THE MORPHOLOGICAL AND AUDIATIVE INTERCONNECTEDNESS OF SOUND: EQUIVALENCE IN A MULTIDIMENSIONAL SOUNDSCAPE

Article is dedicated to the morphological and audiative interconnectedness of sound: equivalence in a multidimensional soundscape. To underline my goal of aiding guitarists, performers, composers, and researchers, the underlying purpose of this text is the development of pedagogical tools. Drawing on personal recent theoretical and practical research into the morphology of sound and audiation we will explore the notion of ‘equivalence in a multidimensional soundscape’. Correlations between the interconnectedness of sound-based morphologies emanating from extended guitar techniques, and comprehending internal realisation of the senses to hear and feel when sound is not physically present will be assessed. By outlining recent relevant texts that have made forward strides in guitar and music theory, pedagogy, and analysis we gain useful knowledge on all sounds, and listening strategies. To express an all-encompassing mental and visual image of apprehending the value of sound from a morphological and audiative perspective, three-dimensional topological diagrams will be evaluated; a development of previous two-dimensional visualisations from prior work. In regard to morphologies, topics of interest are spectromorphology, spatiomorphology, spectral quality, performance space, and performance aspects. Studying these aspects will help in the understanding of morphological value. Learning to comprehend morphologies in relation to the listening experience will deepen all round musical abilities. We will therefore investigate audiation through encompassing deep listening, reduced listening, inherent and external qualities, psychological experience, imagination, and improvisation. The perception of spectral motions in space involve dynamic thinking and action, and as more mutual inclusivity is discovered we can start to contemplate more adventurous pedagogical tools from which future.

Music Theory Pedagogy: What Paul Taught Nadia

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.

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

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.

‘It makes you think anything is possible’: Representing diversity in music 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.