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JMTP Volume 35 |
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Cultivating Career Skills Through Public Music Theory and Community Engaged Learning |
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Teaching Music Theory: New Voices and Approaches by Jennifer Snodgrass |
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Chelsea Burns, William O'Hara, Marcelle Pierson, Katherine Pukinskis, Peter Smucker, and William Van Geest |
Corralling the Chorale |
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David Forrest, Jennifer Beavers, Kevin Clifton, David R.W. Sears, and Ann Stutes |
Review of The Routledge Companion to Music Theory Pedagogy Edited by Leigh VanHandel |
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Nathan Beary Blustein, Elizabeth Gerbi and Deborah Rifkin |
Review of Musical Theory for Musical Theatre, Music Theory Through Musical Theatre: Putting it Together, Music Essentials for Singers and Actors: Fundamentals of Notation, Sight-Singing, and Music Theory, and Music Fundamentals for Musical Theatre |
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Rachel Mann and Katrina Roush |
Review of Concise Introduction to Tonal Harmony by L. Poundie Burstein and Joseph N. Straus and The Musician’s Guide to Theory and Analysis by Jane Piper Clendinning and Elizabeth West Marvin |
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Rethinking Music Literacy in the Undergraduate Theory Core |
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JMTP Volume 34 |
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Alyssa Barna and Sam Reenan |
Graduate Instructor Peer Observation in Music Theory Pedagogy |
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Amy Fleming and Aaron Grant |
The Rest Is Noise : A Historically Integrated Approach to Post-Tonal Pedagogy |
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Post-Tonal Postcards: Communicating Analysis and Reflection through Prose Writing |
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Review of The Musical Language of Rock by David Temperley |
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“Notehead Shorthand”: A Rhythmic Shorthand Method for Melodic Dictation Exercises |
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Jennifer Beavers and Stacey Davis |
AP Music Theory and College: Coordinating the Curriculum |
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Review of Tonal Analysis: A Schenkerian Perspective by David Damschroder, and Music Analysis: An Introduction to Schenkerian Theory and Practice by Eric Wen |
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Mamlok on Day One: Strategies for Incorporating Recent Music Into the Early Undergraduate Music Theory Curriculum |
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Review of Basic Post-Tonal Theory and Analysis by Philip Lambert, and Introduction to Post-Tonal Theory by Joseph N. Straus |
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JMTP Volume 33 |
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Search-Solve-Sing: A Group Presentation Model to Strengthen Practice and Performance Techniques in Upper-Level Aural Skills Classes |
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Mock Trials in the Music Theory Classroom |
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Brian Edward Jarvis and John Peterson |
Increasing Retention and Motivation: Making a Case for Conscious Long-Term Repetition and Leveraging Peer Learning |
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Conference Report: Pedagogy into Practice 2 |
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Emily Kenyon and Emily Schwitzgebel |
Report on the 2019 Workshops in Music Theory Pedagogy at the University of Massachusetts Amherst |
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Counterpoint is a Piece of Cake: Renaissance Improvisation in a Modern University Course (In honorem Petri N. Sutoris) |
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Engaging Chopin’s Nocturnes: Model Composition and Nineteenth-Century Diminutions |
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We Know It’s Important, But How Do We Do It? Engaging Beginning Aural Skills Students Through Meaningful Improvisation Activities |
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Review of Gateways to Understanding Music by Timothy Rice and Dave Wilson |
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The Analysis and Composition of Polymorphic Canons |
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Schenkerian Analysis of Fugue: A Practical Demonstration |
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