Instructor: Dr. Lisa Kinzer                                                             Class Meetings: MW 1:00-1:50
Office: Wygal 227 (Studio 3)                                                                        Location: Wygal 233
Telephone: 395-2494                                                                               Office Hours: As posted

Course Description: A survey of piano literature through listening and reading, 2 credits.

Required Text: Kirby, F. E., Music for Piano: A Short History. Portland, OR: Amadeus Press, 2000.

Course Objectives: Through this course students will:

1.) be able to identify be ear and sight major works for keyboard instruments from Early Baroque to the present.
2.) know about the major composers for the piano (important biographical information, context in history, and contributions to the literature).
3.) have an awareness of historic pianists and their recordings of significant works.
4.) understand idiomatic characteristics of keyboard literature from the main style periods.
5.) acquire the resources for exploring keyboard music not covered in this course.

Course Requirements:

Tests (4) 80% of semester grade
Literature Presentation 15%
Discussion Participation 5%
Tests: There will be four tests with listening/identification component during the semester (see class schedule). Material will be drawn from assigned reading, lectures, handouts, and in-class listening. Recordings will be available for review listening in the library on the class reserve shelf. Tests may not be made up.
Literature Presentation: Students will be assigned a composer, work, or group of works to explore and present to the class. Presentations will include: a 4-5 page paper summarizing the composer’s biography and describing his/her keyboard works; 15-minute oral presentation with streamlined, 1-page handout; listening examples which illustrate some point made in the presentation. The description of keyboard works should contain discussion of the composer’s use of forms, textures, elements of the appropriate style period, or anything that makes that composer stand out among his or her contemporaries. Presentations will take place during the final exam time.
Discussion Participation: Students are expected to participate in class discussions and will be given a participation grade weekly.

Grading: 92-100 = A; 83-91 = B; 74-82 = C; 65-73 = D; below 65 = F.
The semester grade is based on completion of all coursework.

Attendance: No absence is excused. 4 absences will lower the semester grade by one letter. Absences exceeding 25% of class meetings will yield an F in the course. Students who miss class are responsible for obtaining notes and listening to corresponding musical excerpts.
Honor Code: Students are expected to live by the Longwood Honor Code. All work must be pledged.


1 Pre-1750; Early Instruments; Bach
2 C. P. E. Bach; Handel; the Piano
READ: 53-91
3 Haydn, Mozart
READ: 93-112
4 TEST 1; Beethoven
READ: 115-136
5 Beethoven; Schubert
READ: 141-156
6 Schumann; Chopin
READ: 164-180
7 Chopin; TEST 2
READ: 180-202
8 Liszt
READ: 205-227
9 Liszt; Brahms
READ: 227-243
10 Debussy; Ravel;
READ: 227-287
11 Schoenberg; Hindemith; Bartok; TEST 3
READ: 295-305; 309-317
12 Scriabin; Rachmaninov; Prokofiev
READ: 319-323; 325-329
13 Albeniz; Granados
READ: 330-333
14 Ives, Copland, Barber
341-346; 348-352
15 Cage, Crumb TEST 4
READ: 381-388
Class presentations