The Routledge Companion to Music Theory PedagogyLeigh VanHandel 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. With the modern student in mind, scholars are developing creative new approaches to teaching music theory, encouraging active student participation within contemporary contexts such as flipped classrooms, music industry programs, and popular music studies. This volume takes a unique approach to provide resources for both the conceptual and pragmatic sides of music theory pedagogy. Each section includes thematic "anchor" chapters that address key issues, accompanied by short "topics" chapters offering applied examples that instructors can readily adopt in their own teaching. In eight parts, leading pedagogues from across North America explore how to most effectively teach the core elements of the music theory curriculum:
A broad musical repertoire demonstrates formal principles that transcend the Western canon, catering to a diverse student body with diverse musical goals. Reflecting growing interest in the field, and with an emphasis on easy implementation, The Routledge Companion to Music Theory Pedagogy presents strategies and challenges to illustrate and inspire, in a comprehensive resource for all teachers of music theory. |
Contents
Putting the Music in Music Fundamentals | 3 |
Contouring as a Powerful Tool for Pitch Awareness | 14 |
Incorporating Melodicas into the Music Theory Classroom | |
Music Fundamentals Games | |
Introducing Musical Meter through Perception | |
Representing Meter Using Simple Programming Tools | |
Helping Students Feel the Need for Correct Beaming | |
A Pedagogical Application of Reichs Clapping Music | |
Integral Serialism Analysis of Gerhard String Quartet No 1 mvt 3 | |
Mapping Symmetry and Form in George Crumbs A Prophecy of Nostradamus | |
Form | |
Recomposing Phrase Structure | |
How to Compose a Sentence | |
Binary Form through the Music of Underrepresented Composers | |
Exploring Ternary Form through the Lens of AnalysisPerformance in a Mozart | |
Transforming a Sonata into a Concerto | |
NonWestern Explorations of Meter | |
Diatonic harmony | |
The Cognitive and Communicative Constraints of PartWriting | |
VoiceLeading Detectives | |
Grading the Song | |
Finding the Implied Polyphony in the Minuet II from Bachs Cello Suite No 1 in | |
Chromatic harmony | |
Apply Yourself An Active Learning Lesson Plan for Introducing Secondary | |
Chromatic Mediants through the Context of Film Music | |
Introduction to CommonTone DiminishedSeventh Chords | |
Modulation Solmization and What to Do with a Brain | |
Speaking Music | |
Methods for Finding Tonic | |
An Exercise in Symphonic Hearing | |
Dallapiccolas Vespro Tutto | |
Prioritizing Motive Text and Diversity in PostTonal Analysis | |
Teaching and Learning Early TwentiethCentury Techniques at the Keyboard | |
A Lesson Plan for WholeTone | |
Scalar Layering Chromatic Mismatch | |
TwelveTone Study Using Symbols in Dallapiccolas Fregi from Quaderno | |
A Tortured Stretching of the TwelveBar Blues | |
Chromatic Mediants in Popular Music | |
Challenges and Opportunities of Teaching Music Theory at Community Colleges | |
Teaching Music TheoryAural Skills to Music | |
Instructing a Range of Experiences within the Music Theory Classroom | |
Music Theory Pedagogy and Public Music Theory | |
Analytical Podcasting | |
Designing for Access in the Classroom and Beyond | |
Music Analysis and Accessibility in the Music Theory Classroom | |
A Case Study | |
Writing Exams Cooperatively with Students | |
What Should an Undergraduate Music Theory Curriculum Teach? And Alas | |
A Case | |
Rethinking the Theory Curriculum | |
Questions Relevance and Focus in the Theory Classroom | |
Using Video Technology in Music Theory Assignments | |
Notes on Contributors | |
Credits | |