The Routledge Companion to Music Theory Pedagogy

Herausgeber: Vanhandel, Leigh

• Gebundenes Buch

Produktbeschreibung

Today's music theory instructors face a changing environment, one where the traditional lecture format is in decline. The Routledge Companion to Music Theory Pedagogy addresses this change head-on, featuring battle-tested lesson plans alongside theoretical discussions of music theory curriculum and course design.

---

Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Verlag: Routledge
• Seitenzahl: 516
• Erscheinungstermin: 21. Februar 2020
• Englisch
• Abmessung: 260mm x 183mm x 32mm
• Gewicht: 1155g
• ISBN-13: 9781138585010
• ISBN-10: 1138585017
• Artikelnr.: 69948435

Autorenporträt

Leigh VanHandel is Associate Professor of Music Theory at the University of British Columbia.

Inhaltsangabe

PART I: Fundamentals / 1. Music theory and working memory (Leigh VanHandel)
/ 2. Putting the music in "music fundamentals" (Melissa Hoag) / 3. A
cornucopia of accidentals (Paula J. Telesco) / 4. Contouring as a powerful
tool for pitch awareness (Jan Miyake) / 5. Incorporating melodicas into the
music theory classroom (Chelsey L. Hamm) / 6. Music fundamentals games (
Stefanie Dickinson) / PART II: Rhythm and Meter / 7. Introducing musical
meter through perception (Stanley V. Kleppinger) / 8. Starting from
scratch: Representing meter using simple programming tools (Daniel B.
Stevens) / 9. 'Computer programmed with just one finger': Transcribing rap
beats with the Roland TR-808 (Michael Berry) / 10. Rebeaming rhythms:
Helping students 'feel' the need for correct beaming (Gene S. Trantham) /
11. Clapping for credit: A pedagogical application of Reich's Clapping
Music (Jon Kochavi) / 12. Hindustani Tal: Non-Western explorations of meter
(Anjni H. Amin) / PART III: Core Curriculum / Diatonic Harmony / 13.
Small-scale improvisation in the music theory classroom (Nancy Rogers) /
14. The cognitive and communicative constraints of part-writing (Daniel
Shanahan) / 15. Voice-leading detectives (Meghan Naxer) / 16. Harmonic
sequences simplified: The first week of instruction (Brent Auerbach) / 17.
Grading the song (Michael Baker) / 18. Finding the implied polyphony in the
Minuet II from Bach's Cello Suite No. 1 in G Major (Edward Klorman) /
Chromatic Harmony / 19. Using tendency tones to teach the morphology and
syntax of chromatic harmony (Stacey Davis) / 20. Apply yourself! An active
learning lesson plan for introducing secondary dominants (Patricia Burt) /
21. Plot twists: Narrative pivots and the enharmonic augmented sixth chord
(Jena Root) / 22. Chromatic mediants through the context of film music
(Erik Heine) / 23.How to analyze chromatic lament-bass harmonizations
(without tears) (Jason Britton) / 24. Introduction to common-tone
diminished-seventh chords (Nicole Biamonte) / 25. 'It's an N, bro':
Teaching enharmonic reinterpretation of fully diminished seventh chords by
ear (David Heetderks) / PART IV: Aural Skills / 26. Defending the straw
man: Modulation, solmization, and what to do with a brain (Gary S.
Karpinski) / 27. Speaking Music (Justin Mariner/Peter Schubert) / 28.
Finding your way home: Methods for finding tonic (Tim Chenette) / 29. Error
detection in aural skills classes (Alexandrea Jonker) / 30. In search of
hidden treasures: An exercise in symphonic hearing (Daniel B. Stevens) /
31. An aural skills introduction to twelve tone music: Dallapiccola's
'Vespro, Tutto Riporti' (David Geary) / PART V: Post-Tonal Theory / 32.
Setting sets aside: Prioritizing motive, text, and diversity in post-tonal
analysis courses (Michael Buchler) / 33. Teaching and learning early
twentieth century techniques at the keyboard (Lynnsey J. Lambrecht) / 34.
Starting the twentieth century with a bang! A lesson plan for whole-tone
scales in Tosca (Christopher Doll) / 35. 20th-century Polymodality: Scalar
Layering, Chromatic Mismatch, and Symmetry (José Antonio Martins) / 36.
Twelve-tone study using symbols in Dallapiccola's 'Fregi,' from Quaderno
Musicale di Annalibera (Joe Argentino) / 37. Integral serialism - analysis
of Gerhard, String Quartet No. 1, mvt. 3 (Rachel Mann) / 38. Mapping
symmetry and form in George Crumb's "A Prophecy of Nostradamus" (Natalie
Williams) / PART VI: Form / 39. Principles of form (Áine Heneghan) / 40.
Recomposing phrase structure (Eric Hogrefe) / 41. Teaching musical
structure through Disney songs (Andrew Vagts/Douglas Donley) / 42. From
theory to practice: How to compose a sentence (Andrew Schartmann) / 43.
Incorporating Latin-American popular music in the study of musical form (
Gabriel Navia and Gabriel Ferrão Moreira) / 44. Binary form through the
music of underrepresented composers (Victoria Malawey) / 45. A
form-functional approach to binary form analysis (Andreas Metz) / 46.
Exploring ternary form through the lens of analysis-performance in a Mozart
aria (Betsy Marvin) / 47. Sonata-allegro form: Understanding the drama (
Tom Childs) / 48. Concerto form: Transforming a sonata into a concerto
(Patrick Johnson) / PART VII: Popular Music / 49. Popular music in the
classroom (John Covach) / 50. The Beatles' 'Day Tripper': A tortured
stretching of the twelve-bar blues (Walter Everett) / 51. Making borrowed
chords pop: teaching modal mixture through popular music (Josh Albrecht) /
52. Chromatic mediants in popular music (Victoria Malawey) / PART VIII:
Who, What, and How We Teach / 53. Challenges and opportunities of teaching
music theory at community colleges (and elsewhere) (Nathan Baker) / 54.
More than just four chords: teaching music theory/aural skills to music
industry majors (Jennifer Snodgrass) / 55. Instructing a range of
experience within the music theory classroom (Cora S. Palfy) / 56. Music
theory pedagogy and public music theory (J. Daniel Jenkins) / 57.
Analytical podcasting (William O'Hara) / 58. Designing for access in the
classroom and beyond (Jennifer Iverson) / 59. Music analysis and
accessibility in the music theory classroom (Shersten Johnson) / 60.
Accommodating dyslexia in aural skills: A case study (Charlene Romano) /
61. Writing exams cooperatively with students (Jan Miyake) / 62. What
should an undergraduate music theory curriculum teach? (And, alas, what
most of the time we don't) (Justin London) / 63. Strategies for revising
music curricula for the 21st century: a case study (Deborah Rifkin) / 64.
Putting it together: Rethinking the theory curriculum (Matthew Heap) / 65.
Adapting the aural skills curriculum: a move away from 'the' right answer
(Susan M. Piagentini) / 66. Cultivating creativity: Questions, relevance,
and focus in the theory classroom (Philip Duker) / 67. Using video
technology in music theory assignments (Marcelle Pierson) / 68.
Incorporating improvisation in a theory class on contemporary music
(Cynthia Folio)