20 Short Piano Pieces of Pedagogic Intent, Using Aspects of Traditional Persian Sources

Abstract

The history of composition for the keyboard reveals a very diverse musical landscape, as well as various technical requirements. Friskin and Freundlich, among others, have already surveyed this large spectrum of keyboard music from 1580 to 1952 by ataloguing “those pieces which have artistic value” (1973: viii), as opposed to mere finger exercises. Performing and enjoying such a large repertoire requires a deep understanding of technique and sound. Obtaining such knowledge is due to the educational systems and pedagogic practices which expose students to the ideas of sound and finger technique from the early stages of learning. For this reason, not only finger exercises should be included in teaching methods, but also the artistic aspects of music should be considered. <...> Since no pedagogical piano composition has been written to date in Persian modes, this project presents 20 pieces in which the Persian ambience has been created by means of Dastgah(s) (Persian modes) or non-specific keys. As the Dastgah(s) mostly have quarter-tones and western classical music does not allow such a system, I have used my own adaptation from the original Dastgah(s). The project is informed by primary source material as well as a variety of secondary sources relating to piano performance and education. For example, the piano compositions of Kabalevsky, Kurtag, Shostakovich, Prokofiev, and Sitsky for children have been studied, as well as studies by Debussy, and Scriabin which concentrate on a number of advanced technical and tonal problems. Moreover, two interviews were conducted in 2008 with Dr. Geoffrey Lancaster and Arnan Wiesel, the piano lecturers at ANU's School of Music, regarding the technical development of the piano students through the existing repertoire.