| Summary: | 碩士 === 國立臺南大學 === 音樂學系碩士班 === 96 === This study aimed to investigate Hovhaness’ life and the characteristics of his music and the value of applying his piano works in piano teaching. Through the investigation on piano teaching history and theories of various schools, tonality of eastern and western music, and the discussion the merit of applying contemporary and eastern music in piano teaching, this study built up a theoretical basis of work analysis and further conducted a semi-action research in order to understand what learning difficulties students faced and the solutions in learning Hovhaness’s Op.36, 177 and 240. Based on the results and findings of this research, it concluded as follows:
1. Hovhaness’s Op.36, 177 and 240 were analyzed mainly by music contents, required key points of playing techniques and difficulty level.
(1) For music contents, it included background in which he created the works, music jargon and autograph, style, feature, texture, material application, difficulty level of works, fingering and pedal of these 3 works.
(2) For playing techniques, through composition analysis it concluded that there were 15 playing techniques in Hovhaness’s works including imitating bells and gongs, staccato, legato, - (tenuto), polyrhythm, polyphonic music, sound type similar to alberti bass and arpeggio, ornaments, skips, interlacing, unison, repeated-note, crossing, clusters and continuous major 7th.
(3) For difficulty level, based on Hilson, Butler and Berkofsky’s review and analysis on Hovhaness’s works, this study concluded that the difficulty level of《Shalimar》and《Komachi》 was equal to Bach’s 《French Suite》 and 《English Suites》, Mozart’s 《Sonata》, Brahms’《Rhapsody Op. 79/2》 and Debussy’s 《La Soirée dans Granade》; and the difficulty level of《Two Ghazals》 was regarded as equal to Shostakovich’s 《Fantastic Dance, Op. 1, No. 1》.
(4) In the works of Hovhaness’s OP. 36, 177 and 240, all aspects were different from western classic artistic works; he used eastern music elements and approaches a lot such as nonstandard phrasing, diversified speed, meter and rhythm, inharmonious sound, great span of dynamic variance, ornamental rhythm and basso ostinato, and use of church modes and Japanese tonal scales.
2. This study investigated the application of Hovhaness’s Op.36, 177 and 240 in piano teaching.
(1) For applying Hovhaness’s Op.36, 177 and 240 in teaching, the curriculum goals were divided into 3 parts- affective reaction, perception and technique.
(2) For the teaching strategy of applying Hovhaness’sOp.36, 177 and 240.
1. For teaching strategy of affective reaction, different teaching strategies should be used according to individual’s living experiences or the audio familiarity with the works.
2. For teaching strategy of perception, methods of composition analysis, illustration and demonstration were mostly used.
3. For teaching strategy of technique, this strategy should combine itself with teaching strategy of perception; and then teachers should give guidance according to features of each technique and individual problems.
3. The value of Hovhaness’s Op.36, 177 and 240 in teaching:
(1) They facilitate students’ development of various tonalities, open their views and further enhance their imaginations and originalities.
(2) They facilitate students’ understanding of modern music, increase their music range approached, and enable them to have different views on music taste and appreciation.
(3) They facilitate students’ development of music thinking logic and techniques of polyphony.
(4) They facilitate students’ development of abilities in playing mixed and irregular meter as well as rhythmic patterns.
Finally, this study proposed some suggestions for teachers and future research and provided references for educators in related instruction and research.
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