{"id":905,"date":"2026-02-13T21:19:52","date_gmt":"2026-02-14T05:19:52","guid":{"rendered":"https:\/\/www.archiechen.com\/?page_id=905"},"modified":"2026-02-22T22:47:27","modified_gmt":"2026-02-23T06:47:27","slug":"piano-literature","status":"publish","type":"page","link":"https:\/\/www.archiechen.com\/es\/piano-literature\/","title":{"rendered":"Piano Literature"},"content":{"rendered":"
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Piano Literature<\/p>\n\n\n\n

Piano Literature<\/h1>\n\n\n\n

A comprehensive survey of keyboard repertoire from the Baroque era to the present day<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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This course examines the full arc of solo keyboard literature through lecture, score study, listening, and performance. The curriculum is structured in two parts — the first tracing the Baroque and Classical tradition from Bach through Beethoven, the second exploring the Romantic and modern repertoire from Chopin to the present day. Particular attention is given to period performance practice, analytical frameworks, and building a working knowledge of repertoire for teaching and performance.<\/p>\n\n \n

What You’ll Explore<\/p>\n

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Baroque & Classical<\/h3>\n

From Bach’s contrapuntal mastery and Scarlatti’s sonatas to the Viennese Classical tradition of Mozart, Haydn, and Beethoven.<\/p>\n <\/div>\n

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Romantic Masters<\/h3>\n

Deep study of Chopin, Schumann, Liszt, Brahms, and Rachmaninoff — their signature works, compositional language, and lasting influence.<\/p>\n <\/div>\n

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Modern & Contemporary<\/h3>\n

From Debussy’s Impressionism and Bart\u00f3k’s folk-driven modernism to 20th-century American voices and the music of our own time.<\/p>\n <\/div>\n

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Performance Practice<\/h3>\n

Historical and cultural context, period instrument awareness, analytical score study, and applying repertoire knowledge to teaching and performance.<\/p>\n <\/div>\n <\/div>\n \n

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Part One  ·  Baroque to Classical<\/p>\n <\/div>\n

\n Week 1<\/span>\n
Introduction to the Baroque<\/span>Overview of the Baroque period; J.S. Bach — Inventions & Sinfonias<\/span><\/div>\n <\/div>\n
\n Week 2<\/span>\n
J.S. Bach<\/span>Well-Tempered Clavier; Baroque performance practice and ornamentation<\/span><\/div>\n <\/div>\n
\n Week 3<\/span>\n
Domenico Scarlatti<\/span>Keyboard sonatas; Scarlatti’s unique binary form and idiomatic writing<\/span><\/div>\n <\/div>\n
\n Week 4<\/span>\n
Handel<\/span>Keyboard suites and sonatas; Handel’s influence on the English tradition<\/span><\/div>\n <\/div>\n
\n Week 5<\/span>\n
Midterm Exam<\/span>Assessment of Baroque repertoire and style<\/span><\/div>\n <\/div>\n
\n Week 6<\/span>\n
Transition to the Classical Period<\/span>Overview of the Classical style; Mozart’s keyboard sonatas<\/span><\/div>\n <\/div>\n
\n Week 7<\/span>\n
Mozart<\/span>Sonatas and variations; Classical-era performance conventions<\/span><\/div>\n <\/div>\n
\n Week 8<\/span>\n
Haydn<\/span>Keyboard sonatas and variations; Haydn’s formal innovation<\/span><\/div>\n <\/div>\n
\n Week 9<\/span>\n
Clementi<\/span>Sonatas and their relationship to early Romantic style<\/span><\/div>\n <\/div>\n
\n Week 10<\/span>\n
Beethoven<\/span>Early keyboard works; sonatas and variations of the middle period<\/span><\/div>\n <\/div>\n
\n Week 11<\/span>\n
Late Classical Period<\/span>Overview of the late Classical style; bridges to Romanticism<\/span><\/div>\n <\/div>\n
\n Week 12<\/span>\n
Schubert<\/span>Piano sonatas and Impromptus; Schubert’s lyrical keyboard language<\/span><\/div>\n <\/div>\n
\n Week 13<\/span>\n
Final Exam Review<\/span>Consolidation of Part One repertoire and analysis<\/span><\/div>\n <\/div>\n
\n Week 14<\/span>\n
Final Exam<\/span>Written and listening assessment<\/span><\/div>\n <\/div>\n <\/div>\n \n
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Part Two  ·  Romantic to Contemporary<\/p>\n <\/div>\n

\n Week 1<\/span>\n
Introduction to the Romantic Era<\/span>Overview of the Romantic period; Chopin — Etudes<\/span><\/div>\n <\/div>\n
\n Week 2<\/span>\n
Chopin<\/span>Etudes, Ballades, and Scherzos; Chopin’s harmonic language and rubato<\/span><\/div>\n <\/div>\n
\n Week 3<\/span>\n
Schumann<\/span>Kreisleriana and Carnaval; literary Romanticism and the piano cycle<\/span><\/div>\n <\/div>\n
\n Week 4<\/span>\n
Liszt<\/span>Transcendental Etudes and Ann\u00e9es de p\u00e8lerinage; virtuosity and tone-painting<\/span><\/div>\n <\/div>\n
\n Week 5<\/span>\n
Midterm Exam<\/span>Assessment of early Romantic repertoire and style<\/span><\/div>\n <\/div>\n
\n Week 6<\/span>\n
Brahms<\/span>Intermezzi and Klavierst\u00fccke; late Romanticism and Classical restraint<\/span><\/div>\n <\/div>\n
\n Week 7<\/span>\n
Rachmaninoff<\/span>Etudes-Tableaux and Moments musicaux; late Romantic piano texture<\/span><\/div>\n <\/div>\n
\n Week 8<\/span>\n
Debussy<\/span>Estampes and Images; Impressionism, colour, and non-functional harmony<\/span><\/div>\n <\/div>\n
\n Week 9<\/span>\n
Bart\u00f3k<\/span>Mikrokosmos and Out of Doors; folk-music integration and modern technique<\/span><\/div>\n <\/div>\n
\n Week 10<\/span>\n
20th-Century American Music<\/span>Gershwin, Copland, and Bernstein; jazz influence and American voice<\/span><\/div>\n <\/div>\n
\n Week 11<\/span>\n
21st-Century Piano Music<\/span>Representative contemporary works; new notation and extended techniques<\/span><\/div>\n <\/div>\n
\n Week 12<\/span>\n
Final Exam Review<\/span>Consolidation of Part Two repertoire and analysis<\/span><\/div>\n <\/div>\n
\n Week 13<\/span>\n
Final Exam<\/span>Written and listening assessment<\/span><\/div>\n <\/div>\n
\n Week 14<\/span>\n
Student Performance<\/span>End-of-course recital and reflective discussion<\/span><\/div>\n <\/div>\n <\/div>\n\n

The schedule above is indicative and may be adjusted depending on the availability of resources and the preferences of the instructor.<\/p> \n

Required Reading<\/p>\n

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Gordon, Stewart<\/p>\n

A History of Keyboard Literature: Music for the Piano and Its Forerunners<\/p>\n

Schirmer Books, New York, 1996<\/p>\n <\/div>\n

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Hinson, Maurice<\/p>\n

Guide to the Pianist’s Repertoire — Third Edition<\/p>\n

Indiana University Press, Bloomington, 2001<\/p>\n <\/div>\n

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Todd, R. Larry<\/p>\n

Nineteenth-Century Piano Music — Second Edition<\/p>\n

Routledge, London, 2004<\/p>\n <\/div>\n

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Burge, David<\/p>\n

Twentieth-Century Piano Music<\/p>\n

Scarecrow Press, Lanham MD, 2004<\/p>\n <\/div>\n <\/div>\n\n \n

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Enroll in Piano Literature<\/h2>\n

To register your interest or discuss course placement, contact Dr. Chen directly. Enrollment is subject to availability and assessment.<\/p>\n Get in Touch<\/a>\n <\/div>\n\n<\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"

This course examines the full arc of solo keyboard literature through lecture, score study, listening, and performance. The curriculum is structured in two parts — the first tracing the Baroque […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_gspb_post_css":"","_crdt_document":"","footnotes":""},"class_list":["post-905","page","type-page","status-publish","hentry"],"blocksy_meta":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/pages\/905","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/comments?post=905"}],"version-history":[{"count":8,"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/pages\/905\/revisions"}],"predecessor-version":[{"id":1375,"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/pages\/905\/revisions\/1375"}],"wp:attachment":[{"href":"https:\/\/www.archiechen.com\/es\/wp-json\/wp\/v2\/media?parent=905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}