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The Development of Extended Piano Techniques in Twentieth-Century American Music Reiko Ishii

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The Development of Extended Piano Techniques in Twentieth-Century American Music Reiko Ishii Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Development of Extended Piano Techniques in Twentieth-Century American Music Reiko Ishii Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE DEVELOPMENT OF EXTENDED PIANO TECHNIQUES IN TWENTIETH-CENTURY AMERICAN MUSIC By REIKO ISHII A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright © 2005 Reiko Ishii All Rights Reserved The members of the Committee approve the treatise of Reiko Ishii defended on November 8, 2005. ___________________________________ Carolyn Bridger Professor Directing Treatise ___________________________________ Denise Von Glahn Outside Committee Member ___________________________________ Karyl Louwenaar Committee Member ___________________________________ James Nalley Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to thank my major professor Dr. Carolyn Bridger for her generous assistance throughout the entire treatise process as well as unbelievable support and care during my time at Florida State University. I could not have completed the degree without her encouragement. I want to express my gratitude to Dr. Karyl Louwenaar for her invaluable help and guidance to me in pursuing a career as a musician and teacher. Many thanks to Dr. Denise Von Glahn for suggesting the topic of this treatise and teaching me how to view the issue from various perspectives. I would like to thank Dr. James Nalley for his graciously agreeing to serve as a committee member. I would also like to thank my wonderful parents, Keiich and Tomie Ishii, for their tremendous help and encouragement. Finally, special thanks to my husband, Nobu, for his constant support and understanding. iii TABLE OF CONTENTS List of Figures................................................................................................................................vi Abstract.......................................................................................................................................... xi 1. INTRODUCTION ..................................................................................................................... 1 Purpose of the Study ........................................................................................................... 1 Significance of the Study.................................................................................................... 1 Scope of the Study .............................................................................................................. 2 Related Literature................................................................................................................ 2 Organization of the Treatise................................................................................................ 6 2. DESCRIPTIONS OF EXTENDED PIANO TECHNIQUES.................................................... 7 Overview of Extended Instrumental Techniques................................................................ 7 Overview of Extended Piano Techniques......................................................................... 11 Special Effects Produced on the Keyboard....................................................................... 13 Performance inside the Piano............................................................................................ 15 Performance inside the Piano with One Hand and on the Keyboard with the Other .................... 17 Addition of Foreign Materials .......................................................................................... 18 3. FROM 1910 TO 1960: THE BEGINNING OF THE INNOVATIONS ................................. 19 Special Effects Produced on the Keyboard....................................................................... 19 Performance inside the Piano............................................................................................ 29 Performance inside the Piano with One Hand and on the Keyboard with the Other .................... 33 Addition of Foreign Materials .......................................................................................... 34 iv 4. 1960s AND 1970s: EXPLOSION OF ACTIVITY.................................................................. 44 Special Effects Produced on the Keyboard....................................................................... 44 Performance inside the Piano............................................................................................ 56 Performance inside the Piano with One Hand and on the Keyboard with the Other .................... 68 Addition of Foreign Materials .......................................................................................... 71 5. 1980s AND 1990s: ASSIMILATION OF NEW SOUND ...................................................... 75 Special Effects Produced on the Keyboard....................................................................... 75 Performance inside the Piano............................................................................................ 83 Performance inside the Piano with One Hand and on the Keyboard with the Other .................... 88 Addition of Foreign Materials .......................................................................................... 92 6. CONCLUSION........................................................................................................................ 95 APPENDIX................................................................................................................................. 102 BIBLIOGRAPHY....................................................................................................................... 106 BIOGRAPHICAL SKETCH ...................................................................................................... 114 v LIST OF FIGURES Figure 2.1. Schumann: “Paganini” from Carnaval, Op. 9, mm. 33-37 ................................... 15 Figure 3.1. Ives: Piano Sonata No. 2, “Hawthorne,” mm. 16-20 ............................................. 19 Figure 3.2. Bartók: Sonata, 3rd movement, mm. 83-93 .......................................................... 20 Figure 3.3. Notational Symbols for Clusters ........................................................................... 20 Figure 3.4. Cowell: Tiger, mm. 11-12 ..................................................................................... 21 Figure 3.5. Cowell: The Tides of Manaunaun, mm. 24-25 ...................................................... 21 Figure 3.6. Cowell: The Tides of Manaunaun, m. 22 .............................................................. 22 Figure 3.7. Cowell: Antinomy, mm. 46-48 ............................................................................... 22 Figure 3.8. Cowell: Antinomy, mm. 1-3 ................................................................................... 23 Figure 3.9. Cowell: Tiger, mm. 38-39 ..................................................................................... 24 Figure 3.10. Ornstein: Danse sauvage, Op. 13, No. 2, m. 113 ................................................ 24 Figure 3.11. Riegger: Four Tone Pictures, “Grotesque,” mm. 21-28 ..................................... 25 Figure 3.12. Cowell: Tiger, mm. 4-7 ....................................................................................... 26 Figure 3.13. Schoenberg: Three Piano Pieces, Op. 11, first piece, mm. 14-16 ...................... 26 Figure 3.14. Carter: Piano Sonata, second movement, mm. 68-75 ......................................... 27 Figure 3.15. Copland: Piano Variations, mm. 1-5 ................................................................... 27 Figure 3.16. Cowell: Tiger, mm. 43-44 ................................................................................... 28 Figure 3.17. Carter: Piano Sonata, first movement, mm. 120-125 .......................................... 28 Figure 3.18. Cowell: Aeolian Harp, mm. 6-8 .......................................................................... 30 vi Figure 3.19. Cowell: The Banshee, mm. 6-9 ........................................................................... 31 Figure 3.20. Harrison: Prelude and Sarabande for Piano, “Prelude,” line 24 ........................ 32 Figure 3.21. Hovhaness: Fantasy for Piano, Op. 16, page 4 ................................................... 32 Figure 3.22. Hovhaness: Fantasy for Piano, Op. 16, page 7 ................................................... 33 Figure 3.23. Cowell: Sinister Resonance, mm. 47-56 ............................................................. 33 Figure 3.24. Materials placed between certain strings in Cage: Amores ................................. 35 Figure 3.25. Example of preparations ...................................................................................... 36 Figure 3.26. Bolt inserted between the strings ......................................................................... 37 Figure 3.27. Rubber inserted between the strings .................................................................... 37 Figure 3.28. Cage: Amores I, mm.10-12 .................................................................................. 38 Figure 3.29. Cage: Sonatas and
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