INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17"x 23" black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6"x 9" black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. J6 Order Number 8726583 The teaching of Abby Whiteside: Rhythm and form in piano playing Wood, Patricia A., D.M.A. The Ohio State University, 1987 Copyright ©1987 by Wood, Patricia A. All rights reserved. U-M-I 300 N. Zeeb Rd. Ann Arbor, MI 48106 THE TEACHING OF ABBY WHITESIDE: RHYTHM AND FORM IN PIANO PLAYING DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the School of Music in the Graduate School of The Ohio State University by Patricia Ann Wood, B.M., M.M. ***** The Ohio State University 1987 Reading Committee: Approved by Professor Jerry E. Lowder Ot/L/W- "77 CcC^Adviser Professor Peter Gano „ y School of Musi; Professor Donald Gren Co-Adviser School of Music Copyright by Patricia A. Wood 1987 This study is dedicated to the memory of my parents, William C. and Doris R. Wood ACKNOWLEDGEMENTS I would like to extend my sincere appreciation to all those who helped with the preparation of this document and encouraged me to finish this degree. Dr. Jerry Lowder and Dr. Peter Gano both gave of their time and expertise in the writing of this paper. Dr. Donald Gren was extremely supportive and encouraging in helping me to prepare my last doctoral recital. Dr. Gordon Wilson gave me expert guidance through my general exams and remains one of the finest musicians 1 know. Special thanks goes to Sophia Rosoff whose knowledge, commitment, and dedication to the principles of Abby Whiteside made the writing of this paper possible. Her dedication and inspiration as a teacher has changed my life as a pianist and that of many others. Finally I want to thank my friend and husband Albert Laszlo, who listened to countless readings of the manuscript, made valuable suggestions, and, as always, offered freely his encourage­ ment and love. iii VITA February 24, 1947 Born - Gallipolis, Ohio 1969 B.M., Ohio State University, Columbus, Ohio 1970-72 Teaching Associate, School of Music, Ohio State University, Columbus, Ohio 1972 M.M., Ohio State Univer­ sity, Columbus, Ohio 1976-78 Teaching Associate, School of Music, Ohio State University, Columbus, Ohio 1978-81 Adjunct Faculty, Bergen Community College, Paramus, New Jersey 1981-85 Piano Faculty, Bloomingdale School of Music, New York, New York Summers 1981-82 Accompanist, Aspen Music Festival, Aspen, Colorado Winter 1986 Adjunct faculty, Denison University, Granville, Ohio 1986-present Founding member, Chamber Arts Trio 1987-present Adjunct faculty, Ohio Wesleyan University, Delaware, Ohio Honorary and Professional Memberships Pi Kappa Lambda, Phi Kappa Phi, Ohio Music Teachers Association xv PERFORMANCES Wednesday, February 23, 1977, 8:00 p.m., Hughes Auditorium. School of Music, College of the Arts, The Ohio State University, Graduating Recital Series, 1976-77. Supervising Professor: Prof. Richard Tetley-Kardos. PATRICIA WOOD, piano Roy Sonne, violin Albert Laszlo, violoncello This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. PROGRAM Sonata for piano and violoncello L. van Beethoven in g minor, Op. 5, No. 2 Adagio sostenuto ed espressivo Allegro molto piu tosto presto Rondo (Allegro) Sonata for violin and piano in A Major C. Franck Allegretto ben moderato Allegro Recitativo - Fantasia Allegro poco mosso INTERMISSION Trio in B^, Op. 99 F. Schubert Allegro moderato Andante un poco mosso Scherzo: Allegro Rondo: Allegro vivace Friday, August 17, 1979, 8:00 p.m., Hughes Auditorium. School of Music, College of the Arts, The Ohio State University, Graduating Recital Series, 1978-79. Supervising Professor: Prof. Richard Tetley-Kardos. v PATRICIA WOOD, Piano This recital is presented in partial fulfillment of the requirements of the degree Doctor of Musical Arts. PROGRAM Preludes, Op. 11 Alexander Scriabin Nos. 10, 3, 6, 15, 14 Fantasy, C Major, op. 17 Robert Schumann Sempre fantasticamente ed appassionatamente Moderata. Sempre energico Lento sostenuto e sempre piano INTERMISSION Valses Nobles et Sentimentales Maurice Ravel Sonata Alberto Ginastera Allegro marcato Presto misterioso Adagio molto appasionata Ruvido ed ostinato Friday, August 1, 1980, 3:00 p.m., Hughes Auditorium. School of Music, College of the Arts, The Ohio State University, Graduate Student Recital Series. Supervising Professor: Prof. Richard Tetley-Kardos. PATRICIA WOOD, Piano assisted by Richard Tetley-Kardos, piano This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. PROGRAM Symphonic Variations for piano C^sar Franck and orchestra Sunday, February 1, 1987, 8:00 p.m., Weigel Hall. School of Music, College of the Arts, The Ohio State University, Graduate Student Recital Series. Supervising Professor: Prof. Donald Gren. vi PATRICIA WOOD, Piano This recital is presented in partial fulfillment of the requirements of the degree Doctor of Musical Arts. PROGRAM Sonata in E flat, Hob. XVI: 52 F.J. Haydn Allegro Adagio Finale: Presto Sonata in A minor, D. 784 F. Schubert Allegro giusto Andante Allegro vivace INTERMISSION Partita no. 1 in B flat J.S. Bach Praeludium Allemande Corrente Sarabande Menuet I and II Gigue Sonata for Piano (1949) Samuel Barber Allegro energico Allegro vivace e leggero Adagio mesto Fuga: Allegro con spirito vii LIST OF EXAMPLES Example Page 1. F. Chopin, Prelude, op. 28, no. 3, mm. 1-5 28 2. R. Schumann, Fantasy, op. 17, 2nd mvt., mm. 232-238 43 3. R. Schumann, Carnaval, op. 9, "Preambule," mm. 27-35 47 4. S. Barber, Piano Sonata, 1st mvt., mm. 35-41 52 5. F. Chopin, Prelude, op. 28, no. 24, mm. 1-17 57 6. L van Beethoven, Sonata, op. 31, no. 2, 2nd mvt., mm. 1-4, 43-46, 51-54 61 viii TABLE OF CONTENTS Page DEDICATION ii ACKNOWLEDGEMENTS iii VITA iv PERFORMANCES V LIST OF EXAMPLES viii INTRODUCTION 1 Chapter I. Abby Whiteside and Her Philosophy 3 Biography 3 Evolution of Her Philosophy 6 References 13 II. Rhythm and Form in Piano Playing 15 Definitions of Basic Rhythm and Rhythm of Form 15 Tools for Learning with a Rhythm 20 The Role of the Top Arm and Torso 21 Outlining 26 Learning a Meter by Subdividing a Time Meter 33 Splashing 37 References 40 III. Application of the Tools.... 42 CONCLUSION........ 65 References « 68 APPENDIX 69 BIBLIOGRAPHY 72 ix INTRODUCTION Abby Whiteside (1881-1956) was a pioneer in the teaching of piano. She investigated most thoroughly the problem of rhythm, how it is related to musical form (phrasing), and most importantly, how rhythm and form are created by an emotional reaction to the music. She related rhythm, form and emotion to the physical act of playing the piano. In her two books, Indispensables of Piano Playing and Mastering the Chopin Etudes and Other Essays, she discusses rhythm, meter and form, and defines them by creating two new terms: "basic rhythm" and "rhythm of form." She illustrates physical means for establishing a "basic rhythm" and "rhythm of form" in musical examples, specifically the Chopin Etudes. The purpose of this paper is to clarify Whiteside's concepts of rhythm and form and to describe her physical approach for implementing them. Whiteside's principles of piano playing have been discussed widely. Boardman's dissertation, A History of Theories of Teaching Piano Technic,1 describes her work at some length, and Gerig discusses her philosophy in his book, Famous Pianists and Their Technique.2 Two of Miss Whiteside's students, Joseph Prostakoff and Sophia Rosoff, 1 2 have written extensively about her work. They compiled all of her manuscripts and notebook entries for her intended book on the Chopin Etudes. The manuscripts for the Etudes and articles which Whiteside had written over the years were published in 1969 within one volume. Mastering the / Chopin Etudes and Other Essays. Rosoff and Prostakoff wrote an extensive foreword to this book in which they discuss Whiteside's educational background, character, and teaching philosophy. They recall their study with her and resolve some apparent contradictions found in the manu­ scripts. As an introduction to Whiteside's work, this foreword is invaluable. Two recent articles concerning Whiteside's philosophy, one written by Prostakoff^ and the other an interview with Sophia Rosoff,4 have appeared in keyboard periodicals. This paper will offer some perspective as to what influenced Miss Whiteside's thinking by providing a short biography and a discussion of the development of her philosophy. The primary task, however, will be to explain Whiteside's concept of rhythm as it is used in piano performance. This will be accomplished by using her own definitions and what she called "tools for learning." Specific musical examples will be selected from the repertoire to be explained in light of her principles.