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Teaching Approaches in Music Theory
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 advan...
Sound Roots
Dana F. Everson lays out the process for a pastor or interested layman to develop their own biblical philosophy of music that pleases the Lord.
Pop-Culture Pedagogy in the Music Classroom
Teachers the world over are discovering the importance and benefits of incorporating popular culture into the music classroom. The cultural prevalence and the students' familiarity with recorded music, videos, games, and other increasingly accessible multimedia materials help enliven course content and foster interactive learning and participation. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube provides ideas and techniques for teaching music classes using elements of popular culture that resonate with students' everyday lives. From popular songs and genres to covers, mixes, and mashups; from video games such as Dance Dance Revolution and Guitar Her...
A Practical Approach to the Study of Form in Music
Learning musics organizing principles . . . Approaching the study of form as an exercise in perceiving the interaction of a number of discrete musical events, Spencer and Temkos book embodies much more than a search for visual clues. Students of form develop perceptual tools that allow them to proceed from the aural experience to an understanding of the arch-principles upon which music is organized. The authors hold that the organizing principles of a given piece of music may be gleaned from studying the internal attributes that give a section its specific identity, the functional relations between sections, and the ordering of those sections.
A Guide to Schenkerian Analysis
This step-by-step introduction to interpreting bass lines, upper parts, and whole compositions uses the new multi-level hierarchy to show readers the interaction of structure and motion in music. The authors present scores of models for notation and offer a host of exercises which are keyed to chapters or sections of chapters. In addition, lists of optional exercises keyed to commonly used anthologies are also supplied. Content highlights: presents bass-line sketches to allow a smooth transition into Schenkerian analysis; details the link between Schenkerian analysis and traditional methods of analysis of form in music; Uses a generative (top-down) approach to Schenkerian analysis rather than a reductive approach to more clearly illustrate Schenker's original intentions for the method; devotes an entire section to the special topic of nontraditional tonal music before Bach and after Brahms; and offers an encapsulated overview of the principal concepts of Schenker's method to facilitate recall.
Problems and Solutions in Band Conducting
Covers a wide variety of topics and problems, from band seating to planning festivals, dealing with soloists to taking the ensemble on the road. It also tackles complex problems presented to directors of concert bands, such as how to warm-up an ensemble properly for both tone and intonation.
Music for analysis
PrefaceSuggestions for Using This BookPart I: Diatonic Materials 1. Tonic Triad2. Dominant Triad in Root Position3. Dominant Seventh and Ninth in Root Position4. Subdominant Triad in Root Position5. Cadential Tonic Six-Four Chord6. Tonic, Subdominant, and Dominant Triads in First Inversion7. Supertonic Triad8. Inversions of the Dominant Seventh Chord9. Linear (Embellishing) Six-Four Chords10. Submediant and Mediant Triads11. Leading Tone Triad12. Variant Qualities of Diatonic Triads13. Supertonic Seventh Chord14. Leading Tone Seventh Chord15. Other Diatonic Seventh Chords16. Complete Pieces fo.
