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Thesis 1

Thesis Title: A performer’s guide to the pedagogical and concert piano repertoire of Marian Ingoldsby
Degree Type: Other
Degree Specialism: Performance
Supervisor(s): Brid Grant
Thesis Status: Accepted
Date Submitted / Accepted: September 2006
Institution Submitting / Submitted To: Dublin Institute of Technology
No. of Volumes (no. of pages): 1 (63pp.)
Thesis Location / Link: DIT Conservatory of Music & Drama Library
Abstract: This dissertation is intended as a performer’s guide to two of Marian Ingoldsby’s key works for solo piano, which are representative of her pedagogical and concert repertoire. KeyStrokes and Red Shoes were chosen specifically to represent the early and later periods in Ingoldsby’s compositional output and show the various stylistic and thematic aspects of her compositional style.
This study comprises three main chapters. The first of these is a brief biographical sketch charting the life of Marian Ingoldsby to date with particular reference to her early musical and non-musical influences. The main body of this research comprises two separate chapters which include a critical commentary of KeyStrokes and Red Shoes with respect to their suitability as pedagogical and concert repertoire. Each commentary begins with a background to the work outlining the main reasons for their composition. The commentaries of the two pieces, which are liberally illustrated with musical examples, take two different forms; with KeyStrokes, I have examined the collection of eight piano miniatures under various headings in terms of their originality and effectiveness as teaching material. Red Shoes on the other hand, was written some twenty years after KeyStrokes and so the main focus here is on showing the compositional process she issued having a greater knowledge of twentieth century music. I also aim to show how the two works are intrinsically linked in terms of these processes. A concluding discourse of this dissertation is also appended.
The four appendices include an up-to-date catalogue of Ingoldsby’s published and unpublished solo, chamber, vocal and orchestral works. I have included both the published and unpublished score of KeyStrokes along with Red Shoes and a live recording of the two works by the author, Rita Bowens. There are numerous comparisons to be made between the early and later editions of KeyStrokes so I have made a comprehensive catalogue of errors, which form the basis for many of my interpretative suggestions in the commentary. A bibliography is also appended.

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