Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2007 An original composition, galleria armonica, theme and variations for piano, harpsichord, harp and orchestra and a comparative study between the pedagogical methodologies of Arnold Schoenberg and Nadia Boulanger regarding training the composer Barrett Ashley Johnson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Johnson, Barrett Ashley, "An original composition, galleria armonica, theme and variations for piano, harpsichord, harp and orchestra and a comparative study between the pedagogical methodologies of Arnold Schoenberg and Nadia Boulanger regarding training the composer" (2007). LSU Doctoral Dissertations. 1833. https://digitalcommons.lsu.edu/gradschool_dissertations/1833 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN ORIGINAL COMPOSITION, GALLERIA ARMONICA, THEME AND VARIATIONS FOR PIANO, HARPSICHORD, HARP AND ORCHESTRA AND A COMPARATIVE STUDY BETWEEN THE PEDAGOGICAL METHODOLOGIES OF ARNOLD SCHOENBERG AND NADIA BOULANGER REGARDING TRAINING THE COMPOSER A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music By Barrett Ashley Johnson B.M., Baylor University, 1983 M.M. University of Arkansas, 2001 December 2007 © Copyright 2007 Barrett Ashley Johnson All Rights Reserved ii ACKNOWLEDGMENTS I want to begin by thanking the many music instructors with whom I have studied over many years: especially, Bettye Aydelott, who—through her combined knowledge and love of Great Music—nurtured my lifelong search for the Same as my first music teacher; Sister Valeria Moellers, O.S.B.; Calvin Anderson Remy; Roger Keyes; Dr. Richard M. Willis; Carolyn Willis; Dr. Lee David Thompson; and, Dr. Robert Mueller. In addition to my studies with the aforementioned I want to express my gratitude to members of my dissertation committee, most with whom I have studied privately. Your outstanding examples of musicianship and pedagogy were an inspiration to this and many other creative projects: Dr. Stephen David Beck (major area professor), Dr. Jane Cassidy (minor area professor), Dr. Dinos Constantinides, (major area department head), Dr. Robert Peck (associate professor, music theory), and Dr. Patricia Suchy (associate professor, performance studies). I thank you for your personal interest in my endeavours, and, for your time and professionalism toward training today’s musicians and artists. Thanks go to several individuals who were instrumental in providing requested research materials, granting illuminating interviews, and sharing their academic opinions. First, I thank Easley Blackwood for graciously granting an interview regarding Nadia Boulanger. His insights as one of Boulanger’s most illustrious students was most revealing. I especially thank him for allowing me to make copies of the original Vidal Bass “book” collection (of which excerpts appear herein). I thank those who granted other interviews: To Emile Naoumoff I owe great admiration and gratitude for your most important insights and comments regarding Boulanger’s pedagogy, and, equally, her personal philosophy. I thank Robert Levin whose iii highly-detailed recollections of Boulanger’s pedagogical materials were of prime importance to this paper. To Donald Grantham and Robert X. Rodriguez who contributed to my search for Boulanger’s methods, I thank you. I thank Morris Martin and Edward Hoyenski at the University of North Texas for their assistance in providing a digital image of the original Boulanger/Dieudonné history of Western music chart. I thank Laurence Languin, of the University of Lyon (France) for her assistance in providing Boulanger’s “History of Music—Class Handouts” as I thank the Fondation Internationale Nadia et Lili Boulanger for its permission to reproduce those documents herein. I thank Cassandra Volpe of the University of Colorado for permission to use transcribed lectures of the Nadia Boulanger and American Music—a Memorial Symposium. I thank Jane Subramanian of The State University of New York, Potsdam, for allowing me to print the first (known) full-text copy of Boulanger’s December 15, 1945 lecture on Fauré’s Requiem. To Sarah Adams of the Eda Kuhn Music Library, Harvard University, for graciously allowing the reproduction of items from the Joyce Mekeel collection. Thanks go to Douglas Bomberger for allowing quoted excerpts from his paper, “Boulanger and the Passacaglia” presented at the Nadia Boulanger and American Music—a Memorial Symposium. To Bennett Reimer and Pearson Educational I owe thanks for allowing the usage of examples from A Philosophy of Music Education—Advancing the Vision, 3rd ed. iv Many thanks go to various staff of the Arnold Schoenberg Center, Vienna, for their assistance in directing my studies toward the most efficacious and interesting research materials. Thank you, Lawrence Schoenberg, and Belmont Music Publishers for allowing the reproduction of Schoenberg’s teaching materials contained herein. To Dr. Carole Salmon, I thank you for assisting in the scholarly translations from the French. Dr. Andreas Giger: Thank you for your assistance in deciphering an historical interpretation of the Boulanger/Dieudonné history of Western music chart. Finally I want to thank my family for their enthusiasm, encouragement, and constant source of support in this and all my ventures. v TABLE OF CONTENTS ACKNOWLEDGMENTS . .iii LIST OF FIGURES. ix LIST OF EXAMPLES . x SCORE: MOVEMENTS LIST . .xi SCORE: INSTRUMENTATION—ENSEMBLE GROUPINGS . xii SCORE: ORCHESTRA SEATING DIAGRAM . .xiii ABSTRACT. xiv PART I. AN ORIGINAL COMPOSITION, GALLERIA ARMONICA, THEME AND VARIATIONS FOR PIANO, HARPSICHORD, HARP AND ORCHESTRA . 1 PART II. A COMPARATIVE STUDY BETWEEN THE PEDAGOGICAL METHODOLOGIES OF ARNOLD SCHOENBERG AND NADIA BOULANGER REGARDING TRAINING THE COMPOSER. .116 CHAPTER 1. INTRODUCTION: ARNOLD SCHOENBERG AND NADIA BOULANGER—BIOGRAPHICAL SKETCHES, CAREERS, AND EARLY INFLUENCES . 117 Arnold Schoenberg: Biographical Sketch, Career, and Early Influences. .120 Nadia Boulanger: Biographical Sketch, Career, and Early Influences . 127 2. ARNOLD SCHOENBERG: MUSIC PEDAGOGY TEXTS AND OTHER SIGNIFICANT TEACHING METHODS AND MATERIALS . 133 Pedagogy through Text Instruction. 134 Pedagogy through Essays . 148 Pedagogy through Public Lectures . 156 Pedagogy through Interviews . 158 Pedagogy through Group and Individual Instruction . 160 Pedagogy through Indirect Methods: Original Compositions and Performance Advocacy. .170 vi 3. NADIA BOULANGER: MUSIC PEDAGOGY TEXTS AND OTHER SIGNIFICANT TEACHING METHODS AND MATERIALS . 171 Pedagogy through Text Instruction . .173 Pedagogy through Essays . 181 Pedagogy through Public Lectures . 184 Pedagogy through Interviews . 195 Pedagogy through Group and Individual Instruction . 197 Pedagogy through Indirect Methods: Original Compositions and Performance Advocacy . 218 4. EXEMPLARY MUSIC EDUCATION PHILOSOPHIES AS RELATE TO THE TEACHING METHODS OF SCHOENBERG AND BOULANGER: BENNETT REIMER AND DAVID ELLIOTT. .220 5. COMPARISON AND CONTRAST OF TEACHING METHODS OF SCHOENBERG AND BOULANGER IN RELATION TO THE PHILOSOPHIES OF MUSIC EDUCATION OF BENNETT REIMER AND DAVID ELLIOTT. 246 6. CONCLUSION: OVERVIEW OF CONTRIBUTIONS TO MUSIC COMPOSITION PEDAGOGY BY SCHOENBERG AND BOULANGER AND THE IMPLICATIONS OF THOSE FINDINGS. 278 EPILOGUE. 287 BIBLIOGRAPHY . .288 APPENDIX A. “DOUBLE COUNTERPOINT IN THE OCTAVE” . 297 B. “COUNTERPOINT: 3-VOICE, 16 BARS”. 298 C. “COUNTERPOINT: ZONES: STATEMENT, NEUTRALIZATION, MODULATION, CADENCE”. 299 D. “ANALYSIS TEST, NOVEMBER 27, 1942”. 300 “MIDTERM NOVEMBER 27, 1942, FOUR MODULATING MELODIES” . .301 vii E. “[EXAM] JANUARY 20, 1943” . .302 F. “SIXTEEN BASSES BY NADIA BOULANGER” . 303 G. “GABRIEL FAURÉ”: LECTURE BY NADIA BOULANGER—POTSDAMS STATE TEACHERS COLLEGE, DECEMBER 15, 1945” . 310 H. “DODA CONRAD INTERVIEW” . 324 I. “NADIA BOULANGER: “HISTORY OF MUSIC—CLASS HANDOUTS”—LESSON V (1932, 1934-1935)” . 327 J. “NADIA BOULANGER: “HISTORY OF MUSIC—CLASS HANDOUTS”—LESSON IIX (1932, 1934-35)” . 342 K. “TABLEAU RÉSUMÉ DE LA FILLIATION DES FORMES MUSICALES PAR MLLE. NADIA BOULANGER AVEC LA COLLABORATION DE MLLE. ANNETTE DIEUDONNÉ” (ORIGINAL VERSION) . .353 L. “CHART SUMMARIZING THE BRANCHED RELATIONSHIPS OF MUSICAL FORMS BY MLLE. NADIA BOULANGER IN COLLABORATION WITH MLLE. ANNETTE DIEUDONNÉ” (TRANSLATED VERSION). .354 M. “JOYCE MEKEEL: “NADIA BOULANGER—HARMONY CLASS NOTES”. .355 N. “THEME AND VARIATIONS FOR PIANO” BY LILI BOULANGER (EXCERPT) . 365 O. LETTERS OF PERMISSION . 366 VITA. .374 viii LIST OF FIGURES Figure Page One SEVEN-PHASE MODEL OF THE TOTAL SCHOOL CURRICULUM . 228 Two U.S. NATIONAL CONTENT STANDARDS FOR MUSIC EDUCATION (RESTRUCTED) . 231 ix LIST OF EXAMPLES Example Page One ROOT POSITION BASS NUMBER TWO FROM THE TRAITÉ . 175 Two RÉALISATION OF ROOT POSITION BASS NUMBER TWO. .176 SCORE: MOVEMENTS LIST x Galleria Armonica Tema Variazione I Passeggiata I Variazione II: Marcia Intervallo I Variazione III: Fanfara Passeggiata II Intervallo II Passeggiata