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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Aitwr MI 48106-1346 USA 313/761-4700 800/521-0600 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SELECTED INTERMEDIATE TO EARLY-ADVANCED WORKS FOR PIANO SOLO BY VIOLET BALESTRERI ARCHER: AN ANALYSIS FOR TEACHING AND PERFORMANCE A DOCUMENT SUBMITTED TO THE GR.ADUATE FACULTi' in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By ROSALYN WAI-YAN SOO Norman, Oklahoma 1997 UMI Number: 9721057 UMI Microform 9721057 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, Ml 48103 SELECTED INTERMEDIATE TO EARLY-ADVANCED WORKS FOR PIANO SOLO BY VIOLET BALESTRERI ARCHER: AN AN ALYSIS FOR TEACHING AND PERFORM.ANCE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY r. AndrewAndrew Cooperstock,Cooperstock, Co-Dr. Co-Major Professor Dr. E. L Lancaster, Co-Major Professor Dr. Meryi Mantione Dr. Michael Rogers ^ /,Î^ U r//i' ■ ■ ] . -jur. i t - Dr. Patricia Smith Copyright by Rosalyn VVai-Van Soc 1997 All Rights Reserved AC K NO W LEDG EM ENTS I wish to express my deepest appreciation to many individuals, for their support during my studies and contributions to this dissertation. 1 am indebted to the members of my graduate committee for all of their generous time and effort throughout the process of this project. Gratitude is extended to my co-major professor. Dr. Andrew Cooperstock, for his valuable advice on writing style and inspiration in piano performance. I would like to thank my co-major professor and academic advisor. Dr. E. L. Lancaster, for his enriching pedagogical guidance and support on academic matters. 1 am also very grateful to the rest of my committee, for all of their advice and assistance. My thanks go to Dr. Meryl Mantione for all of her kind understanding in my endeavors, as well as her patience and encouragement in my vocal studies. I would like to thank Dr. Michael Rogers for his stimulating insight into music theory, which has challenged me to a greater depth of personal musical growth. 1 also thank Dr. Patricia Smith, for her friendly interest and support m my academic and career goals. A very special thank you is extended to Dr. Violet Archer, for her congenial cooperation, generous time in correspondence and interviews. It is a great honor to know Dr. Archer and this personal rapport has cultivated an enriching experience for me. I hav e been most inspired by her dedication, contributions, and achievements in iv the music world. I also wish to express my appreciation to Sonatina and Fughetta, my “feline" friends, for their cheery, \1vacious company during my visits at Dr. Archer’s residence. I am grateful to Crystal Coolican for her warm hospitality and welcome during my visit to Edmonton, Alberta, Canada to interview Dr. .Archer. Thanks also go to Claude Kenneson and \ ivian Fung for their willingness to share their perspectives as a fellow colleague and student respectively, of Dr. Archer. I also would like to thank John Reid (Director of the Prairie Region of the Canadian Music Centre), Mark Hand (National Librarian of the CMC), and Glenn Ford (Assistant to the National Librarian) for all of their assistance and support. The Canadian Music Centre has been a valuable resource in this project by graciously providing research information, recordings, extended score loans, and \arious other services. For the permission to reprint copyrighted materials, I thank Ralph A. Cruikshank of Berandol Music Limited, Leanne Seabright of Boosey & Hawkes, and Tom Bileski of Waterloo Music Company Limited. I also thank Dr. Violet Archer, for the permission to reprint her manuscript materials. Musical excerpts utilized in this document are hereby acknowledged: V Three Scenes for Piano (Habitant Sketches), by Violet Archer T 1982 Berandol Music Limited A Division of Mayfair Music Publications Inc., Markham, ON, Canada International Copyright Secured Reprinted by permission of Berandol Music Limited. Sonatina No. 2. by Violet Archer T) 1948 Boosey & Hawkes (Canada) Ltd. International Copyright Secured Reprinted by permission of Boosey & Hawkes, Inc. Theme and Variations on Là-haut sur ces montagnes, by \ iolet Archer Manuscript (1952) Reprinted by permission from the composer. Four Bagatelles for Piano, by Violet Archer c 1979 Waterloo Music Company Limited International Copyright Secured Reprinted by permission of W aterloo Music Company Limited. 1 would like to express my sincere appreciation to all of my friends and colleagues in Canada and the United States. 1 am grateful for all of their friendship and support over the years. Special thanks to Bill, Merilyn, and Mike Seitz, Shirley and Elton Cary, Dorothy and Ray Plummer, Jonee and Michael McKee, Philip Autry, and Frieda Bambas. 1 also wish to acknowledge my colleagues Dean Mark W ait and Roland Schneller of Vanderbilt University - Blair School of Music. In a great tribute of immense gratitude and thanks, 1 dedicate this dissertation to my family: My parents, Paulina and Murray, and my sisters, Jacalyn and Caroly n. 1 am indebted to them for all of their steadfast support, encouragement, love, and understanding over the years. Their confidence in me is a constant source of inspiration. vq Most important of all, I express my heartfelt thanks and gratefulness to God for His guidance and blessings in my life. Through Him, I am able to share my passions for the piano, and music as the language of deepest expression. Vll TABLE OF CONTENTS ACKNOWLEDGEMENTS..................................................................................... i\ TABLE OF CONTENTS........................................................................................ viii LIST OF TABLES ................................................................................................ vii LIST OF MUSICAL EXAMPLES.......................................................................... viii ABSTRACT .........................................................................................................................wiii CHAPTER L INTRODUCTION........................................................................................ 1 Purpose of the S tu d y ............................................................... 1 Limitations..................................................................................... (i Need for the Stud\ ...................................................................... 7 Related Literature...................................................................... \2 Design and Procedures ........................................................... 17 IL BIOGRAPHICAL B AC KGROUND AND DISCUSSION OF PIANO WORKS............................................................................................ 71 Introduction................................................................................. 21 Biography ........................................................................................ 21 Archer’s Compositional Studies ............................................ 27 Studies with Béla Bartok........................................................... 27 Studies with Paul Hindemith .................................................... 29 Archer as a C om poser ........................................................... 21 Archer as a P e rfo rm e r ........................................................... 22 Archer as an E du cato r ........................................................... 22 Archer as an Advocate for Twentieth-Century Music and the Canadian Music Scene...................... 42 A Synopsis of Archer’s Available Piano Compositions . 20 Elementary-Level Solo Piano M usic.......................... 21 Intermediate-Level Solo Piano M usic...................... 24 Advanced-Lexel Solo Piano Music.............................. 22 Piano Ensemble (Ducts)................................................ 57 Piano Ensemble (Two Pianos)..................................... 57 Piano with O rchestra ................................................... 58 General St) le Characteristics of Archer’s Music ...
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