Carolyn Wilson Digital Collections (Lipscomb Univ.)
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The Babbler Volume 88 (2008-2009)
Get PDFThe 2008-2009 volume of Lipscomb University\u27s The Babbler student newspaper, which ran from September 2008–April 2009. It had 19 issues.https://digitalcollections.lipscomb.edu/bab/1072/thumbnail.jp
Listen Up! - Thought on iPods, Sonata Form, and Analysis without Score
Get PDFIn a recent textbook Gary S. Karpinski summarizes two kinds of activities that have proven useful for developing listeners\u27 skills in attending to form. One activity involves listening guidelines (or questions to be answered in prose); the other uses some kind of visual representation. Both have the potential to highlight features of a work that will become clearer through repeated listening. Karpinski makes three assertions about developing listening skills: first, that students should focus on the recurrence of motivic and thematic materials, textural changes, harmonic instability, and key areas; second, that students need to listen repeatedly; and third, that the skills gained through acquiring intimacy with even only a handful of works can be transferred to unfamiliar repertoire.This essay summarizes a pedagogical approach that uses iPods to teach students to analyze sonata forms without score. It discusses the advantages of iPods and outlines the organization of the course, paying particular attention to the learning outcomes and the roles played by graduated assignments. My primary aims are to stimulate thought about the topic of analysis without score, and to suggest that it is both possible and rewarding to teach this particular skill. The strategies I advocate resonate strongly with Karpinski\u27s three assertions above, namely an emphasis on close readings of a handful of works in order to develop specific skills that can be generalized; the use of various kinds of visual representations (ranging from virtually blank scores to highly annotated ones); and an ideal device for repeated listening - the iPod
The Babbler Volume 87 (2007-2008)
Get PDFThe 2007-2008 volume of Lipscomb University\u27s The Babbler student newspaper, which ran from August 2007–April 2008. It had 22 issues. Issue 19 was the Music City Madness: A-Sun Tournament special edition.https://digitalcollections.lipscomb.edu/bab/1071/thumbnail.jp
Engaging Music - Essays in Music Analysis, ed. Deborah Stein reviewed
Get PDFNew York and Oxford: Oxford University Press, 2005. Reviewed by Gordon Sly. Writing in 1971 about articulations of the musical surface that can inform analytical interpretation, John Rothgeb expressed surprise that there have been so few attempts to specify procedures for the derivation of musical analyses. He qualifies this remark in a footnote: This is not to deny the existence of pedagogically valuable descriptions of musical structure, but only to observe that such descriptions almost never concern themselves with procedures by which an analysis can be derived or critically evaluated. Were he writing today, that surprise would surely have grown to fullblown astonishment - perhaps colored by a little dismay - she described a landscape that appears pretty much unchanged. Rothgeb\u27s remarks bring into focus what I would argue is the central issue in evaluating the usefulness to students of analysis papers purported to be exemplars for their work. Simply put, while any written analysis may have some qualities that can instruct students, what is most important is that its processes be transparent and intelligible rather than obscure and unfathomable. How was its analytical point of view developed? What informed analytical decisions? Which possibilities were rejected and which embraced, and why? What implications flow from those decisions? These are the things that students need to have illuminated.This transparency of process can be achieved explicitly, of course, or more indirectly. However accomplished, analytical writings meant to serve as guides for students must begin with the premise that they need to know how and why decisions are made. By this measure, Engaging Music earns a modest grade. Some of its papers are successful; most are not
Absolute Pitch Perception and the Pedagogy of Relative Pitch
Get PDFWhile intuition suggests that aural skills pedagogy should be closely linked to findings in music-cognitive research, music theorists have only infrequently written about this relationship (Butler 1997, Butler and Lochstampfor 1993). Gary Karpinski\u27s research is a notable exception (Karpinski 2007, 2000, 1990), as are occasional articles appearing in the Journal of Music Theory Pedagogy and elsewhere (Lake 1993, Larson 1993, Marvin 1995, Potter 1990). More recently, two experimental studies have empirically tested the effectiveness of various dictation and sight-singing strategies (Killam, Baczewski, and Hayslip 2003, Lorek and Pembrook 2002). Even so, researchers from other fields as disparate as developmental psychology, neurology, genetics, and cognitive science continue to investigate one aspect of musical cognition that both intrigues and inspires them to further research: the phenomenon of absolute pitch (AP). This essay draws upon that research to illuminate the abilities and challenges of AP musicians and to inform an effective aural skills pedagogy appropriate for both AP and non-AP listeners
Listen Up! - Thought on iPods, Sonata Form, and Analysis without Score
Get PDFIn a recent textbook Gary S. Karpinski summarizes two kinds of activities that have proven useful for developing listeners\u27 skills in attending to form. One activity involves listening guidelines (or questions to be answered in prose); the other uses some kind of visual representation. Both have the potential to highlight features of a work that will become clearer through repeated listening. Karpinski makes three assertions about developing listening skills: first, that students should focus on the recurrence of motivic and thematic materials, textural changes, harmonic instability, and key areas; second, that students need to listen repeatedly; and third, that the skills gained through acquiring intimacy with even only a handful of works can be transferred to unfamiliar repertoire.This essay summarizes a pedagogical approach that uses iPods to teach students to analyze sonata forms without score. It discusses the advantages of iPods and outlines the organization of the course, paying particular attention to the learning outcomes and the roles played by graduated assignments. My primary aims are to stimulate thought about the topic of analysis without score, and to suggest that it is both possible and rewarding to teach this particular skill. The strategies I advocate resonate strongly with Karpinski\u27s three assertions above, namely an emphasis on close readings of a handful of works in order to develop specific skills that can be generalized; the use of various kinds of visual representations (ranging from virtually blank scores to highly annotated ones); and an ideal device for repeated listening - the iPod
Forks in the Road - Teaching Scarlatti\u27s Sonata in C Major (K.159, Longo 104)
Get PDFI have twice taught Scarlatti\u27s Sonata in C-Major towards the end of a first-semester Schenker course. This sonata, unusually for Scarlatti, restates the opening material in the tonic at the beginning of the final section. Thus the piece approximates a simple sonata form: an exposition that modulates from tonic to dominant, a development that prolongs the dominant, and a recapitulation that restates the opening theme in the tonic and transposes the following material from dominant to tonic. These terms--exposition, development, and recapitulation--are anachronistic, but I use them partly because students relate easily to them, and partly because they seem to apply well to this particular sonata
Reply to Ryan McClelland\u27s Article Teaching Phrase Ryhthm through Minuets from Haydn\u27s String Quartets, vol. 20, 2006
Get PDFIn his article Teaching Phrase Rhythm through Minuets from Haydn\u27s String Quartets, Ryan McClelland includes an extensive reference to my presentation on hypermeter in chapter 11 of my textbook, Harmony in Context (New York: McGraw-Hill, 2003). I appreciate Prof. McClelland\u27s attention to my work, as well as his own presentation on the pedagogy of phrase rhythm. I would like to provide commentaries to some particular points in his discussion of my chapter 11