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Letter To The Editor |
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Alphabet Dictation: An Alternative Strategy for Ear Training |
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From the Classroom: A Low-Tech Tool for the Music Classroom |
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Tonal Markers, Melodic Patterns, and Musicianship Training Part I: Rhythm Reduction |
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Letter To The Editor |
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Review of Theories and Analyses of Twentieth-Century Music, by J. Kent Williams |
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Review of Sight Singing, by Earl Henry |
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Modality-based Aural Skills Pedagogy: Ear-training Strategies for Post-tonal and Non-Western Musics |
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JMTP Volume 10 |
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Alexander R. Brinkman and Elizabeth W. Marvin |
CD-ROMs, HyperCard,and the Theory Curriculum: A Retrospective Review |
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In Memoriam: Gail Boyd de Stwolinski |
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Review of TheNorton CD-ROM MasterWorks: Interactive Music Guides for History, Analysis, and Appreciation, Vol. 1. By Daniel Jacobson and Timothy Koozin |
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A Psychological Addendum to Takadimi: A Beat-Oriented System of Rhythm Pedagogy |
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A Guide to Books on College Teaching |
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Review of Listen and Sing by David Damschroder |
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Richard Hoffman, William Pelto, and John W. White |
Takadimi: A Beat-Oriented System of Rhythm Pedagogy |
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A Different Approach to Teaching Melodic Dissonance |
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Strict Use of Analytic Notation |
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JMTP Volume 9 |
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Readers’ Comments: Some Uses of Diatonic Interval Cycles for Recognizing Chord Inversion |
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Research on Tonal Perceptions and Memory: What Implications for Music Theory Pedagogy? |
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Uses of the Harmonic 6/5bin Sixteenth-Century Style Counterpoint |
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A Species-Counterpoint Method Leading to Tonal Four-Part Writing |
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Lyle Davidson, Larry Scripp, and Alan Fletcher |
Enhancing Sight-Singing Skills Through Reflective Writing: A New Approach to the Undergraduate Theory Curriculum |
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Review of “The Music Kit” by Tom Manoff |
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JMTP Volume 8 |
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Chopin’s Prelude In D major, Opus 28, No. 5: Analysis and Performance |
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Mid-Bar Downbeat in Bach’s Keyboard Music |
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Three Introductory Miniatures for an Undergraduate Twentieth-Century Analysis Course |
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Review of Modal and Tonal Counterpoint: From Josquin to Stravinsky by Harold Owen |
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