Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Teaching What We Do and How We Do It: Using a Miniconference Assignment to Dig Deep into Musical Analysis
Get PDFThis essay advocates for the integration of prose writing into the undergraduate music theory sequence. The author provides an overview of some possible assignments for each semester in the standard sequence, and gives examples of assignments, rubrics, and teaching strategies for a semester-long, multi-part “miniconference” assignment that allows students to synthesize music theory content from prior semesters and combine deep musical analysis with writing, presenting, and critical thinking skills. I am grateful for the feedback and guidance of Paula Rosinski, Omri Shimron, Lynn Beck, Paul Anderson, and Rosie Ruzzi at various stages of this project
Promoting Metacognitive Reflection in Music Theory Instruction
Get PDFSince 1976 when John Flavell coined the term metacognition, a significant body of literature has emerged in psychology and education research documenting the importance of it to the process of learning and advocating its development through reflection to promote deeper, more thoughtful, and self-regulated learning. In the domain of music, discussions of reflection and/or metacognition appear particularly in literature on teacher training, music teaching at primary and secondary levels, and performance, but these topics are hardly addressed in research on music theory pedagogy. This article begins to redress this situation. It presents a theoretical overview of metacognition and reflection, describes a strategy that incorporates metacognitive reflection into a music theory core course, evaluates its pedagogical value through a content analysis of student reflections on learning, and discusses implications for music theory pedagogy
The Chromatic Singalong Project: Pop/Rock as a Framework for Sight-Singing Fluency
Get PDFSuccessful sight-singing results from the ear, voice, and mind working in synchrony, and at its best translates to real-time musical understanding and facility on the student\u27s primary instrument. Finding a pedagogical model for this level of musical fluency can be elusive: while the metronome is a time-honored practice tool, its relentless click lacks an external musical context that can lead students into a perpetual trap: Start, stumble, count off, start again, etc.
The Chromatic Singalong is a transcription/composition/sight-singing project designed to help students build fluency in singing and understanding music in real time. It is a capstone to the third semester (of four) of ear training study at the author\u27s institution.
The attached links lead to the assignment as given to students, and two students samples in lead sheet form (i.e., melody and chord symbols only.
What Did the West Wind See? Teaching Whole-Tone Scales through Debussy\u27s Ce qu\u27a vu le vent d\u27ouest
Get PDFDebussy’s “Ce qu’a vu le vent d’ouest” (Préludes, Book 1) provides fertile ground for teaching undergraduate students to identify whole-tone scales in a musical context. Included in this article are an analysis of the piece and lesson plans designed to help students find examples of whole-tone collections in melodic and harmonic contexts. Students collaboratively construct a musical timeline, deepen their thinking through exploratory writing, discuss the interactions of diatonic and whole-tone elements throughout the piece, and support their analytical observations with specific musical examples. In a setting that invites both tonal and post-tonal analysis, students learn to discern which analytical tools are appropriate to diverse musical contexts
Understanding Dotted and Undotted Notes
Get PDFCollege and high school music students (whether majors or non-majors) likely know something already about note and rest values, what note gets the beat in some particular meter, and differences between undotted and dotted notes, but they often still have difficulty understanding them, dotted notes in particular. This handout will review this material and introduce an additional way to think about note values, setting the stage for additional approaches to meter, as rhythm and meter can often be difficult concepts to master
Report on the 2016 Workshops in Music Theory Pedagogy at the University of Massachusetts Amherst
Get PDFNearly fifty college-level instructors and graduate students from six countries and twenty-two U.S. states gathered at the University of Massachusetts Amherst for the fourth triennial Workshops in Music Theory Pedagogy from Sunday, June 26 through Thursday, June 30, 2016. Gary S. Karpinski, Coordinator of the Music Theory programs at the University of Massachusetts Amherst, assembled some of the leading voices in music theory pedagogy for the Workshops: Poundie Burstein (common-practice counterpoint and harmony), Walter Everett (popular music), David Huron (music cognition), Gary S. Karpinski (aural skills), and Deborah Stein (19th-century form and harmony). Throughout the week, workshop faculty members hosted daily, hour-long symposiums on their area of expertise along with individual breakout sessions in the afternoon. In addition, Jason Hooper led a special session on team-based learning in the undergraduate music theory curriculum on Tuesday night. Networking and social activities were also offered throughout the course of the Workshops on Sunday, Monday, and Wednesday night. By the end of the week, participants had the chance to connect with many new contacts from across the world to discuss pedagogy in music theory
So You Want to Write a Chord Progression? Teaching Core Music Theory Using the Phrase Model Handout
Get PDFThis article explains and provides suggestions for implementing the Phrase Model Handout, a pedagogical resource found at Music Theory Pedagogy Online. The Phrase Model Handout is a single-page, tabloid-size document that presents an array of harmonic expansions, predominant harmonies, and cadential figurations all within the framework of the phrase. The Phrase Model Handout draws significantly on the pedagogical texts of Laitz, Caplin, and Aldwell and Schachter, and is intended as a supplement to textbooks that do not emphasize harmonic idioms or the linear structures of harmonic progressions. This article contains pedagogical applications of the Phrase Model Handout at all levels and to many topics of the harmony and aural skills sequences, including tonic and non-tonic expansions, harmonic function, harmonic syntax, voice leading, secondary chord usage, chromatic predominants, cadential bass lines, and cadence types
