Alan Shockley is the director of composition and theory and an associate professor in the Bob Cole Conservatory of Music at California State University, Long Beach. As a composer, he has held residencies at the MacDowell Colony, the Atlantic Center, the Virginia Center for the Arts, Italy’s Centro Studi Ligure, and France’s Centre d’Art Marnay Art Centre (CAMAC), among others, and he has received grants from the American Music Center, Pittsburgh ProArts, the Mellon, and the Heinz Foundations. A dedicated scholar and educator, Shockley has taught at Princeton University, the University of North Carolina, Chapel Hill, and the University of Pittsburgh. Shockley’s essays on and reviews of contemporary music and on intersections between music and modernist fiction can be found in journals and collections published by many major presses, and his book, Music in the Words: Musical Form and Counterpoint in the Twentieth-Century Novel was released in 2009.

Shockley, a respected composer and teacher, has written an excellent one-stop shop for all matters dealing with nontraditional uses of the piano. This is a modern-day performance practice manual similar to those written by composers dealing with performance practices of earlier eras. The author gives detailed instructions for composers—and, more important, players—of this music, which was created mostly during the 20th century and employs the piano in unusual ways. Following brief but useful introductory chapters about the construction and history of the piano, Shockley meticulously guides the reader through each topic—pedals, clusters, preparations, bowing, the piano as a percussion instrument, harmonics, muting, and even the toy piano. Highly recommended.

• Chapter 1: Notation and Some Piano Basics Chapter 2: The History and Mechanism of the Piano Chapter 3: On the Keys and on the PedalsChapter 4: Pizzicato, Strumming, Scraping, Rubbing Chapter 5: Muting Chapter 6: Harmonics Chapter 7: The Piano is a Big Box and the Pianist is a Noise-Making Animal Chapter 8: Bowing Chapter 9: Preparations Chapter 10: The Toy Piano Appendix A: Repertoire Appendix B: Materials for Piano Preparation Appendix C: Grand Piano Interior Architecture and Stringing

Alan Shockley is the director of composition and theory and an associate professor in the Bob Cole Conservatory of Music at California State University, Long Beach. As a composer, he has held residencies at the MacDowell Colony, the Atlantic Center, the Virginia Center for the Arts, Italy’s Centro Studi Ligure, and France’s Centre d’Art Marnay Art Centre (CAMAC), among others, and he has received grants from the American Music Center, Pittsburgh ProArts, the Mellon, and the Heinz Foundations. A dedicated scholar and educator, Shockley has taught at Princeton University, the University of North Carolina, Chapel Hill, and the University of Pittsburgh. Shockley’s essays on and reviews of contemporary music and on intersections between music and modernist fiction can be found in journals and collections published by many major presses, and his book, Music in the Words: Musical Form and Counterpoint in the Twentieth-Century Novel was released in 2009.

Shockley, a respected composer and teacher, has written an excellent one-stop shop for all matters dealing with nontraditional uses of the piano. This is a modern-day performance practice manual similar to those written by composers dealing with performance practices of earlier eras. The author gives detailed instructions for composers—and, more important, players—of this music, which was created mostly during the 20th century and employs the piano in unusual ways. Following brief but useful introductory chapters about the construction and history of the piano, Shockley meticulously guides the reader through each topic—pedals, clusters, preparations, bowing, the piano as a percussion instrument, harmonics, muting, and even the toy piano. Highly recommended.

• Chapter 1: Notation and Some Piano Basics Chapter 2: The History and Mechanism of the Piano Chapter 3: On the Keys and on the PedalsChapter 4: Pizzicato, Strumming, Scraping, Rubbing Chapter 5: Muting Chapter 6: Harmonics Chapter 7: The Piano is a Big Box and the Pianist is a Noise-Making Animal Chapter 8: Bowing Chapter 9: Preparations Chapter 10: The Toy Piano Appendix A: Repertoire Appendix B: Materials for Piano Preparation Appendix C: Grand Piano Interior Architecture and Stringing