Carolyn Wilson Digital Collections (Lipscomb Univ.)
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Backlog 2006
Get PDFThe 2006 Lipscomb University Backlog yearbook.https://digitalcollections.lipscomb.edu/backlogs/1095/thumbnail.jp
Striking the Right Chord (or applying first aid to the wrong one) in the Day of a Theory Teacher
Get PDFAs a grateful and deeply honored recipient of the third Gail Boyd de Stwolinski Lifetime Teaching award, I am pleased to have been asked to contribute to this issue of the Journal of Music Theory Pedagogy. I should also express my gratitude to the Gail Boyd de Stwolinski Center for Music Theory Pedagogy and the School of Music faculty and students for their warm and gracious hospitality during my three-day September residency as a visiting lecturer. It was indeed a rewarding experience in every way and has greatly increased my already considerable admiration for the Center\u27s pioneering work. The above title was suggested by the Director of the Center for my September 20th lecture at the University, and since I rather fancied it, I am revisiting it for this article. My approach will be informal, very personal, somewhat eclectic, and will draw upon the wisdom of others with whom I have crossed paths. I wish to pay tribute here to two musician/teachers who have been very influential in my life. One is Michael Rogers, a former faculty member at Oklahoma, whose book Teaching Approaches in Music Theory (Southern Illinois Press, now in its second edition) is a veritable treasure trove of pedagogical and philosophical truths, meaningful for any teacher of any subject. The other is the late Janet McGaughey who was my esteemed colleague at the University of Texas for several years. Janet, a musical giant if ever there was one, was at one and the same time homespun and sophisticated, brilliant and humble, energetic and contemplative, and possessed of truly amazing aural acuity. It was a joy and a privilege to be her colleague
Sound Experiments - The Use of Four-Voice Writing in the Study of Twentieth-Century Music
Get PDFFour-voice writing exercises saturate music theory textbooks devoted to the common practice but play only a minor role in recent texts on the twentieth century. Intrigued by this dichotomy, I have gradually been incorporating more four-voice exercises into the twentieth-century portion of the core music theory course that I teach. I have found that the use of homophonic musical models throughout the undergraduate curriculum promotes continuity, thereby helping to connect the twentieth-century repertoire to its stylistic antecedents. The exercises also provide material for classroom singing, which helps students to connect aural experience to music-theoretic concepts. Further, students gain skill in the manipulation of the materials of extended tonal and atonal harmony, which improves analytic ability and prepares for composition
The Babbler Volume 86 (2006-2007)
Get PDFThe 2006-2007 volume of Lipscomb University\u27s The Babbler student newspaper, which ran from August 2006–April 2007. It had 24 issues, including a special Welcome Back Edition: before issue 1. Issue 7 was not published.https://digitalcollections.lipscomb.edu/bab/1070/thumbnail.jp
Teaching Phrase Rhythm through Minuets from Haydn\u27s String Quartets
Get PDFRecent theoretical research places considerable emphasis on aspects of musical temporality. Theorists have reflected on topics such as the definition of rhythm, the factors that create meter, the relationship between rhythm and meter, the operation of meter at levels above the notated measure (hypermeter), phrase expansion, and rhythmic dissonance. Elements of this research have infiltrated some undergraduate theory textbooks, but many limit discussion of rhythm and meter to an introductory chapter on the fundamentals of notation. Phrase rhythm - the interaction of hypermeter with phrase structure - is of undeniable importance to performers and should be incorporated in the core theory curriculum. The nuances of phrase rhythm can be revealed effectively through a diverse group of excerpts, but I have achieved good learning outcomes from pursuing these ideas in a short unit devoted to several minuets by Haydn. After commenting on relevant theoretical and pedagogical literature, I will sketch a presentation of the key aspects of phrase rhythm - hypermeter, hypermetric reinterpretation, and phrase expansion - with examples drawn from the minuets of Haydn\u27s string quartets. The article will conclude with analyses of three complete minuets to suggest the depth and range of musical understanding that a thorough study of phrase rhythm brings to the theory classroom
Cycling Through Polyrhythms
Get PDFThe formal study of polyrhythms (2:3, 3:4, 3:4:5 etc.) often begins in the typical four-semester undergraduate theory sequence. Polyphonic instrumentalists are, no doubt, introduced to these rhythms earlier. Commonly, the rhythms are taught with the aid of subdivisions, the least common denominators shared by the separate parts of a polyrhythm. For example, the polyrhythm 3:2 has six subdivisions (the product of its two separate parts). Typically, this information is presented as a linear index (Ex. 1a), or as a series of counts (Ex. 1b) indicating the exact moments each part is to be articulated.This paper suggests teaching and understanding polyrhythms in a somewhat different manner: looping the subdivisions around themselves so that they form repetitive cycles and, in the process, mimic the motions of rotating gears rather than a linear index or series of counts. One advantage is that oral counting of the subdivisions is unnecessary and thus, the polyrhythm is more easily integrated into the composition at hand. (It would be difficult, for instance, to simultaneously count the polyrhythms\u27 subdivisions and the actual metrical units in Exx. 1a and 1b). A second advantage is that one of the gears always coincides with the metrical unit; this allows the polyrhythm to be prepared a beat or two prior to its occurrence, something that is of particular value to the ensemble performer. The process is easily demonstrated, learned, and becomes a valuable reference tool while motivating students to explore ever more complex polyrhythms
Backlog 2005
Get PDFThe 2005 Lipscomb University Backlog yearbook.https://digitalcollections.lipscomb.edu/backlogs/1085/thumbnail.jp
The Babbler Volume 85 (2005-2006)
Get PDFThe 2005-2006 volume of Lipscomb University\u27s The Babbler student newspaper, which ran from August 2005–April 2006. It had 27 issues, two of which were special issues. One was the Freshmen Orientation Edition before issue 1 and the other was the Basketball Preview between issues 13 and 14.https://digitalcollections.lipscomb.edu/bab/1069/thumbnail.jp