UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL AND PERFORMANCE GUIDE TO PROKOFIEV’S FOUR PIECES, OP. 32 A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By IVAN D. HURD III Norman, Oklahoma 2017 A PEDAGOGICAL AND PERFORMANCE GUIDE TO PROKOFIEV’S FOUR PIECES, OP. 32 A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Jeongwon Ham ______________________________ Dr. Paula Conlon ______________________________ Dr. Caleb Fulton Dr. Click here to enter text. © Copyright by IVAN D. HURD III 2017 All Rights Reserved. ACKNOWLEDGMENTS The number of people that deserve recognition for their role in completing not only this document, but all of my formal music training and education, are innumerable. Thank you to the faculty members, past and present, who have served on my doctoral committee: Dr. Jane Magrath (chair), Dr. Barbara Fast, Dr. Jeongwon Ham, Dr. Paula Conlon, Dr. Rachel Lumsden, and Dr. Caleb Fulton. Dr. Magrath, thank you for inspiring me, by your example, to find the absolute best possible version of myself as a pianist, educator, collaborator, writer, and scholar. I am incredibly grateful to have had the opportunity to study with you on a weekly basis in lessons, to develop and hone my teaching skills through your guidance in pedagogy classes and observed lessons, and for your encouragement throughout every aspect of the degree. Dr. Fast, I especially appreciate long conversations about group teaching, your inspiration to try new things and be creative in the classroom, and for your practical career advice. Dr. Ham, thank you for your thoughtful review and recommendations on the technical solutions and performance suggestions of this document. Dr. Conlon, your sensible approach to exams and real-world application on class projects was always appreciated. Dr. Lumsden, thank you for challenging me to think critically and dig deeper in theoretical analysis. Dr. Fulton, thank you for your time serving as my outside member, and for offering a unique perspective while reviewing the document. To my editor, Mark Worcester, your role in completing this document went far and above all expectations. I believe wholeheartedly that this document would not have come to fruition without your impeccable eye for detail and organization, insightful iv ideas, and lightning fast response time. You were not only my editor, but also my coach, and I am incredibly grateful for your support, encouragement, and collaboration. To my past piano teachers, Marie Barta, Catherine Alcock, William Backlin, Dr. Réne Lecuona, and Dr. Joel Schoenhals, thank you for your expert teaching and for sharing your knowledge and love of music with me. Dr. Lecuona, thank you for believing in me at a crucial point in my education and for encouraging me to pursue a graduate degree in piano performance. Dr. Schoenhals your steadfast support throughout my entire graduate education is extremely appreciated. I am quite certain a doctoral degree would not have been a possibility for me without your artistic teaching and your inspiring passion for music. To my high school band director, Russell Kramer, your guidance and mentorship assured me that music was my path in life at a time when I was doubtful of becoming a professional musician. I will never forget your wise words of wisdom: “People do not choose music, music chooses people.” As a saxophonist in your band, I learned so much more than music. I learned to be responsible, to have integrity, to be a team player, and to have compassion for others. Through your teaching, I am inspired to leave the same impact upon my students and to always remember that I am not only teaching my students to be good musicians, but that I also have a role in shaping them into the people they will become. Sarah Hamilton, first, thank you for being my best friend the past seven years and for joining me on this crazy journey throughout my master’s and doctoral degrees. Thank you for the recital receptions, driving across the country to help me hunt for apartments in Norman, travelling to Europe for music festivals, flying to Norman for v my chamber recital and final defense. You were there to encourage me whenever I doubted myself before a performance and pushed me to keep writing and researching this document. Thank you for your unwavering support and for believing in me through every step of this process! Also, to my dear friend, Tammy Miller, thank you for your support not only in music, but in life. I appreciate your encouragement throughout my doctoral studies. We always have such fun discussing repertoire, teaching ideas, and the future, generally while eating delicious food! Thank you for reminding me to keep dreaming big! Lastly, I would like to thank my family—my father, Ivan Hurd Jr., my mother, Rhonda Hurd, my sister, Ashlee Madole, and my nephew, Alexander Madole —for their love, for making it possible to pursue my dream, and for teaching me to be independent and to believe that anything is possible. To my father, thank you for making sure I always had lessons and a good instrument. To my mother, thank you for always being there when I needed someone to talk to and for teaching me to write well at an early age. To my sister, if it were not for your initial interest in learning to play the piano as children, I probably would have never started piano lessons. And to my nephew, Alexander, thank you for reminding me of the innocence and fun of childhood, and helping me remember that every day should be full of happiness and laughter. vi TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................................................... iv LIST OF EXAMPLES ..................................................................................................... x ABSTRACT ................................................................................................................... xv CHAPTERS 1. INTRODUCTION ..................................................................................................... 1 Overview .................................................................................................................. 2 Purpose of the Study ................................................................................................. 6 Need for the Study ..................................................................................................... 7 Procedures ................................................................................................................. 8 Organization of the Study ....................................................................................... 10 2. RELATED LITERATURE ..................................................................................... 11 Overview ................................................................................................................ 11 Books ............................................................................................................... 12 Dissertations and Theses .................................................................................. 18 Journal Articles ................................................................................................ 27 Selected Recordings ......................................................................................... 30 3. COMPOSITIONAL STYLE AND OVERVIEW OF SOLO PIANO LITERATURE ........................................................................................... 32 Compositional Style ................................................................................................ 32 Influences ......................................................................................................... 33 Prokofiev’s Five Lines of Composition ........................................................... 37 Harmonic Language ......................................................................................... 45 Overview of Solo Piano Literature .......................................................................... 48 Sonatas and Sonatinas ...................................................................................... 51 Sonata No. 1 in F minor, Op. 1 ................................................................. 51 Sonata No. 2 in D minor, Op. 14 .............................................................. 52 Sonata No. 3 in A minor, Op. 28 ............................................................... 53 Sonata No. 4 in C minor, Op. 29............................................................... 54 Sonata No. 5 in C Major, Op. 38 (revised as Op. 135)............................. 55 Sonata No. 6 in A Major, Op. 82 .............................................................. 56 Sonata No. 7 in B-flat Major, Op. 83 ........................................................ 57 Sonata No. 8 in B-flat Major, Op. 84 ........................................................ 58 Sonata No. 9 in C Major, Op. 103 ............................................................ 60 Two Sonatinas, Op. 54, and Three Pieces, Op. 59, No. 3 “Pastoral Sonatina” ............................................................................................ 62 vii Sets and Other Works....................................................................................... 64 Four Etudes, Op. 2 ...................................................................................