A Pedogogical Discussion of Five French Twentieth
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A PEDOGOGICAL DISCUSSION OF FIVE FRENCH TWENTIETH-CENTURY PIANO PIECES FOR PROGRESSIVE STUDY by SHARLA ANN BENDER AMANDA W. PENICK, COMMITTEE CHAIR KEVIN T. CHANCE, CO-CHAIR THOMAS ROBINSON KENNETH B. OZZELLO LINDA PAGE CUMMINS MARGOT O. LAMME A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, AL 2014 Copyright Sharla Ann Bender 2014 ALL RIGHTS RESERVED ABSTRACT This document provides a pedagogical study of five works for younger pianists by twentieth- century French composers. The works are Jeu by Darius Milhaud, Petite suite serieuse pour concert de famille by Besty Jolas, Les fleurs endormies by Marcel Landowski, A la maniere…d’un violon by Raymond Loucher, and L’histoire de Babar by Francis Poulenc. Each work is published individually by the French editor Gerard Billaudot and is a part of a collection of twenty-seven teaching pieces specifically designated pour les jeunes (“for young people”). These works can be used as an introduction to modern French piano music for elementary through early-advanced students. This subject is of great importance as such works are rarely found in student-level repertoire and method books. The selections are presented in the order of progressive study, each accompanied with a detailed discussion, so that the teacher may decide on how best to integrate the compositions into their students’ training. It is possible to use all five pieces with one student in a graduated progression; but the discussions are presented with one composition per chapter so that an instructor may go immediately to the piece that most closely reflects their student’s current level. These solo piano works can equip the student with the skills necessary to play more difficult French twentieth-century repertoire, such as Ravel’s Sonatine or one of the Debussy Préludes. ii DEDICATION I dedicate this document to my faithful husband, Steven Bender. Your support of me began long before we were husband and wife. You saw what I was capable of and never let me follow through on my threats to give up. You put aside your own dreams and goals to help me attain mine. I stand amazed and thoroughly humbled by your sacrifices on my behalf. I love you. I express appreciation to my supportive parents, Timothy and Shirley Mitchell. You always taught me that with God I could reach whatever goal I set in my mind and heart. Thank you for not laughing at a ten-year-old who declared her plans to get a doctorate in music. I made it! God, You are the creator of all the heavens and the earth, yet you know my name. Thank you for allowing my love for music to reach the hearts of others. iii ACKNOWLEDGEMENTS Thank you Professor Amanda Penick for granting me access to your vast treasure trove of wisdom gained through almost six decades as a professional pianist and educator. I am a better performer and teacher because of you. Dr. Linda Cummins, I have sought your assistance at all hours of the day and night, yet you always responded with kindness and provided excellent advice. It is nice to know that someone else is still working at midnight. Thank you Dr. Kevin Chance for directing my research in the field of piano pedagogy. Your editing suggestions helped me become a better writer. Thank you Dr. Thomas Robinson for taking such a detailed look at this document. Your editing perspective was also educational. Dr. Kenneth Ozzello and Dr. Margot Lamme, Your thoughtful comments and insights were a great assistance during this document process. I am glad you were a part of this committee. iv CONTENTS ABSTRACT................................................................................................................................... ii DEDICATION……............……………………………………………………………………... iii ACKNOWLEDGEMENTS…..……………………………………………….…………............ iv LIST OF ILLUSTRATIONS……………………………………………………………........... viii CHAPTER 1: INTRODUCTION.................................................................................................... 1 CHAPTER 2: JEU BY DARIUS MILHAUD…………………………………............................. 4 a. Discussion of the piece................................................................................................................. 4 b. Pedagogical discussion of the piece............................................................................................. 6 c. Articulation.................................................................................................................................. 6 d. Texture......................................................................................................................................... 9 e. Fingering...................................................................................................................................... 9 f. Dynamics/tempo........................................................................................................................ 14 g. For what students would this piece be appropriate?................................................................... 15 CHAPTER 3: PETITE SUITE SERIEUSE POUR CONCERT DE FAMILLE BY BETSY JOLAS………………………………………………….…………….......................................... 16 a. Discussion of the piece............................................................................................................... 16 b. Pedagogical discussion of the piece........................................................................................... 16 c. Fingering/hand position............................................................................................................. 16 d. Intervallic content...................................................................................................................... 23 e. Pedaling..................................................................................................................................... 24 v f. Performing five different meters................................................................................................. 24 g. Issues pertaining to a multi-movement work............................................................................. 27 h. Rhythmic and dynamic expectations......................................................................................... 27 i. For what students would this piece be appropriate?.................................................................... 29 CHAPTER 4: LES FLEURS ENDORMIES BY MARCEL LANDOWSKI.................................. 30 a. Discussion of the piece............................................................................................................... 30 b. Dynamic spectrum..................................................................................................................... 31 c. Pedagogical discussion of the piece........................................................................................... 31 d. Fingering................................................................................................................................... 31 e. Pedaling – the use of the damper pedal...................................................................................... 35 f. Use of the una corda pedal.......................................................................................................... 41 g. Phrasing and articulation............................................................................................................ 41 h. Tempo changes.......................................................................................................................... 44 i. Dynamics.................................................................................................................................... 47 j. For what students would this piece be appropriate?.................................................................... 48 CHAPTER 5: A LA MANIERE…D’UN VIOLON BY RAYMOND LOUCHEUR……………………………..................................................................................... 49 a. Discussion of the piece............................................................................................................... 49 b. Pedagogical discussion of the piece........................................................................................... 54 c. Repeated Notes.......................................................................................................................... 54 d. Fingering................................................................................................................................... 57 vi e. Arpeggiated chords................................................................................................................... 61 f. For what students would this piece be appropriate?.................................................................... 62 CHAPTER 6: L’HISTOIRE DE BABAR BY FRANCIS POULENC………......…...................... 63 a. Discussion of the piece............................................................................................................... 63 b. Pedagogical discussion of the piece........................................................................................... 64 c. Modern harmonies/chromaticism.............................................................................................. 68 d. Complex rhythms.....................................................................................................................