Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Student-Driven Music Theory: How the Question Formulation Technique can Promote Agency, Engagement, and Curiosity
Get PDFHow can we move our students from answering questions that we pose to them, towards developing their own avenues of inquiry? In this paper we make the case for teaching students how to ask meaningful questions about music. We argue that asking questions can be a crucial activity that motivates students’ development as thoughtful and effective musicians. The Question Formulation Technique (QFT) is a pedagogical tool that teaches students how to develop their own questions, centers those questions in learning activities, and lastly encourages reflection on the entire process. This method foregrounds students’ ideas and agency, motivates them to engage creatively with the topic, and thereby increases their confidence with and interest in the course material. We will share strategies for using the QFT, highlighting how this approach can create deeper learning and ultimately challenge students in ways that are meaningful for their own musical pursuits
Mode Mixture in John Mayer\u27s Continuum
Get PDFThis one-page assignment is designed for use in undergraduate music theory or graduate music theory review courses. Two questions, one involving part writing and the other analysis, involve popular songs by John Mayer, “Stop This Train” and “Gravity,” both from his 2006 album Continuum. Both questions require some familiarity with mode mixture or borrowed chords, particularly iiø65, as well as basic part writing principles, secondary dominants (V7/V), and figured bass. The product of the student’s part-writing is a reduction of “Stop this Train,” in which seven different chords can be traced to convention tonal harmony and voice leading, yet with some remarkable treatments, including chordal sevenths that are not resolved conventionally, a dramatic suspension in iiø65(7–6), and a cadential six-four and dominant- seventh embellished with a chromatic line. The second question asks the student to compare two solos by Mayer in his show stopping song, “Gravity.” In the studio version, Mayer plays ^6, while in more recent shows, he plays flat-^6, a scale degree commonly associated with heightening drama or sadness in music. A significant portion of each question guides students to consider deeper questions of narrative, that is, what purpose does the modal mixture serve in the narrative in each song. A separate PDF provides a key for instructors, with additional links to YouTube videos
Rethinking Music Literacy in the Undergraduate Theory Core
Get PDFWhile music theory can provide many tools for interacting with music, for an undergraduate music student, a narrow understanding of music literacy, not theory, is what acts as a barrier to advanced engagement in music analysis. In this essay, I explore how music literacy, typically understood as facility with five-line staff notation, as it is taught in undergraduate music theory curricula prevents meaningful progress out of music theory’s white racial (and male) frame and perpetuates a hidden curriculum at odds with diversity efforts by theory pedagogues (Ewell 2020; Palfy and Gilson 2018). Despite pedagogical and curricular efforts towards inclusion of musics by BIPOC and female composers, and the development of modular curricula that are becoming more common in music departments, the expectation that music literacy comes before deep engagement with notated and un-notated musics constrains this admirable work towards equity and diversity. I investigate the implications of a staff notation literacy focused theory core and advocate for a broadened understanding of music literacies. I offer avenues of incorporating a range of literacies into the undergraduate theory core, focusing on a unit I designed which includes music theory research experience at early stages in the core curriculum
Dr. Candice McQueen, 18th President 2021-present
No full textDr. Candice McQueen is the eighteenth and current president of Lipscomb University.
She attended Lipscomb University, getting a Bachelor of Science degree, Peabody College at Vanderbilt University for her Master of Education degree, and received her Ph.D. from the University of Texas. Before becoming president of Lipscomb University, Candice McQueen served as vice president and dean of Lipscomb\u27s College of Education and was the founding director of Lipscomb\u27s Ayers Institute for Teacher Learning and Innovation. She has also previously worked at Vanderbilt University and at the University of Tennessee Austin. From 2015 though 2019, McQueen worked as Tennessee commissioner of education under former Tennessee Gov. Bill Haslam.
Since taking the position of president at Lipscomb University, Dr. Candice McQueen has launched the Lipscomb Impact 360 strategic planning campaign, visited with alumni in several cities in the country as part of her Be A Light tour, launched the President’s Student Advisory Council, and oversaw Lipscomb’s largest single day of giving in university history.https://digitalcollections.lipscomb.edu/historical_photos/1014/thumbnail.jp
Spelling Subdominant-Function Triads and Seventh Chords in Major and Minor Keys Utilizing a Patterned Approach
Get PDFThis resource was originally published in 2014 under the title Spelling ii(7) and IV(7) in Major and Minor Keys - includes answer key This discussion and worksheet is appropriate for high school AP students, liberal arts college non-music- majors, music minors, or music majors. Pattern recognition ability has been shown to be an important predictor of success in Music Theory courses. This handout includes some basic information regarding Nancy Rogers’ and Jane Clendinning’s testing of the correlation between pattern recognition and success in Music Theory classes. This handout discusses subdominant-function chords (chords with scale degrees 4 and 6), shows some model part-writing and the derivation of chromatic subdominant-function chords, discusses the importance of pattern-based approaches, explains and demonstrates some patterns to be aware of, and offers a systematic pattern-based approach to spelling these triads and seventh chords. Students are asked to notate these chords in complementary keys (e.g., C major, Cb major), and the keys progress up by half or whole step through the octave. There is one worksheet for major keys and one for minor keys. This pedagogical approach allows students to recognize a pattern as they notate these chords, and helps sensitize them to musical patterns in general. I have found approaching topics in a way that utilizes and reinforces patterns to be a helpful approach
Crime Scene Investigation: Simulated post-mortem LC-MS/MS analysis of cocaine and cocaine metabolites in synthetic human serum
Get PDFThis laboratory experiment introduces upper-division undergraduate analytical chemistry students to liquid chromatography-tandem mass spectrometry (LC-MS/MS) in a forensic application: the analysis of cocaine and metabolites of cocaine in simulated serum ostensibly from drug overdose victims. For this investigation, students developed the analytical methods. First, the students determined the multiple reaction monitoring (MRM) transitions and optimized collision energy. The MS methods developed were then added to an LC method for LC-MS/MS quantitation with a 2.5 min run time. Students successfully quantified the drugs and metabolites, and they were able to identify which samples indicated cocaine use and overdos
