UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE CONTRIBUTIONS OF DALLAS WEEKLEY AND NANCY ARGANBRIGHT TO PIANO DUET PERFORMANCE AND LITERATURE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By KIMBERLY DREISBACH Norman, Oklahoma 2010 THE CONTRIBUTIONS OF DALLAS WEEKLEY AND NANCY ARGANBRIGHT TO PIANO DUET PERFORMANCE AND LITERATURE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY __________________________________ Dr. Jane Magrath, Chair __________________________________ Dr. Edward Gates, Co-chair __________________________________ Dr. Barbara Fast __________________________________ Dr. Kenneth Stephenson __________________________________ Dr. John Fagan © Copyright by KIMBERLY DREISBACH 2010 All Rights Reserved. ACKNOWLEDGMENTS I wish to express my gratitude to Dr. Jane Magrath and Dr. Edward Gates for serving as chair and co-chair of my doctoral committee. I will always remember their kindness and encouragement as models of dedicated teachers. I also wish to thank the entire committee—Dr. Ken Stephenson, Dr. Barbara Fast, and Dr. John Fagan—for their guidance throughout the editing process. Much gratitude is owed to Dallas Weekley and Nancy Arganbright, who not only served as the subjects of this dissertation but also provided tremendous assistance through interviews, editing, and personal inspiration. Their advocacy of quality music performance has led to their contributions extending far beyond the piano duet. Finally, this project could not have been completed without the encouragement of family and friends. A special note of thanks goes to my parents, Don and Carol Dreisbach. I cannot imagine countless years of piano lessons and music study without their unfailing support. iv TABLE OF CONTENTS TABLE OF CONTENTS .............................................................................................. v LIST OF EXAMPLES ................................................................................................ vii ABSTRACT ............................................................................................................... viii CHAPTER ONE: INTRODUCTION ........................................................................... 1 Introduction .................................................................................................. 1 Purpose ......................................................................................................... 4 Need for the Study ........................................................................................ 5 Procedures .................................................................................................... 6 Limitations .................................................................................................... 8 Organization ................................................................................................. 9 Related Literature ....................................................................................... 10 CHAPTER TWO: HISTORICAL BACKGROUND OF PIANO DUET PERFORMANCE AND LITERATURE ............................................................ 24 Beginnings of the Four-hand Piano Duet as a Genre ................................. 24 Growing Popularity of Duets ..................................................................... 27 Twentieth Century Piano Duet Preceding Weekley and Arganbright ....... 35 CHAPTER THREE: BIOGRAPHICAL SKETCHES, PARTNERSHIP AND TEACHING ......................................................................................................... 43 Dallas Weekley: Biographical Sketch ........................................................ 43 Nancy Arganbright: Biographical Sketch .................................................. 46 Personal Relationship, Marriage, and Family ............................................ 48 Cultivation of Professional Partnership ...................................................... 51 Balancing Performing Careers and Family ................................................ 54 Cultivating a Professional Career ............................................................... 55 Teaching ..................................................................................................... 58 CHAPTER FOUR: CONCERT PERFORMING CAREERS .................................... 65 Beginnings of Success ................................................................................ 65 Practicing and Performance Preparation .................................................... 66 Performance Practice Decisions ................................................................. 69 Performance Repertoire .............................................................................. 72 Noteworthy Performances .......................................................................... 73 Recordings .................................................................................................. 80 Performing Philosophy ............................................................................... 81 v CHAPTER FIVE: PUBLICATIONS ......................................................................... 83 Beginning of Relationship with Kjos Publishing Company ...................... 83 Innovations Found in New Editions of Standard Literature ....................... 84 Original Educational Literature .................................................................. 92 Noteworthy Publications ............................................................................ 93 Books .......................................................................................................... 98 CHAPTER SIX: SUMMARY, INFLUENCE, AND RECOMMENDATIONS.... 104 Summary .................................................................................................. 104 Influence ................................................................................................... 106 Recommendations for Further Study ....................................................... 109 SELECTED BIBLIOGRAPHY ................................................................................ 110 BOOKS .................................................................................................... 110 JOURNAL ARTICLES ............................................................................ 111 REVIEWS ................................................................................................ 113 THESES AND DISSERTATIONS .......................................................... 114 RECORDINGS ........................................................................................ 116 APPENDIX A: STANDARD DUET LITERATURE EDITED BY DALLAS WEEKLEY AND NANCY ARGANBRIGHT ................................................. 117 APPENDIX B: ORIGINAL COMPOSITIONS AND ARRANGEMENTS BY DALLAS WEEKLEY AND NANCY ARGANBRIGHT ................................ 120 APPENDIX C: INTERVIEW GUIDE FOR DALLAS WEEKLEY AND NANCY ARGANBRIGHT .............................................................................................. 122 APPENDIX D: INTERVIEW GUIDE FOR FORMER STUDENTS OF DALLAS WEEKLEY AND NANCY ARGANBRIGHT ................................................. 129 APPENDIX E: INTERVIEW GUIDE FOR KEYBOARD EDITORS FOR DALLAS WEEKLEY AND NANCY ARGANBRIGHT ................................................. 131 APPENDIX F: AVAILABLE RECITAL PROGRAMS .......................................... 133 APPENDIX G: AVAILABLE TOUR SCHEDULES .............................................. 160 vi LIST OF EXAMPLES Example 1: Courtesy Markings showing doubled notes in Primo and Secondo. Brahms, Op. 39, No. 1 mm. 7-8. Kjos Piano Duet Repertoire Series Level Seven, ed. Weekley and Arganbright, © 1998. ............................................. 85 Example 2: Courtesy Markings showing wrist height suggestions. Dvorák, Slavonic Dance, Op. 72, No. 8, mm. 64-66. Kjos Piano Duet Repertoire Series Level Nine, ed. Weekley and Arganbright. © 2000. ............................................... 86 Example 3: Courtesy Markings suggesting redistribution of notes between hands in the Secondo. Mozart, Sonata in B-flat Major, K 358, Adagio, mm. 12-13. Kjos Piano Duet Repertoire Level Eight, ed. Weekley and Arganbright. © 1999. ......................................................................................................... 86 Example 4: Original Rahter edition with F-naturals in the modulation to G Major. Ottorino Respighi, Six Little Pieces, "The Little Highlanders” Secondo, mm. 29-32, Rahter edition. © 1926 ...................................................................... 87 Example 5: Weekley and Arganbright edition with F-sharps in the modulation to G Major. Ottorino Respighi, Six Little Pieces, “The Little Highlanders,” mm. 29-32, Kjos Piano Duet Repertoire Level Six, ed. Weekley and Arganbright. © 2006. ......................................................................................................... 88 Example 6: Original edition with parallel thirds printed entirely in Primo right hand. Dvorák, Slavonic Dance, Op. 72, No. 2, mm. 33-34, Schirmer edition. © 1915. ............................................................................................................. 90 Example 7: Weekley and Arganbright edition with parallel thirds divided between Primo right and left hands. Dvorák, Slavonic Dance, Op. 72, No. 2, mm. 33- 34, Kjos Duet Repertoire Level Eight ed. Weekley and Arganbright. © 1999. .....................................................................................................................