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 |