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Can we accomplish the same pedagogical goals without timed quizzes?
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William Caplin’s textbook, Analyzing Classical Form: An Approach for the Classroom, provides a new forum for his theory of formal organization in Classical compositions—one that is accessible to both undergraduate and graduate classrooms alike. Building on the foundations of Caplin’s Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, this much anticipated volume, like its predecessor, explicitly focuses on the style established by the composers of the high Classical period (1998, 3); 2013, xv). Prior to these volumes, the ideas of Schoenbe
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Hybrid Pedagogy Publishing is proud to announce its first textbook: Open Music Theory, “beta” edition—co-authored by Kris Shaffer, Brian Moseley, and Bryn Hughes. Open Music Theory, or OMT, is an open-source, interactive, online textbook for undergraduate music theory courses. As we write on OMT’s About page, we hope that this textbook will “support active student engagement with music in the theory classroom” and that the text will “take a back seat to student music making (and breaking).”
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The content distribution in the typical core curriculum as outlined in many popular textbooks (Aldwell, Schachter and Cadwallader, Clendinning and Marvin, Kostka and Payne, Laitz, Roig-Francolí, Turek) heavily emphasizes part writing. We define part writing in its current pedagogical form as the specific combination of voice leading and harmonic syntax in the eighteenth- and nineteenth-century styles that has appeared in textbooks since Walter Piston’s Harmony. It is the most-covered topic in these textbooks, and occupies the largest portion of our core sequence. Is this emphasis warranted?
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Rethinking the Undergraduate Music Curriculum: Where Are the Performers and Their Performances?
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A teacher’s first encounter with critical pedagogy can be overwhelming. The ideology is radically (pun intended) different from “traditional” approaches to education, and it can be easy to lose the trees for the forest, so to speak. Critical pedagogues, myself included, like to write sweeping manifestos. And because the movement is heavily ideological and rooted in justice, it can be easy to think that the only way to become a critical pedagogue is to change absolutely everything about the way we relate to our students.
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Review of Leigh Van Handel's Music Theory Skill Builder
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Top result of a Google search for "music theory blog" featuring mostly instruction in music fundamentals.