Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Counterpoint in the Classroom: Pedagogical Considerations and a Detailed Review of Two Textbooks
Get PDFTwenty Questions: An Introduction to Counterpoint, Linear Analysis, and Dissonance Treatment
Get PDFTwenty Questions is a pedagogical resource focused on linear and dissonance-treatment analysis in common-practice music of the 18th and 19th centuries. This resource is designed to be utilized at the advanced high school and collegiate levels. It includes an explanation of contrapuntal analysis in a user-friendly Q&A format, a one-page summary sheet, four sample analyses with commentary, and four assignments with answer keys and extensive commentary for instructors. Twenty Questions was first developed as an explanatory guide for analyzing and interpreting Bach\u27s Prelude in C major (WTC, book I). This piece, and the commentary that accompanies it, serves as a centerpiece of the entire collection. The answer keys and commentaries for the four assignments, including the analytical commentary on Bach\u27s Prelude in C major, are found in a separate document
Backlog 2016
Get PDFThe 2016 Backlog yearbook of Lipscomb University.https://digitalcollections.lipscomb.edu/backlogs/1039/thumbnail.jp
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
Get PDFUndergraduate music students often experience difficulties when they first encounter pitch-class set theory, an analytical methodology very different from those they have studied previously. With the goal of fostering good will and openness toward studying post-tonal music, I adapt the reality competition show Survivor to frame a four-week unit on set theory and provide empirical results of Set Theory Survivor via student questionnaires and comments. The results of the study confirm that by combining the peer support of cooperative learning with the motivational force of constructive intergroup competition and the fun of a pedagogical game, Set Theory Survivor presents an effective approach to a difficult subject and provides a creative tool to enhance the pedagogy of pitch-class set theory
Symphonic Hearing: Mastering Harmonic Dictation Using the Do/Ti Test
Get PDFHarmonic dictation is widely utilized in college and high-school music theory classrooms as a summative aural skills exercise. Nevertheless, many students struggle to notate the voices and harmonic functions of didactic examples and to apply these skills in other musical contexts. The Do/Ti Test is a listening technique that can enable students to quickly and accurately identify harmonic function of didactic and real musical examples of different styles and genres. Using this method, students identify harmonies holistically based on the presence of particular guide-tones, beginning with Do and Ti, which they sing or audiate while listening. The Do/Ti Test implements the guide-tone method, first described by Rahn and McKay in 1988, and extends the method to hearing sequences, secondary dominants, and diatonic and chromatic modulations. By singing guide tones, students begin to develop “symphonic hearing,” an active, responsive mode of hearing in which listeners make music along with a stimulus in order to better understand it
Simple and Compound Time Signatures Re-Examined
Get PDFThis handout was created for music minors and non-music majors, most of whom enter my class with some music background. They typically have some understanding of simple meters like 2/4, 3/4, and 4/4. Compound Time is typically a difficult concept to teach, so this handout treats compound meter a bit more in-depth than some textbooks. This handout would be appropriate for not only music minors and non-music majors, but also remedial music theory classes for music majors or even Music Theory 1 classes. I believe it could also be used in high school AP classes. There are three worksheets that accompany this handout
Beyond “Three Blind Mice”: An Exemplar for “Day 1” of Schenkerian Analysis
Get PDFThis document provides a lesson plan and examples for Day 1 of a Schenkerian analysis course. Beginning with tonic prolongation paradigms that provide the structure of a hypothetical soprano-bass framework, the lesson unlocks a hidden Beethoven masterpiece lurking within the counterpoint. The plan also highlights how many melodic notes are higher than the soprano as well as how the theory incorporates the notion of tonal hierarchy
Bass Line Movable Do Modulation Paradigms
Get PDFBass-Line Movable Do Modulation Paradigms are designed to help aural skills students internalize common modulation patterns. The worksheet uses movable-do modulation, meaning students change “do” to reflect the solfège of the new key at an appropriate pivot point. Students should sing the top line in the original key, repeat the pitch on the solfège syllable of the new key where it aligns with the lower line (the pivot point), and continue in the new key to the end. The instructor may wish to accompany students with an appropriate chord progression, providing musical context to the bass lines. The worksheet also includes selected potential problem areas, which typically occur when students do not shift their thinking to the new key area, resulting in incorrect interval qualities. Most commonly, students erroneously sing minor thirds instead of major thirds and major seconds instead of minor thirds. Students who can successfully sing through these exercises have largely been successful in hearing and singing modulations in musical contexts
Schenkerian Analysis for the Beginner
Get PDFIn the classroom, the teacher of Schenkerian analysis faces the challenge of reconciling the holistic evaluation of works with the sequential presentation of content from simple to complex. Drawing from previous learning taxonomies (Bloom 1956, Anderson and Krathwohl 2001, and Rifkin and Stoecker 2011), I propose an adapted one for Schenkerian analysis. I note differences between this taxonomy and analytical procedures shown in current Schenkerian textbooks (Cadwallader and Gagné 2011, Pankhurst 2008), pursue implications of the new learning taxonomy, and suggest a wide range of classroom activities that have proven effective in my own introductory course. Goals of the new taxonomy include the rapid building of students’ graphing competency, and motivating students to use Schenkerian analysis on their own outside of the classroom
Modern Harmony (Online Course)
No full textThis is my series of 43 short YouTube videos called Modern Harmony. It is based on a course I taught at the Université de Montréal (in French) for almost 30 years. Now that I am retired I wanted to make it available to a larger public, and in English. It is mainly aimed at composers. The approach is practical, explaining how these harmonic techniques can be used in composition. A few of the core notions come from Persichetti\u27s Twentieth Century Harmony, others are my own. I am especially interested in principles of harmony that apply to more than one style, and also in how various harmonic techniques can be combined seamlessly in the same composition