| Semester.Unit | -Content Focus | -Format | -Description | -
|---|---|---|---|
| 1.2 | -Minor mode -Compound meter |
-10 minutes -_____________ -1 student -2 instructors -_____________ -Prepared literature and at-sight analysis/ performance |
-Students bring repertoire from their ensembles or applied studios prepared to discuss and perform. Repertoire must be in minor mode. -Instructors provide repertoire in compound meter for students to discuss and perform at-sight. |
-
| 2.1 | -Species counterpoint -Voice-leading -Consonance -Dissonance/NCTs -Harmonic implications -Cadence identification |
-10 minutes -_____________ -1 student -2 instructors -_____________ -At-sight analysis/ -performance |
-Students discuss contrapuntal relationships between voices and identify types of NCTs, implied harmonies, and cadence types. -Students also sing, count, and conduct individual voices at-sight. |
-
| 2.3 | -Small forms -Diatonic harmony -Secondary function |
-20 minutes -_____________ -1 student -2 instructors -_____________ -Prepared literature |
-Two students receive the same literature selection and determine essential content collaboratively, practice the conversation, and share critiques, but complete the colloquy independently. | -
| 3.2 | -Multi-movement works -Sonata-allegro form -Compound ternary -Sectional variations -Rondo -Sonata rondo |
-20 minutes -_____________ -3-4 students -2 instructors -_____________ -Prepared literature |
-Student are placed into small groups and assigned a complete four-movement Mozart symphony. Students must prepare a joint, comprehensive discussion of the sonata-allegro first movement to open the colloquy. Instructors ask students individually to discuss the form and formal sections of the remaining movements. | -
| 3.3 | -Chromaticism | -10 minutes -_____________ -1 student -2 instructors -_____________ -Prepared literature |
-All students receive the same literature in advance: a Bach fugue, a first movement of a Mozart piano sonata, and a Chopin nocturne. Students must prepare a discussion of the chromatic content of each, focusing specifically on the development of chromatic resources in the Common-Practice period. -Students are encouraged to determine essential content collaboratively, practice the conversation, and share critiques, but complete the colloquy independently. |
-
| 4.2 | -Twentieth-Century/ Contemporary Music | -30 minutes -_____________ -3-4 students -2 instructors -Invited guests -_____________ -Prepared literature |
-Student groups work with instructors to select one twentieth-century or contemporary work on which to present a public colloquy. Because of the public format, students are expected to address conceptual musical principals using whatever verbal and nonverbal means the group believes will facilitate understanding among lay music aficionados. | -
Students prepare for their colloquies in various ways. Most significantly, the day-to-day instructor-led and small-group discussion and performance of musical scores in class provides the foundation for what is expected at the point of assessment. Closer to each colloquy, students prepare through individual written work and peer collaboration. Students complete written Concept Pages in which they identify and notate examples of essential musical concepts from the literature, compose original examples applying said concepts, and write original one-paragraph discussions about each. These Concept Pages go through an editing process that involves both faculty and peer review. Through the process of drafting and editing Concept Pages, students gain a deeper awareness of musical concepts and cultivate the ability to discuss them with clarity and precision. Finally, students prepare collaboratively in a number of ways: they practice with their peers through mock colloquies in and outside class; sometimes, as in Colloquies 2.3, 3.2, and 3.3 detailed in Table 1, students share colloquy repertoire and are encouraged or required to work together to prepare; and occasionally, student partners present on their assigned repertoire to the class to practice the discussion, receive feedback, and build confidence in the process.
diff --git a/essays/williams.md b/essays/williams.md
index add880c..f69860d 100644
--- a/essays/williams.md
+++ b/essays/williams.md
@@ -17,7 +17,7 @@ Modeled on the “[Kids Compose](http://music.indiana.edu/departments/academic/c
## Project
-“[*Melody Makers*][1]”
+“[Melody Makers](https://music.anu.edu.au/events/melody-makers)”
The ANU School of Music is home to the Music Engagement Program (MEP), a community outreach unit specializing in pedagogical relationships with schools in the local community. The dedicated MEP faculty and staff worked with university faculty to identify five Canberra schools to participate in the project. The MEP staff scheduled multiple visits with each of the five schools and worked with music teachers and their students to create a simple melody of 8-16 measures. Some schools provided a melody written by a single student, but the majority of schools worked in creative groups, producing “committee melodies” or “group melodies.”
@@ -51,7 +51,7 @@ The deep pedagogical benefits to all students involved were apparent throughout
The college composers were led by university composition faculty through the developmental process. Beginning with a study of the string orchestra repertoire, composers were encouraged to read scores and learn about the string family. After being assigned a melody, each undergraduate composer worked with faculty in composition lessons on the development of the musical material. A final creative step involved the consultation session with the conductor and a rehearsal of the new works. Each composer was additionally asked to speak on stage at the public performance alongside their kid-composer(s). The undergraduates approached their melodic settings with consideration and care, leading to some highly creative interpretations.
-The kid-composers not only created new melodies, but also grappled with aesthetic responsibilities associated with their work, particularly exploring the intersection of musical ideas with emotional concerns and public perception. In one school workshop, the class generated a slow, languid C-minor melody featuring stepwise descending motion, rising minor 6ths and frequent *sospiro* figures; the young class then struggled with a title for such a melancholic piece. “Deep Waters of Thought”, “Tears of Death”, and “Luca’s Funeral” were initially offered as potential titles(Luca was the main kid-composer). However, when the students were reminded that this was a public performance and their friends and relatives would hear this work in a live context, they collectively faced a previously unknown social responsibility for their creative work. The class was clearly grappling with the intersection of aesthetic and musical ideas, connecting their own visceral experiences of sadness, grief, and raw emotion with the removal of those feelings in a public and manufactured context of a concert performance. They then worked with their music teacher to determine if the title choices would be perceived by the audience as perhaps a bit strong. This process was a small taste of creative accountability that was encountered at a higher level by the college composers in their own musical settings. The class settled on “The Wake”, a more ambiguous title that could promote multiple interpretations (e.g., funereal or oceanic). The college-level composers each asked their kid-composer collaborators to name the resultant string orchestra pieces, as well, providing the classroom students with a sense of agency and ownership over their transformed melodies.
+The kid-composers not only created new melodies, but also grappled with aesthetic responsibilities associated with their work, particularly exploring the intersection of musical ideas with emotional concerns and public perception. In one school workshop, the class generated a slow, languid C-minor melody featuring stepwise descending motion, rising minor 6ths and frequent *sospiro* figures; the young class then struggled with a title for such a melancholic piece. “Deep Waters of Thought”, “Tears of Death”, and “Luca’s Funeral” were initially offered as potential titles (Luca was the main kid-composer). However, when the students were reminded that this was a public performance and their friends and relatives would hear this work in a live context, they collectively faced a previously unknown social responsibility for their creative work. The class was clearly grappling with the intersection of aesthetic and musical ideas, connecting their own visceral experiences of sadness, grief, and raw emotion with the removal of those feelings in a public and manufactured context of a concert performance. They then worked with their music teacher to determine if the title choices would be perceived by the audience as perhaps a bit strong. This process was a small taste of creative accountability that was encountered at a higher level by the college composers in their own musical settings. The class settled on “The Wake”, a more ambiguous title that could promote multiple interpretations (e.g., funereal or oceanic). The college-level composers each asked their kid-composer collaborators to name the resultant string orchestra pieces, as well, providing the classroom students with a sense of agency and ownership over their transformed melodies.
## Skills Development
@@ -90,5 +90,3 @@ The positive impact of this creative project has the potential to transfer to ot
The secret for success lies in securing the goodwill and commitment of musical practitioners at each pedagogical level: school, university, and community. While this may initially seem an insurmountable task, when the musical and social benefits of such a project are so strong, gathering this collaborative momentum becomes a relatively easy and even delightful task. We plan to run Melody Makers again in the 2017-18 year and hope that it inspires other communities to engage in similarly rewarding endeavors.
This work is copyright ⓒ2017 Natalie Williams and licensed under a [Creative Commons Attribution-ShareAlike 3.0 Unported License](http://creativecommons.org/licenses/by-sa/3.0/).
-
-
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diff --git a/index.md b/index.md
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--- a/index.md
+++ b/index.md
@@ -3,14 +3,14 @@ layout: post
title: "Engaging Students: Essays in Music Pedagogy, Volume 5"
---
-_Engaging Students: Essays in Music Pedagogy_ presents short essays on the subject of student-centered learning, and serves as an open-access, web-based resource for those teaching college-level classes in music. This the fifth volume of *Engaging Students*. You can find the original collection and read more about the vision behind this project [here](http://www.flipcamp.org/engagingstudents/).
+_Engaging Students: Essays in Music Pedagogy_ presents short essays on the subject of student-centered learning, and serves as an open-access, web-based resource for those teaching college-level classes in music. This is the fifth volume of *Engaging Students*. You can find the original collection and read more about the vision behind this project [here](http://www.flipcamp.org/engagingstudents/).
We hope that you enjoy reading this volume as much as we have enjoyed putting it together.
# Front matter
-[Foreword]({{ site.baseurl }}/essays/waters.html)
-Keith Waters
+[Reflecting Upon Five Years of *Engaging Students*]({{ site.baseurl }}/essays/hughes_duker.html)
+Bryn Hughes, Philip Duker, Anna Gawboy, and Kris P. Shaffer
# Essays
@@ -27,10 +27,10 @@ Melissa Hoag
[Metacognition: An Overlooked Skill in Music Theory Instruction]({{ site.baseurl }}/essays/ferenc.html)
Anna Ferenc
-[Open Educational Resources (OER) in the Music Theory Classroom: A Curricular Redesign Travelogue]({{ site.baseurl }}/essays/gullings.html)
-Kyle Gullilngs
+[Open Educational Resources (OER) in the Music Theory Classroom: A Curricular Redesign Travelogue]({{ site.baseurl }}/essays/gullings.html)+Kyle Gullings -[The Undergraduate Student-Faculty Colloquy: Cultivating Disciplinary Authenticity through Formative Oral Examination]({{ site.baseurl }}/essays/strovas_stutes.html) +[The Undergraduate Student-Faculty Colloquy: Cultivating Disciplinary Authenticity through Formative Oral Examination]({{ site.baseurl }}/essays/strovas_stutes.html)
Scott M. Strovas and Ann B. Stutes @@ -45,19 +45,19 @@ Jason Fick [Engaging Everyone: Musical Analysis in the General Education Classroom]({{ site.baseurl }}/essays/lam.html) George Lam -[Ho Hey, Having Some Say in Contextual Listening]({{ site.baseurl }}/essays/jemain.html) -Rebecca Jemain +[Ho Hey, Having Some Say in Contextual Listening]({{ site.baseurl }}/essays/jemian.html)
+Rebecca Jemian -[Inverting Dictation]({{ site.baseurl }}/essays/stevens.html) +[Inverting Dictation]({{ site.baseurl }}/essays/stevens.html)
Daniel B. Stevens -[The Music of *Hamilton* and its Historical, Cultural, Social, and Political Contexts]({{ site.baseurl }}/essays/johnson.html) +[The Music of *Hamilton* and its Historical, Cultural, Social, and Political Contexts]({{ site.baseurl }}/essays/johnson.html)
Timothy A. Johnson -[New Frontiers in SmartMusicianship]({{ site.baseurl }}/essays/mariner_schubert.html) +[New Frontiers in SmartMusicianship]({{ site.baseurl }}/essays/mariner_schubert.html)
Justin Mariner and Peter Schubert -[Reconnecting with History: Problem-Based Learning (PBL) in the Music History Classroom]({{ site.baseurl }}/essays/purciello.html) +[Reconnecting with History: Problem-Based Learning (PBL) in the Music History Classroom]({{ site.baseurl }}/essays/purciello.html)
Maria Anne Purciello @@ -66,13 +66,13 @@ Maria Anne Purciello [Engaging Community in a Twentieth-Century Analysis Class]({{ site.baseurl }}/essays/peebles.html) Crystal Peebles -[Melody Makers: Connecting Student Composers with the Community]({{ site.baseurl }}/essays/williams.html) +[Melody Makers: Connecting Student Composers with the Community]({{ site.baseurl }}/essays/williams.html)
Natalie Williams -[Outside the Classroom: Community-Engaged Learning Projects in Music Theory]({{ site.baseurl }}/essays/bourne.html) +[Outside the Classroom: Community-Engaged Learning Projects in Music Theory]({{ site.baseurl }}/essays/bourne.html)
Janet Bourne -[Towards a Curriculum in Public Music Theory]({{ site.baseurl }}/essays/jenkins.html) +[Towards a Curriculum in Public Music Theory]({{ site.baseurl }}/essays/jenkins.html)
J. Daniel Jenkins @@ -83,23 +83,30 @@ J. Daniel Jenkins # Editorial & Review Board -[UPDATE] -Danny Arthurs, University of Tulsa -Carla Colletti, Webster University -Philip Duker, University of Delaware, co-editor -Dave Easley, Oklahoma City University -Anna Gawboy, Ohio State University, co-editor -Stephen Gosden, University of North Florida -Bryn Hughes, University of Lethbridge, co-editor -Enoch Jacobus, independent scholar, Berea, Kentucky -Stefan Love, University of Massachusetts–Amherst -Michael McClimon, Furman University -Garrett Michaelsen, University of Massachusetts–Lowell, special issue co-editor -Brian Moseley, The University at Buffalo, SUNY -Meghan Naxer, Kent State University, production editor -Colin Roust, University of Kansas -Keith Salley, Shenandoah University -Kris Shaffer, University of Mary Washington, production editor -Daniel Stevens, University of Delaware -Chris Stover, New School, special issue co-editor -Dariusz Terefenko, Eastman School of Music, special issue co-editor +Philip Duker, University of Delaware, co-editor
+Bryn Hughes, University of Lethbridge, co-editor
+Meghan Naxer, Kent State University, production editor
+Daniel Shanahan, Louisiana State University, production editor
+ +Danny Arthurs, University of Tulsa
+Sean Atkinson, Texas Christian University
+Sara Bakker, Utah State University
+Timothy Chenette, Utah State University
+Carla Colletti, Webster University
+Trevor de Clercq, Middle Tennessee State University
+Dave Easley, Oklahoma City University
+Anna Gawboy, Ohio State University
+Philip Gentry, University of Delaware
+Enoch Jacobus, Shorter University
+Megan Lavengood, George Mason University
+Jeff Lovell, Lebanon Valley College
+Greg McCandless, Appalachian State University
+Michael McClimon, FastMail
+Garrett Michaelsen, University of Massachusetts–Lowell
+Nancy Murphy, University of Houston
+Cora S. Palfy, Elon University
+Colin Roust, University of Kansas
+Rene Rusch, University of Michigan
+Jennifer Shafer, University of Delaware
+Abigail Shupe, Colorado State University
+Chris Stover, Arizona State University
diff --git a/new_bibliography_mn_copy.md b/new_bibliography_mn_copy.md deleted file mode 100644 index 66095d6..0000000 --- a/new_bibliography_mn_copy.md +++ /dev/null @@ -1,1019 +0,0 @@ ---- -layout: post -title: Bibliography - ---- - -{{ page.title }} -================ - - -Armstrong, Patricia. “Bloom’s Taxonomy” Vanderbilt University Center for -Teaching. Accessed July 20, 2017. -[*https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/*](https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/). - -Duker, Philip, Kris Shafer, and Daniel Stevens. 2014. “Problem-Based -Learning in Music: A Guide for Instructors.” *Engaging Students: Essays -in Music Pedagogy*. Accessed July 23, 2017. -[*http://flipcamp.org/engagingstudents2/essays/dukerShafferStevens.html*](http://flipcamp.org/engagingstudents2/essays/dukerShafferStevens.html). - -[Duker](http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.duker_gawboy_hughes_shaffer.html#AUTHORNOTE1), -Philip, [Anna -Gawboy](http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.duker_gawboy_hughes_shaffer.html#AUTHORNOTE2), -[Bryn -Hughes](http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.duker_gawboy_hughes_shaffer.html#AUTHORNOTE3), -and [Kris P. -Shaffer](http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.duker_gawboy_hughes_shaffer.html#AUTHORNOTE4). -2015. “Hacking the Music Theory Classroom: Standards-Based Grading, -Just-in-Time Teaching, and the Inverted Class.” *Music Theory Online* -21, no. 1. 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