Norman Lloyd (composer)

Norman Lloyd (November 8, 1909 – July 31, 1980) was an American pianist, composer, educator, author and supporter of the arts who scored works for modern dance, documentary film and classical chamber. He exerted tremendous influence as an educator, notably at Juilliard where he transformed the teaching of musical theory; and later as the author of books including the popular "Fundamentals of Sight Singing and Ear Training" (co-authored with Arnold Fish). He continued to influence and champion the arts as creator of the Rockefeller Foundation's arts program and its first director. He was the son of David Lloyd, a steel mill worker and minor league baseball player, and grandson of William Lloyd, a coal miner who immigrated to the United States from Wales in 1845.

His professional career began as an 11-year-old piano accompanist for silent films in the early 1920s. He received both his bachelor's and master's degrees from NYU, where he studied musical composition under Aaron Copland. It was also at NYU that Lloyd met fellow piano accompanist Ruth Dorothy Rohrbacher, whom he married in 1933 and with whom he collaborated on books and musical projects throughout his life. They had two sons, David and Alex. In the mid-1930s, Lloyd was hired to work as a pianist and composer in the newly created summer dance program at Bennington College, alongside legendary choreographers Martha Graham, Jose Limon, Doris Humphrey and others. During the summers at Bennington, he scored many enduring works for dance, including "Panorama" for Graham and "Lament for Ignacio Sanchez Mejias" with Humphrey choreographing for Limon. The Bennington collaboration of artists during those years is considered by many to be the foundation of modern dance as an American art form.

Lloyd went on to serve as Director of Education at the Juilliard School of Music in New York City from 1946 to 1949, where he established a new dance division with Martha Hill as director, and invited Graham, Limon and other Bennington choreographers to join the faculty. During this period, he and Juilliard president William Schuman designed a new and innovative approach to the study of musical theory entitled, "The Literature and Materials of Music," which shifted the emphasis away from textbooks and rigorous ear training to discussion and direct pedagogy by composers in the classroom. He and Schuman were committed to teaching music from a more holistic approach that would "make responsible adults of musicians." The new curriculum was intended to disrupt what the two men considered to be an overly insular culture and rigidly formal training regimen at Juilliard, and effectively altered the course of American musical education towards the more comprehensive and progressive path on which it remains today.

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