Journal of Music Theory Pedagogy
type: channel
description: The Journal of Music Theory Pedagogy is the premiere journal dedicated to the dissemination of scholarship regarding the teaching and learning of music theory. The journal is a project of the Gail Boyd de Stwolinksi Center for Music Theory Pedagogy, published annually by the University of Oklahoma Libraries, with support from the University of Oklahoma Weitzenhoffer Family College of Fine Arts. Learn more about the journal.
publisher: University of Oklahoma Libraries
language: en
publication name: Journal of Music Theory Pedagogy
items: The Dictation Resource
items: A Critical Review of Current Aural Skill Materials and Pedagogical Practices
items: Set Class 014 and Schoenberg's Pierrot Lunaire
items: Mode Mixture in John Mayer's Continuum
items: Chopin Prelude in C, Op. 28 no. 1: Reductive Analysis Worksheet
items: Introduction to Modes
items: Review of The Routledge Companion to Aural Skills Pedagogy
items: Review of Understanding Post-Tonal Music and The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses
items: Nonwestern Music and Decolonial Pedagogy in the Music Theory Classroom
items: Review of Bending the Rules of Music Theory: Lessons from Great Composers
items: Facilitating Group Composition for Large Ensembles through a Building Blocks Curriculum
items: Dictation by Template: A New Approach for the Aural Skills Classroom
items: Student-Driven Music Theory: How the Question Formulation Technique can Promote Agency, Engagement, and Curiosity
items: Either/Neither/Both: Teaching Formal Ambiguity in the Undergraduate Theory Core
items: Thomas Benjamin, Counterpoint in the Style of J. S. Bach
items: Trends and Issues in Music Theory Teaching
items: Harmony and Integrated Theory: Four Recent Texts
items: In Memoriam: Richard Pierre ("Pete") Delone
items: Guides to Better Classroom Teaching: A Review of Three Books and Additional Possibilities
items: Derivational Analysis Step By Step
items: Phrase and Cadence: A Study of Terminology and Defintion
items: Robert Gaudlin, A Practical Approach to Sixteenth-Century Counterpoint (Prentice-Hall, 1985)
items: Textual Constructions in Music
items: Pedagogical Aspects of Chromaticism in 16th- and 18th-Century Counterpoint
items: Overall Structure and Design in a Variation Form
items: Comprehensive Muscianship at San Diego State University
items: On Teaching Composition
items: Arrangment as Analysis
items: A Comparison of Synthesized and Acoustic Sound Sources in Lower-Division Theory Courses
items: Unity and Constant in Mozart

The Dictation Resource
type: item
description: The Dictation Resource is a comprehensive website of dictation and ear training exercises. The exercises in melodic dictation, harmonic dictation, and pitch patterns cover an entire four-semester undergraduate aural skills curriculum in Western diatonic and chromatic harmony. Topics are organized according to a scale degree approach. In addition to being used for homework and practice assignments, the materials from the website and accompanying answer key can be adapted in various ways for use in the music theory classroom. The dictation answer key is available by contacting the journal at jmtp@lipscomb.edu
subject: Resource
  topic: section
subject: dictation
  topic: keywords
subject: ear training
  topic: keywords
subject: exercises
  topic: keywords
subject: aural skills
  topic: keywords
subject: undergraduate curriculum
  topic: keywords
subject: Music Pedagogy
  topic: disciplines
subject: Music Theory
  topic: disciplines
creator: Adam J Kolek
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1419

A Critical Review of Current Aural Skill Materials and Pedagogical Practices
type: item
description: Editors’ Note: Many books and software programs are discussed in the following article, and these materials are listed in four examples in the article: Example 2 shows books focused on listening skills alone along with those that integrate listening and sight singing; the four books presented in Example 4 include aural skills along with other topics; Example 5 covers anthologies of melodies and rhythms; and Example 7 lists aural skills software. Included are some supplemental files that are a set of discussions among the authors that grew out of their collaboration on this article. In these videos, titled "Five Conversations about Aural Skills: Present and Future,” the authors talk with one another and with Melissa Hoag, the reviews editor of JMTP, about aural skills pedagogy as it currently stands and offer ideas about its future. These videos are also available on YouTube here.
subject: Review
  topic: section
subject: review
  topic: keywords
subject: aural skills pedagogy
  topic: keywords
subject: textbooks
  topic: keywords
subject: software
  topic: keywords
subject: instructional materials
  topic: keywords
creator: Timothy Chenette
creator: Stacey Davis
creator: Stanley V. Kleppinger
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1410

Set Class 014 and Schoenberg's Pierrot Lunaire
type: item
description: This one-page assignment on set class 014 and Schoenberg’s “Nacht” is designed for use in undergraduate or graduate courses involving analysis of 20th-century music. The main question requires students to trace 014 trichords in the introductory measures. A chart of pitch classes approximating location in the score simplifies the task. Other questions guide students to consider questions of meaning, specifically connecting abstract trichords to the narrative of the music, which exemplifies Expressionism. A separate PDF provides a key and commentary for instructors.
subject: Resource
  topic: section
subject: worksheet
  topic: keywords
subject: musical analysis
  topic: keywords
subject: Schoenberg's Pierrot Lunaire
  topic: keywords
subject: set class 014
  topic: keywords
subject: pitch classes
  topic: keywords
subject: Music Pedagogy
  topic: disciplines
subject: Music Theory
  topic: disciplines
creator: Gabe Fankhauser
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1418

Mode Mixture in John Mayer's Continuum
type: item
description: This one-page assignment is designed for use in undergraduate music theory or graduate music theory review courses. Two questions, one involving part writing and the other analysis, involve popular songs by John Mayer, “Stop This Train” and “Gravity,” both from his 2006 album Continuum. Both questions require some familiarity with mode mixture or borrowed chords, particularly iiø65, as well as basic part writing principles, secondary dominants (V7/V), and figured bass. The product of the student’s part-writing is a reduction of “Stop this Train,” in which seven different chords can be traced to convention tonal harmony and voice leading, yet with some remarkable treatments, including chordal sevenths that are not resolved conventionally, a dramatic suspension in iiø65(7–6), and a cadential six-four and dominant- seventh embellished with a chromatic line. The second question asks the student to compare two solos by Mayer in his show stopping song, “Gravity.” In the studio version, Mayer plays ^6, while in more recent shows, he plays flat-^6, a scale degree commonly associated with heightening drama or sadness in music. A significant portion of each question guides students to consider deeper questions of narrative, that is, what purpose does the modal mixture serve in the narrative in each song. A separate PDF provides a key for instructors, with additional links to YouTube videos.
subject: Resource
  topic: section
subject: worksheet
  topic: keywords
subject: part writing
  topic: keywords
subject: mode mixture
  topic: keywords
subject: musical analysis
  topic: keywords
subject: musical narrative
  topic: keywords
subject: Music Pedagogy
  topic: disciplines
subject: Music Theory
  topic: disciplines
creator: Gabe Fankhauser
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1416

Chopin Prelude in C, Op. 28 no. 1: Reductive Analysis Worksheet
type: item
description: This two-page assignment on Chopin’s brief but sophisticated Prelude in C, op. 28, no. 1 is designed for use in advanced undergraduate or graduate music theory courses involving reductive techniques or form. The primary question requires students to write a simple SATB- style reduction of the piano score. The first measure is given as example. Completion of the entire assignment would likely take more than one day. Other questions guide students to consider questions of motivic development, narrative, Fibonacci numbers and the Golden Mean, and performance. Suggested readings are provided to guide students interested reading more about prolongation (voice-leading graphs) or the intersection between theory and performance. A separate PDF provides a key and commentary for instructors.
subject: Resource
  topic: section
subject: worksheet
  topic: keywords
subject: reductive analysis
  topic: keywords
subject: SATB-style reduction
  topic: keywords
subject: Chopin Prelude in C
  topic: keywords
subject: op. 28
  topic: keywords
subject: no. 1
  topic: keywords
subject: Music Pedagogy
  topic: disciplines
subject: Music Theory
  topic: disciplines
creator: Gabe Fankhauser
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1417

Introduction to Modes
type: item
description: This lesson will introduce the Lydian, Mixolydian, and Dorian modes, as well as connect the major and minor scales/keys to the terms of Ionian and Aeolian. Students will need to know the WT/HT sequence within major and minor scales before receiving this lesson, and the visuals in this lesson include examples in treble, bass, and alto clefs. Also, musical excerpts and review/assessment examples are given in various keys. This lesson is appropriate for undergraduate or high school theory students, or for anyone desiring a review of modes. During the lesson an acknowledgement of the system of assigning modes to specific white-key groups on the piano may be made (Dorian as D to D, Lydian as F to F, and Mixolydian as G to G), but the lesson focuses more on the altered pitches compared to the nearest major or minor scale, so students will be able to identify modes on any tonic/key center. This lesson was originally delivered via Zoom, and a copy of the slideshow used is included.
subject: Resource
  topic: section
subject: lesson plan
  topic: keywords
subject: musical modes
  topic: keywords
subject: major and minor keys
  topic: keywords
subject: undergraduate students
  topic: keywords
subject: high school students
  topic: keywords
subject: Music Pedagogy
  topic: disciplines
subject: Music Theory
  topic: disciplines
creator: Daniel Lee
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1415

Review of The Routledge Companion to Aural Skills Pedagogy
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: aural skills pedagogy
  topic: keywords
subject: aural skills
  topic: keywords
subject: music theory pedagogy
  topic: keywords
subject: instructional materials
  topic: keywords
creator: David Castro
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1413

Review of Understanding Post-Tonal Music and The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: post-tonal music
  topic: keywords
subject: post-tonal analysis
  topic: keywords
subject: instructional materials
  topic: keywords
creator: Allison Wente
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1412

Nonwestern Music and Decolonial Pedagogy in the Music Theory Classroom
type: item
description: Many scholars have called for North American music theory curricula to include music beyond the western classical canon. First, I show the benefit of situating such discussions within the “decolonial option” (Mignolo 2011). Then, I offer decolonial pedagogical techniques for integrating nonwestern music into the theory classroom. Drawing on Mohanty (2003) and Hess (2015), I explore three curricular models in which “Other” subject material is engaged. I then adapt the models to the music theory classroom, showing three vignettes centering around music for the Chinese guzheng. Decolonial pedagogy aligns most with the Comparative Musics Model in which all musics are understood relationally. The other two models are more tokenistic, yet easier to implement. I conclude by offering decolonial pedagogical strategies derived from the Comparative Musics Model and from recent anti-oppression music scholarship (Attas 2019, Chavannes and Ryan 2018/2022, Hisama 2018, Kim 2021, Lumsden 2018, Reed 2021) that can guide ethical and nonviolent musical engagement in music theory classrooms.
subject: Articles
  topic: section
subject: nonwestern music
  topic: keywords
subject: decolonial pedagogy
  topic: keywords
subject: Comparative Musics Model
  topic: keywords
subject: undergraduate music theory curriculum
  topic: keywords
subject: curriculum reform
  topic: keywords
creator: Molly Reid
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1408

Review of Bending the Rules of Music Theory: Lessons from Great Composers
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: composition rules
  topic: keywords
subject: undergraduate music theory
  topic: keywords
creator: Michael Baker
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1411

Facilitating Group Composition for Large Ensembles through a Building Blocks Curriculum
type: item
description: When I was a sixth- through twelfth-grade band director in Illinois, I was continually searching for ways to bring composition and improvisation into our classroom. As a composer myself, it was important to incorporate compositional activities into my lessons in addition to engaging with music through performance, getting the students more involved with the music they were studying and rehearsing for concerts. As a result, I developed a composition curriculum for my large ensembles with the goal of going beyond the classroom and performing a collectively-composed work for our community. The curriculum allowed for a fluid and natural expansion from individual composing to small group performance, discussion, and voting, and then to large ensemble performance, discussion, voting, and workshopping. This procedure applied to every musical building block we focused on for the project, including rhythm, harmony, melody, countermelody, form, and orchestration. Students were naturally engaged in discussion about topics such as melodic contour, harmonic development, rhythmic variation, and structure, but they were also asked to consider what it means to be a composer, all while creating a new composition as a collective team. The resulting work was a composition and performance rooted in collaboration, respect, and theoretical understanding of musical structures. This article discusses the curriculum in greater detail, including its relationship to state and national standards, background knowledge and class climate, approaches to each musical building block, and how to differentiate this curriculum to meet the needs and abilities of your ensemble.
subject: Articles
  topic: section
subject: group composition
  topic: keywords
subject: compositional activities
  topic: keywords
subject: large ensembles
  topic: keywords
subject: building blocks curriculum
  topic: keywords
subject: composition curriculum
  topic: keywords
creator: Alexis C. Lamb
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1409

Dictation by Template: A New Approach for the Aural Skills Classroom
type: item
description: This article proposes a new approach to dictation based on using templates, essentially carefully designed worksheets that direct students’ eyes and ears toward relevant musical phenomena as they listen to commercial recordings. Taking dictation from templates, I argue, allows the exercise to work in service of higher order learning goals such as (1) familiarizing the student with real repertoire and compositional styles, (2) exposing students to musical recordings and offering a vocabulary for discussing them, and (3) privileging the role of sounding music in the path toward understanding music-theoretical concepts. It also provides a broadly humanistic approach to dictation that connects the sounding stuff of music to concepts that are often left to be studied on their own in written theory courses. It thus represents a reevaluation of the role of aural skills in leading the student toward mastery of theoretical, historical, and philosophical concepts.
subject: Articles
  topic: section
subject: dictation
  topic: keywords
subject: templates
  topic: keywords
subject: worksheets
  topic: keywords
subject: aural skills curriculum
  topic: keywords
subject: lesson plan
  topic: keywords
creator: Jonathan Guez
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1407

Student-Driven Music Theory: How the Question Formulation Technique can Promote Agency, Engagement, and Curiosity
type: item
description: How can we move our students from answering questions that we pose to them, towards developing their own avenues of inquiry? In this paper we make the case for teaching students how to ask meaningful questions about music. We argue that asking questions can be a crucial activity that motivates students’ development as thoughtful and effective musicians. The Question Formulation Technique (QFT) is a pedagogical tool that teaches students how to develop their own questions, centers those questions in learning activities, and lastly encourages reflection on the entire process. This method foregrounds students’ ideas and agency, motivates them to engage creatively with the topic, and thereby increases their confidence with and interest in the course material. We will share strategies for using the QFT, highlighting how this approach can create deeper learning and ultimately challenge students in ways that are meaningful for their own musical pursuits.
subject: Articles
  topic: section
subject: Question Formulation Technique (QFT)
  topic: keywords
subject: pedagogical tool
  topic: keywords
subject: student agency
  topic: keywords
subject: case study
  topic: keywords
subject: lesson plan
  topic: keywords
creator: Patricia Burt
creator: Philip Duker
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1406

Either/Neither/Both: Teaching Formal Ambiguity in the Undergraduate Theory Core
type: item
subject: Articles
  topic: section
subject: large-scale form
  topic: keywords
subject: musical ambiguity
  topic: keywords
subject: sonata form
  topic: keywords
subject: undergraduate curriculum
  topic: keywords
subject: lesson plan
  topic: keywords
creator: Aaron Grant
creator: Joan Huguet
rights: Copyright (c) 2022 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 2022-01-01
publication date: 2022-01-01
doi: 10.71156/2994-7073.1405

Thomas Benjamin, Counterpoint in the Style of J. S. Bach
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: counterpoint
  topic: keywords
subject: Bach
  topic: keywords
subject: textbook
  topic: keywords
creator: Theodore O. Johnson
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1346

Trends and Issues in Music Theory Teaching
type: item
subject: Editorial
  topic: section
subject: music theory pedagogy trends
  topic: keywords
subject: comprehensive muscianship movement
  topic: keywords
subject: music theory scholarship
  topic: keywords
subject: music theory curriculum
  topic: keywords
subject: history
  topic: keywords
creator: Michael R Rogers
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1330

Harmony and Integrated Theory: Four Recent Texts
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: harmony
  topic: keywords
subject: integrated theory
  topic: keywords
subject: textbook
  topic: keywords
subject: comparison
  topic: keywords
creator: Mary Wennerstrom
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1345

In Memoriam: Richard Pierre ("Pete") Delone
type: item
subject: News
  topic: section
subject: Pete DeLone
  topic: keywords
subject: in memoriam
  topic: keywords
subject: teaching methods
  topic: keywords
creator: Allen Winold
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1331

Guides to Better Classroom Teaching: A Review of Three Books and Additional Possibilities
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: college teaching
  topic: keywords
subject: teaching guides
  topic: keywords
subject: compariosn
  topic: keywords
creator: L. Dee Fink
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1339

Derivational Analysis Step By Step
type: item
subject: Articles
  topic: section
subject: derivational analysis
  topic: keywords
subject: pitch-rhythmic events
  topic: keywords
subject: derivation
  topic: keywords
subject: analysis technique
  topic: keywords
creator: Arthur Komar
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1341

Phrase and Cadence: A Study of Terminology and Defintion
type: item
subject: Articles
  topic: section
subject: phrase
  topic: keywords
subject: cadence
  topic: keywords
subject: music terminology
  topic: keywords
subject: working definitions
  topic: keywords
subject: standard lexicon
  topic: keywords
creator: Ann Blombach
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1344

Robert Gaudlin, A Practical Approach to Sixteenth-Century Counterpoint (Prentice-Hall, 1985)
type: item
subject: Book Review
  topic: section
subject: book review
  topic: keywords
subject: sixteenth-century counterpoint
  topic: keywords
subject: modal counterpoint
  topic: keywords
subject: textbook
  topic: keywords
creator: Thomas Christensen
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1338

Textual Constructions in Music
type: item
subject: Articles
  topic: section
subject: constructions
  topic: keywords
subject: textures
  topic: keywords
subject: textural constructions
  topic: keywords
subject: music analysis
  topic: keywords
subject: applications
  topic: keywords
creator: Monte Tubb
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1343

Pedagogical Aspects of Chromaticism in 16th- and 18th-Century Counterpoint
type: item
subject: Articles
  topic: section
subject: pedagogical methods
  topic: keywords
subject: sixteenth-century and eighteenth-century counterpoint
  topic: keywords
subject: chromatism
  topic: keywords
subject: voice-leading
  topic: keywords
subject: polyphony
  topic: keywords
creator: Robert Gauldin
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1342

Overall Structure and Design in a Variation Form
type: item
description: This article was the third prize winner of the University of Wisconsin/Madison Analysis Competition. The University of Wisconsin/Madison Analysis Competition was conducted in 1985 and adjudicated by an independent panel of nationally respected theory specialists. Contestants were instructed to submit a teaching analysis of a tonal composition suitable for classroom presentation at the level of sophomore theory. [It is assumed that readers will consult a complete score of each composition under discussion.] Grateful acknowledgement is extended to Dr. Bruce Benward, Director of the Competition, for his permission to publish these papers in this journal.
subject: Articles
  topic: section
subject: sonata movement
  topic: keywords
subject: variation form
  topic: keywords
subject: musical theme
  topic: keywords
subject: music analysis
  topic: keywords
subject: Beethoven
  topic: keywords
creator: Anne Marie de Zeeuw
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1334

Comprehensive Muscianship at San Diego State University
type: item
subject: Articles
  topic: section
subject: comprehensive muscianship
  topic: keywords
subject: undergraduate curriculum
  topic: keywords
subject: pedagogical style
  topic: keywords
subject: curriculum design
  topic: keywords
creator: David Ward-Steinman
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1340

On Teaching Composition
type: item
subject: Articles
  topic: section
subject: teaching composition
  topic: keywords
subject: goals of teaching
  topic: keywords
subject: pedagogical strategies
  topic: keywords
subject: technical training
  topic: keywords
subject: prerequisites
  topic: keywords
creator: Thomas Benjamin
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1335

Arrangment as Analysis
type: item
subject: Articles
  topic: section
subject: music analysis
  topic: keywords
subject: music arrangement
  topic: keywords
subject: orchestration
  topic: keywords
subject: music structure
  topic: keywords
subject: segmentation
  topic: keywords
creator: Nicholas Cook
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1336

A Comparison of Synthesized and Acoustic Sound Sources in Lower-Division Theory Courses
type: item
subject: Articles
  topic: section
subject: aural perception
  topic: keywords
subject: personalized system of instruction (PSI)
  topic: keywords
subject: Keller plan
  topic: keywords
subject: synthesized sound
  topic: keywords
subject: acoustic sound
  topic: keywords
creator: W. Kenton Bales
creator: Roger E. Foltz
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1337

Unity and Constant in Mozart
type: item
description: This article was the second prize winner of the University of Wisconsin/Madison Analysis Competition. The University of Wisconsin/Madison Analysis Competition was conducted in 1985 and adjudicated by an independent panel of nationally respected theory specialists. Contestants were instructed to submit a teaching analysis of a tonal composition suitable for classroom presentation at the level of sophomore theory. [It is assumed that readers will consult a complete score of each composition under discussion.] Grateful acknowledgement is extended to Dr. Bruce Benward, Director of the Competition, for his permission to publish these papers in this journal.
subject: Articles
  topic: section
subject: sonata movements
  topic: keywords
subject: music analysis
  topic: keywords
subject: neighbor-note figure
  topic: keywords
subject: unity
  topic: keywords
subject: Mozart
  topic: keywords
creator: Lisa Hanford
rights: Copyright (c) 1987 The Board of Regents of the University of Oklahoma https://creativecommons.org/licenses/by-nc-nd/4.0/
date: 1987-01-01
publication date: 1987-01-01
doi: 10.71156/2994-7073.1333