Piano Literature 2

MUSC 5335

Professor Korevaar

Information for final exam.

Time: Monday, May 2, 1:30-4:00 pm

Place: C125

Format: Part I: Listening/ Identification; Part II: Essay questions

Coverage: Syllabus items from March 14 on.

Composers:

Schoenberg, Berg, Webern

Ives, Griffes

Dohnányi, Bartók

Milhaud, Stravinsky, Poulenc

Hindemith

Prokofiev

Copland, Sessions, Barber, Carter

Messiaën

Boulez, Stockhausen

Cowell, Cage, Crumb

Bolcom, Ligeti, Liebermann, Rzewski, Perle, Rorem, Vine, Kapustin, Tan Dun

Topic areas:

Genres

Sonata

Character Piece

Etudes

Suites

Individual character pieces

Styles/Trends

Impressionism

Expressionism

Free atonal

Dodecaphonic composition

Serialism

Nationalism

Adaptation/appropriation of folk/traditional/vernacular materials

Development of national voices

Folklore

Exoticism

Neoclassicism

Adaptation/appropriation of forms and musical materials of the past.

How Neoclassicism blends with jazz, cabaret, nose-thumbing in 1920s

“Meaning” of Music (Stravinsky eschews “meaning” in the 1920s and 1930s)

Modernism

Minimalism

Control of materials

Aleatoric composition

Serialism, other modes of control

Control of performance

Open vs Closed form

Role of improvisation

Rubato and its appropriateness to different styles

Extended techniques

Prepared piano

Other extended techniques

Eclecticism

New Tonality/”Neoromanticism”

Virtuosity

Chronology/Region

1900-1920: 2^nd Viennese School; Beginnings of Bartok; Ives and Griffes; early Prokofiev (Toccata, 2^nd and 3^rd Sonatas, etc.)

1920s: The avant-garde in Paris – Les Six; Stravinsky, etc.; Hindemith’s 1922; Bartok’s Piano Year: 1926; Cowell’s experiments

1930s: Hindemith’s Sonatas; Bartok’s Mikrokosmos; Copland Variations

1940s: Messiaën; Prokofiev’s War Sonatas; Post-war avant-garde (Boulez Sonatas 1 and 2, Beginnings of Stockhausen’s Klavierstücke series); Cage prepared piano music. American Piano Sonatas.

1950-1970: Stockhausen and Boulez experiment with open forms (following Cage); Berio and Dallapicolla; George Crumb; American Minimalists. Manipulation of musical time (continues to present).

1970-present: Looking backward/looking forward. Explosion of styles. Rise of Eclecticism as a style in itself: all materials available.

According to Kirby, pp. 367-371: the following classifications could be applied:

1. The chromatic-dissonant tradition; 2. Extended techniques and new sounds; 3. Open form; 4. Minimalism; 5. The new tonality or new romanticism; 6. Conservatism. Note that several composers we have looked at would fit multiple categories.

Specific works to be able to identify by score and/or listening:

Schoenberg: op. 11, op. 19; op. 33a

Berg: Sonata

Webern: Variations

Ives: Concord Sonata

Bartok: Etudes; Improvisations; Sonata; pieces from last book of Mikrokosmos

Milhaud: Saudades do Brasil

Stravinsky: Sonata, Ragtime, Serenade en La

Hindemith: Suite “1922”: March; Ragtime; Sonata #1 (1936)

Prokofiev: Toccata; Sonata #6

Copland: Variations; Sonata

Barber: Sonata, Excursions

Messiaën: Vingt regards: 1, 2, 5, 6; Neumes rythmiques and Modes des valeurs et d’intensités (from 4 Etudes de rythme); Catalogue d’oiseaux: Book 3

Stockhausen: Klavierstuck IX, XI

Cowell: Banshee; Tiger

Cage: Sonatas and Interludes

Crumb: Makrokosmos I (last 4 pieces)

Ligeti: Etudes: Desordre; Touches bloquées; Automne en Varsovie

Bolcom and Liebermann works as discussed today.