http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
1 online resource (xviii, 311 pages) : illustrations
"Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on three years of field study spanning seventeen states, coupled with reflections from the author on her own teaching strategies, Teaching Music Theory: New Voices and Approaches highlights teaching approaches with substantial real-life examples from instructors across the country. The main premise of the text focuses on the question of why. Why do we assess in a particular way? Why are our curriculums designed in a certain manner? Why should students master aural skills for their career as a performer, music educator, or music therapist? It is through the experiences shared in the text that many of these questions of "why" are answered. Along with answering some of the important questions of "why," topics such as classroom environment, undergraduate research and mentoring, assessment, and approaches to curriculum development are emphasized. Teaching Music Theory: New Voices and Approaches is written in a conversational tone in order to provide a starting point of dialogue for students, new faculty members, and seasoned educators on any level. It is through the pedagogical trends presented and the continued conversation encouraged by the author that one can begin to have a greater appreciation of outstanding teaching and thus an understanding of our own approaches in the classroom"--
Cover -- Half Title -- Teaching Music Theory -- Copyright -- Contents -- Preface -- 1. The Golden Circle: "Why," "How," and "What" -- Focusing on the "How" and the "Why" -- Knowing Your "Why" -- Trends in the Undergraduate Core -- Why Curriculum Reform in the Collegiate Classroom? -- Knowing the "Why" on the High School Level -- Where Do We Begin? -- Understanding the Twenty-​First-​Century Student -- Our Goal in Teaching Music Theory and Aural Skills: The "Why" -- 2. Why and How: Curriculum and Content -- The "Why": Beginning the Discussion
The "How": Integration, Diversity, and Creativity -- Knowing Your "Why" -- Why Change the Curriculum? -- Designing the Curriculum -- "You Must Cut Eight Hours": A Personal Study -- Appalachian State University -- 3. The Classroom Environment -- Respect and Rapport -- Discussion-​Based Classrooms: The Art of Questioning -- Group/​Collaborative Work -- Effective Technology -- Preparing for the First Day -- Designing a Syllabus -- 4. Teaching Theory on the High School Level -- Student Enrollment -- The Advanced Placement Exam -- High School versus University Timeline
Preparing Students for Music Study -- Teaching to the Masses -- Time Management -- A Focus on Aural Skills: "Hearing Eyes and Seeing Ears" -- Immediate and Low-​Stakes Assessment -- Real-​World Experience and Life Skills -- Team Teaching and Creative Approaches -- Setting a High Bar from Day One -- Ensemble Integration -- Conclusion -- 5. Pedagogy of Fundamentals and Diatonic Harmony -- Fundamentals -- Rhythm and Meter -- Key Signatures and Scales -- Intervals -- Triads/​Seventh Chords -- Roman Numerals, Functional Diatonic Harmony, and Voice Leading
Harmonic Function and Early Harmonic Analysis -- Part-​Writing and Voice Leading -- 6. Pedagogy of Chromatic Harmony and Form -- Secondary Function -- Mode Mixture/​Borrowed Chords -- Altered Predominants -- Modulation -- Counterpoint -- Phrase and Periodic Structure and the Blues -- Large-​Scale Forms -- Other Topics: Modes and Jazz Theory -- 7. Pedagogy of Aural Skills -- Systems Used in Sight Singing -- Counting Methods -- Sound before Sight -- Warm-​Ups and Sight Singing -- Clear Connections in the Aural Skills Classroom -- Rhythmic Reading -- Audiation
Use of Real Literature in Rhythmic Reading and Sight Singing -- Dictation -- Fundamentals in Dictation -- Melodic Dictation -- Harmonic Dictation -- Error Detection -- Contextual Listening -- Improvisation in the Aural Skills Classroom -- "Friendly Tug of War" -- 8. Assessment -- Summative Assessment: Change in Paradigms -- Summative Assessment: The Quick Grades -- Summative Assessment: Beyond the Quick Answer -- Formative Assessment -- Standards-​Based Grading -- Creating a Scale/​Progress-​Centric Grading -- Conclusion -- 9. Empower the Undergraduate -- The Undergraduate Music Major
Includes bibliographical references and index.
New York : Oxford University Press, 2020