Carolyn Wilson Digital Collections (Lipscomb Univ.)
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The Summer Graduate Analysis Course and Stravinsky\u27s Symphony of Psalms
Get PDFFor the past dozen summers, I have taught a graduate course in analysis. Each year, I begin by trying to make a case for analysis itself. I argue that if an analysis presents a good way to hear or play a piece, it should follow that musicians be enthusiastically involved with analytical work, since the overwhelming majority of us play and/or conduct and/or teach. We should, in fact, see analysis as common ground - perhaps the only common ground - shared by the various sub-disciplines that make up music study. I then acknowledge what they all know, that, despite this, very few musicians are involved in any way with analysis, and express my belief that this is due in large part to a misunderstanding of the process of analysis that musicians develop, paradoxically, in the analysis courses they take as students. We purport to teach analysis in our courses, but actually often don\u27t. Instead, we teach the workings and employment of analytical tools. We know we\u27re doing this, and we have good reasons for doing it. But if that\u27s all, or nearly all, we do, the result is that students confuse the acquisition and application of analytical tools for analysis. And they are not at all the same thing
Teaching Agency and Narrative Analysis - The Chopin Preludes in E Minor and E Major
Get PDFIn a recent issue of this journal, Gordon Sly argues that typical undergraduate training in harmony and counterpoint fails to fully prepare students for upper-level analytical work: ...when we ask students to make an argument about a work\u27s striking qualities, its particularly beautiful or eccentric events, about what gives it its special character...the typical Freshman-Sophomore sequence proves largely inadequate as a preparation for analysis. To address this problem, he proposes that we encourage students to develop an analytical point of view by telling the story of a particular musical agent
Upon Further Reflection - Teaching Inversion through Jean Papineau-Couture\u27s Nuit
Get PDFPitch and pitch-class inversion is a core concept in the pedagogy of post-tonal music. There have been many theoretical and analytical studies on this topic, beginning half a century ago with the writings of Milton Babbitt, George Perle, and David Lewin. These publications inspired many subsequent articles and model analyses of octatonic, atonal, and twelve-tone compositions. This essay outlines a self-contained module on axial symmetry that is intended to culminate with an analysis of Nuit, a solo piano composition by Jean Papineau-Couture. The module, which could be part of second-year undergraduate course, is designed to teach students to hear, recognize, and model the properties of symmetrical designs. Several factors make Nuit a strong teaching piece, among them intriguing timbres, with striking and strumming on the strings, and an inventive and sophisticated set of inversional techniques. In addition, it is an extended work that lasts approximately 16 minutes, and thus rewards a variety of approaches. Below, we review four basic types of pitch and pitch-class symmetries, and briefly define even and odd index numbers. We then illustrate the common axial techniques from the literature, and show how these techniques inform various organizational levels of the work
Embodied Music Theory - New Pedagogy for Creative and Aural Development
Get PDFThis article presents a snapshot of pedagogical practice that integrates singing, expressive physical gesture, aural development, music theory and creativity. The approach it outlines forms an attempt to transcend the instructional mode by which music theory is perceived by students to be independent of musical practice, or an artificial construct by which Western Conservatoire-trained educators impose their assumptions on students who find it of limited relevance or interest. It represents a response to the position, encountered in several educational contexts internationally, whereby students whose aural and musicianship development has failed to match their performing abilities or musicological knowledge aspire to tertiary music courses. In this sense, it re-visits the same problems that motivated Émile Jaques-Dalcroze to devise the pedagogical innovations he introduced, which also had their origin in meeting the needs of Conservatoire students, and similarly addresses the potential of teaching music theory with minimal reliance on verbal instruction or notation
Rhythm Syllable Pedagogy- A Historical Journey to Takadimi Via the Kodály Method
Get PDFThe pedagogy of teaching rhythm, especially to beginning musicians, is a complex and fascinating yet often overlooked area of study. Said Robert Gauldin, when listening to a piece, we frequently take for granted the regulated rhythmic foundation that underlies its melody. Rhythm gives music a sense of organization and must be methodically taught. Because a significant portion of the university music theory curriculum is devoted to teaching aural skills, further study in this area is appropriate and necessary. Like solmization systems and pitch solfège theories, rhythm pedagogy is an ever-evolving field of study. This article explores the importance of a sound before symbol approach to rhythmic instruction, the history of rhythm syllable systems and the importance of effective rhythm syllable pedagogy. Furthermore, it shows how Takadimi, an innovative rhythm syllable system, has evolved based on principles espoused by Zoltán Kodály
Backlog 2010
Get PDFThe 2011 Backlog yearbook of Lipscomb University.https://digitalcollections.lipscomb.edu/backlogs/1034/thumbnail.jp