Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Music Theory Examples in Video Game Music
Get PDFThis living document is a list of theory concepts in video game music. These examples are meant to be a supplement in the music theory classroom. Each composer is linked to a wiki the first time they are mentioned. Transcribers (trans.) and arrangers (arr.) are credited for each example. The song title link leads to a YouTube video of the cue. The transcriber link leads to the respective lead sheet at VGLeadSheets.com. I believe music theory is highly interpretative; what I hear may not be what someone else hears. If you hear something different or feel something is blatantly wrong, please let me know and I will consider it and, if necessary, edit and credit you as a contributor. I am not ashamed to say I am wrong. Please, also know that video game music, like popular music and jazz, does not have to follow ‘traditional’ theoretical functions. This is especially true when it comes to form. Any help is appreciated
Revisiting the Purpose of Business
Get PDFoai:digitalcollections.lipscomb.edu:dmem_facpubs-1002While it is easy to see the ways that business has gone global today, it is less easy to see how scriptural ideas for holistic business are currently put in practice. We have outlined themes related to business found in Scripture and used them to create a holistic scorecard for businesses. We also compare recent views on the purpose of business and some businesses that follow these models using the scorecard. We include the classic 1970 essay by Milton Friedman (“The Social Responsibility of Business is to Increase Its Profits”) and continue through John Elkington (Cannibals with Forks), Mackey & Sisodia (Conscious Capitalism), and Roche and Jakub (Completing Capitalism)
Post-Tonal Postcards: Communicating Analysis and Reflection through Prose Writing
Get PDFPostcard assignments provide a concise alternative to the traditional analysis paper. In this article, I outline a series of four postcard assignments developed for an undergraduate post-tonal theory course, discuss connections to the Scholarship of Teaching and Learning (particularly to Self-Determination Theory), and examine student responses and pedagogical benefits. Synthesizing analysis and reflection, each postcard includes a 300- to 500-word essay as its message and a single page of annotated musical examples as its picture. Students analyze complete compositions through the lenses of specific themes; for example, students discuss pentatonic collections and pitch centricity in Debussy’s “La fille aux cheveux de lin” (Préludes, Book 1, No. 8). By addressing each postcard to a different recipient (peer, novice, expert, and future self), students learn to communicate effectively in diverse rhetorical contexts. Additional pedagogical benefits include greater independence in music analysis and increased confidence in writing about music
“Notehead Shorthand”: A Rhythmic Shorthand Method for Melodic Dictation Exercises
Get PDFPaney and Buonviri report that high school theory teachers struggle to get adequate results on the rhythmic aspect of melodic dictations, quoting one instructor who observes that students “don’t know how to space the notes rhythmically, and they get flustered, and it ends up causing them to mess up some of the pitch parts” (2014, 405). In response to their call for improved pedagogy for rhythm, I summarize previous research on melodic dictation strategies and then introduce a new rhythmic shorthand method (“Notehead Shorthand”). Notehead Shorthand builds upon Karpinski’s protonotation (2017) by asking students to mark note onsets (rather than durations), and it provides an improved way to notate subdivisions of the beat and syncopations. Moreover, compared to the well-known slash system of rhythmic shorthand, the proposed shorthand system looks more like actual notation, making it easier for inexperienced students to use and translate to the musical staff. The system provides a method for writing the rhythm of a melodic dictation in one hearing, minimizing cognitive load for students. While students of all ages and abilities can utilize this new method, it may be especially helpful to students within first-year aural skills courses and for those preparing for the melodic dictation tasks on the College Board’s Advanced Placement Music Theory exam. I then describe pros and cons of the technique after implementing the method with undergraduate music students over the years, and I also share some modifications to the method that can be made depending upon the student’s previous experience with dictation and the level of beat that the student is internally pulsing while taking dictation (i.e., the beat, the division, or the subdivision)
Review of Tonal Analysis: A Schenkerian Perspective by David Damschroder, and Music Analysis: An Introduction to Schenkerian Theory and Practice by Eric Wen
Get PDFG. P. Telemann’s Exercises in Singing, Keyboard-Playing, and Thoroughbass (ed. and trans. Derek Remeš)
Get PDFIn recent years, scholars and pedagogues alike have increasingly recognized the creative potential of thoroughbass. Yet too often, thoroughbass instruction today still lacks good models. G. P. Telemann’s Exercises in Singing, Keyboard-Playing, and Thoroughbass (1733–34) fills this need. This collection contains forty-eight short, simple arias with thoroughbass realizations by Telemann himself. Telemann also provides brief commentary to each aria. This important collection is presented here for the first time as a modern pedagogical edition with English translation (Vol. 1), worksheets for realization (Vol. 2), and audio recordings (with and without voice part). As Telemann’s title suggests, the didactic possibilities are wider than mere thoroughbass and might include:
Aural and Vocal Training: First learn to sing the voice part with the audio recordings that include the voice part, and later sing the melody with the audio recordings that include only the accompaniment. Variation: Have another student accompany the singer during class. Variation: Sing on fixed or moveable solmization syllables.
Keyboard-Playing: Play Telemann’s realizations in secondary piano lessons. Variation: Sing and play at the same time (self-accompaniment).
Harmonic Analysis: Add Roman numerals and label non-chord tones.
Thoroughbass: Play through a few of Telemann’s versions as an introduction. Then realize the figured basslines using the worksheets in the editorial appendix (Vol. 2), which omits Telemann’s realizations. Afterwards check one’s solution against Telemann’s original (Vol. 1)
Graduate Instructor Peer Observation in Music Theory Pedagogy
Get PDFPeer observation involves instructors attending each other’s classes for the primary purposes of reflection and growth. Among faculty, observation is often limited to the context of tenure and promotion. The experience of observation is even more rare between graduate instructors, who very often do not engage with their peers in a community-focused manner. This article presents a three-phase study that gathers both quantitative and qualitative data on peer observation in the field of music theory. We collected data from both faculty and graduate instructors, and a peer observation system for graduate instructors was implemented concurrently. The article concludes with results and suggestions for development and implementation of a peer observation program at your institution, highlighting the reciprocal benefits of the observational experience for music theory instructors
A‑R Music Anthology
No full textA-R Editions’ Online Music Anthology is an extensive collection of music and articles designed expressly for music history and theory courses. A-R\u27s Online Music Anthology contains many more pieces of music than print anthologies, all newly engraved and available online by subscription. (A-R offers complimentary access to instructors, pending approval of their requests.) Instructors can use the contents of the Online Music Anthology in a variety of courses, and customize the content in as many course packs as they need. With the multi-author online textbook and pre-set course packs, the A-R Online Music Anthology is a powerful tool for the twenty-first century