Music Theory Course Research Articles

Collaborations That Work: Making Connections between Music Library Instruction and Music Theory

abstract: This article explores ways pedagogical approaches in music librarianship and music theory can enhance each other. It emphasizes two broad benefits for students when library instruction is incorporated into music theory courses. First, what music librarians have to offer can be incredibly relevant to music theory instruction. Second, since music majors take music theory early in their degrees, library instruction in these courses allows them to get to know their librarians right away when they enter college. If music librarians provide further instruction and outreach in various ways throughout students' college years, students will be able to see that what they are learning in these sessions is a set of transferrable skills that are not solely useful for one assignment in a single class. This is especially true when teaching information literacy. By drawing on literature from both fields, as well as our own experiences working together, we show how the pedagogical priorities of music theory and music librarianship align. We explain how we have found success in teaching concepts from information literacy as we work toward our shared goals. The article further suggests a number of practical ideas for bridging the gap between music librarians and music theory instructors, including offering flexible options for instruction, team-teaching, and understanding the strengths each person brings to information literacy instruction.

Idea Bank: Placing the Music at the Center of Music Theory Courses

Idea Bank: Placing the Music at the Center of Music Theory Courses

Improving the quality of teaching the music theory course for students in the cultural management major at Tan Trao University

Improving the quality of teaching the music theory course for students in the cultural management major at Tan Trao University

Application of Information Fusion Technology in Innovative Teaching of Music Theory Courses in Universities

Abstract In this paper, we first investigate the steps to implement a fusion algorithm that determines the quality function through fuzzy theory. Then, we utilize D-S evidence theory for decision-level fusion to identify the target data based on the collected data. The two algorithms, fuzzy theory and D-S evidence theory, are then combined. The affiliation function in fuzzy theory calculates the information collected from the sensors to find out the confidence level and patterns. Finally, the information fusion technology was analyzed in terms of its usage rate in music theory teaching, its impact on piano playing, and its impact on music theory teaching. In terms of utilization rate, 21 student teachers had information fusion technology utilization rate between 50% and 60%, and 21 student teachers had information fusion technology utilization rate between 50% and 60%. In terms of the impact of information fusion technology on the teaching of music theory, a comparative analysis of the pre and post test data T=−6.55 (P<0.0001) showed that the difference in the post test data was significantly higher than that of the pre test. This indicates that the facilitating effect of information fusion technology on music theory teaching is obvious.

Istoki muzykal'nogo prosveshcheniya v Kolledzhe Tenchzhou

Through inquiring and collating the historical data of schools and related music courses which were opened by foreign missionaries in China in the 1930s and 1940s, the author believes that under the influence of the skill imparting and advanced educational concepts of western musicians, the music course, music theory course, instrumental performance and singing course opened by western missionaries, especially the music textbook “Music Theory Enlightenment” compiled by Tengchow College, and ten classic songs of “Excerpt of Songs of Tengchow College” have played a very important role in promoting the enlightenment and development of modern higher musical education in China.

Uluslararası Müzik Sertifika Programı Teori Sınavı İçeriklerine Yönelik Öğretim Elemanı Görüşleri

Araştırmanın amacı, müzik öğretmenliği lisans programındaki müzik teorisi derslerine yönelik içeriğin, The Associated Board of the Royal Schools of Music (ABRSM)’in baraj niteliği taşıyan 5. seviye teori sınavını aşmak için yeterli olup olmadığına ilişkin öğretim elemanları görüşlerini ortaya koymaktır. Araştırma, yöntemi bakımından niteldir. Araştırmada, Batı müziği teori ve uygulaması dersini yürüten 6 öğretim elemanı ile ABRSM 5. seviye teori sınavı içeriklerine yönelik görüşmeler yapılmıştır. Görüşmeler, yapılandırılmış görüşme tekniği ile gerçekleştirilmiş; veriler içerik ana lizi ile çözümlenmiştir. Öğretim elemanlarının görüşleri doğrultusunda ders içeriğini oluşturan nota/sus işareti değerleri, aralıklar, enarmonik perde bilgisi ve ilgili tonaliteyi bulma konularının öncelikli konular olarak sıralandığı; bu konular yeterince anlaşılmadan transpoze, terimler ve işaretler, çalgı ve ses grupları konularına geçilmediği anlaşılmakla birlikte; öncelikli konular dışındaki sorularda öğretim elemanlarının farklı görüşlerde olduğu ortaya çıkmıştır.

Learning strategies of video game music makers: Informal and school-based learning for online publication

Music is an integral part of video games and the cultures that surround them, and the sound of video games enhances the user’s immersive game-play experience. Video game music (VGM) inspires performance and the creation of derivative music in both online and offline contexts. This study was conducted to explore how musicians perceived how helpful various learning strategies were for gaining the skills to publish VGM online. A cross-sectional, self-administered questionnaire was conducted at Super Music and Gaming Festival™ (Super MAGFest), an annual convention held near Washington DC, to capture data from respondents ( n = 137) who were adult musicians who published VGM online. The questionnaire captured the perceived helpfulness of learning strategies at school, other educational institutions, and informal approaches. Descriptive and inferential statistics analyses were made. Respondents found music theory courses in school and informal music learning strategies were among the most helpful learning approaches for attaining the skills they needed to publish VGM online. This article provides a starting point for the further exploration of VGM and informal music learning in the age of the Internet.

"This Class Was Highly Useless": Reformulating an Unpopular Music Theory Course for Non-music Majors

This essay first examines how a course of music theory for non-music majors at the University at Buffalo experienced a serious drop in popularity between 2016-2019, suggesting the following as contributing factors: snowballing complexity, overtaxing homework expectations, reliance on non-relatable repertoire, and lack of in-class music-making. Then, it recounts in detail how the adoption of a new syllabus addressed these particular issues and how the students reacted to these new methodologies, hoping to provide the reader with an example of an emerging inclusivity-focused paradigm in music theory pedagogy.

ИСТОРИКО-СТИЛЕВОЙ ПОДХОД В ПРЕПОДАВАНИИ МУЗЫКАЛЬНО-ТЕОРЕТИЧЕСКИХ ДИСЦИПЛИН (Из опыта кафедры теории музыки Уральской консерватории)

The idea of historicizing music-theoretical education has a long tradition in Russian pedagogy, but it began to be implemented in practice during the last decades of the twentieth century. At that time, the Ural Conservatory developed and introduced into the educational process new curricula with a historical and stylistic orientation in a comprehensive course in Music Theory and Solfeggio. This article highlights the principles of constructing these courses, the logic of deploying their content, the main approaches and methods, and also summarizes the long-term experience of teaching them. Each of the programs is presented in several versions, focused on different specialties. Of the two versions of the Music Theory course (for musicologists and for performers), the emphasis is on the latter as the most vividly realizing the key idea — the integration of musical-theoretical disciplines under the auspices of the historical style. The considered samples of Solfeggio programs (among musicologists and among vocalists) differ in the number of academic hours (1 year – 3 years), which allows the course to be organized differently based on the historical and stylistic approach — either synchronously or diachronically. At the end of the article, attention is drawn to the main difficulties encountered in the process of mastering these programs, and the most important results.

Development Of Pitch, Tempos, And Dynamics Learning Materials In Music Learning Based On Dalcroze Eurhythmics

This study aims to produce a product in the form of learning materials for pitch, tempo, and dynamics with eurhythmic-based mp3 format. The theory used is music learning and eurhythmic dalcroze. This research is a research and development with ADDIE (Analysis-Design-Develop-Implement-Evaluate) learning design model. The trial subjects were 40 students who were taking Diatonic Music Theory courses in the 2020/2021 school year. Collecting data in this study using a questionnaire used to measure the feasibility of the product by material experts and product users. The data analysis technique used is descriptive statistics to determine the extent to which the product is feasible for use in the wider community. The result of this research is to produce a product in the form of teaching material about pitch, tempo and dynamics based on eurhythmic which is measurable its feasibility. Based on field trials, the product achieved an eligibility percentage of 93.3% with the category very feasible to use from the user's point of view, namely students as prospective teachers of cultural arts.

Silabel Ritmis: Pelafalan Alternatif dalam Pembelajaran Musik

Purpose: This study aims to provide several kinds of rhythmic pronunciation in the process of music learning. Alternative pronunciation trials were carried out for music education students who were taking Music Theory courses. Research Method: This study uses a research-based design approach (dbr) with a qualitative paradigm. Results and discussion: The results of this study indicate several obstacles faced by students in rhythmic learning which are divided into four (4) sections: (1) obstacles in pronouncing the 8th and 32nd notes; (2) pronunciation of ta-ta-ta-ta in 32nd note; (3) lack of understanding of the ta-ta-ta-ta syllable in music theory learning; (4) students' lack of understanding in associating sounds with notation. Implication: This research is expected to be an alternative reference in learning music, especially related to rhythm and syllables.

The Digitization of Web-based Music Theory Modules

In the digital era, modules in the form of books are deemed ineffective and inefficient due to the demand for online and independent lectures. This turned out to be facing obstacles due to limitations in learning media. Digital modules are needed to support teaching and learning activities in music theory courses so that the material presented can be well integrated. Digitalization is the process of changing from printed media to electronic media. Therefore it is necessary to digitize the web-based music theory module which aims to facilitate the teaching and learning process. The digitization of web-based music theory modules can be an important component that supports the implementation of the online lecture program that is currently being proclaimed by the government and supports the environmentally friendly (paperless) movement. The next target to be achieved is the development of a web-based music theory module in the ISI Yogyakarta Music Education study program. The qualitative method used in this research is based on data obtained in the field, namely in the music theory class of the ISI Yogyakarta Music Education study program. The technique of collecting data is utilizing literature study, observation, and interviews. The data analysis process was carried out by reducing data, presenting data, and drawing conclusions. The existence of a web-based music theory module is expected to be useful. una for convenience, progress and effectiveness of teaching and learning activities. The results of this study indicate that the module meets certain criteria, such as independent, independent, independent, adaptive, and user-friendly instructional. Based on the research results, it can be concluded that the digitization of the web-based music theory module is one proof of digital transformation due to technological advances.

Charles-Simon Catel’s “Traité D’harmonie” as an Origin of Conservatory Harmony Teaching Traditions

Relevance of study. Applying to the doctrine of Charles-Simon Catel in modern conditions enables us to actualize the purpose of teaching musical theoretical disciplines in general and harmony in particular.Main objective of the study. To reveal some aspects of Charles-Simon Catel’s methodic of harmony teaching.Methodology. The research has included studying of main text sources (first of all — by Ch. Catel and B. Asaf'ev) and general summing up of the special problematics.Results/findings and conclusions.“Traite d'harmonie” by Ch. Catel is an important artifact of music theory of the 19th century, a “cornerstone” of the conservatory tradition of harmony teaching.According to B. Asaf'ev, some elements of the Catel’s doctrine are reflected in the works of the most significant European composers of the 19 th–early 20th centuries.The most significant component of Catel’s didactic is the division of all harmonic facts into two species: simple harmony and complex harmony. Simple harmony concretizes a logic of chord verticals organization with minimum of limitations of connections between chords. Complex harmony concretizes principles of diversified contrapuntal development of simple harmony elements. Mutual diffusion of both components concretizes a concept of harmonic material and compositional technique of its development.“A Treatise on Harmony” by Charles-Simon Catel has a special importance for the history of European music theory. There are strong reasons to consider this work as an origin of a vast amount of modern schoolbooks on harmony.The Conservatory of Paris was founded at the turn of 18th–19th centuries, and the roots of modern educational traditions rise from there. The main feature of the traditional school is a collective teaching of music theory courses divided as separate subjects. It’s reasonable that innovative methods of educational process have also demanded a reform of basic genres of music theory literature.The birth of a new brand of Paris music pedagogics should be dated May 1801 when a special conservatory Committee sat in few sessions. The item of the Committee’s agenda involved the unification of actual harmony teaching methods. Upon the completion of the Committee’s activity the pedagogic method by Charles Catel was officially adopted as an element of the Conservatory’s educational plan.Catel’s “A Treatise on Harmony” was written next after and published in 1802. It has become a main theoretical textbook of harmony to be applied in the Conservatory of Paris. That’s why Catel’s “Treatise” must be considered as a first conservatory harmony textbook ever and also a cornerstone of modern didactics.The most important component of Catel’s didactics lies in dividing all the harmonical facts in two major species: Simple harmony + Complex harmony.According to Catel, the basic practical skill to be worked out by the student — an ability to extend simple chord progressions by melodic means of Complex harmony, in other words — to possess two various and mutually related kinds of voice leading: harmonic and melodic ones.In general, Catel’s “Treatise” should be considered as a conservatory prolegomenon in actual music composition of the 19 century beginning, for it lights the basic elements of the music practice (harmony, counterpoint, figured bass) summarized as a synthetic unity.

A Brief Analysis on the Main Course Books Music Theory in Turkey

Music education and music form the basis of a basic course in whichevery branch on Basic Music Theorycourse, is one of the most important areas of musice ducation. Basic Music Theory course of theoretical and practical sections of music education constitutes an important place in the development of each musician. This course is literally ingrain edenthusiasm for music of all individual sapplying for learning music is one of the most important resources. Music Theory lessons written in Turkish or translation made about the educational valuere mains today a variety of sources. However, this book does not include a common language, literally. Caused conflicts of concept sand terms to be the case, the issue sarefully understanding delay. Declaration of basic music theory in our country starting from text boks related tothes edeficiencies detecte dandregulations necessary in advancing the process of making concrete analysis of what could happen is open to debate. Keywords: Music, Music Education, Basic Music Theory. Special Issue of Educational Sciences DOI: 10.7176/JSTR/6-06-13

Suggestions on the Teaching Reform of Music Theory Course in Local Normal Colleges Under the Background of Professional Certification

世界科学出版社（World Science Publishing-WSP）立足国际，积极配合中国“走出去”出版战略，大力推进版权输出与引进，并不断拓展国际间的交流与合作，取得显著成绩。WSP国际图书出版项目力倡中国科研人员出版英文图书，出版社具有丰富的国际传播资源与雄厚的编辑、翻译、出版力量，拥有一批著名的中外翻译专家、出版专家，及一支精通国际出版的编辑、翻译和国际营销队伍。探索“科学进步”与“社会进步”是人类永恒主题，WSP推崇以科学信仰引领学术方向，遵循各国法律和地方法规，能够协助您优质、快捷、低

Exploration on the Application of Computer Music in the Teaching of Public Music

In recent years, with the rapid development of economy, science and technology in China, computer music technology has been gradually applied to the teaching of public music in the information age. In the process of music teaching, computer music technology can enhance the interest and flexibility of solfeggio, harmony and other theoretical courses, but also shorten the distance between music theory and practice, thus arousing students' interest in learning music, and then greatly optimizing the teaching effect and music teaching idea of music theory course in colleges and universities. By studying the status of computer music application in public music class, this paper analyzes the effect of computer music on public music class, to promote the teaching effect of public music class.

The relative importance of math‐ and music‐related cognitive and affective factors in predicting undergraduate music theory achievement

SummaryBased on research identifying relations between math and music, we aimed to identify the group of cognitive and affective factors related to math and music theory that best explained undergraduate music theory achievement. Using dominance analysis, we predicted the music theory course grades of 230 undergraduate music majors. Potential predictors were narrowed from measures of knowledge, aptitude, experience, confidence, and anxiety in both music theory and math as well as spatial skills and reading test scores. Results suggested that ACT math scores and music theory confidence were important predictors for Music Theories I and II grades. Music Theory I was also predicted by aptitude‐based music theory skills, and Music Theory II was also predicted by math course experience. These findings provide evidence for a relation between math and music theory and support the use of several readily available measures for college‐level music instructors to identify students who may struggle in music theory.

Discernment of shades of sadness in Guarnieri's Ponteios

Four of Guarnieri’s Ponteios for piano (numbers 11, 31, 36, and 41) bearing the expressive indication of sadness were prepared and performed live before audiences of graduate and undergraduate students (N = 63) or students belonging to a university music theory and perception extension course (N = 65). Two emotional terms were chosen by the interpreter that better described his/her conception of sadness in the piece. Categorical and prototype models were selected for guiding the selection of these terms. Sound wave profile analysis and interpretative choices by the interpreter were employed to classify the assigned emotions in terms of the bidimensional categorical model of emotion, i.e., arousal polarized (flow of the events) and valence polarized (intensity of the signal). Differences in timing highlighting (or not), dynamic contrast levels and the presence or not of a climax were shown to be characteristics that contributed to these distinctions into two groups: those bearing the composer’s indication of Triste (Sad) – Ponteios 11 and 21; and those bearing the indication of Tristemente (Sadly) – Ponteios 36 and 41, with the latter provoking relatively higher (more negative) arousal and valence.

Teaching Materials and Strategies for the AP Music Theory Exam

Each year, many students take the Advanced Placement (AP) Music Theory Exam, and the majority of these students enroll in specialized AP music theory classes as part of the preparation process. For the teachers of these AP music theory classes, a number of challenges are presented by the difficulty and complexity of the exam subject material as well as by issues related to the mixed abilities and backgrounds of the students in any particular AP classroom. This article presents a variety of teaching strategies for both new and experienced AP music theory teachers and offers a brief overview of textbooks and other instructional materials that can be used when teaching the AP music theory course.

‘It makes you think anything is possible’: Representing diversity in music 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.