Microsoft Word youngmi moon dissertation docx

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A PEDAGOGICAL ANALYSIS OF CHOPIN’S WALTZES, OP. 64 & OP. 69 
by 
YOUNGMI MOON 
(Under the Direction of Martha Thomas and Peter Jutras) 
ABSTRACT 
The purpose of this project is to provide a pedagogical analysis of Chopin Waltzes, Opus 
64 (no. 1 in D-flat Major, no. 2 in C-sharp Minor, and no. 3 in A-flat Major) and Opus 69 (no. 1 
in A-flat Major and no. 2 in B Minor). These five waltzes represent excellent repertoire 
selections for developing pianists. These waltzes exist in several extant versions, so this study 
will be useful in informing teachers of the different editions available and explaining the 
differences between them. Additionally, this project will delve into Chopin’s background as a 
teacher, dancer, and dance accompanist, and will draw from Chopin’s own pedagogical 
philosophy for pedagogical suggestions regarding these five waltzes.  
 
 
INDEX WORDS: 
Frédéric Chopin, waltz, Opus 64 and 69, pedagogical analysis, method, 
Chopin’s teaching, Chopin’s pianism, dance influence, Chopin editions, 
piano, piano pedagogy 

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A PEDAGOGICAL ANALYSIS OF CHOPIN’S WALTZES, OP. 64 & OP. 69 
 
by 
 
YOUNGMI MOON 
Bachelor of Music, Mokpo National University, South Korea, 2006 
Master of Music, University of Georgia, 2010 
 
 
 
 
 
A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial 
Fulfillment of the Requirements for the Degree 
 
DOCTOR OF MUSICAL ARTS 
 
ATHENS, GEORGIA 
2015 

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© 2015 
Youngmi Moon 
All Rights Reserved 

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A PEDAGOGICAL ANALYSIS OF CHOPIN’S WALTZES, OP. 64 & OP. 69 
 
by 
 
YOUNGMI MOON 
 
 
 
 
 
 
 
 
 
 
Co-Major Professors:  Martha Thomas 
 
 
 
 
 
 
 
 
 
Peter Jutras 
 
 
 
 
 
 
Committee:   
David Haas 
 
 
 
 
 
 
 
 
 
Evgeny Rivkin 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Electronic Version Approved: 
 
Julie Coffield 
Interim Dean of the Graduate School 
The University of Georgia 
May 2015 
 

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iv 
 
 
DEDICATION 
To my parents, for their support, encouragement, and unfailing love to me.   

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v 
 
 
ACKNOWLEDGMENTS 
 
My great appreciation goes to my major professor, Dr. Martha Thomas, for her 
dedication throughout my graduate studies including this dissertation and for the co-chair of my 
committee, Dr. Peter Jutras. I also wish to thank the other members of my advisory committee 
for their advice: Dr. David Haas, Dr. Evgeny Rivkin, and also Dr. Dorothea Link, an original 
member of my committee. I also wish to thank Dr. Joanna Smolko for editing my papers 
throughout my graduate studies and serving as my editor for this dissertation. 
 
I would like to thank Dr. Lisa Fusillo, head of the Department of Dance, and Dr. Dale 
Monson, Director of the Hugh Hodgson School of Music, for their support in creating a new 
graduate assistantship for the accompaniment of dance classes. This graduate assistantship has 
encouraged and financially supported me throughout my doctoral studies at UGA. 
 
Finally, I wish to thank my Lord, the greatest artist, for being always with me.  
 

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vi 
 
 
TABLE OF CONTENTS 
Page 
ACKNOWLEDGMENTS ...............................................................................................................v 
LIST OF MUSICAL EXAMPLES.............................................................................................. viii 
LIST OF TABLES........................................................................................................................ xii 
CHAPTER 
 
1  INTRODUCTION .........................................................................................................1 
 
 
 
Purpose of the Study ................................................................................................1 
 
 
 
Delimitations............................................................................................................2 
 
 
 
Literature Review ....................................................................................................2 
 
 
 
Methodology and Organization ...............................................................................5 
 
2  CHOPIN’S TEACHING AND PIANISM ....................................................................7 
 
 
 
Chopin’s Teaching and his own Method .................................................................7 
 
 
 
Chopin’s Pianism.....................................................................................................9 
 
3  EDITIONS ...................................................................................................................23 
 
 
 
History of Chopin Editions ....................................................................................23 
 
 
 
History of Chopin Waltzes: Opus 64 and 69 .........................................................24 
 
 
 
Overview of Five Selected Editions ......................................................................26 
 
 
 
Comparing Five Editions of Chopin Waltzes: Opus 64 and 69.............................28 
 
4  PEDAGOGICAL ANALYSIS OF SELECTED WALTZES: OPUS 64 AND 69 .....44 
 
 
 
General and Overall Performing Skills for Chopin Waltzes .................................44 

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