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The Discovery Channel: Using Techniques from Discovery Science to Teach Concepts in the Core Theory Sequence |
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Kevin Holm-Hudson, Reviewed by Brad Osborn |
Music Theory Remixed: A Blended Approach for the Practicing Musician |
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Asking Good Questions: A Way Into Analysis and the Analytical Essay |
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“Composers Are Born and Not Made”: Some Preliminary Thoughts On How To Construct A Pedagogy For Music Composition |
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The Rule of the Octave in First-Year Undergraduate Theory: Teaching in the Twenty-First Century with Eighteenth-Century Strategies |
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Teaching Analytic Writing in the Form Classroom |
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Incorporating Popular Music in Teaching: Ideas for the Non-Expert |
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JMTP Volume 30 |
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What Did the West Wind See? Teaching Whole-Tone Scales through Debussy's "Ce qu'a vu le vent d'ouest" |
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Promoting Metacognitive Reflection in Music Theory Instruction |
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Schenkerian Analysis for the Beginner |
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Symphonic Hearing: Mastering Harmonic Dictation Using the Do/Ti Test |
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Morgan Markel & Nicholas J. Shea |
Report on the 2016 Workshops in Music Theory Pedagogy at the University of Massachusetts Amherst |
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Teaching What We Do and How We Do It: Using a Miniconference Assignment to Dig Deep into Musical Analysis |
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Counterpoint in the Classroom: Pedagogical Considerations and a Detailed Review of Two Textbooks |
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JMTP Volume 29 |
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Brenda Ravenscroft & Victoria Chen |
Enhancing Learning in an Advanced Analysis Course: the Flipped Model, Peer Learning, and the Mode Effect |
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The Archaeologist’s Paradise: Digging Through Solo- Polyphonic Ambiguity in the Counterpoint Classroom |
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Three Leçons in Harmony: A View from the Nineteenth-Century Paris Conservatory |
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Review of Music Theory for Beginners, by R. Ryan Endris |
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Why We Don’t Teach Meter, and Why We Should |
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Sheila Clagg Cathey & Jay Dorfman |
Profiles, Perceptions, and Practices Related to Customizable Computer-Aided Instruction among Postsecondary Aural Training Instructors |
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JMTP Volume 28 |
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A Comparative Review of Five Music Fundamentals Textbooks |
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The Analytic Process - A Practical Demonstration The Opening Theme from Beethoven's Op. 26 |
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Gregory Ristow, Kathy Thomsen, & Diane Urista |
Dalcroze's Approach to Solfège and Ear Training for the Undergraduate Aural Skills Curriculum |
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The Backcycle Progression - A Supplement to the Omnibus Progression for the Study of Chromatic Harmony |
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Back to School - A Report on the Institute for Music Theory Pedagogy |
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Computer-Assisted Instruction and Remedial Music Fundamentals |
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Bach, Beck, and Bjork Walk into a Bar - Reclassifying Harmonic Progressions to Accommodate Popular Music Repertoire in the Traditional Music Theory Class |
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