Copyright ©2016 Luz Manriquez

Chamber Music Literature and Repertoire with Piano I: Baroque to Romanticism

57735A

Sung-Im Kim
412 478 1027
sungimk@andrew.cmu.edu

Course Description

Objective:
This course will survey chamber music with piano literature from late Baroque to Romantic
periods.
It will cover the different genres of chamber music with piano from three instruments or more
and their development. We will examine representative works from those periods with regard to
historical, cultural, social and musical contexts. We will listen and discuss selected pieces and
have live performances when possible. Students will be expected to sight-read and to prepare
selected works.
At the end of the semester students will have an awareness of the repertoire available and its
development during those centuries; students should be able to demonstrate their familiarity with
several pieces of this repertoire.
Assessment:
Students will be assessed based upon participation in class, completion of assignments,
performing assignments, quizzes, mid semester and final tests and lecture-presentation on a
composer selected at the beginning of the semester.
Grading:

Grading will be based on:

- Attendance and Class participation: including sight-reading, playing and discussion: 30%
- Final Project Presentation: 40%
- Mid semester and final tests (written and listening):30%
Required Materials:
Binder notebook and Computer

Hybrid/Remote learning:

If the class needs to go to fully remote, you will receive an email from me and an announcement
will be published on our course website on Canvas (https://canvas.cmu.edu). During the
semester, we will use the same zoom link available on Canvas in the first module of the landing
page.

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At any point during the semester, you may choose to participate in the class remotely. If you
decided to switch to remote for one or more classes, please try to let me know by email (
sungimk@andrew.cmu.edu) at least 24 hours in advance so I can prepare the breakout rooms and
in-class sessions appropriately. In addition, if you are able, let me know the expected length of
your remote engagement (e.g. number of classes or for an extended period of time).

Use of technology during class

This semester involves regular use of technology during class-both for in-person and remote
students. Research has shown that divided attention is detrimental to learning, so I encourage you
to close any windows not directly related to what we are doing while you are in class. Please turn
off your phone notifications and limit other likely source of technology disruption, so you can
fully engage with the material, each other, and me. This will create a better learning environment
for everyone.

Use of Zoom in the class (including use of video)

In our class, we will be using Zoom for synchronous (same time) sessions. The link is available
on Canvas. Please make sure that your internet connections and equipment are set up to use
Zoom and able to share audio and video during the class meetings. Let me know if there is a gap
in your technology set-up as soon as possible, and we can see about finding solutions.
Sharing video: In this course, being able to see one another helps to facilitate a better learning
environment and promote more engaging discussions. Therefore, our default will be to expect
students to have their cameras on during lectures and discussions. However, I also completely
understand there may be reasons students would not want to have their cameras on. If you have
any concerns about sharing your video, please email me as soon as possible
(sungimk@andrew.cmu.edu) and we can discuss possible adjustments. Note: You may use a
background image in your video if you wish; just check in advance that this works with your
device and internet bandwidth.

Expectations for Coming to Class

In order to attend class in person, I expect that you will abide by all behaviors indicated in A
Tartan’s Responsibility, including any timely updates based on the current conditions. In terms
of specific expectations for in-person students, this includes:

 Entering the classroom via the designated ingress route with appropriate physical
distancing,
 Wearing a facial covering throughout class,
 Sitting in the seats with appropriate spacing (and not moving furniture),
 Using the sanitizing wipes available in the classroom to wipe surfaces (e.g., your
Desk, table arm) upon entry and exit,
 Exit the classroom at my direction, proceeding in a row-by-row fashion, following the
designated egress route and maintain proper distancing.
Facial coverings: if you do not wear a facial covering to class, I will ask you to put one on (and if
you don’t have one with you, I will direct you to a distribution location on campus). If you do
not comply, please remember that you will be subject to student conduct proceedings, up to and

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including removal from CMU. Accordingly, I will be obliged to take other measures for the
safety of the whole class.

Attendance and Participation Policy

Class presence and participation points are given to encourage your active class participation and
discussion. You will be rewarded with a perfect score as long as you frequently come to class
and actively contribute to the class discussion during performances and lectures. Although it is
not required, most students send their professor a brief e-mail to explain their absence in
advance. Everyone is permitted one absence. Students who repeatedly arrive late to the lectures
will be eligible for 80% of the participation grade. If there are extenuating circumstances that
require you to miss more than one class session, please come and discuss this issue with me in
advance of your absence(s).
We will devote two classes to the performance and literature of the pieces discussion. The
instructor’s role during a case discussion is that of a moderator. When the cases are discussed,
we are less concerned with “right” and “wrong” answers than we are with thoughtful
contributions which follow the discussion and either add to the debate or move it in a new
direction.

Accommodations for Students with Disability

If you have a disability and have an accommodations letter from the Disability Resources office,
I encourage you to discuss your accommodations and needs with me as early in the semester as
possible. I will work with you to ensure that accommodations are provided as appropriate. If you
suspect that you may have a disability and would benefit from accommodations but are ot yet
registered with the Office of Disability Resources I encourage you to contact them at
access@andrew.cmu.edu.

Student Well-Being

This semester is unlike any other. We are all under a lot of stress and uncertainty at this time.
Attending Zoom Classes all day can take its toll on our mental health. Make sure to move
regularly, eat well, and reach out to your support system or me (sungimk@andrew.cmu.edu) if
you need to. We can all benefit from support in times of stress, and this semester is no exception.

Diversity Statement

Respect for Diversity : It is my intent that students from all diverse backgrounds and
perspectives be well served by this course, that students’ learning needs be addressed both in and
out of class , and that the diversity that students bring to this class be viewed as a resource ,
strength and benefit. It is my intent to present materials and activities that are respectful of
diversity: gender, sexuality, disability, age, socioeconomic, status, ethnicity, race, and culture.
Your suggestions are encouraged and appreciated. Please let me know ways to improve the
effectiveness of the course for you personally or for other students or student groups. In addition,
if any of our class meetings conflict with your religious events, please let me know so that we
can make arrangements for you.

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Curriculum might change towards the end of the semester due to the circumstances.

Curriculum:
WEEK I (SEP. 2):
 Introduction
 Distribution of assignments
 Chamber Music, its definitions and origins
 Development of Piano Trios, Quartets and Quintets until 1800

WEEK II (SEPTEMBER 9):

 J. Haydn (1732-1809)
 W. A. Mozart (1756-1791)

WEEK III (SEPTEMBER 16):

 Haydn and Mozart Performance

WEEK IV (SEPTEMBER 23):

 Beethoven (1770-1827)

WEEK V (SEPTEMBER 30):

 Mozart and Beethoven Performance

 Quiz

WEEK VI (OCTOBER 7);

 Joseph Bologne, Chevalier de Saint-Georges (1745-1799) and Performance

WEEK VII (OCTOBER 14):

 Midterm quiz and listening test

WEEK VIII (OCTOBER 21):

 Schubert (1797-1828)
 Mendelssohn (1809-1847)

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WEEK IX (OCTOBER 28):

 Schumann (1810-1856)

WEEK X (NOVEMBER 4):

 Brahms (1833-1897)

WEEKS XI and XII (NOVEMBER 11 and 18)

 Students Final Project Presentation

WEEK XIII (December 2)

 Dvorak (1841-1904)
 Tchaikovsky (1840-1893)
 Rimsky-Korsakov (1844-1908)

WEEK XIV (December 9)

 Final Test. ( Listening and quiz ) or student final project