The Routledge Companion to Music Theory Pedagogy

Contents

• 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 (Jose 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 (Aine 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 Ferrao 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 21 st 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)