Factors Affecting the Programming of Undergraduate Piano Recital Repertoire

The purpose of this collective case study was to examine the different musical, social, and pedagogical factors that affected how piano repertoire is selected and programmed for the undergraduate degree recital. Additionally, this study investigated the existence of what is deemed “standard repertoire” for the piano, and the possible reasons why these works are performed more often than others. The research was guided by a three-part framework of inquiry that examined the recital planning process from a student and professor perspective. Additional focus was placed on the social dynamics of the collegiate private piano lesson, and the relationship that developed between professor and student. The data for this collective case study were obtained through a descriptive analysis of piano recital programs, a listening analysis of past student recital recordings, and semi-structured interviews with piano majors and professors (N=7) at a large Southeastern public university. Student case study participants were chosen through a purposive sampling method, and interviews were transcribed manually. Transcripts were then coded using a three-part process that analyzed individual and cross-case themes. These interview transcripts were used to craft case study participant profiles. The transcription and coding process yielded eight salient main themes regarding piano repertoire selection that emerged from a cross-case analysis: making connections within the repertoire; influence of the university curriculum; satisfaction through effective performance order; the audience experience; collaborative learning model/choice with set conditions; freshman year: the vital foundation; standard repertoire as “functional repertoire”; and “filling the gaps.” These themes were used to address the original research questions. In addition, themes unique to each case study participant were also discussed. Based on these individual and cross-case themes, it was suggested that further research is needed investigating the repertoire selection process in a variety of different pedagogical settings, such as the non-major student or graduate piano student. It was also suggested that additional research is needed to determine how a work achieves “standard repertoire” status, both for piano and other music fields. Finally, further research is needed investigating the role of the audience as active listeners and participants within the context of the collegiate piano recital.