FOSTERING ARTISTRY AND PEDAGOGY: CONVERSATIONS WITH ARTIST-TEACHERS FREDERICK HEMKE, EUGENE ROUSSEAU, AND DONALD SINTA by Julia Nolan A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Curriculum Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Julia Nolan, 2012 ABSTRACT This research presents three case studies that explore university teachers in the private music studio and in the master class setting, framed by one central question: how do artist-teachers articulate, negotiate, and give shape to their pedagogical practices about artistry and interpretation within the context of private music education? The cases focus on saxophone artist-teachers Frederick Hemke at Northwestern University, Eugene Rousseau at the University of Minnesota, and Donald Sinta at the University of Michigan. I analyzed instrumental music performance teaching and learning from the perspective of the three artist-teachers. The data collected from interviews, observations, and my personal narratives provide a rich resource for the analysis of the professional lives of master musicians, their pedagogies, and their thoughts about artistry in music performance and instruction. Interviews with many of the artist-teachers’ students also informed my analysis. More important, this study connects present and future saxophonists by capturing the voices of recognized artist-teachers about artistry and pedagogy. Central to this thesis are the discovery of how little has changed in the concepts of artistry and pedagogy over time and across the evolution of musical styles, and recognition of the power of the strong bonds that connect generations of students with their teachers and their teachers’ teachers. Understanding and insight gained through data analysis and reflection on the outcomes illustrate a need for further research in the area of music performance with artist-teachers in ii the performance world, and a need to collect narratives from master musicians who incorporate teaching and performance experiences. Research into the setting for private music instruction is burgeoning. I provide a particular viewpoint into the lives and pedagogies of three North American artist-teachers of saxophone from my perspective as a performer, teacher, and researcher, as a model to encourage further research that contributes to knowledge in the academy about music performance and private music instruction. iii PREFACE I asked three artist-teachers of saxophone a series of guided questions about the concepts of artistry and pedagogy and about their lives and careers in music. I administered a similar questionnaire to many of these three artist-teachers’ students. The information collected and analyzed contributes to the content of this thesis. The Office for Research Services at the University of British Columbia issued an approval for this research project (identified as H06–03999) on August 9, 2008. iv TABLE OF CONTENTS ABSTRACT ............................................................................................................................. ii PREFACE ............................................................................................................................... iv TABLE OF CONTENTS ....................................................................................................... v LIST OF FIGURES ............................................................................................................. xiii ACKNOWLEDGMENTS ................................................................................................... xiv DEDICATION...................................................................................................................... xvi 1 INTRODUCTION.......................................................................................................... 1 1.1 Introduction: Inside and Outside the Private Music Teaching Studio .................... 1 1.2 The Research Project ............................................................................................ 11 1.2.1 The research question ............................................................................... 12 1.3 Brief Description of Method ................................................................................. 12 1.4 Study Boundaries .................................................................................................. 13 1.5 Description of the Case Study Site ....................................................................... 14 1.6 Autobiographic Positioning .................................................................................. 14 1.7 Significance of this Study ..................................................................................... 16 2 LITERATURE REVIEW ........................................................................................... 18 2.1 Introduction and Overview ................................................................................... 18 2.2 Literature Addressing the Concept of Artistry ..................................................... 20 2.2.1 Eighteenth-century and nineteenth-century performance treatises (Quantz and Geminiani, Spohr and Baillot, Lefèvre, Stadler, Klosé, and Baermann) ................................................................................................................... 20 v 2.2.2 Artistry addressed in early saxophone treatises (Kastner and Eby) and in jazz (Liebman) .......................................................................................... 30 2.2.3 Literature addressing artistry in wind and brass teaching and performing pedagogical literature (Haynie and Jacobs) .............................................. 33 2.3 Literature Addressing Musical Lineage (Ludwig van Beethoven to Jane Coop) . 38 2.3.1 Carl Czerny, student of Ludwig van Beethoven ....................................... 39 2.3.2 Theodor Leschetizky, student of Carl Czerny .......................................... 42 2.3.3 Artur Schnabel, student of Theodor Leschetizky ..................................... 43 2.3.4 Leon Fleisher, student of Artur Schnabel ................................................. 44 2.3.5 Jane Coop, student of Leon Fleisher ......................................................... 45 2.4 Literature Addressing the Concept of Musical Interpretation .............................. 47 2.4.1 Music performance and philosophy .......................................................... 48 2.4.2 Music and visual art .................................................................................. 53 2.4.3 Contemporary music for saxophone ......................................................... 54 2.4.4 When interpretation becomes artistry ....................................................... 57 2.5 Existing Literature About Hemke, Rousseau, and Sinta ...................................... 60 2.5.1 Frederick Hemke ....................................................................................... 60 2.5.2 Eugene Rousseau ...................................................................................... 62 2.5.3 Donald Sinta.............................................................................................. 64 2.6 Summary ............................................................................................................... 65 3 METHODOLOGY AND PROCEDURES ................................................................ 70 3.1 Introduction and Overview ................................................................................... 70 3.2 Rationale for a Case Study Methodology ............................................................. 73 3.3 Private Music Instruction Research ...................................................................... 75 3.4 Theory of Scaffolding ........................................................................................... 77 vi 3.5 Description of Research Procedures ..................................................................... 81 3.6 Goals of Research ................................................................................................. 82 3.7 Consent Forms, Demographic Information, and Pseudonyms ............................. 83 3.7.1 Consent forms ........................................................................................... 83 3.7.2 Participants ................................................................................................ 83 3.7.3 Demographics ........................................................................................... 84 3.7.4 Pseudonyms .............................................................................................. 84 3.7.5 Interviews .................................................................................................. 84 3.7.6 Observation and collection of interview data ........................................... 85 4 THE RESEARCH PROJECT .................................................................................... 87 4.1 Early Influences .................................................................................................... 88 4.2 Essence, Concepts, and Strategies of Good Teaching .......................................... 88 4.3 Essence of Good Performance .............................................................................. 88 4.4 Work Ethic ...........................................................................................................