:. soonsook myung | pianist .:

		Soonsook Myung, D.M.A. Piano Performance & Pedagogy
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		ARCHIVE Previous research projects includes: *Concord Sonata* by Charles Ives: Performance Manual & Reception for Experimental Music Presented at the 2008 CMS Conference Abstract Concord Sonata by Charles Ives has been widely recognized as one of the most innovative modern piano pieces composed in 20th century for its uniqueness and complexity. At the same time, this contemporary piece has been known as one of the hardest pieces to play. The most distinct problem raised in playing this piece is that notations Ives used are very complicated and unclear. Unlike traditional composers, he doesn’t clearly direct performer to play the piece. For the flexibility of playing, he said, “Concord Sonata is changeable depending on the mood or circumstance. This freedom of playing bears the improvisational possibility.” Furthermore, experimental keyboard techniques Ives used make the piece even harder to play. Interestingly, Ives provides performers Essay Before A Sonata. This essay consists Emerson, Hawthorne, The Alcott, and Thoreau, which related to four movements in the piece and reflects Ives’s transcendentalism. Throughout the presentation, efficient performance approaches for Concord Sonata will be addressed and demonstrated. Individual movements in the piece will be interpreted according to Essay Before A Sonata: the genesis of the essay and Ives’ suggestions in his own performance notes will be acknowledged. Many pianists have acknowledged that this piece is almost unplayable, yet this presentation will share possible guidance to play the piece. Along with the technicality and interpretation of the piece, the reception side of this experimental piece will be addressed in terms of Comprovisation and Structuralism. Also, how this piece could be understood, or received by both performer and listeners will be addressed. Click to view the paper A Study of Béla Bartók’s Dance Suite: Comparison and analysis of the piano and orchestral versions Presented at the 2007 CMS Conference Abstract This lecture-recital consists of Béla Bartók’s Dance Suite, including five movements and finale. Each movement is interconnected with the ritornello and unified in whole movement. The various kinds of folk tune melodies are introduced throughout the piece. This lecture also introduces analysis and comparison of the two versions of piano transcription and orchestral score of the Dance Suite. Biographical study of Béla Bartók Historical background and reception history of the Dance Suite Cultural Pluralism Hungarian, Slovakian, Arabic, Romanian folk tunes Imaginary folk-music Introduction of ethnic dance character Piano Transcription vs. Orchestral score Comparison with orchestral score and piano score Limitation of piano transcription Ways of making orchestral sound effects with a keyboard instrument Imagination Pedal Technique Articulation Conclusion Click for the paper in .pdf format. Book Evaluation of John Thomson’s Modern Course for the Piano And Analysis of Beginner Level Piano Lesson in Terms Of Communication Theory Presented at the 2007 CMS Conference Abstract There are many piano books specifically designed for beginners. Most of them advertise their easy-to-follow instructions and specialized approaches, and some sound very promising. Yet, some books only focus on short-term learner’s outcome – some even use such a phrase like “you can play piano in a day.” However, how one starts piano lesson/education possibly decides how far one can get as a pianist. Thus, how these books approach beginners should be considered both quantitatively and qualitatively. In communication theory, sender sometimes encodes the message for higher efficiency. With the proper decoder, receiver can decode the encoded message and understand it. One primary goal of piano lesson is to teach how to read music notation. Throughout the book, author tries to encode music note for the beginner using numbers matched to each finger. It might be good since beginner can develop this decoding system quickly. However, once you develop the decoding system for this fingering, you would have hard time to read music notation without numbers. The presentation will review John Thomson’s Modern Course for the Piano and discuss a case study of a student aged 7 who had previous lesson experience using this book. Then, both quantitative and qualitative considerations will be outlined, such as the followings: I. Evaluation & Problem Organization/Pacing Material/Content Repertoire Methodical problem/ approaching problem Experimental apply to the beginning level’s student Solution Then, how beginners develop their own decoding system of reading music notation will be discussed. Application Of Gyorgy Sandor's Technical Principles for Intermediate Piano Students Presented at the 2006 CMS Conferences Abstract Intermediate level piano students, who have studied for approximately three to five years, encounter increasingly advanced repertoire that demands sophisticated musical comprehension and more advanced technical requirements. Therefore, the intermediate student needs to develop foundational technical skills that will serve as the basis for successful study of more advanced repertoire. In Gyorgy Sandor’s exceptional publication, On Piano Playing: Motion, Sound, and Expression, he presents several technical principles for the advanced pianist that promote an integrated piano technique. Sandor outlines a well-coordinated system of motions that helps the pianist execute difficult, complex passages with greater ease and flexibility. Through the use of musical examples and exercises, he demonstrates effective ways to utilize fingers, hands, wrists, and arms and gradually develop a complete technique. This presentation will demonstrate how to apply Sandor’s advanced piano technique to the intermediate level of piano study and how to effectively introduce these concepts to the developing piano student: A. Introduction of Sandor's Technical Principles Free Fall Thrust Five Finger Activity; Scales and Arpeggios Rotation and Staccato Integration of each technique B. Analysis of each Technical Principle & Application for Intermediate Repertoires J.S. Bach’s Two-part Inventions and Sinfonias Clementi’s Sonatinas Op. 36, Schumann’s Kinderzenen, Op. 15 and Album für die Jugend Bartok’s Mikrokosmos, Vol. III and IV Click for the paper in .pdf format.

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