Dissertation Index



Author: Johnson, Barrett A

Title: An Original Composition, Galleria Armonica, Theme and Variations for Piano, Harpsichord, Harp and Orchestra and A Comparative Study Between the Pedagogical Methodologies of Arnold Schoenberg and Nadia Boulanger Regarding Training the Composer

Institution: Louisiana State University

Begun: October 2004

Completed: November 2007

Abstract:

Part one of this dissertation is an original music compos ition, Galleria Armonica, Theme and Variations for Piano, Harpsichord, Harp and Orchestra in fantasia variation form. The orchestra is divided into four groups: Strings (8/8/6/6/4), Winds (2/2/2/2/), Brass (4/3/3/1), and Percussion (Percussion I: Celesta, Timpani, Vibraphone, Snare Drum; Percussion II: Suspended Cymbal, Orchestra Bells, Tam-Tam; Percussion III: Bass Drum, Side Drum, Triangle, Tam-Tam.) Each solo instrument (Piano, Harpsichord Harp) is physically associated with a specified group: Piano with Brass; Harpsichord with Strings: Harp with Winds, thus three primary groups. The percussion is employed as a crossover, unifying ensemble.
The title of the work derives from Michele Todinis 1676 musical instrument museum known as Dichaiaratione della galleria Armonica eretta in Roma de M. Todini Piemontese di Saluzzo, nella sua habitazione, posta alArco della Ciambella Roma 1676. According to his own description it was divided between two rooms.
The arrangement of the four music ensembles symbolically represent Todinis groupings and the physical separation inherent in such an arrangement. Symbolically, music is shared among this music works ensembles.

Part two of this dissertation is a comparative study between the pedagogical methodologies of Arnold Schoenberg and Nadia Boulanger regarding training the composer. Chapter One serves as an introduction to the personal background, musical training, and careers of Arnold Schoenberg and Nadia Boulanger, individually. Chapters Two and Three present music pedagogy texts and other significant teaching methods and materials relating to Schoenbergs and Boulangers musical pedagogy, respectively. Chapter Four presents two exemplary music education philosophies of the second half of the twentieth century: those by Bennett Reimer and David Elliott. Chapter Five is a comparison and contrast of the teaching methods and materials of Schoenberg and Boulanger in relation to the philosophies of music education of Reimer and Elliott. Chapter Six is a conclusion of the contributions to music composition pedagogy by Schoenberg and Boulanger and the implications of those findings followed by an Epilogue.

Keywords: music composition, music education, Arnold Schoenberg, Nadia Boulanger

TOC:

PART I. AN ORIGINAL COMPOSITION, GALLERIA ARMONICA, THEME AND
VARIATIONS FOR PIANO, HARPSICHORD, HARP
AND ORCHESTRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

PART II. A COMPARATIVE STUDY BETWEEN THE PEDAGOGICAL
METHODOLOGIES OF ARNOLD SCHOENBERG AND NADIA BOULANGER REGARDING TRAINING THE COMPOSER. . . . . . . . . . . . . .116

CHAPTER
1. INTRODUCTION: ARNOLD SCHOENBERG AND NADIA BOULANGERBIOGRAPHICAL SKETCHES, CAREERS,
AND EARLY INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Arnold Schoenberg: Biographical Sketch, Career,
and Early Influences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Nadia Boulanger: Biographical Sketch, Career,
and Early Influences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

2. ARNOLD SCHOENBERG: MUSIC PEDAGOGY TEXTS AND OTHER SIGNIFICANT TEACHING METHODS
AND MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Pedagogy through Text Instruction. . . . . . . . . . . . . . . . . . . . . . . . 134
Pedagogy through Essays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Pedagogy through Public Lectures . . . . . . . . . . . . . . . . . . . . . . . . 156
Pedagogy through Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Pedagogy through Group and Individual Instruction . . . . . . . . . . 160
Pedagogy through Indirect Methods: Original Compositions
and Performance Advocacy. . . . . . . . . . . . . . . . . . . . . . . .170


3. NADIA BOULANGER: MUSIC PEDAGOGY TEXTS AND
OTHER SIGNIFICANT TEACHING METHODS
AND MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Pedagogy through Text Instruction . . . . . . . . . . . . . . . . . . . . . . . .173
Pedagogy through Essays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Pedagogy through Public Lectures . . . . . . . . . . . . . . . . . . . . . . . . 184
Pedagogy through Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Pedagogy through Group and Individual Instruction . . . . . . . . . . 197
Pedagogy through Indirect Methods: Original Compositions
and Performance Advocacy . . . . . . . . . . . . . . . . . . . . . . . 218


4. EXEMPLARY MUSIC EDUCATION PHILOSOPHIES AS RELATE TO THE TEACHING METHODS OF SCHOENBERG AND BOULANGER: BENNETT REIMER AND DAVID ELLIOTT. . . . . . . . . . . . . . . . . . . . .220

5. COMPARISON AND CONTRAST OF TEACHING METHODS OF SCHOENBERG AND BOULANGER IN RELATION TO THE PHILOSOPHIES OF MUSIC EDUCATION OF BENNETT REIMER AND DAVID ELLIOTT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

6. CONCLUSION: OVERVIEW OF CONTRIBUTIONS TO MUSIC COMPOSITION PEDAGOGY BY SCHOENBERG AND BOULANGER AND THE IMPLICATIONS OF THOSE FINDINGS. . . . . . . . . . . . . . . 278

EPILOGUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288

APPENDIX
A. DOUBLE COUNTERPOINT IN THE OCTAVE . . . . . . . . . . . . . 297

B. COUNTERPOINT: 3-VOICE, 16 BARS. . . . . . . . . . . . . . . . . . . . 298

C. COUNTERPOINT: ZONES: STATEMENT, NEUTRALIZATION, MODULATION, CADENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

D. ANALYSIS TEST, NOVEMBER 27, 1942. . . . . . . . . . . . . . . . . . 300

MIDTERM NOVEMBER 27, 1942, FOUR MODULATING
MELODIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301

E. [EXAM] JANUARY 20, 1943 . . . . . . . . . . . . . . . . . . . . . . . . . . . .302

F. SIXTEEN BASSES BY NADIA BOULANGER . . . . . . . . . . . . . 303

G. GABRIEL FAUR: LECTURE BY NADIA BOULANGERPOTSDAMS STATE TEACHERS COLLEGE, DECEMBER 15, 1945 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

H. DODA CONRAD INTERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . 324

I. NADIA BOULANGER: HISTORY OF MUSICCLASS HANDOUTSLESSON V (1932, 1934-1935) . . . . . . . . . . . . . . 327

J. NADIA BOULANGER: HISTORY OF MUSICCLASS HANDOUTSLESSON IIX (1932, 1934-35) . . . . . . . . . . . . . . . 342

K. TABLEAU RSUM DE LA FILLIATION DES FORMES MUSICALES PAR MLLE. NADIA BOULANGER AVEC LA COLLABORATION DE MLLE. ANNETTE DIEUDONN (ORIGINAL VERSION) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353

L. CHART SUMMARIZING THE BRANCHED RELATIONSHIPS OF MUSICAL FORMS BY MLLE. NADIA BOULANGER IN COLLABORATION WITH MLLE. ANNETTE DIEUDONN (TRANSLATED VERSION). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .354

M. JOYCE MEKEEL: NADIA BOULANGERHARMONY CLASS NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355

N. THEME AND VARIATIONS FOR PIANO BY LILI BOULANGER (EXCERPT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

O. LETTERS OF PERMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

VITA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .374



Contact:

Barrett Ashley Johnson
101 Tortola Lane
Youngsville, LA 70592
USA

Date Listed: 07/23/2008


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