A Case Study in Early Tudor Music Theory

1993 ◽  
Vol 134 (1810) ◽  
pp. 706
Author(s):  
Judith Blezzard ◽  
John Tucke ◽  
Ronald Woodley
Keyword(s):  
Music Theory

Successful AP Music Theory Instruction: A Case Study

2017 ◽  
Vol 36 (2) ◽  
pp. 53-61
Author(s):  
Nathan O. Buonviri
Keyword(s):  
Instructional Strategies ◽  
Advanced Placement ◽  
Music Theory ◽  
Qualitative Data ◽  
Music Educators ◽  
Asking Questions ◽  
Field Notes ◽  
Attention To Students ◽  
Placement Exam

The purpose of this case study was to examine the instructional approach of a highly successful Advanced Placement Music Theory teacher. I visited the participant’s class twice a week for 14 weeks, taking field notes, conducting interviews, and collecting instructional artifacts. Analysis of qualitative data revealed three main themes: classroom atmosphere, instructional strategies, and the Advanced Placement exam. The participant’s classroom atmosphere was built on effective pacing, student rapport, and an active, open learning environment. His instructional strategies included offering individual attention to students, asking questions to model thinking, and connecting sight to sound. He used the Advanced Placement exam as both an instructional guidepost and motivational tool. Implications for music educators include the need to focus on specific approaches conducive to successful theory teaching, which may share both similarities and differences with approaches they use when directing ensembles.

John Tucke: A Case Study in Early Tudor Music Theory.

1995 ◽  
Vol 26 (2) ◽  
pp. 425
Author(s):  
Gene S. Trantham ◽  
Ronald Woodley
Keyword(s):  
Music Theory

HERMENEUTICS AND THE NEW FORMENLEHRE: AN INTERPRETATION OF HAYDN'S ‘OXFORD’ SYMPHONY, FIRST MOVEMENT

2010 ◽  
Vol 7 (2) ◽  
pp. 199-219 ◽  
Author(s):  
MATTHEW RILEY
Keyword(s):  
Eighteenth Century ◽  
Music Theory ◽  
Human Action ◽  
First Century ◽  
Sonata Form ◽  
Primary Mode ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Twenty First Century

This article establishes a dialogue between twenty-first-century music theory and historical modes of enquiry, adapting the new Formenlehre (Caplin, Hepokoski/Darcy) to serve a historically oriented hermeneutics. An analytical case study of the first movement of Haydn's Symphony No. 92 (1789) traces the changing functional meanings of the opening ‘caesura prolongation phrase’. The substance of the exposition consists largely of things functionally ‘before-the-beginning’ and ‘after-the-end’, while the recapitulation follows a logic of suspense and surprise, keeping the listener continually guessing. The analysis calls into question Hepokoski and Darcy's restriction of the mode of signification of sonata-form movements to the narration of human action. The primary mode of signification of the recapitulation is indexical: it stands as the effect of a human cause. This account matches late eighteenth-century concepts of ‘genius’.

Music Theory and Philosophy

2020 ◽  
pp. 26-43
Author(s):  
Alexander Rehding
Keyword(s):  
Music Theory ◽  
Nineteenth And Twentieth Centuries

In principle, music theory and philosophy are close allies, both trying to understand the fundamental issues of music. In practice, however, a deep rift has remained ever since the time of Aristotle and Aristoxenus. Rather than present a survey, this chapter focuses on the nineteenth and twentieth centuries, when the foundations were laid for our current music-theoretical practice, to examine the sources of tension and attraction between the two discourses, using Schopenhauer’s philosophy and Ernst Kurth’s Wagnerian music theory as a twin case study. Both Schopenhauer’s metaphysics of music and Kurth’s energistic model of tension-relaxation present related views on harmony and melody. When considered in combination, the two go a long way to bridging the age-old disparities between both disciplines.

scholarly journals Analyzing Musical Terminology in Slovene Music Textbooks up until the End of World War II: a case study of the term “note” and some other related terms

2014 ◽  
Vol 50 (1) ◽  
pp. 107-138
Author(s):  
Jelena Grazio
Keyword(s):  
World War Ii ◽  
Music Theory ◽  
Contrastive Analysis ◽  
World War ◽  
The World ◽  
History Of ◽  
End Of The World

The following article deals with technical terminology in the field of music. Its intention is to present a chronological-contrastive analysis of musical terminology in Slovene music theory textbooks written up until the end of the World War II, exemplified by the terms selected. The author emphasizes the importance of such research for musicology, presents current contributions in this area and describes the history of musical textbooks that have been used as corpus for the analysis.

John Tucke: A Case Study in Early Tudor Music Theory

Notes ◽  
1995 ◽  
Vol 51 (4) ◽  
pp. 1312
Author(s):  
David Wulstan ◽  
Ronald Woodley
Keyword(s):  
Music Theory

scholarly journals What Are the Truly Aural Skills?

2021 ◽  
Vol 27 (2) ◽  
Author(s):  
Timothy Chenette
Keyword(s):  
Working Memory ◽  
Pilot Study ◽  
Music Theory ◽  
Aural Skills ◽  
Roman Numeral ◽  
Perceptual Skills ◽  
Knowledge Based ◽  
Current State ◽  
Traditional Curricula

I argue that current models of aural skills instruction are too strongly linked to music theory curricula. I examine harmonic dictation as a case study, demonstrating that the system of roman-numeral/inversion-symbol labels can interfere with our ability to determine what exactly students are hearing and can distract students from more directly perceptual goals. A pilot study suggests that focusing on bass lines and schemata may make our harmonic dictation training more relevant to perception. I propose that a skill is “truly aural” to the extent that it engages working memory with minimal knowledge-based mediation. Finally, I consider the current state of aural skills instruction and suggest a number of curricular revisions. The more radical proposals call for redesigning aural skills classes to focus on perceptual skills and relocating knowledge-mediated listening to the music theory classroom. Other proposals take a more measured approach to integrating perceptual skills with otherwise traditional curricula.

scholarly journals Radiohead’s “Pyramid Song”

2013 ◽  
Vol 19 (1) ◽  
Author(s):  
Nathan D. Hesselink
Keyword(s):  
Problem Solving ◽  
Music Theory ◽  
Collaborative Problem Solving ◽  
Audience Participation ◽  
Collaborative Problem ◽  
Mass Participation

This article demonstrates how the confluence of ambiguity and rhythm in a pop/rock song creates a powerful force for audience participation. Focusing on Radiohead’s “Pyramid Song” (2001) as a case study, I document in detail the myriad ways listening audiences have made sense of its meter and how this knowledge has informed their interpretations of compositional intent. I conclude with further thoughts on the roles and possibilities of ambiguity and the directions it points towards mass participation and collaborative problem solving in the realms of aesthetics and music theory.

scholarly journals Desequencing the Music Theory Core: A Liberal Arts Model

2020 ◽  
Vol 7 ◽  
Author(s):  
Andrew Gades
Keyword(s):  
Communication Skills ◽  
Information Literacy ◽  
Music Theory ◽  
Liberal Arts ◽  
Liberal Arts College ◽  
Ways Of Knowing ◽  
Music Curriculum ◽  
Core Theory ◽  
The Subject

The undergraduate music curriculum has been the subject of ongoing discussion with regards to technology, repertoire, pedagogy, and purpose. This article contributes to this continuing conversation by presenting a case study of a restructured music theory sequence at a small liberal arts college. Part of the liberal arts mission at the College of Idaho includes a commitment to interdisciplinary ways of knowing, effective written communication skills, and information literacy. The curriculum proposed in this article reflects the liberal arts identity of the instition and some of the practical realities faced by smaller programs. Although specific to the needs of the institution, this model provides one path forward to a more efficient and flexible core theory curriculum.

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