Looking to Europe: In Search of a Praxis-Based Music-Theory Pedagogy

2017 ◽  
Vol 4 (2) ◽  
pp. 283-298
Author(s):  
Roger Graybill
Keyword(s):  
Music Theory ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy

scholarly journals Conference Report: “Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century”

2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Gregory R. McCandless
Keyword(s):  
Music Theory ◽  
Conference Report ◽  
First Century ◽  
Editorial Boards ◽  
School Of Music ◽  
Practice Teaching ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy ◽  
Twenty First Century ◽  
Teaching Music

From June 1–3, 2017, the School of Music at Lee University in Cleveland, TN hosted a conference that was exclusively focused on music theory pedagogy, titled “Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century”. This conference was sponsored by the Gail Boyd de Stwolinski Center for Music Theory Pedagogy in partnership with the editorial boards of the Journal of Music Theory Pedagogy and the Journal of Music Theory Pedagogy Online. Papers, posters, and workshops representing a variety of pedagogical topics were presented, including two keynotes delivered by Ken Bain and Anna Gawboy.

scholarly journals ‘It makes you think anything is possible’: Representing diversity in music theory pedagogy

2016 ◽  
Vol 33 (2) ◽  
pp. 175-189 ◽  
Author(s):  
Robert Davidson ◽  
Mandy Lupton
Keyword(s):  
Contemporary Art ◽  
Undergraduate Students ◽  
Music Theory ◽  
Traditional Approach ◽  
Art Music ◽  
Music Programs ◽  
Action Research Project ◽  
Music Making ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy

This paper critiques a traditional approach to music theory pedagogy. It argues that music theory courses should draw on pedagogies that reflect the diversity and pluralism inherent in 21st century music making. It presents the findings of an action research project investigating the experiences of undergraduate students undertaking an innovative contemporary art music theory course. It describes the students’ struggle in coming to terms with a course that integrated composing, performing, listening and analysing coupled with what for many was their first exposure to the diversity of contemporary art music. The paper concludes with suggesting that the approach could be adopted more widely throughout music programs.

Music Theory Pedagogy: What Paul Taught Nadia

2019 ◽  
Vol 6 (2) ◽  
pp. 230-254
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
United States ◽  
Music Theory ◽  
The United States ◽  
Paris Conservatory ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy ◽  
Nadia Boulanger ◽  
High Standards ◽  
As If

The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her teacher at the Paris Conservatory, Paul Vidal. Even though she was not taught roman numerals or chord functions, she learned harmony as a performative art, as something to express what was implicit in a given melody or bass. The article describes what Paul taught Nadia, and how the incredibly high standards for crafting harmonic-contrapuntal musical fabrics at the Paris Conservatory could be mastered by students willing to memorize the intricacies of a centuries-old art.

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