Where Is the Music in Music Theory Pedagogy?

2020 ◽  
pp. 133-150
Keyword(s):  
Music Theory ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy

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

2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Gregory R. McCandless
Keyword(s):  
Music Theory ◽  
Conference Report ◽  
First Century ◽  
Editorial Boards ◽  
School Of Music ◽  
Practice Teaching ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy ◽  
Twenty First Century ◽  
Teaching Music

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.

scholarly journals ‘It makes you think anything is possible’: Representing diversity in music theory pedagogy

2016 ◽  
Vol 33 (2) ◽  
pp. 175-189 ◽  
Author(s):  
Robert Davidson ◽  
Mandy Lupton
Keyword(s):  
Contemporary Art ◽  
Undergraduate Students ◽  
Music Theory ◽  
Traditional Approach ◽  
Art Music ◽  
Music Programs ◽  
Action Research Project ◽  
Music Making ◽  
Music Theory Pedagogy ◽  
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.

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