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E-raamat: Teaching Music Theory: New Voices and Approaches

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(Professor of Music Theory, Appalachian State University)
  • Formaat: 304 pages
  • Ilmumisaeg: 01-Apr-2020
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780190879969
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Teaching Music Theory: New Voices and ApproachesSuurem pilt
  • Formaat: 304 pages
  • Ilmumisaeg: 01-Apr-2020
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780190879969
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In recent years, music theory educators around the country have developed new and innovative teaching approaches, reintroducing a sense of purpose into their classrooms. In this book, author and veteran music theory educator Jennifer Snodgrass visits several of these teachers, observing them in their music theory classrooms and providing lesson plans that build upon their approaches. Based on three years of field study spanning seventeen states, coupled with reflections on her own teaching strategies,?Teaching Music Theory: New Voices and Approaches highlights real-life teaching approaches from effective (and sometimes award-winning) instructors from a wide range of institutions: high schools, community colleges, liberal arts colleges, and conservatories.

Throughout the book, Snodgrass focuses on topics like classroom environment, collaborative learning, undergraduate research and professional development, and curriculum reform. She also emphasizes the importance of a diverse, progressive, and inclusive teaching environment throughout, from encouraging student involvement in curriculum planning to designing lesson plans and assessments so that pedagogical concepts can easily be transferred to the applied studio, performance ensemble, and other courses outside of music. An accessible and valuable text designed with the needs of both students and faculty in mind,Teaching Music Theory provides teachers with a vital set of tools to rejuvenate the classroom and produce confident, empowered students.

Arvustused

Jennifer Snodgrass presents a truly significant contribution to the field, one that every music theory pedagogy class, both graduate and undergraduate, should seriously consider as a primary textbook. * Anthony J. Kosar, Journal of Music Theory Pedagogy * This book is an excellent resource for any music teacher and a valuable addition to the libraries of all classroom music theory teachers. * American Music Teacher * Although there are numerous books about music theory fundamentalsclefs, key signatures, scales, harmony, and so onthere are far fewer about how to teach music theory. In this thought-provoking book, Snodgrass (Appalachian State Univ.) presents the fruits of her in-depth research on this topic. ... Today's students are collaborative learners who want to know why what an instructor teaches is relevant to their particular musical objectives, and who want to influence the content of their curricula. Thus, one-size-fits-all curricula no longer suffice. Since the book treats both high school and university teaching, it is suitable for academic and public use. * D. Arnold, CHOICE * This ambitious, relevant, and practical book is indispensable for music theory and aural skills instructors at all levels. It draws together best practices in contemporary pedagogy from dozens of instructors and offers something for everyone. * Leigh VanHandel, Michigan State University * An invaluable resource for music theory teachers and music educators at any level, this book provides a window into some of the most engaging and effective theory classrooms and shares the creative teaching strategies used within them. Snodgrass's zeal for teaching is felt on every page! * Daniel Stevens, University of Delaware *

Preface ix
1 The Golden Circle: "Why," "How," and "What"
1(14)
Focusing on the "How" and the "Why"
1(1)
Knowing Your "Why"
2(1)
Trends in the Undergraduate Core
3(1)
Why Curriculum Reform in the Collegiate Classroom?
4(4)
Knowing the "Why" on the High School Level
8(2)
Where Do We Begin?
10(1)
Understanding the Twenty-First-Century Student
11(1)
Our Goal in Teaching Music Theory and Aural Skills: The "Why"
12(3)
2 Why and How: Curriculum and Content
15(35)
The "Why": Beginning the Discussion
18(3)
The "How": Integration, Diversity, and Creativity
21(8)
Knowing Your "Why"
29(2)
Why Change the Curriculum?
31(2)
Designing the Curriculum
33(10)
"You Must Cut Eight Hours": A Personal Study
43(1)
Appalachian State University
43(7)
3 The Classroom Environment
50(41)
Respect and Rapport
51(5)
Discussion-Based Classrooms: The Art of Questioning
56(3)
Group/Collaborative Work
59(6)
Effective Technology
65(3)
Preparing for the First Day
68(3)
Designing a Syllabus
71(20)
4 Teaching Theory on the High School Level
91(34)
Student Enrollment
91(5)
The Advanced Placement Exam
96(6)
High School versus University Timeline
102(2)
Preparing Students for Music Study
104(3)
Teaching to the Masses
107(3)
Time Management
110(1)
A Focus on Aural Skills: "Hearing Eyes and Seeing Ears"
111(2)
Immediate and Low-Stakes Assessment
113(1)
Real-World Experience and Life Skills
114(2)
Team Teaching and Creative Approaches
116(2)
Setting a High Bar from Day One
118(2)
Ensemble Integration
120(2)
Conclusion
122(3)
5 Pedagogy of Fundamentals and Diatonic Harmony
125(36)
Fundamentals
126(3)
Rhythm and Meter
129(2)
Key Signatures and Scales
131(4)
Intervals
135(2)
Triads/Seventh Chords
137(5)
Roman Numerals, Functional Diatonic Harmony, and Voice Leading
142(3)
Harmonic Function and Early Harmonic Analysis
145(9)
Part-Writing and Voice Leading
154(7)
6 Pedagogy of Chromatic Harmony and Form
161(29)
Secondary Function
161(4)
Mode Mixture/Borrowed Chords
165(3)
Altered Predominants
168(5)
Modulation
173(5)
Counterpoint
178(2)
Phrase and Periodic Structure and the Blues
180(3)
Large-Scale Forms
183(3)
Other Topics: Modes and Jazz Theory
186(4)
7 Pedagogy of Aural Skills
190(38)
Systems Used in Sight Singing
190(4)
Counting Methods
194(2)
Sound before Sight
196(2)
Warm-Ups and Sight Singing
198(3)
Clear Connections in the Aural Skills Classroom
201(1)
Rhythmic Reading
202(2)
Audiation
204(2)
Use of Real Literature in Rhythmic Reading and Sight Singing
206(1)
Dictation
207(8)
Fundamentals in Dictation
207(2)
Melodic Dictation
209(2)
Harmonic Dictation
211(4)
Error Detection
215(1)
Contextual Listening
216(12)
Improvisation in the Aural Skills Classroom
220(5)
"Friendly Tug of War"
225(3)
8 Assessment
228(28)
Summative Assessment: Change in Paradigms
231(2)
Summative Assessment: The Quick Grades
233(2)
Summative Assessment: Beyond the Quick Answer
235(9)
Formative Assessment
244(7)
Standards-Based Grading
251(2)
Creating a Scale/Progress-Centric Grading
253(1)
Conclusion
254(2)
9 Empower the Undergraduate
256(18)
The Undergraduate Music Major
257(3)
What Motivates Our Students
260(1)
The Tale of Two Undergraduates
261(1)
The Student Response
262(2)
The Faculty Response
264(3)
Teaching and Research Development on the Undergraduate Level: Beyond the Classroom
267(1)
Undergraduate Research
267(3)
Undergraduate Teaching Assistant
270(2)
Conclusion
272(2)
10 Taking the First Steps into Academia
274(15)
Graduate School: Setting Up Good Habits
274(4)
Getting a Job
278(7)
The Job Posting
278(1)
The Cover Letter
279(2)
The Curriculum Vitae
281(1)
The Teaching Philosophy
282(1)
The On-Campus Interview
283(2)
Preparing for Academia
285(4)
11 What the Effective Music Theory Instructors Do
289(6)
Epilogue: Why I Am A Music Theorist 295(2)
Appendix 297(2)
Bibliography 299(8)
Index 307
Jennifer Snodgrass is Professor of Music Theory at Appalachian State University where she teaches courses in music theory, aural skills, analysis, songwriting, and pedagogy. A Grammy-nominated educator, Snodgrass has published in a multitude of theory and education journals and is an active presenter around the country. Most recently she was named a co-editor to the Journal of Music Theory Pedagogy and is the assistant director of the Gail Boyd de Stwolinski Center for Theory Pedagogy at the University of Oklahoma.
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