Teaching music theory: new voices and approaches
Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on 3 years of field study spanning 17 states, coupled...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Oxford University Press
[2020]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on 3 years of field study spanning 17 states, coupled with reflections from the author's own teaching strategies, Teaching Music Theory: New Voices and Approaches highlights teaching approaches with substantial real-life examples from instructors across the country. Teaching Music Theory: New Voices and Approaches is written in a conversational tone to provide a starting point of dialogue for students, new faculty members, and seasoned educators on any level. The pedagogical trends presented in this book provide a greater appreciation of outstanding teaching and thus an understanding of successful approaches in the classroom. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xviii, 311 Seiten Illustrationen, Diagramme, Notenbeispiele (schwarz-weiß) |
| ISBN: | 9780190879952 9780190879945 |
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| 520 | |a Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on 3 years of field study spanning 17 states, coupled with reflections from the author's own teaching strategies, Teaching Music Theory: New Voices and Approaches highlights teaching approaches with substantial real-life examples from instructors across the country. Teaching Music Theory: New Voices and Approaches is written in a conversational tone to provide a starting point of dialogue for students, new faculty members, and seasoned educators on any level. The pedagogical trends presented in this book provide a greater appreciation of outstanding teaching and thus an understanding of successful approaches in the classroom. | ||
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Datensatz im Suchindex
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| adam_text | Contents Preface ix 1. The Golden Circle: “Why,” “How,” and “What” Focusing on the “How” and the “Why” Knowing Your “Why” Trends in the Undergraduate Core Why Curriculum Reform in the Collegiate Classroom? Knowing the “Why” on the High School Level Where Do We Begin? Understanding the Twenty-First-Century Student Our Goal in Teaching Music Theory and Aural Skills: The “Why” 1 1 2 3 4 8 10 11 12 2. Why and How: Curriculum and Content The “Why”: Beginning the Discussion The “How”: Integration, Diversity, and Creativity Knowing Your “Why” Why Change the Curriculum? Designing the Curriculum “You Must Cut Eight Hours”: A Personal Study Appalachian State University 15 18 21 29 31 33 43 43 3. The Classroom Environment Respect and Rapport Discussion-Based Classrooms: The Art of Questioning Group/Collaborative Work Effective Technology Preparing for the First Day Designing a Syllabus 50 51 56 59 65 68 71 4. Teaching Theory on the High School Level Student Enrollment The Advanced Placement Exam High School versus University Timeline Preparing Students for Music Study Teaching to the Masses Time Management A Focus on Aural Skills: “Hearing Eyes and Seeing Ears” Immediate and Low-Stakes Assessment 91 91 96 102 104 107 110 111 113
VI CONTENTS Real-World Experience and Life Skills Team Teaching and Creative Approaches Setting a High Bar from Day One Ensemble Integration Conclusion 114 116 118 120 122 5. Pedagogy of Fundamentals and Diatonic Harmony Fundamentals Rhythm and Meter Key Signatures and Scales Intervals Triads/Seventh Chords Roman Numerals, Functional Diatonic Harmony, and Voice Leading Harmonic Function and Early Harmonic Analysis Part-Writing and Voice Leading 125 126 129 131 135 137 142 145 154 6. Pedagogy of Chromatic Harmony and Form Secondary Function Mode Mixture/Borrowed Chords Altered Prédominants Modulation Counterpoint Phrase and Periodic Structure and the Blues Large-Scale Forms Other Topics: Modes and Jazz Theory 161 161 165 168 173 178 180 183 186 7. Pedagogy of Aural Skills Systems Used in Sight Singing Counting Methods Sound before Sight Warm-Ups and Sight Singing Clear Connections in the Aural Skills Classroom Rhythmic Reading Audiation Use of Real Literature in Rhythmic Reading and Sight Singing Dictation Fundamentals in Dictation Melodic Dictation Harmonic Dictation Error Detection Contextual Listening Improvisation in the Aural Skills Classroom “Friendly Tug of War” 190 190 194 196 198 201 202 204 206 207 207 209 211 215 216 220 225
CONTENTS Vii 8. Assessment Summative Assessment: Change in Paradigms Summative Assessment: The Quick Grades Summative Assessment: Beyond the Quick Answer Formative Assessment Standards-Based Grading Creating a Scale/Progress-Centric Grading Conclusion 228 231 233 235 244 251 253 254 9. Empower the Undergraduate The Undergraduate Music Major What Motivates Our Students The Tale of Two Undergraduates The Student Response The Faculty Response Teaching and Research Development on the Undergraduate Level: Beyond the Classroom Undergraduate Research Undergraduate Teaching Assistant Conclusion 256 257 260 261 262 264 267 267 270 272 10. Taking the First Steps into Academia Graduate School: Setting Up Good Habits Getting a Job The Job Posting The Cover Letter The Curriculum Vitae The Teaching Philosophy The On-Campus Interview Preparing for Academia 274 274 278 278 279 281 282 283 285 11. What the Effective Music Theory Instructors Do 289 Epilogue: Why I Am A Music Theorist Appendix Bibliography Index 295 297 299 307
|
| adam_txt |
Contents Preface ix 1. The Golden Circle: “Why,” “How,” and “What” Focusing on the “How” and the “Why” Knowing Your “Why” Trends in the Undergraduate Core Why Curriculum Reform in the Collegiate Classroom? Knowing the “Why” on the High School Level Where Do We Begin? Understanding the Twenty-First-Century Student Our Goal in Teaching Music Theory and Aural Skills: The “Why” 1 1 2 3 4 8 10 11 12 2. Why and How: Curriculum and Content The “Why”: Beginning the Discussion The “How”: Integration, Diversity, and Creativity Knowing Your “Why” Why Change the Curriculum? Designing the Curriculum “You Must Cut Eight Hours”: A Personal Study Appalachian State University 15 18 21 29 31 33 43 43 3. The Classroom Environment Respect and Rapport Discussion-Based Classrooms: The Art of Questioning Group/Collaborative Work Effective Technology Preparing for the First Day Designing a Syllabus 50 51 56 59 65 68 71 4. Teaching Theory on the High School Level Student Enrollment The Advanced Placement Exam High School versus University Timeline Preparing Students for Music Study Teaching to the Masses Time Management A Focus on Aural Skills: “Hearing Eyes and Seeing Ears” Immediate and Low-Stakes Assessment 91 91 96 102 104 107 110 111 113
VI CONTENTS Real-World Experience and Life Skills Team Teaching and Creative Approaches Setting a High Bar from Day One Ensemble Integration Conclusion 114 116 118 120 122 5. Pedagogy of Fundamentals and Diatonic Harmony Fundamentals Rhythm and Meter Key Signatures and Scales Intervals Triads/Seventh Chords Roman Numerals, Functional Diatonic Harmony, and Voice Leading Harmonic Function and Early Harmonic Analysis Part-Writing and Voice Leading 125 126 129 131 135 137 142 145 154 6. Pedagogy of Chromatic Harmony and Form Secondary Function Mode Mixture/Borrowed Chords Altered Prédominants Modulation Counterpoint Phrase and Periodic Structure and the Blues Large-Scale Forms Other Topics: Modes and Jazz Theory 161 161 165 168 173 178 180 183 186 7. Pedagogy of Aural Skills Systems Used in Sight Singing Counting Methods Sound before Sight Warm-Ups and Sight Singing Clear Connections in the Aural Skills Classroom Rhythmic Reading Audiation Use of Real Literature in Rhythmic Reading and Sight Singing Dictation Fundamentals in Dictation Melodic Dictation Harmonic Dictation Error Detection Contextual Listening Improvisation in the Aural Skills Classroom “Friendly Tug of War” 190 190 194 196 198 201 202 204 206 207 207 209 211 215 216 220 225
CONTENTS Vii 8. Assessment Summative Assessment: Change in Paradigms Summative Assessment: The Quick Grades Summative Assessment: Beyond the Quick Answer Formative Assessment Standards-Based Grading Creating a Scale/Progress-Centric Grading Conclusion 228 231 233 235 244 251 253 254 9. Empower the Undergraduate The Undergraduate Music Major What Motivates Our Students The Tale of Two Undergraduates The Student Response The Faculty Response Teaching and Research Development on the Undergraduate Level: Beyond the Classroom Undergraduate Research Undergraduate Teaching Assistant Conclusion 256 257 260 261 262 264 267 267 270 272 10. Taking the First Steps into Academia Graduate School: Setting Up Good Habits Getting a Job The Job Posting The Cover Letter The Curriculum Vitae The Teaching Philosophy The On-Campus Interview Preparing for Academia 274 274 278 278 279 281 282 283 285 11. What the Effective Music Theory Instructors Do 289 Epilogue: Why I Am A Music Theorist Appendix Bibliography Index 295 297 299 307 |
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| author | Snodgrass, Jennifer ca. 20./21. Jh |
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| dewey-ones | 781 - General principles and musical forms |
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