Piano Literature

MUSC 5325

Seminar in Piano Literature: Keyboard Music 1600 -1828
(from the English Virginalists to the death of Schubert)
MUSC 5325
Dr. David Korevaar

Fall 2010
Tuesday/Thursday, 12:00-12:50, Room C125.

Professor Korevaar: C196; 303-492-6256; korevaar@colorado.edu

Course Description:
An in-depth look at selected composers and keyboard compositions of the late Baroque and Classical periods. Elements of musical style, keyboard writing, favored genres, and performance practice will be included in the discussions. Reading and listening assignments will supplement the in-class presentations by faculty and students.

Required Texts:
Keyboard Literature:
Alexander Silbiger, editor. Keyboard Music Before 1700. 2nd Edition: Routledge, 2004.
Robert Marshall, editor. Eighteenth-Century Keyboard Music. 2nd Edition: Routledge, 2003.
Recommended Supplementary Texts:
Keyboard Literature
R. Larry Todd, editor. Nineteenth-Century Piano Music. 2nd Edition: Routledge, 2004.
Performance Practice:
Harold Mayer Brown and Stanley Sadie, editors. Performance Practice: Music after 1600. New York: W. W. Norton, 1989. (ML457 .P467 1990 v.2)
Sandra P. Rosenblum. Performance Practices in Classic Music. Bloomington, Indiana: Indiana University Press, 1988. (ML705 .R67 1988)
Other Readings:
Charles Rosen. The Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton, 1982 (or 1997 if available). (ML195 .R68)
Stanley Sadie, editor. The New Grove Early Keyboard Instruments. New York: W. W. Norton, 1989. (ML549 .N49 1989)

Supplementary texts will be available on reserve in the library. If you can find them at a used book source online, grab them! Rosenblum and Rosen are both easy to find and purchase, and you should do so if it is possible. While you are not required to purchase any books except for the two at top, all of these have been chosen because they would be worthwhile additions to any of our bookshelves.

For general background information, you may also refer to (also on reserve):
F. E. Kirby. Music For Piano: A short history. Portland, Oregon: Amadeus Press, 1995. (ML700 .K45 1995)
Maurice Hinson. Guide to the Pianist’s Repertoire. Third Edition. Bloomington, Indiana: Indiana University Press, 2000. (MUSIC REF ML128 .P3 H5 2000) NB: You should all own this book.
Howard Ferguson. Keyboard Interpretation from the 14th to the 19th Century: An Introduction. New York: Oxford University Press, 1975. (ML549 .F47)

Assignments:
Reading and listening will be assigned regularly. Keeping up with assignments is critical to making class participation and understanding as meaningful as possible, and will be taken into consideration in determining final grades.

Presentations and paper:
Each student will present at least one topic (DMA students must do two: one dealing with the period up to about 1770, and one with the period between 1770 and 1828). Topics may include, but are not limited to: surveys of composer works, surveys of specific genres in a period, studies of performance practice appropriate to specific composers/styles/periods, analyses of important works, etc. Topics will be presented orally with appropriate musical examples (either performed live or recorded), and must include either an outline with detailed notes or a script, and a full bibliography to be turned in. The talk will be limited to 20 carefully prepared minutes, with a five-minute question period. Students will be expected to practice and time their presentations to conform to these guidelines. One of the two topics must be worked up into a term paper of 10 to 15 pages, due at the end of the semester, with footnotes (full citations) and examples as necessary.

Exams:
A take-home midterm and an in-class final will constitute 25% of your final grade.

Attendance:
Given the amount of material to be presented quickly, as well as the participatory nature of the class, consistent attendance is necessary. Each student is allowed one unexcused absence, after which grades may be lowered one degree (e. g., “A” to “A-minus”) for each subsequent absence, excused or unexcused. Students in good standing (one or zero unexcused absences and up-to-date on all assignments) will be allowed excused absences on a case-by-case basis only, at the discretion of the professor.

Grading:
Midterm and final: 25%
Presentations and Paper: 50%
Class participation (including attendance): 25%

Honor Code: The College of Music, along with the rest of the University of Colorado, has instituted an honor code. We will discuss what constitutes original work, what constitutes plagiarism, and what measures you need to take in your written work to properly credit sources. More information on the honor code may be found at http://www.colorado.edu/academics/honorcode/.

If you qualify for accommodations because of a disability, please submit to
me a letter from Disability Services in a timely manner so that your needs
be addressed. Disability Services determines accommodations based on
documented disabilities. Contact: 303-492-8671, Willard 322, and
www.Colorado.EDU/disabilityservices

Disability Services' letters for students with disabilities indicate legally
mandated reasonable accommodations. The syllabus statements and answers to
Frequently Asked Questions can be found at
www.colorado.edu/disabilityservices

Campus policy regarding religious observances requires that faculty make
every effort to deal reasonably and fairly with all students who, because of
religious obligations, have conflicts with scheduled exams, assignments or
required attendance. Please see me individually if you foresee a conflict. See full
details at http://www.colorado.edu/policies/fac_relig.html

Students and faculty each have responsibility for maintaining an appropriate
learning environment. Those who fail to adhere to such behavioral standards
may be subject to discipline. Professional courtesy and sensitivity are
especially important with respect to individuals and topics dealing with
differences of race, culture, religion, politics, sexual orientation,
gender, gender variance, and nationalities. Class rosters are provided to
the instructor with the student's legal name. I will gladly honor your
request to address you by an alternate name or gender pronoun. Please advise
me of this preference early in the semester so that I may make appropriate
changes to my records. See policies at
http://www.colorado.edu/policies/classbehavior.html and at
http://www.colorado.edu/studentaffairs/judicialaffairs/code.html#student_cod

The University of Colorado at Boulder policy on Discrimination and
Harassment, the University of Colorado policy on Sexual Harassment and the
University of Colorado policy on Amorous Relationships apply to all
students, staff and faculty. Any student, staff or faculty member who
believes s/he has been the subject of discrimination or harassment based
upon race, color, national origin, sex, age, disability, religion, sexual
orientation, or veteran status should contact the Office of Discrimination
and Harassment (ODH) at 303-492-2127 or the Office of Judicial Affairs at
303-492-5550. Information about the ODH, the above referenced policies and
the campus resources available to assist individuals regarding
discrimination or harassment can be obtained at http://www.colorado.edu/odh

All students of the University of Colorado at Boulder are responsible for
knowing and adhering to the academic integrity policy of this institution.
Violations of this policy may include: cheating, plagiarism, aid of academic
dishonesty, fabrication, lying, bribery, and threatening behavior. All
incidents of academic misconduct shall be reported to the Honor Code Council
(honor@colorado.edu; 303-725-2273). Students who are found to be in
violation of the academic integrity policy will be subject to both academic
sanctions from the faculty member and non-academic sanctions (including but
not limited to university probation, suspension, or expulsion). Other
information on the Honor Code can be found at
http://www.colorado.edu/policies/honor.html and at
http://www.colorado.edu/academics/honorcode/