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U niversi^ MicfdMlms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8318330 Carney, Karen Rose AN ANALYTIC AND COMPOSITIONAL STUDY OF FOUR-TO-SIX STAFF CLASS PIANO ENSEMBLE MUSIC WITH ONE MELODIC LINE PER STAFF TO DEVELOP FUNCTIONAL PIANO SKILLS The Ohio State University Ph.D. 1983 University Microfilms 1 ntern&tionsi 300 N.Zeeb Road. Ann Arbor, Ml 48106 Copyright 1983 by Carney, Karen Rose All Rights Reserved AN ANALYTIC AND COMPOSITIONAL STUDY OF FOUR-TO-SIX STAFF CLASS PIANO ENSEMBLE MUSIC WITH ONE MELODIC LINE PER STAFF TO DEVELOP FUNCTIONAL PIANO SKILLS Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen R. Carney, B.M., M.A. ***** The Ohio State University 1983 Reading Committee; Approved by Professor Jerry E. Lowder Professor David M. Butler Adviser Professor Richard Tetley-Kardos School of Music This study is dedicated to my son, my mother, and the memory of my father. n ACKNOWLEDGEMENTS I wish to thank all persons who assisted in the completion of this study. I am grateful to my adviser. Professor Jerry E. Lowder, and am indebted to him for inspiration, guidance, support, and encouragement during the course of this study and throughout my graduate school program. I am most appreciative of the criticism, direction, and support given to me by my reading committee members. Professor David M. Butler and Professor Richard Tetley-Kardos. A special thank you is expressed to Professor A. Peter Costanza for his assistance. I extend sincere appreciation to Professor Marshall H. Barnes for his having offered encouragement as well as materials for this study and to Professor Joseph A. Levey for advice about jazz-related areas of this study. Additional thanks are due Robert Vandal1 for permission to use his compositions, and to the following personnel of The Ohio State University Libraries: Professor Thomas F. Heck, Head, Music Library; Lois Rowell, Reference Librarian, Music Library; Mrs. Lois Sims, Circulation Supervisor, Music Library; and Mr. Ross Poli, Information Specialist, Mechanized Information Center. I wish to thank the publishers who granted permission for the use of materials or provided free materials for this study or both. iii Appreciation is extended to those persons and publishers who responded to the w riter's survey letters and to the students who performed the compositions selected for analysis. IV VITA December 9, 1940 .................... Born - Canton, Ohio 1961 ............................................ B.M., Baldwin-Wallace College, Berea, Ohio 196 1 ............................................Graduate work. Case Western Reserve University/The Cleveland Institute of Music, Cleveland, Ohio 196 2 ............................................Private teaching 1964-present ............................Solo and ensemble engagements as jazz pianist 1972-1976 ................................ Additional undergraduate work. College of Education, The Ohio State University, Columbus, Ohio 1979-present ............................Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1980 ............................................ M.A., The Ohio State University, Columbus, Ohio Publications "Projection 1999." The American Music Teacher, November-December 1981, pp. 35-36. Honorary and Professional Memberships Pi Kappa Lambda, Music Teachers National Association, Music Educa­ tors National Conference, National Association of Jazz Educators, Columbus Federation of Musicians Fields of Study Major Field: Music Education, Piano Pedagogy Professors A. Peter Costanza, Jerry E. Lowder Minor Fields: Composition Professors Marshall H. Barnes, Thomas H. Wells Piano Professors Richard Tetley-Kardos, Donald Gren Theory Professors David M. Butler, Joseph A. Levey VI TABLE OF CONTENTS Page DEDICATION................................................................................................ ii ACKNOWLEDGEMENTS..................................................................................... iii VITA.............................. V LIST OF TABLES......................................................................................... xi LIST OF FIGURES..................................................................................... xii INTRODUCTION............................................................................................ 1 Purpose ............................................................................................. 1 Outline of Chapters; Descriptions of Appendixes. 2 Endnote............................................................................................. 5 Chapter I. Exposition ............................................................................. 6 Ensemble Experience ..................................................... 6 Lack of Interesting, Easy Ensemble Music. 7 Vandall Compositions ..................................................... 8 The Vandall Philosophy of Piano Ensemble. 8 Model for This Study ............................................. 9 Criteria for Analysis of Compositions ................. 10 Melody ................................................................. 11 M eter................................................................. 12 Rhythm ................................................................. 12 Harmony ............................................................. 12 Development of Functional Piano Sk ills ................... 14 Development of Functional Piano Skills in this S tudy ..................................................... 16 Hypothesized lack of compositions requiring improvisation and transposition ............................................. 17 Sight reading ................................................. 17 Harmonization ................................................ 17 Transposition ................................................. 18 Improvisation ................................................. 18 vii Page Comprehensive Musicianship Model ............................. 18 Application of Comprehensive Musician­ ship Model to This Study ................................. 20 Significance of the Study ......................................... 22 Impact of Burrows ................................................. 23 Music for Use in Piano Classes ......................... 23 Differing Terms and Philosphies ............................. 24 Derivation of the Term, Class Piano, as Used in This Study ............................................. 26 Definitions ..................................................................... 27 Delimitations ................................................................. 28 Criteria for Research ......................................... 28 Criteria for Analysis that Required Evaluation ............................................................. 30 Criterion h) - Level of difficulty. 30 Criteria i) - 1)............................................. 31 Criterion m) - Other features, or elaboration on information given above, or both ............................................. 32 Functional Piano Skills ..................................... 32 Range of Piano for Original Compositions. 32 Delimitations Imposed During the Course of This S tu d y ..................................................... 33 Endnotes ............................................................................. 34 II. Related Literature ............................................................. 38 Entries for Piano Ensemble Music Found