The Anatomy of Musicality

American Music Teacher, June-July, 2007 by Michelle Conda

[website] The Anatomy of Musicality, by Rozalie Levant. (Rozalie Levant, publisher), 2006. 265pp. $34.95.

In the introduction to this book, Rozalie Levant recalls from her youth, her teacher bellowing, "Listen to yourself!" This upset her because she did not know what she was listening for. This was the beginning of her quest to help other pianists solve this fundamental problem.

Levant was born in St. Petersburg, Russia, and graduated from the Leningrad State Conservatory as both a pianist and a musicologist. She has lived in the United States since 1989. This book is the result of her years as a teacher and lecturer, a culmination of her ideas and method of teaching.

Before reading, I wasn't sure you could quantify "musicality." I am happy to report Levant attempts and succeeds this quest, if you are willing to put in the time and effort to read the book.

Geared towards the serious piano student or serious teacher, the book is not a quick read--it took me more than two weeks to complete, and I need to read it several more times to fully understand and implement everything she presents.

The organization is in chapters with topics such as dynamics (micro-dynamics), the crescendo, the kinetic aspect of musicality, and mind and body games we play in order to execute good balance and legato.

In my opinion, Levant is the first one to dispel the idea that playing piano is no more than "hammer on, hammer off." She carefully and painstakingly explains all the ways to play a key that actually does change tone color. She also points out three compositional devises that are vague in the performance of music that pianists must interpret: dynamics, articulation and tempo.

This book has changed both my playing and teaching. First, I was gladdened to hear her say children don't know what they are listening for, at least until they have a vocabulary of sound and action to choose from. Second, as a pianist, when I crescendo I choose the four notes "skeleton" of the crescendo. Any more notes and the crescendo sounds forced. Third, every note starts with an action that precedes pushing down the key. My dynamic control improved immediately when I tried this.

This review only brushes the surface of the many ideas Levant imparts. As stated, this is not a quick or simple read. Some of it gets very wordy--perhaps it would be easier to go to her lecture before reading her book. This said, now I will look for her lectures, as I believe she is onto something good!--Reviewed by Michelle Conda, NCTM, Cincinnati, Ohio

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