Course Number: MUSC 476/876 Credit Hours: 3 Instructor:  Paul Barnes
Section Number:  7598/7599     Office:  WMB 241
Class Time:  Wed 7:00 - 9:50   WMB 104

I.  Title:  Piano Literature Survey

II.  Description:  A study of the literature for solo piano from the Baroque to the
 present, with emphasis on musical styles.
 
III.   Prerequisites:  12 hours undergraduate piano or permission of instructor

IV.   Texts and References:
Gordon, Stewart.  A History of Keyboard Literature.  Schirmer Books,
 New York, 1996

 Recommended reading:
Hinson, Maurice. Guide to the Pianist’s Repertoire,  2nd edition,  Indiana
 University Press, Bloomington, 1987.
  Kirby, F.E.  Music for Piano,  Amadeus Press, 1995.
 Wolff, Konrad. Masters of the Keyboard,  Enlarged Edition, Indiana
  University Press,  Bloomington, 1990.
  Marshall, Robert Lewis,ed. Eighteenth-century Keyboard Music
  Schirmer Books, New York, 1994.
 Todd, R. Larry, ed. Nineteenth-century Piano Music,  Schirmer Books,
  New York, 1990.
 Burge, David.  Twentieth Century Piano Music, Schirmer Books,
  New York, 1990.

 Scores: On reserve if you don't have personal copies

 [It is strongly recommended that you purchase your own copies of these scores.  It is my assumption that those taking this class are serious musicians that will be interacting with this music for a lifetime.  So if it is financially possible, purchase copies of all scores.]

 Recordings:  On reserve

V.  Course Objectives:
 1.  To survey the piano repertoire of the eighteenth, nineteenth and twentieth centuries.   This survey should serve to identify personal affinities and aid your repertoire choices for subsequent recitals.
 2.  To examine stylistic elements found in representative works by the composers studied and to articulate this examination both orally and in written form.
 3.  To engage the ear in the important task of stylistic discernment, i.e. being able to aurally distinguish Bach from Bartok.
 4.  To counter historical and stylistic amnesia by tracing the development of various genres for the piano (sonata, variations, fantasy).
 5.  To understand the philosophical, spiritual, and sociological factors that motivate composers of piano music.
 6.  To insightfully and sensitively critique recordings and performances of the repertoire studied in this class.
 7.  To cultivate a culture of serious and dedicated pianism at UNL.

VI.   Content Outline:  see attached schedule

VII.  Instructional activities:  Weekly lectures with outside reading and listening
 assignments.

VIII. Field and Clinical Experiences:

 1.  Oral Presentations
Each student in this class is required give an oral presentation on a topic related to piano literature.  You may discuss the works of a composer not covered in this course or perhaps trace the development of a particular genre (sonata, variation, suite).  Grading of this oral presentation will be based on your ability to organize your gained understanding (handouts are looked upon with great favor) and to relate your new understanding of a composer's style to specific pieces of music.  You must be able to communicate what you have learned to the entire class.

2.  Papers  (Graduate students only)
Graduate students are required to expand their oral presentation into written format.  Papers must be 10-15 pages and include a complete bibliography of both primary (usually music) and secondary sources (books and articles).  Topics must be OK'd by me no later than Oct 7 and papers are due at the beginning of the last class period.

3.  Oral Exam (Graduate students only)
In preparation for oral qualifying examinations for both the MM and DMA, graduate students will be required to pass an oral examination based on the repertoire of the entire class.  This will be held during exam week with the rest of the piano faculty.   The exam will test your ability to verbally articulate your understanding of the literature and the development of genres related to piano literature.   Grading will be pass/fail.

IX. Grading Procedures: There will be three one-hour exams in this class which
will count for two-thirds of your grade.  These exams will include listening and score identification from the assigned listening, unknown score and listening analysis, short answer questions, and two essay questions based on musical style as discussed in class.  The remaining third of your grade will be based on your presentation (undergrads) or presentation/paper/oral exam (grads) and class participation (ability to formulate and articulate questions or comments), preparedness (intellectually interacting with the assigned reading and listening for each class), and general academic professionalism.

 Grading Scale:
  90-100 A
  85-89  B+
  80-84  B
  75-79  C+
  70-74  C
  65-69  D+
  60-64  D
  below 60 F
 

Graduate students must earn at least a B in order to receive graduate credit in the School of Music.   Graduate students in this class are also expected to display both in class discussion and on exams and their presentation/paper a level of comprehension and familiarity with the piano repertoire that exceeds that of the undergraduates.

X.   Attendance policy:  It is expected that you attend all classes.  If you must miss
 a class due to illness, it is your responsibility to get notes and assignments
 from a classmate.   Excessive absence will significantly compromise your
 grade.
 

 
COURSE SCHEDULE
Musc476-876 Piano Literature Survey
Dr. Paul Barnes

Note:  This class presupposes an interest in cultivating a culture of serious pianism here at UNL (course objective No.7).  Required for admission into this culture is the intellectual and aesthetic ownership of the glorious depth and breadth of the piano repertoire.  Many students may be overwhelmed by the amount of material this class presents and explores.  It will be critical for those students coming into the class with limited exposure to the piano repertoire (grads or undergrads) to approach the listening regularly (at least an hour a day).   Due to the large amount of listening, it will be virtually impossible to 'cram' for the upcoming exams.  If you stay caught up with your listening, you will not be overwhelmed by exam time and will be able to retain much more of what you learn.  You should also be able to converse coherently about the repertoire and perhaps use this class (as I did) as a springboard for future repertoire choices.  Good luck and stay consistent.

 First part:  7:00 - 8:20 Second part:  8:40 - 9:50

Unit One:  Baroque/Classical
Aug 26  Pre-Baroque, Baroque
 First part:  Couperin, Rameau, Kuhnau, Fischer, et.al
  Style chart and discussion
  Genre overview:  Suite, Sonata, Variations, etc.
 Reading:  Gordon, Chapter 1-4
 Listening:
  John Bull (c1562-1628):  Walsingham (score only, M21 .F54 1963 v.1 )
   No.1 in Fitzwilliam Virginal Book
  J.C.F. Fischer (c.1670-1746): Passacaglia (DISC 4400, M22.F5 W47 1965x)
  *Francois Couperin (1668-1733):  Les Baricades mysteriuses (DISC 4400)
   6th Ordre, Book 2, Piece de Clavicin, 1716 (M22.C85 P53x v.1)
  *Jean Phillipe Rameau (1683-1764): Les Cyclops (CDISC BELKIN 241),
   from Pieces de clavecin, 1724, (M24.R17 P5 (1724), 1988)

 Second part:  Handel, J.S. Bach
  *G. F. Handel (1685-1759): Suite in E Minor (G 160-162, HWV 438)
    (DISC 4401, M22.H36 C558 1982, p.69)
   *Chaconne in G major (with 21 variations) (HWV435)
    (DISC 4401, M22.H36 C558 1982, p.133)
  *J.S. Bach (1685-1750): Partita No 4 in D Major
     (DISC 3172, M24 .B115 S.825-830. S6 v.2)

Sept 2     Bach, Scarlatti and the Galant
 First part:  J.S.  Bach (cont.), Scarlatti
 Reading:  Gordon, Chapter 5
 Listening:
   *From WTC Book I, Prelude and Fugue in B-flat Minor
    (M22.B11 W64 1972x pt.1, CDISC 2032)
   *Italian Concerto (DISC 4400 harpsichord, CDISC 1366 piano,
     M24 .B114 BWV 971, E5, 1977x)
  Dominico Scarlatti (1685-1757):
   look up assigned sonata in complete Gilbert edition, M2 P975x v.31-41
   *Sonata in D Major, K.175 (Browning, CDISC 1845)
   *Sonata in F Minor, K.466, L.118 (Horowitz, personal copy)
   *Sonata in E Major, K.162, L. 21 (Horowitz, personal copy)

 Second part:  The Galant, Bach sons
  *C.P.E. Bach (1714-1788): Sonata in A major, W.55/4, H.186
   (M23.B12 F4 1985 v.2, CDISC 1551)
  *J.C. Bach (1735-1782): Sonata in D Major, Op.5 No.2
   (DISC 3427, M23.B133 H4 1981 v.1  )
  *Padre Antonio Soler (1729-1783): Sonata in F-sharp Major, M.18
   (DISC 6374, M23 S685 M42 v.2)

Sept 9 Haydn and Mozart
 First part:  Franz Joseph Haydn (1732-1809)
 Reading:  Gordon, Chapter 6
 Listening:
  *Sonata in C Minor, Hob XVI:20 (M23.H41 F4 1972 v.2, DISC 3975)
  *Sonata in E-flat Major, Hob XVI: 52 (M23.H41 F4 1972 v.3, DISC 3264)
 
 Second part: Wolfgang Amadeus Mozart (1756-1791):
 Reading:  Gordon, Chapter 7
 Listening:
  *Fantasy in C Minor, K.475
   (M25 .M69 K.475, 1992M25 .M69 K.475, 1992, CDISC 656)
  *Sonata in F, K.332 (M23.M939 F8 v.2, CDISC 656)

Sept 16   Late Classical
 First part:  Clementi, Dussek, Early Beethoven
 Reading:  Gordon, Chapter 8, 9
 Listening:
  *Muzio Clementi (1752-1832) Sonata in G Minor, Op.34 No.2 (1795), I
   (M23.C63 G47 v.2, CDISC 773 v.2 pt.1)
  *Jan Dussek (1760-1812)  Sonata in E-flat, Op.44, I, "Les Adieux"
   (pub. 1800)  (M22.D94G7 v.3, DISC 2195)
  *Ludwig van Beethoven (1770-1827)
   Sonata in C Major, Op.2 No.3 (1774-95)
   (M23.B414 W3 1976x v.1, DISC 2928, Schnabel)

 Second part:  Middle Beethoven
  *Sonata in D Minor, Op.32 No.2 (1802)
   (M23.B414 W3 1976x v.2, DISC 2928, Schnabel)
  *Variations in C Minor, WoO 80 (1806)
   (M27.B43 S35 1972x v.2, DISC 1938)

Sept 23  Exam One (first part)
 
 

Unit Two:  Late Classical/Early Romantic
Sept 23   Late Beethoven
 Second part:  Late Beethoven
  Listening:
   *Sonata Op.109 (1820) (M23.B414 W3 1976x v.2, DISC 4601)
   *Sonata Op.111 (1821-22) (M23.B414 W3 1976x v.2, CDISC 215)

Sept 30  Romanticism, Schubert/ Mendelssohn
 Reading:  Gordon, Chapter 10, 11
 Listening:
 First part:   Franz Peter Schubert (1797-1828)
  *Impromptus, Op.142 (M22.S38 F4 D.935, 1983x, CDISC 1833)
  *Sonata in B-flat Major, D.960 (CDISC 1035, M23.S384 B8x)

 Second part:  Felix Mendelssohn (1809-1847)
  *Rondo capriccioso, Op.14 (M25 .M453 op.14, 1974, CDISC 2034)
 *Variations serieuses, Op.54 (1841) (CDISC 2034, M27 .M45 op.54 1900)

Oct 7   Robert Schumann (1810-1856)
 Reading:  Gordon, Chapter 12
 Listening:
 First part:  *Carnival, Op.9 (M24 .S49 op.9, 1900z, CDISC 1630)

 Second part:  *Symphonische Etuden, Op.13 (1834-7)
     (M27 .S39 op.13, 1977x  CDISC 961)
  *Sonata in G Minor, Op.22, I (1833-1838) (M23 .S42 op.22 1981 DISC 271)

Oct 14   Franz Liszt (1811-1886)
 Reading:  Gordon, Chapter 14
 Listening:
 First part:  Character pieces and etudes:
  *Two Concert Etudes (CDISC 967, M25.L589 K82 1994)
  *Hungarian Rhapsody No. 6 (DISC 5616, M22.L77 R553 1984)

 Second part:  The sonatas
from Annees de pelerinage, 2e annee,
 *Apres une lecture du Dante (M24.L77 A62, CDISC 1454)
*Sonata in B Minor (M23 .L774 B min., 1975x, CDISC 1407)

Oct 21   Frederic Chopin (1810-1849)
 Reading:  Gordon, Chapter 13
 Listening:
 First part:
  *Scherzo in B-flat Minor, Op.38 ( M22.C545 S395, CDISC 1381)
  *Nocturne in C minor, Op.48 No.1 (M22.C545 N7 1980x, CDISC 134)
 
 Second part:  "Late"
  *Sonata in B Minor, Op.58 (M23 .C55 op.58, 1976x, CDISC 1445)
  *Polonaise-fantasie, Op.61 (M22.C545 P647 1970, DISC 8205)

Oct 28   Exam Two (first part)
 
 

Unit Three:  Late Romantic/Twentieth Century
Oct 30   (Second part) Johannes Brahms (1833-1897)
 Reading:  Gordon, Chapter 15
 Listening:
  *Sonata in F Minor, Op.5, I (1853) (CDISC 969 M23 .B8 no.3, 1935)
  *Variations on a Theme of Handel, Op. 24 (1861)
   (M27.B81 H4 1988, CDISC 326)
  *Klavierstücke, Op.117 (CDISC 229, M22.B82 M3 1981x v.2)

Nov 4   Other Late nineteenth-century composers, Debussy
 Reading: Gordon, Chapter 16, 17
 Listening:
 First part:
  Gabriel Faure (1845-1924): Nocturne, Op.84 No.8
     (M22.F25 N6 1994, CDISC 1844)
  Cesar Franck (1822-1890):  Prelude, Chorale and Fugue (1884)
    (M22.F835 D5 1976, CDISC 457)
  *Issac Albeniz (1860-1909): Triana, from Iberia, Book 2
    (DISC 2909, M22.A39 I2 1987)
  Edvard Grieg (1843-1907):  Ballade, Op.24 (M27.G754 B34 1992, DISC 178)

 Second part:  Claude Debussy (1862-1916)
  Pour le piano (1901) (M25.D42 P68 1975, DISC 573)
  *L'Isle joyeuse (1904) (M25.D42 I75 1986, CDISC 364)
  From Preludes, Book I (M22.D29 P7 1991, CDISC 1271)
   *Voiles
   *Des pas sur la neige
  From Preludes, Book II (M22.D29 P7 1991, CDISC 1271)
   *La Puerta del Vino
 
Nov 11 Ravel, Russian piano music of the twentieth-century
 Reading:  Gordon, Chapter 18, 20
 Listening:
 First part:  Maurice Ravel (1875-1937)
  *Pavane pour une infante défunte (1899) (DISC 6864, M22.R26 P5 1986)
  *Le Tombeau de Couperin (1917) (M24.R27 T8 1918, DISC 6864)

 Second part:  Russian piano music
  Balakirev:  Islamey (M25.B17 I9x, CDISC BELKIN 28)
  *Scriabin:  Sonata No. 5 (CDISC 157, M23.S628 I3 1988)
  *Rachmaninoff:  Prelude in B Minor, Op.32 No.10
     (M25 .R12 op.32, 1991, DISC 6887)
   *Moment Musical in C Major, Op.16 No.6
    (M25 .R32 op.16, 1950x, DISC 4999)
  *Prokofieff:  Sonata No. 3 (M23.P93 F7, CDISC 1995)

Nov 18 Bartok, Latin American Composers
 Reading:  Gordon, Chapter 19, 21
 Listening:
 First part:  Bela Bartok (1881-1945)
  *Allegro Barbaro (1911) (CDISC 1471, M25 .R32 op.16,1950x)
  *15 Hungarian Peasant Songs (CDISC 1471, M25.B37 H85 1939x)
   *Sonata, Op.26 (1926) (M23.B357 S6 1939, DISC 4948)

 Second part:  Latin America
  *Manuel DeFalla (1876-1946):  Fantasia Baetica
   (DISC 1451, M25.F23 F3 1993)
  *Alberto Ginastera (1916-1983):  Sonata No. 1, Op.22
   (M23 G48 S6, CDISC 1718)
  *Heitor Villa-Lobos (1887-1959)  from The Baby's Family, O Polichinello
    (M25.V7 P7, DISC 2870)

Dec 2 European and U.S. composers in the early twentieth century
 Reading:  Gordon, Chapter 22, 23
 Listening:
 First part:  2nd Viennese School
  *Arnold Schoenberg (1874-1951):  Klavierstücke, Op.33a (1929)
   (CDISC 67, M25 .S33 op.33a)
  *Anton Webern (1883-1945): Variations, Op.27
   (CDISC 2395, M27W42 op27)
  *Alban Berg (1885-1935) : Sonata, Op.1 (DISC 2611, M23 B479 op1)

 Second part:  Americans of the early twentieth century
  *Charles Ives (1874-1954):  from Concord Sonata, "The Alcotts"
   (DISC 5037, M23 I66)
  *Henry Cowell (1897-1965):  The Aeolian Harp, The Banshee
   (CDISC 1481, M22 C87)
  *Charles Tomlinson Griffes (1884-1920):  Sonata (M23 .G755x, DISC 4097)
 

Dec 9 United States in the Twentieth Century
 Listening:
 First part:
  *Samuel Barber (1910-1981): Sonata (M23 B247, CDISC 637)
  *George Crumb (b.1929): Makrokosmos I (M24.C94 M31, DISC 58)
  *Aaron Copland (1900-1990) Piano Variations (M27 C67 5, DISC 1999)

 Second part:  Breathing composers
  Robert Muczynski (b.1929): Piano Sonata No.2
   (M23 .M819 op.22, 1989, Score only)
  Joan Tower (b.1938):  Or like a...an engine (M21 .A486 1995, Score only)
  *Philip Glass (b.1937): from Solo Piano  (M22. G52 S6, personal recording)
   Mad Rush
  John Corigliano (b.1938):  Etude Fantasy (M25.C675 E87 1981x, Score only)

Final Exam:  Wednesday, Dec 16, 8:15-10:15

* will be on exam listening list