Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Formalism in the Music Theory Classroom
Get PDFMusic theory pedagogy has anticipated the recent trend for alternatives to the careful historicism and contextual scholarship of the past few decades. In recent years, many scholars in the fields of literature and the arts have urged a reinvestment in the study of form and in formalist analysis. This New Formalism employs a diverse array of methods in order to redress a perceived neglect of the forms, styles, techniques, and material dimensions of the cultural products under consideration. Although some of our methods have changed, theorists remain committed to the technical vocabulary and formal abstraction necessary to understand musical systems. Nevertheless, instead of congratulating ourselves, we ought to use this moment to reflect on our classroom formalisms and ask questions about our commitments to the understanding of form
Sample analysis of Brahms, Ein Deutsches Requiem, IV, \u27Wie lieblich sind deine Wohnungen\u27 [How lovely is thy dwelling place]
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Backlog 2011
Get PDFThe 2011 Backlog yearbook of Lipscomb University.https://digitalcollections.lipscomb.edu/backlogs/1033/thumbnail.jp
Global Perspective on Music Theory Pedagogy - Thinking in Music
Get PDFWhat does it mean to think in music? To me it means lunchtime conversations about resolutions of chords, where we wave our fingers in the air, spacing them to indicate intervals; sometimes it means improvising a consequent phrase to an antecedent, or improvising a florid line to a cantus firmus; sometimes it\u27s recognizing a motivic connection to an event that occurred hundreds of measures earlier. These are the types of things we would like our students to be able to do: to engage actively with the ideas in music and to look beneath its surface. However, I found recently that I was starting with ideas that were too deep and abstract, that I was working too much on music as it appears to the mind and not enough on more tangible, elementary craft. So lately I have changed the way I teach, and since mine is a sort of road-to-Damascus story, I have organized it around two conversations with younger colleagues that shook up my thoughts about teaching. Writing this article has been cathartic as I reconsider my own musical education - it\u27s a mixture of polemic and reminiscence, part manifesto, part memoir
Sonata Theory in the Undergraduate Classroom
Get PDFSince the mid-1990s, James Hepokoski and Warren Darcy have committed themselves to changing the way we hear and think about sonata form. Dissatisfied with traditional schematic or architectural approaches to the form, these authors have long advocated a dynamic, action- and expression-oriented model of the genre - one that revives familiar nineteenth- and twentieth-century traditions of narrative/humanistic analysis (a la Marx and Tovey) while also providing a framework for rigorous analysis of musical details and processes. Their enterprise, Sonata Theory (always capitalized), has made significant inroads with professional analysts but remains mostly unknown outside of academia
A Revised Taxonomy for Music Learning
Get PDFAmong college music teachers, it is commonly lamented that ear-training skills develop more slowly than other kinds of musical knowledge, such as written theory skills. Informally, the ear develops more slowly than the mind. Intrigued by this phenomenon, which suggests that the learning process for aural skills could be different compared to other types of knowledge, we have evaluated our students and our own pedagogy for years with the intent of developing a learning taxonomy for aural development. That is, we sought adaptations that catered specifically to music learning by accommodating the time-sensitive nature of performed arts, rather than the more spatial emphasis that we believe persists with most prior learning theories. This article has two goals: the first goal is to present our revised taxonomy of learning for music classes; the second goal is to demonstrate how our taxonomy can be used to design classroom activities for both tonal and atonal aural skills courses
The Condition of Graduate Theory Review - Multilevel Analysis and the Pedagogy of Chord and Line
Get PDFCourses in graduate theory review vary considerably due to the diverse goals of music departments at national and regional institutions, degree programs, requisite knowledge and skill of students, as well as training and experience of instructors, among other reasons. The scope of theory review can be viewed along a continuum. At one extreme we might focus solely on basic tonal grammar through short drills in writing and conventional harmonic analysis, with little if any full score analysis. At the other extreme, student skill sets and engagement might open the way to more accelerated learning. Among upper-tier schools, this kind of course is often required of incoming students who fail an entrance exam in music theory. On the other hand, at lower-tier schools all incoming students might be required to complete theory review as a prerequisite to further studies in their discipline. Into such an imbalanced educational milieu, Graduate Review of Tonal Theory: A Recasting of Common-Practice Harmony, Form, and Counterpoint by Steven G. Laitz and Christopher Bartlette emerges as a rare commodity: A textbook specifically designed for graduate-level review of tonal materials, structures, and forms of European common practice (ca. 1600 - 1900). Given the academic diversity of graduate programs across the country, instructors charged with teaching graduate theory review will have unique concerns about the effectiveness and practicability of GRTT in their classes