Every pianist at one time or another hopes to study and perform at least one piano concerto. In addition to the pleasure which will be derived from the study and performance, the student's musical growth will be greatly enhanced. In this survey and study of the general development of the piano solo concerto, the goal is to broaden the understanding of what the concerto is and what it means.

The problem was to investigate current thoughts concerning the beginning piano class at the college level, Data were collected from published and unpublished materials from 1964 to 1976. It was found that class piano instruction usually occurs in a three- to four-semester sequence, with classes meeting from two to five periods per week, containing from four to twenty-five students. Classification of students is by interview, placement test, and/or audition. Varying room arrangements are used with either conventional or electronic pianos, plus a variety of audio-visual equipment, Course content, with varying emphases, includes sight-reading, functional skills, technique, and repertoire. Teaching techniques used are numerous and varying. Recommendations were submitted for administrators, teachers, and researchers.

The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.

Th study of two-piano music was prompted by an active interest in that field and a recognized need for a knowledge of its literature on the part of the writer, who, for the past five years, has devoted most of her time to two-piano work. After careful investigation it becomes apparent that no other study similar to this has yet been made, and it is hoped that it may be helpful to others with interests in common. Much remains to be done and further study would prove profitable. More information might be gained from interviews with prominent duo-pianists, as well as from examination of foreign catalogues and of recital programs given in Carnegie Hall, Town Hall, and similar music centers.

The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.

The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.

abstract: Between the years of 1818 and 1833 the Austrian composer, teacher, and pianist, Carl Czerny (1791–1857) wrote one of his greatest compositions, the f minor Grand Piano Sonata, Op.178 for piano four hands. Overshadowed by composers like Ludwig van Beethoven, Frederic Chopin, Robert Schumann, Johannes Brahms and possibly because of Czerny’s prolific pedagogical output, this work has received little scholarly attention and is rarely performed. The aim of my paper is first to provide a concise background of the composer for better insight of his ideas and influences and, second to provide a theoretical framework and analysis of the composition to show how this piece is uniquely set in the musical backdrop among early nineteenth century piano music. Further, I will demonstrate performance concepts and ideas of the composition highlighting his instructional mastery. There are two components for this project including a research paper and a lecture recital. I hope this project could bring more musicians and audiences to Carl Czerny’s serious and concert music as he categorized his music. He had been a great model of true artist, he composes, teaches and perhaps not the greatest promoter of his own music like the contemporaries. However, he devoted most of his life to development of music and the new generation of pianists, which is the most honorable of an individual. / Dissertation/Thesis / Doctoral Dissertation Music 2019

In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper. I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire. Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.

The purpose of this study was to investigate the reasons children identify for initially enrolling and for continuing to enroll in piano lessons. Several factors were examined to assess their effect on the reasons for enrollment; these factors were gender, age, who initiated enrollment, and length of enrollment in piano lessons. Study participants included 71 children currently enrolled in private piano lessons in Northern Indiana and Northern Ohio. While previous research has focused on the reasons adults enroll in piano lessons, this study focused on children under the age of 18. The participants each completed the Reasons for Enrollment in Piano Lessons Survey. The survey listed various reasons for enrollment, for which the children rated their level of agreement based on a five-point Likert scale. Results indicated that the most agreed upon reason children initially enrolled in piano lessons was they thought it would be fun, and they continue enrollment in piano lessons because it is fun. In addition, the children also stayed enrolled in piano lessons because they wanted to become better pianists, they wanted to become better musicians, and they enjoy learning new music. An important implication for piano teachers is to consider the interests of students when selecting repertoire and provide ample playing opportunities during the lesson time in an effort to increase the amount of enjoyment for the students. In addition, teachers could take advantage of the increasing desire for improvement by challenging older students with more difficult and diverse repertoire, higher overall lesson preparation expectations, and new activities that address the student’s weaknesses. Suggestions for future research include utilizing a larger population, examining the effect of socio-economic status on children’s reasons for enrollment, surveying children in group lessons, and investigating what children think makes a lesson fun. / School of Music

Sonata in D major, op. 94 / Sergei Prokofiev -- Three songs / Sergei Rachmaninoff -- Sonata for violin and piano, op. 134 / Dmitri Shostakovich. / text