Piano Literature IV Utah State University Course Syllabus Spring 2015 MUSC 2450-001 Dr. Kevin Olson FAC 101 435-797-3033 kevin.olson@usu.edu office hours: by appointment Required Textbooks: Burge, David. Twentieth-Century Piano Music., Scarecrow Press, 2004. Gordon, Stewart, A History of Keyboard Literature: Music for the Piano and Its Forerunners, Schirmer Publishing, 1996. Objectives: This class is designed to acquaint pianists with significant late-19 th century composers not covered in Music 2440 (Piano Literature III) and to become familiar with the principal keyboard composers of the 20 th and 21 st centuries. Topics will include the lives and contributions of these composers with an emphasis on becoming familiar with their distinctive styles and most significant works. Required Texts: Burge, David. Twentieth-Century Piano Music, Scarecrow Press, 2004. Gordon, Stewart, A History of Keyboard Literature: Music for the Piano and Its Forerunners, Schirmer Publishing, 1996. Grading: Attendance & Participation 50 pts Listening Notebook 50 pts Web Forum Discussion Participation (10 @ 20 points each) 200 pts Original Contemporary Piece (50 pts score and notes; 50 pts performance) 100 pts 4 Listening Tests (100 pts each) 400 pts 700 pts A=93-100% A-=90-92.9% B+=87-89.9% B=83-86.9% B-=80-82.9% C+=77-79.9% C=73-76.9% C-=70-72.9% D+=67-69.9% D=63-66.9% D-=60-62.9% F=below 60% Attendance & Participation (50 points) Due to the amount of literature we will be covering in such a short time, consistent attendance will be critical. In addition, it is expected that you come prepared to actively participate by keeping up with the reading and listening assignments. Your final attendance/participation score will come from a combination of your ability to avoid unexcused absences or late arrivals, as well as your class preparation and participation. The class will be divided up into three study groups, who will come with detailed historical, structural, and pianistic research on specific, assigned pieces to share with the class. Study groups can choose to prepare material together or separately. You will find the assigned pieces of each study group in the listening list at the end of the syllabus, organized by color:
Study Group 1 Study Group 2 Study Group 3 Study Group 4 Samantha Bunderson Holly Ganoe Jeff Gubler Brittany Jarman Michael Lechner Eliza Nelson Taylor Packer BreAna Shaw Sierra Summers Emily Watson Shanelle Winkel Jacqueline Winterton Here is a short list of the aspects I would like you to know about each assigned piece: Historical background of the work (found in your textbooks or online) Main key area, and other key areas you can find Overall form or structure of the piece Interesting musical devices, scales and other materials, and events to highlight in the score Technical challenges that you would focus on, either as a performer or teacher of the work Any other interesting facts you can find pertaining to the work Listening Notebook (50 points) The information you compile in the Piano Literature sequence here can be a valuable resource in your future careers as performers and teachers. With that in mind, you will be compiling a Listening Notebook that you submit the days of tests 2 and 4, which combines lecture notes along with your own impressions, reactions, and reminders from your individual listening. Your Notebook grade will come from the organization, clarity, and thoroughness of your notes. Web Forum Discussion Participation (10 @ 20 points each) We will have two arenas of discussion for this course: one happening during class, and the other happening on the Canvas web shell. During the semester, we will have ten forums where you can share some of the interesting information and insights that you find in the assigned readings or your own research. You are required to submit the following as a minimum on each weekly forum: At least one main post of a minimum of 300 words, commenting on some aspects of the assigned reading and/or your own research that you found interesting, or related topics that could apply to your own performing or teaching experience. Avoid Wikipedia-type summaries of composers, and other general discussion that would be more appropriate for a General Education course than a required course for piano majors. Any quotations you use in your posts should be cited, and quotes longer than a sentence or two won t count toward your 300-word minimum on the main post. At least two shorter side comments to classmates, not just agreeing with them, but reacting to their comments and offering some additional insights. Don t wait until the last minute to submit responses the later in the week you post, the less opportunity your classmates will have to respond to you. Your grade will be determined based on your level of active participation (posts earlier in the week are weighted higher), the amount of critical thinking that is evident in your responses, and the overall length and depth of the postings. Don t be afraid to go off on a related conversational tangent, or to disagree with a classmate. Debate is encouraged (as long as it remains courteous and professional). Original Contemporary Piece (50 pts score and notes; 50 pts performance) On Monday, April 20, the Piano Literature class will present a new music recital, with each class member presenting an original piano composition that exhibits contemporary traits we have studied this semester. The following factors will be considered in your score for this project: Length: the piece should be no more than three minutes in length, but it should be substantial enough to present musical ideas and develop them.
Creativity/Originality: the piece should reflect the aesthetic spirit of the music we ve studied, which push conventional sonic and pianistic boundaries, and explore alternative ways of organizing and perceiving music. Manuscript: the manuscript should be clean (preferably in computer notation), with detailed musical markings and instructions. Composers Notes: you will submit notes from the composer along with your score. The notes should be one-paragraph long and describe the techniques you used to the audience, along with any other musical events or programmatic elements listeners should be aware of. Timeliness: Due dates for draft and final score submissions will be announced throughout the semester. Performance: the performance should be polished, and presented on the recital by the composer in a professional manner. Listening Tests (4 tests; 100 points each) Four times during the term, you will be tested on your ability to aurally and visually identify works from the listening list found at the end of the syllabus. You will be expected to recognize important themes that are played for you (sometimes at the beginning of pieces and sometimes later on). I will let you know when opus numbers and keys are important, but generally the title will be sufficient. You will also be asked to include the composers names, and a few items of historical or structural importance that pertain specifically to the piece you identify. Two short essay questions will also appear on each test, focusing on composers, styles, and musical trends. Scores and recordings of each piece are available on Canvas for your use in studying for the tests. You are responsible for every piece and composer from each unit, even if there is not time in class to study everything listed on the syllabus. Full credit make-up work will be given in the event of documented illness, family emergency, or official University absence cleared in advance with the Office of Student Services and the instructor. NO EXCEPTIONS. Work submitted late is eligible for half credit. Students of this course are expected to abide by the University code regarding classroom conduct and academic honesty (section V-3, University Student Code). Students with ADA-documented physical, sensory, emotional or medical impairments may be eligible for reasonable accommodations. Veterans may also be eligible for services. All accommodations are coordinated through the Disability Resource Center (DRC) in Room 101 of the University Inn, (435)797-2444 voice, (435) 797-0740 TTY, (435) 797-2444 VP, or toll free at 1-800-259-2966. Please contact the DRC as early in the semester as possible. Alternate format materials (Braille, large print or digital) are available with advance notice. TENTATIVE COURSE SCHEDULE UNIT ONE: RUSSIAN MODERNISM FROM 1900-1950 Wk1 Th Jan 8 Introduction to Course Prokofiev Wk2 T Jan 13 Prokofiev Web Forum 1 Due (Burge, pp. 103-109; Gordon 439-443) Th Jan 15 Stravinsky Wk3 T Jan 20 Shostakovich
Th Jan 22 Web Forum 2 Due (Gordon, pp. 438-439; 444) Kabalevsky, Khatchaturian Wk4 T Jan 27 Unit 1 Test UNIT TWO: OTHER MODERNIST INNOVATORS, 1900-1950 Th Jan 29 Schoenberg, Berg Wk5 T Feb 3 Webern, Hindemith Web Forum 3 Due (Burge, pp. 23-32; 67; 91-102; Gordon, pp. 469-471; 487-491) Th Feb 5 Cage, Stockhausen Wk6 T Feb 10 Messiaen, Boulez Web Forum 4 Due (Burge, pp. 128-136; 178-184; 139-15; Gordon, pp. 401-403; 494; 496-497; 523-524) Th Feb 12 Bartók Wk7 T Feb 17 No Class (Follow Monday Schedule) Web Forum 5 Due (Burge, pp. 78-84; Gordon, pp. 450-455) Th Feb 19 Tcherepnin, Ginastera Wk8 T Feb 24 Unit 2 Test/Written Plan for Original Composition Due Listening Notebook Due UNIT THREE: THE RISE OF AMERICAN PIANO MUSIC Th Feb 26 Gottschalk, MacDowell, Ives Wk9 T Mar 3 Web Forum 6 Due (Burge, pp. 33-45; Gordon, pp. 500-507) Th Mar 5 Coleridge-Taylor, Joplin, Farwell Wk10 T Mar 10 Th Mar 12 Wk11 T Mar 17 Th Mar 19 SPRING BREAK SPRING BREAK Gershwin, Copland, Bernstein Web Forum 7 Due (Burge, pp. 116-122; 127; Gordon, pp. 481; 507-508; 513-515; 527) Antheil, Griffes, Cowell Wk12 T Mar 24 Nancarrow, Crawford-Seeger, Rorem Web Forum 8 Due (Burge, pp. 67-68; 123-125 Gordon, pp. 508-512; 515; 522) Th Mar 26 Babbitt, Barber, pt. 1 Wk13 T Mar 31 Unit 3 Test/Original Contemporary Composition Rough Draft Due
UNIT FOUR: PIANO MUSIC SINCE 1960 *42 Th Apr 2 Barber, pt. 2; Berio, Xenakis Wk14 T Apr 7 Th Apr 9 Wk15 T Apr 14 Th Apr 16 Wk 16 M Apr 20 T Apr 21 Th Apr 23 Rochberg, Dello Joio, Ligeti Web Forum 9 Due (Burge, pp. 161-167; 194-195; 201-202; 244-245 Gordon, pp. 493; 518-521) Reich, Adams, Part Crumb, Muczynski, Rzewski Web Forum 10 Due (Burge, pp. 172, 211-220; 228-234; 255-256; Gordon, pp. 522-524) Lutoslawksi, Liebermann Original Contemporary Composition Final Draft Due 7:00 pm, Room 214 PIANO LIT IV NEW MUSIC RECITAL Corigliano León, Bolcom Vine, Kapustin, Danielpour Finals Week T, Apr 28 1:30-3:20pm Unit 4 Test Listening Notebook Due
LISTENING CATALOG UNIT ONE: RUSSIAN MODERNISM FROM 1900-1950 Prokofiev 001 Etude in D Minor Op. 2 No. 1 2:25 002 Toccata Op. 11 4:09 003 Visions fugitives Op. 22 No. 1 1:12 004 Visions fugitives Op. 22 No. 5 0:21 005 Visions fugitives Op. 22 No. 7 1:28 006 Visions fugitives Op. 22 No. 14 0:57 007 Visions fugitives Op. 22 No. 15 0:44 008 Visions fugitives Op. 22 No. 19 0:37 009 Piano Sonata No. 3 in A minor, Op. 28 7:06 010 Piano Sonata No. 6 in A major (iv), Op. 82 7:10 011 Piano Sonata No. 7 in B flat major (i), Op. 83 8:33 012 Piano Sonata No. 7 in B flat major (iii), Op. 83 3:46 013 Piano Sonata No. 8 in B flat major (iii), Op. 84 9:11 Stravinsky Trois Mouvements de Petrouchka 014 Danse Russe 2:34 015 Petrouchka s Room 4:20 Piano Sonata 016 I. = 112 3:02 017 II. Adagietto 5:19 018 III. = 112 2:35 Shostakovich 24 Preludes and Fugues, Op. 87 019 Prelude No. 2 in A Minor :53 020 Fugue No. 2 in A Minor 1:35 021 Prelude No. 15 in Db Major 3:05 022 Fugue No. 15 in Db Major 1:56 Kabalevsky Sonata No. 3, Op. 46 023 I. Allegro, con moto 5:43 024 II. Andante cantabile 4:45 025 III. Allegro giocoso 4:57 Khatchaturian 026 Toccata 5:08 UNIT TWO: OTHER MODERNIST INNOVATORS, 1900-1950 Schoenberg 027 Three Piano Pieces, Op. 11, I. Mäßige 3:58 Berg 028 Piano Sonata, Op. 1, Mäßig bewegt 13:09
Webern 029 Piano Variations, Op. 27, II, Sehr schnell :42 Hindemith 030 Sonata No. 2 in G, I. Mäßig schnell 4:09 031 Sonata No. 3, IV. Fuge: Lebhaft 4:59 Cage 032 Sonata no. 5, from Sonatas and Interludes 1:17 033 Music of Changes, movement 4, section 1 1:39 Stockhausen 034 Klavierstück XI (opening excerpt) 8:24 Messiaen 035 Catalogue d oiseaux (Catalogue of Birds): Allouette lulu (The Woodlark) 7:49 036 Vingt Regards sur l Enfant Jesus (Twenty Contemplations of Looking at the Christ Child) 10. Regard de l Esprit de joie (Dance of Joy) 8:59 Boulez 037 Sonata No. 2, I. Extrêmement rapide 6:07 Bartók 038 Allegro Barbaro 2:30 Six Rumanian Folk Dances 039 I. Stick Game 1:07 040 VI. Little One :57 Sonatina 041 I. Bagpipers 1:37 042 II. Bear Dance :38 043 III. Finale 1:48 044 Suite, Op. 14, I 1:49 045 Piano Sonata, I 4:19 046 Out of Doors Suite: The Chase (V) 2:04 Tcherepnin Five Concert Etudes, Op. 52, Chinese 047 1. Shadow Play 2:48 048 2. The Lute 4:07 049 3. Homage to China 2:15 Ginastera Danzas Argentinas. Op. 2 050 I. Danza del Viejo boyero 1:14 051 II. Danza de la moza donosa 2:46 052 III. Danza del guacho matrero 2:59
Sonata No. 1, Op. 22 053 I. Allegro marcato 4:23 054 IV. Ruvido ed ostinato 3:00 UNIT THREE: THE RISE OF AMERICAN PIANO MUSIC Gottschalk 055 The Banjo, Op. 15 3:57 MacDowell Woodland Sketches Op. 51, No. 1, To A Wild Rose 056 To A Wild Rose 2:15 057 From Uncle Remus 1:13 Ives 058 Some South-Paw Pitching 2:38 059 Piano Sonata No. 2 (iii): The Alcotts 6:31 Coleridge-Taylor 060 Twenty-Four Negro Melodies, Op. 59, no. 10, Deep River 3:38 Joplin 061 Solace (A Mexican Serenade) 5:28 Farwell 062 American Indian Melodies, Op. 11, III. Song of the Deathless Voice 2:06 Gershwin 063 Swanee 1:08 Three Preludes 064 No. 1, Allegro ben ritmato e deciso 1:43 065 No. 2, Blue Lullaby 2:59 066 No. 3, "Spanish Prelude 1:20 067 I Got Rhythm 1:34 068 Impromptu in Two Keys 2:14 Copland Three Moods for Piano 069 1: Embittered 1:18 070 2: Wistful 2:14 071 3: Jazzy 1:28 072 Piano Variations 11:55 073 Piano Sonata, II. Vivace 4:33 Four Piano Blues 074 1: Freely Poetic 2:11 075 2: Soft and Languid 2:30 076 3: Muted and Sensuous 2:38
077 4: With Bounce 1:08 Bernstein 078 Four Anniversaries 4:47 (for Felicia Montealegre, Johnny Mehegan, David Diamond, and Helen Coates) Antheil 079 Sonata No. 2 ( The Airplane ), 1. As Fast as Possible 2:51 Griffes Roman Sketches, Op. 7 080 No. 1: The White Peacock 4:10 081 No. 3: The Fountain Of The Acqua Paola 3:14 Cowell 082 The Tides of Manaunaun 3:11 083 The Banshee 3:24 Nancarrow 084 Sonatina (Presto, Moderato più allegro, Allegro molto) 4:48 Crawford-Seeger 085 Prelude no. 2 for piano 2:19 Babbitt 086 Semi-Simple Variations 1:28 Barber Excursions, Op. 20 087 No. 1: Un poco allegro 3:19 088 No. 2: In slow blues tempo 4:35 089 No. 3: Allegretto 3:32 090 No. 4: Allegro molto 2:33 Sonata for Piano, Op. 26 091 I. Allegro energico 7:28 092 II. Allegro vivace a leggero 2:20 093 III. Adagio mesto 6:30 094 IV. Fuga: Allegro con spirito 5:19 UNIT FOUR: PIANO MUSIC SINCE 1960 Barber, continued 095 Nocturne, Op. 33 4:41 096 Ballade, Op. 46 7:43 Berio Element pieces for solo piano 097 1. Wasserklavier (Water piano) 2:02 098 4. Feuerklavier (Fire piano) 2:50
Xenakis 099 Herma (Musique Symbolique) 7:38 Rochberg Partita-Variations 100 No. 1: Praeludium 3:02 101 No. 8: Minuetto 2:39 102 No. 10: Nocturne 3:38 103 No. 12: Fuga A Tre Voce 2:37 Dello Joio 104 Piano Sonata No. 3, IV. Allegro vivo e ritmico 3:03 Ligeti Études, Book 1 105 1. Désordre 1:45 106 4. Fanfares 3:36 107 5. Arc-en-ciel 3:34 Reich 108 Piano Phase 20:37 Adams 109 Phrygian Gates (opening excerpt) 10:02 110 American Berserk 6:10 Pärt 111 Für Alina 2:09 Crumb 112 Makrokosmos I: Dream Images (Love-Death Music) Gemini 4:11 113 Makrokosmos II: Ghost-Nocturne: for the Druids of Stonehenge) Virgo 1:54 114 Makrokosmos II: Tora! Tora! Tora! (Cadenza Apocalittica) Scorpio 2:35 Musczynski 115 Toccata, Op. 15 3:12 Rzewski The People United Will Never Be Defeated: (excerpts of variations) 116 Theme 1:25 117 Variation 1 Weaving: delicate, but firm :55 118 Variation 5 Dreamlike, frozen 1:00 119 Variation 6 Same tempo as beginning Culmination of Simple events 1:07 120 Variation 12 Culmination of Rhythm 1:11 121 Variation 18 Culmination of Melody 1:29 122 Variation 24 Culmination of Counterpoint 2:12 123 Variation 30 Culmination of Harmony 2:26 124 Variation 36 Culmination of all combinations 4:23 Lutoslawksi
125 Piano Sonata, I. Allegro 9:59 Liebermann Gargoyles, Op. 29 126 I. Presto 1:49 127 II. Adagio semplice, ma con molto rubato 3:19 128 III. Allegro moderato 2:42 129 IV. Presto feroce 2:37 Corigiliano 130 Fantasia on an Ostinato 11:33 León 131 Momentum 5:22 Bolcom 132 Rag Infernal (Syncopes apocalyptiques), from 12 New Etudes 2:14 Vine Sonata No. 1 for piano 133 I. half note=48 8:32 134 II. leggiero e legato 8:40 Kapustin 135 Sonatina, Op. 100, Allegro non troppo 3:53 Danielpour The Enchanted Garden, Preludes, Book 1 136 1. Persepolis 3:07 137 2. Surrounded by Idiots 2:35