Teaching Approaches in Music Theory


Book Description

Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers's diverse survey of music theory--one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses--is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984. In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy. Rogers has organized the book very much like a sonata. Part one, "Background," delineates principal ideas and themes, acquaints readers with the author's views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, "Thinking and Listening," develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, "Achieving Teaching Success," recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum. Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter.




Aural Skills Acquisition


Book Description

This book is about thinking in music. Music listeners who understand what they hear are thinking in music. Music readers who understand and visualize what they read are thinking in music. This book investigates the various ways musicians acquire those skills through an examination of the latest research in music perception and cognition, music theory, along with centuries of insight from music theorists, composers, and performers. Aural skills are the focus; the author also works with common problems in both skills teaching and skills acquisition.




Manual for Ear Training and Sight Singing


Book Description

A research-based aural skills curriculum that reflects the way students learn.







MENC Handbook of Research on Music Learning


Book Description

This Handbook summarizes the latest research on music learning consisting of new topics and updates from the New Handbook of Music Teaching and Learning (Oxford, 2002). Chapters are written by expert researchers in music teaching and learning,







Music Reading Comprehension


Book Description

This study applied Smith's theory in general reading comprehension to music sight reading fluency and comprehension in instrumental music performers. The study tested the proposition that students taught memory recall, eye movement as an aid to chunking, and the predictive structures of melody will learn to incorporate these strategies into the music reading process. In order to test this theory, fifty-nine 7th through 12th-grade flute students were given instruction in aid to chunking and melodic predicting in four 50-minute lessons over a two week period. The study used a 2 x 2 factorial experimental design. Subjects were pretested with the Watkins-Farnum Performance Scale, form A and classified into two categories: more-skilled and less-skilled music readers. Subjects were then randomly stratified into two instructional treatment groups: (1) Aid to Chunking plus Melodic Predicting, and (2) Melodic Predicting Alone. Aid to Chunking instruction consisted of exercises in memory recall and eye movement using a tachistoscopic technique. Melodic predicting instruction used a modified cloze method. Four main structural components were emphasized in melodic predicting: (1) phrasing and tonality; (2) melodic contour; (3) melodic and rhythmic patterning; and (4) modulation. A sight reading posttest was given on the Watkins-Farnum Performance Scale, Form B as a measure of music reading comprehension and sight reading improvement. Instructional modules for aid to chunking and melodic predicting are included, as well as a melodic predicting posttest, related sight reading exercises, and a pre-performance guide as an adjunct to sight reading. Results indicated: (1) melodic predicting and music reading comprehension are highly correlated; (2) the overall treatment effect of aid to chunking on sight reading improvement was not supported; and (3) a very large readability interaction effect between melodic predicting and music reading comprehension was found. Further findings indicate: (1) the aid to chunking effect was highly significant for less-skilled music readers; and (2) melodic predicting was most effective for more-skilled readers.