation project. I am creating a searchable web-based database of twentieth-century intermediate piano literature (teaching pieces). The database would be accessible to anyone with an Internet connection, and would include searchable fields such as composer, period, level, key signature, technical issues, articulation, rhythm, etc. Ideally, a piano teacher would enter the site with a particular search in mind, say a 20th century piece in C major, 4/4 time, with legato and staccato articulation and hand crossings. The database would then present pieces that fit the teacher’s search.

What I would like to do is also include a 4-bar scanned excerpt from each piece, including a 4- bar MIDI recording. Therefore, once the teacher performs the search, he or she would be able to see and hear the first four measures of the piece, giving them more knowledge with which to choose appropriate repertoire for their students. What I am requesting is your permission to include the first 4 measures of select pieces both on my web site and in my dissertation. The pieces from your publishing house that I would like to use in my project are listed in the second page of this letter.

This is an educational project. The final product will be part of my dissertation, printed in traditional format and presented as a web page. The intent of the web page is to help piano teachers in the selection of repertoire. I will not receive any monetary reimbursement for the project. As a publisher, this will be a chance to expose your published pieces to a worldwide audience of piano teachers. If you wish, I can also provide a link to your web site, perhaps giving the teachers an opportunity to purchase music directly online.

I appreciate your time. Sincerely,

Kathy Winston

187 Repertoire published by ______that I would like to include in my doctoral dissertation. (Requesting permission to include a scanned image of the first four measures of each piece listed below.)

188 Appendix F

User Survey

189 This survey is to determine the effectiveness of the database found at www.pianorep.com. All information from this survey will be confidential. Survey results will appear in the written component of my doctoral dissertation from the University of Texas at Austin. Participation in this survey is voluntary. Completion of this survey indicates that you have given consent to participate in this research project.

I. The Website

1. .How much experience do you have using the Internet? 1 2 3 4 5 ______No experience Very experienced

2. While using the Website, were you easily able to navigate to the five main pages (home, basic search, advanced search, glossary, and composer)? 1 2 3 4 5 ______Difficult to navigate Easy to navigate

II. The Database (Basic Search and Advanced Search pages)

1. Using the advanced search page, locate a Scherzo for an Intermediate student that emphasizes the technique “finger action.” Was this particular search easy or difficult to do? 1 2 3 4 5 ______Difficult to do Easy to do

2. Please rate the visual 4-measure excerpt of the piece based on its usefulness to you as a teacher in choosing repertoire for your intermediate students. 1 2 3 4 5 ______Not useful at all Very useful

3. Please rate the audio 4-measure excerpt of the piece based on its usefulness to you as a teacher in choosing repertoire for your intermediate students. 1 2 3 4 5 ______Not useful at all Very useful

190 4. Please rate the following search criteria (fields) based on their usefulness to you as a teacher in choosing repertoire for your intermediate students (check one box for each field).

Field Not useful at all Somewhat useful Very useful

A. Composer

B. Level

C. Technical Issues

D. Harmonic Scheme

E. Mode

F. Key

G. Tempo

H. Time Signature

I. Articulation

J. Ornamentation

K. Texture

L. Rhythmic Issues

M. Harmonic Content

N. Musical Style

5. What additional search criteria would you like to add to the Website? ______

191 6. Each of the search criteria (fields) is subdivided into many categories. For example, “technical issues” is subdivided into: Chords, Blocked; Chords, Broken; Chords, Rolled; etc. (see the Website for the complete subdivisions). Within each field, are there any categories that you think should be added? Yes______No______

If so, please list: Field:______Additional subdivisions:______Field:______Additional subdivisions:______Field:______Additional subdivisions:______Field:______Additional subdivisions:______Field:______Additional subdivisions:______Field:______Additional subdivisions:______

III. Additional Information on the Website

1. How useful was the information on the following pages?

Page Not useful at all Somewhat useful Very useful

A. Composers page

B. Glossary Page

C. Leveling Guidelines Page

IV. General Comments about the Website

1. When choosing repertoire for my intermediate students, I would use a Website like this one. 1 2 3 4 5 ______Never Very often

192 Please comment:______

2. Through use of the Website, I was introduced to new pieces or composers that I was previously unfamiliar with. 1 2 3 4 5 ______Strongly disagree Strongly agree

3. Please comment about your overall impression of the Website. ______

4. Please comment about the Website’s applicability to you as a piano teacher. ______

5. If I could change this Website, I would do the following: ______

193 Appendix G

Permission Letters from Music Publishers and Composers

194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 Ms. Winston,

This sounds like a great idea to us. You have our permission to use 4 bar scans of the printed music and to create 4 bar midifiles of the same for the purpose of a website which you will be producing for your dissertation. This permission is granted with the understanding that this is an educational not for profit endeavor. If that should change, of course than licenses would have to be obtained. Please include the following credit-

Finney: 32 Piano Games - (c)1969 by C.F. Peters Corporation. From Edition Peters P66256.

Hovhaness: Visionary Landscapes - (c)1967 by C.F. Peters Corporation. From Edition Peters P66043.

Stravinsky: Piano Music for Children, Vol. 1, Tag, Pagoda, For the Kid Next Door - (c)1960 by C.F. Peters Corporation. From Edition Peters P6127.

Stravinsky: Piano Music for Children, Vol. 2, Answering Back - (c) 1960 by C.F. Peters Corporation. From Edition Peters P6128.

We would appreciate a link, our website address is www.edition-peters.com.

Good luck with your project.

C.F.PETERS CORPORATION

Gene Caprioglio Rights Clearance Division

209 Dear Ms. Winston,

We hereby grant you permission to scan the first 4 measures of The Three Blind Mice Rollin Along Toccata by Arthur Greene for use in your searchable web-based database. There will be no fee for this permission as long as there is no charge to use the web database.

We would greatly appreciate a link to our website if still possible. Our website address is: www.ecspub.com.

Thank you for respecting the copyright laws of our country.

Sincerely, Christa Lyons ECS Publishing

210 Dear Ms. Winston:

I am in receipt of both your E-mail and your fax request for permission to include 4- bar excerpts, including a 4-bar MIDI recording, of several of our copyrighted works in your dissertation, as well as a request for permission to include the aforementioned excerpts on your web site.

We grant you gratis permission for the above use only. Please ensure that you reflect copyright notices as they appear in our publications and indicate that these excerpts are being used with our permission.

For the record, the excerpts in question are:

Ginastera, Alberto - In the first Pentatonic Minor Mode 12 American Preludes Olson, Lynn Freeman - Scherzando Scherzando Olson, Lynn Freeman - First Sonatina Bloch, Ernst - Joyous March Enfantines. Ten Pieces for Children Bloch, Ernst - Rainy Day Enfantines. Ten Pieces for Children Bloch, Ernst - Dream Enfantines. Ten Pieces for Children Sheftel, Paul - Etude I Interludes: Mood Studies for Piano Sheftel, Paul - Nocturne Interludes: Mood Studies for Piano

Thank you.

With best wishes, Lola Kavonic

Copyright & Royalty Dept. Carl Fischer, LLC

211 Dear Ms. Winston,

Your e-mail to our web-site has been forwarded to me. I actually remember talking to you aboug this last year, when you made an initial phone inquiry.

This is a wonderful project and we will be happy to work with you. We will have no problem with you using reprinting the first four measures of each work and recording the first four measures as well.

Next week I will send you the proper permission letter for this project.

Good luck!

With kind regards,

BOOSEY & HAWKES, INC.

Frank Korach Business Affairs Assistant

35 East 21st Street New York, NY 10010 Phone: 212-358-5352 Fax: 212-358-5305

212 Objet : RE: copyright permission request for doctoral dissertation

Dear Mrs Winston, Further to your email, please note that I grant you free permission to reproduce the 4 measures of the Mompou works you asked for. Regarding the link with our website I think it would be usefull to the teachers. Yours sincerely Nelly Quérol General Manager

-----Message d'origine----- De : Information Salabert [mailto:[email protected]] Envoyé : mardi 5 février 2002 09:36 À : Patricia ALIA Objet : FW: copyright permission request for doctoral dissertation

213 From: "Waterloo Music" Date: Mon Jan 21, 2002 04:59:44 PM US/Central To: Subject: Permissions

Kathy Winston 1308 Romeria Dr., Austin Texas 78757

Dear Kathy:

Your doctoral project sound interesting. It is something that we also would like to do in the future. I can give you permission to use 4 bar excerpts of the following pieces of music: Star Gazing by Jean Coulthard March, Lydian Mode and Barcarolle by David Duke

It is understood that these four bar excerpts are to be used in the following manner only: for your dissertation project in hard copy form and for inclusion in your web based database. This permission is granted for a period of 5 years only.

A link to our web site would be acceptable to us subject to final review of your project. Our web sit is www.waterloomusic.com

If there is anything else that I can do for you please feel free to contact me either, here, at my email address or by telephone at 1-519-886-4990

Sincerely,

Andy Coffin President

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231 VITA

Bonny Kathleen Winston was born in Weslaco, Texas on December 18, 1972, the daughter of Joseph Blake Winston, Jr. and Bonny Carolyn Winston. After completing her work at Weslaco High School, Weslaco, Texas, in 1991, she entered

Trinity University in San Antonio, Texas. She received the degree of Bachelor of

Music from Trinity University in May 1995. Further music study was completed at the Aspen Music Festival and School during the summers of 1993 and 1994 and through work as an intern with the education department of the National Symphony

Orchestra at the John F. Kennedy Center for the Performing Arts in 1996. Her

Masters of Music degree was completed in 1998 at Southern Methodist University,

Dallas, Texas. She entered the Graduate School of The University of Texas in

January 2000.

Permanent Address: 2741 Camino de Verdad, Mercedes, Texas, 78570

This dissertation was typed by the author.

232