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Difficulty Factors in Melodic Perception |
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Harnessing Technology to Open the Mind: Beyond Drill and Practice for Aural Skills |
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Interval and Scale-Degree Strategies in Melodic Perception |
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Music Analysis: Purposes, Paradigms, and Problems |
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Review of The Musicians’ Guide to Perception and Cognition by David Butler |
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Review of Ear Training for Twentieth-Century Music by Michael Friedmann |
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Scale-Degree Function: A Theory of Expressive Meaning and Its Application to Aural-Skills Pedagogy |
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The Power of Prose: Writingin the Undergraduate Music Theory Curriculum |
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JMTP Volume 7 |
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A Systematic Approach to Invariance in Twelve-Tone Music |
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Teaching with Westergaard’s Counterpoint Rules |
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An Alternate Approach to Aural Training |
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JMTP Volume 6 |
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Author’s Reply: Liberation of Solmization - Searching for Common Ground |
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Cantus Firmi for Species Counterpoint: Catalog and Characteristics |
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Keyboard Harmony: A Courseware System for Harmonic Skills Acquisition |
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Micheál Houlahan and Philip Tacka |
Reader’s Response: The Americanization of Solmization - A Response to the Article by Timothy A. Smith ‘A Comparison of Pedagogical Resources in Solmization Systems’ |
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Isabel Baker and Anthony Kosar |
Remedial Theory Courses for Underprepared Students: An Experimental Program to Develop Successful Teaching and Learning Strategies |
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A Report on the 1992 CMS Theory Pedagogy Institute |
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Solfege Drills |
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A Comparison of Pedagogical Resources in Solmization Systems |
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A Harmony-Based Heuristic Model for use in an Intelligent Tutoring System |
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A Phenomenological Approach for Teaching 20th-Century Music Analysis |
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Analysis and Performance of the Flute Sonatas of J.S. Bach: A Sample Lesson Plan |
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Contextual Ear Training |
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Logo as a Medium for Exploring Atonal Theory |
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Pitch-Class Poker |
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Review of Three Twentieth-Century Texts |
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Review of Ralph Turek, The Elements of Music |
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JMTP Volume 5 |
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