Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Profiles, Perceptions, and Practices Related to Customizable Computer-Aided Instruction among Postsecondary Aural Training Instructors
Get PDFIn this study, we examined demographic and educational characteristics of postsecondary aural training instructors and their practices using customizable computer-aided (or assisted) instruction (CAI). Although numerous valuable CAI applications exist, one application was selected for the purpose of manageability. Respondents were postsecondary instructors who use MacGAMUT (N = 278). We determined that years of experience in teaching aural skills, years of experience in using the selected software, gender, and the highest degree the respondents had obtained influenced their instructional uses of CAI. Conclusions focus on CAI as having positively impacting students’ learning of dictation, thus placing a greater responsibility on instructors to coordinate their uses of CAI thoughtfully with the curriculum
Enhancing Learning in an Advanced Analysis Course: the Flipped Model, Peer Learning, and the Mode Effect
Get PDFThis article presents the process and results of applying the flipped learning model and peer learning to an upper-year advanced analysis of post-tonal music course. Pedagogical and musical rationales for the course structure are presented, explaining how the analysis of music—traditionally a solitary activity—can be done collaboratively in groups to support the course objectives and student learning goals. A detailed discussion of in-class and out-of-class activities is provided with the focus on the mode effect and team-based learning. The effectiveness of the flipped model to teach the analysis of new music is supported by analysis of video footage from the class, and by results from a pre-post study conducted via student questionnaires. To conclude, a critical reflection on the flipped course is presented in the form of lessons learned
The Archaeologist’s Paradise: Digging Through Solo- Polyphonic Ambiguity in the Counterpoint Classroom
Get PDFJ. S. Bach\u27s solo-polyphonic music is richly understated, its fragmentary surface demanding an active and even imaginative approach to listening. In addition to passages that require a listener to hear non-sounding voices to complete a contrapuntal whole, the music is also full of ambiguities that give remarkable license, permitting a range of listening strategies that give rise to contrapuntal interpretations that differ, sometimes dramatically. Focusing primarily on Bach’s Partita for Solo Flute, this article explores some aural, analytical, and especially pedagogical implications of several types of these ambiguities that pervade the solo-polyphonic works. By presenting a sampling of classroom-tested materials from a dedicated unit within a counterpoint curriculum, it demonstrates a method for equipping students to wrestle—as composers, performers, and listeners—with what these widely performed, but often incompletely understood pieces leave up for grabs
Review of Music Theory for Beginners, by R. Ryan Endris
Get PDFR. Ryan Endris’s Music Theory for Beginners, part of the graphic nonfiction series published by For Beginners LLC, is rather unusual among music theory texts in that it is not specifically designed for use in the undergraduate music theory classroom. As its preface states, it is targeted toward the lay reader. Thus, its style, design elements, and supporting materials diverge in various ways from what is normally seen in a college harmony textbook. Endris includes some interesting additional content generally absent from fundamentals courses, including an introduction to the blues, octatonic, and whole tone scales, and a brief survey of large-scale forms. While it does not claim to take the place of a comprehensive traditional undergraduate theory text, nor is it as thorough in its treatment of each topic as a classroom-ready fundamentals text, Endris’s book taps into a more diverse market with which few music scholars have engaged
