The Routledge Companion to Music Theory Pedagogy

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
Preface
Acknowledgments
Supplemental Materials
Part I: Fundamentals
	1 Music Theory and Working Memory
	2 Putting the Music in “Music Fundamentals”
	3 A Cornucopia of Accidentals
	4 Contouring as a Powerful Tool for Pitch Awareness
	5 Incorporating Melodicas into the Music Theory Classroom
	6 Music Fundamentals Games
Part II: Rhythm and Meter
	7 Introducing Musical Meter through Perception
	8 Starting from Scratch: Representing Meter Using Simple Programming Tools
	9 “Computer Programmed With Just One Finger”: Transcribing Rap Beats with the Roland TR-808
	10 Rebeaming Rhythms: Helping Students “Feel” the Need for Correct Beaming
	11 Clapping for Credit: A Pedagogical Application of Reich’s Clapping Music
	12 Hindustani Tāl: Non-Western Explorations of Meter
Part III: Core Curriculum
	13 Small-Scale Improvisation in the Music Theory Classroom
	14 The Cognitive and Communicative Constraints of Part-Writing
	15 Voice-Leading Detectives
	16 Harmonic Sequences Simplified: The First Week of Instruction
	17 Grading the Song
	18 Finding the Implied Polyphony in the Minuet II from Bach’s Cello Suite No. 1 in G Major
	19 Using Tendency Tones to Teach the Morphology and Syntax of Chromatic Harmony
	20 Apply Yourself! An Active Learning Lesson Plan for Introducing Secondary Dominants
	21 Plot Twists: Narrative Pivots and the Enharmonic Augmented-Sixth Chord
	22 Chromatic Mediants through the Context of Film Music
	23 How to Analyze Chromatic Lament-Bass Harmonizations (Without Tears)
	24 Introduction to Common-Tone Diminished-Seventh Chords
	25 “It’s an N, bro”: Teaching Enharmonic Reinterpretations of Fully Diminished Seventh Chords by Ear
Part IV: Aural Skills
	26 Defending the Straw Man: Modulation, Solmization, and What to Do with a Brain
	27 Speaking Music
	28 Finding Your Way Home: Methods for Finding Tonic
	29 Error Detection in Aural Skills Classes
	30 In Search of Hidden Treasures: An Exercise in Symphonic Hearing
	31 An Aural Skills Introduction to Twelve-Tone Music: Dallapiccola’s “Vespro, Tutto Riporti”
Part V: Post-Tonal Theory
	32 Setting Sets Aside: Prioritizing Motive, Text, and Diversity in Post-Tonal Analysis Courses
	33 Teaching and Learning Early Twentieth-Century Techniques at the Keyboard
	34 Starting the Twentieth Century with a Bang!: A Lesson Plan for Whole-Tone Scales in Tosca
	35 Twentieth-Century Polymodality: Scalar Layering, Chromatic Mismatch, and Symmetry
	36 Twelve-Tone Study Using Symbols in Dallapiccola’s “Fregi,” from Quaderno Musicale di Annalibera
	37 Integral Serialism – Analysis of Gerhard, String Quartet No. 1, mvt. 3
	38 Mapping Symmetry and Form in George Crumb’s “A Prophecy of Nostradamus”
Part VI: Form
	39 Principles of Form
	40 Recomposing Phrase Structure
	41 Teaching Musical Structure through Disney Songs
	42 From Theory to Practice: How to Compose a Sentence
	43 Incorporating Latin-American Popular Music in the Study of Musical Form
	44 Binary Form through the Music of Underrepresented Composers
	45 A Form-Functional Approach to Binary Form Analysis
	46 Exploring Ternary Form through the Lens of Analysis-Performance in a Mozart Aria
	47 Sonata-Allegro Form: Understanding the Drama
	48 Concerto Form: Transforming a Sonata into a Concerto
Part VII: Popular Music
	49 Popular Music in the Theory Classroom
	50 The Beatles’ “Day Tripper”: A Tortured Stretching of the Twelve-Bar Blues
	51 Making Borrowed Chords ‘Pop’: Teaching Modal Mixture through Popular Music
	52 Chromatic Mediants in Popular Music
Part VIII: Who, What, and How We Teach
	53 Challenges and Opportunities of Teaching Music Theory at Community Colleges (and Elsewhere)
	54 More Than Just Four Chords: Teaching Music Theory/Aural Skills to Music Industry Majors
	55 Instructing a Range of Experiences within the Music Theory Classroom
	56 Music Theory Pedagogy and Public Music Theory
	57 Analytical Podcasting
	58 Designing for Access in the Classroom and Beyond
	59 Music Analysis and Accessibility in the Music Theory Classroom
	60 Accommodating Dyslexia in Aural Skills: A Case Study
	61 Writing Exams Cooperatively with Students
	62 What Should an Undergraduate Music Theory Curriculum Teach? (And, Alas, What Most of the Time We Don’t)
	63 Strategies for Revising Music Curricula for the Twenty-First Century: A Case Study
	64 Putting It Together: Rethinking the Theory Curriculum
	65 Adapting the Aural Skills Curriculum: A Move Away From “The” Right Answer
	66 Cultivating Curiosity: Questions, Relevance, and Focus in the Theory Classroom
	67 Using Video Technology in Music Theory Assignments
	68 Incorporating Improvisation in a Theory Class on Contemporary Music
Notes on Contributors
Credits
Index