Music Theory Commons^™

Volume 38, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

“Duet Me”: Music Theory Pedagogy In The Age Of Social Media, Alyssa Barna

Journal of Music Theory Pedagogy

In this article, I outline a possible use of social media platforms in the music theory and ear-training classroom using a model assignment on (but not exclusive to) TikTok. I show how students can work collaboratively and musically in a platform they may use in everyday life to promote collaboration and engagement with musics and people outside the walls of the university. From this study, I extrapolate themes that illustrate both the benefits and pitfalls of social media use (pedagogically and otherwise). The first section situates social media platforms among the variety of technologies used in theory classrooms in the …

Ungrading In The Music Theory Classroom: A One-Year Case Study, David E. Orvek

Journal of Music Theory Pedagogy

In this paper, I present a summary of and critical reflection upon an alternative assessment practice known as “ungrading” that I used during the 2023–24 academic year. My version of the practice involved providing students with feedback without grades and letting students determine their own final grades through a process of guided self-assessment. Many students’ reactions to ungrading were positive. Some reported being able to focus on learning rather than grades, and even skeptical students admitted some benefits. Ungrading benefited me in various ways as a teacher, but there were challenges as well. Some students struggled with the lack of …

Engaging Aural Skills Students With Model-Eliciting Activities, Aaron Galliher

Journal of Music Theory Pedagogy

This mixed-methods study explores how using Model-Eliciting Activities (MEAs) in an aural skills classroom can promote student motivation and engagement. MEAs require students to create models to solve progressively complex problems. As students develop and refine their models, they engage in a testing and iteration process that prioritizes learning over final outcomes, which fosters student empowerment. The specific MEA implemented was focused on music transcription skills and used the MUSIC Inventory of Motivation survey to assess student motivation and engagement, complemented by follow-up interviews that explain the results of the survey. Many students scored high on this survey and expressed …

Conference Review: Society For Music Theory Annual Meeting, Jacksonville, Florida, November 7–10, 2024, William Marvin, Jeremy Orosz

Journal of Music Theory Pedagogy

No abstract provided.

Harmony, Texture, And Timbre In Popular Culture: Undergraduate Edition, Alexa Valles, Sophie Andersen, Aidan Ramos, Leonardo Huerta-Lina

Journal of Music Theory Pedagogy

The purpose of this study is twofold: 1) to compare the way students describe their favorite music with observable musical parameters such as harmony, texture, and timbre, and 2) to develop a database of current music that can be used in the theory classroom to study harmony, timbre, and texture. We seek to contribute to a growing body of work that debunks stereotypes such as popular music is too simple and therefore not productive to study within the music theory curriculum. However, we believe that musical fluency is strengthened when students study a variety of music styles. Our study identifies …

The Heyman Project: A Multimedia Anthology For The Undergraduate Classroom, Anna Stephan-Robinson

Journal of Music Theory Pedagogy

The Heyman Project is a multimedia anthology designed for flexible use throughout the undergraduate core music theory curriculum. It is also appropriate for use in high school music theory classes. Featuring music by American composer Katherine Ruth Heyman (1872-1944), the resource consists of four pdf documents: a student packet and a sample worksheet/lesson, along with instructor’s editions of the same documents. The student packet contains sheet music for 13 songs, each preceded by a brief note giving historical and/or theoretical background. The worksheet, designed for a first-year theory class, features the song “Elysion,” and focuses on diatonic modes, melodic construction, …

Blending European And Latin Sounds: A Study Of French Horn Repertoire In Mexico, Aj Bernal

Theses and Dissertations--Music

As a first generation Mexican-American, it is crucial that I advocate and promote music of the culture I grew up in. This project aims to unearth Mexican compositional techniques that derive from the fusion of European and Indigenous roots in an effort to promote diversity within the realm of Western Classical music. Music in Mexico is characterized by a unique blend of indigenous rhythms, European classical structures, and regional folk influences. This project will discuss how the bold timbre of the French horn intertwines with traditional Mexican and indigenous melodies, rhythms, and forms that create a unique style. The horn’s …

Sculpting Time: A Performance Guide To Four Fragments Of Time By Marcus Siqueira, Luis Felipe Vargas Magdaleno De Moraes

Theses and Dissertations--Music

This dissertation investigates the musical and phenomenological aspects of Four Fragments of Time by Marcus Siqueira (b. 1974) and provides a performance guide for this work. Furthermore, this dissertation analyzes previous guitar works by the composer, seeking to understand Siqueira’s compositional idiosyncrasies and to provide context for the interpretation of Four Fragments of Time. This dissertation includes a biography of the composer, an analysis of the compositional process of Four Fragments of Time, an analysis of the recurrent idiomatic procedures in Siqueira’s guitar works, and an overview of the collaborative process between the composer and the author. Additionally, an analysis …

Conceptual Blending: A Singer’S Analysis Of Libby Larsen’S Try Me, Good King: Last Words Of The Wives Of Henry Viii And A Conversation With The Composer, Kelsey Paige Ann Loeslie

Theses and Dissertations--Music

American composer Libby Larsen is celebrated for her versatility and expertise in crafting intricate text-music relationships, notably exemplified in her song cycle Try Me Good King: Last Words of the Wives of Henry VIII. This research explores Larsen's innovative compositional techniques in this cycle using Cross-Domain Mapping and Conceptual Blending Theory. Drawing from Lawrence Zbikowski's work, the study employs Conceptual Integration Networks to analyze Larsen's music, revealing the intricate interplay between text and music. By synthesizing these methodologies, the research comprehensively examines Larsen's song cycle, enhancing our understanding of her composition both from a music theory perspective and from a …

Producing ‘Bedroom Pop’ Music: A Compositional Project That Employs Production And Compositional Techniques Identified Through Analysis Of Select Chelsea Cutler Songs, Anna Therese Dabbs

Theses : Honours

This study explores key production and compositional techniques in popular music, specifically within the genre of ‘bedroom pop,’ focusing on the distinctive style of artist and producer Chelsea Cutler. The aim of this project was to compose an entirely new work grounded in existing genre structures and shaped by Cutler’s unique approach. To achieve this, available literature on popular music production and composition, specifically ‘bedroom pop’, was reviewed to identify common processes and techniques. A listening analysis featuring five of Cutler’s songs was conducted to establish her unique production and compositional style, with findings applied in an original song, ‘You …

Uncovering The Emotional Line: An Analysis Of Three David Maslanka Wind Ensemble Works Using Formal Emotive Intensity Analysis, Michael John Kahle

Graduate Theses, Dissertations, and Problem Reports (ETD)

David Maslanka (1943–2017) was a prolific American composer who wrote most frequently for the medium of concert band/wind ensemble. His music is frequently performed by ensembles around the world. Due to his more intuitive and idiosyncratic compositional style, Maslanka would center what he described as the “emotional line” of the work, certain aspects of his music are undetected by traditional analytical models. Formal Emotive Intensity Analysis bridges that gap to focus on the supposed emotional line within Maslanka’s work. Through a case study of three of Maslanka’s works for wind band, The Seeker, Concerto No. 3 for Piano and Wind …

Developing A Framework For Musical Ekphrasis In Jazz Composition, Jessica Carlton

Theses: Doctorates and Masters

Musical ekphrasis, as defined by musicologist Siglind Bruhn (2001), refers to musical compositions that transform, re-create, or ‘re-present’ a work of visual art or poetry. Though there exists a significant body of musical works that are based on visual art and poetry, there is a distinct lack of research and documentation on musical ekphrasis, particularly in the field of jazz and improvised music. Further, a formalised process framework for practitioners approaching ekphrastic composition has yet to be developed. This research project investigated musical ekphrasis through qualitative interviews with key practitioners, and a combination of practice-led research and research-led practice methodologies, …

La Fiesta Del Espiritu Santo: An Original Work For Choir, Soloists, And Small Ensemble Influenced By The Santeria Music Of The African-Dominican Community In The Dominican Republic, Rafael Scarfullery

Electronic Theses and Dissertations

ABSTRACT

This study examines the role of Santería music as practiced by African Dominicans in Villa Mella, a neighborhood of Santo Domingo, Dominican Republic. This musical tradition comes from the culture and religion of the Yoruba people who were brought as slaves from Africa, and features complex drum rhythms and call-and-response chants. This paper deals with the historical and social context of Santería music within the Dominican Republic, but its principal objective is to adopt the musical language of this tradition and use it to create a new contemporary work for mixed choir and small ensemble.

One of the most …

Music Of The Divine: Interweaving Threads Connecting Contemporary Chant-Based Piano Repertoire, Jeremy D. Duck

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performances

The purpose of this document is to prove chant remains an important source of inspiration among living composers, and, despite the number of piano works already incorporating chant, composers today are still finding unique ways to include chant in their music. To achieve this objective, representative works have been selected for research and analysis for four of the major chant traditions. Connor Chee’s The Navajo Piano, Victoria Bond’s Illuminations on Byzantine Chant, and Hayes Biggs’ E.M. am Flügel: Poem-Étude for Piano Solo, though the chants from which they are inspired are diverse in concept and style, they …

Character Development And Revolution: Use Of Leitmotif In The First Acts Of Les Misérables And Hamilton: An American Musical, Mary Katherine Pezzillo

Electronic Theses and Dissertations

Leitmotif, a recurring musical theme that represents a character, idea, or situation, is a device used in operas, film scores, and musical theater. Accredited to Richard Wagner, leitmotifs enhance storytelling and provide a sense of cohesion to a production. The popular musicals Les Misérables and Hamilton bear many similarities, including the use of leitmotif as a storytelling device. This thesis explores how the two musicals use leitmotif differently, through the lens of the protagonists, antagonists, and supporting characters. Though the leitmotifs in Les Misérables generally represent ideas and the leitmotifs in Hamilton are mostly character-based, this tool aids the overall …

Joaquín Rodrigo And Julian Bream: Aspects Of A Relationship, Javier Suárez-Pajares

Soundboard Scholar

In light of the complex diplomatic relations between Spain and the United Kingdom in the 1950s, the deteriorating relationship between the Spanish composer Joaquín Rodrigo and the English guitarist Julian Bream describes a telling arc—from 1951, when Bream gave the British premiere of the Concierto de Aranjuez, to 1959, when he emphatically rejected the Sonata giocosa that Rodrigo had written for him. To explore Bream's negative reaction, this study considers both Rodrigo’s relation to England and Bream’s ambivalent attitude toward the Spanish guitar tradition. An epilogue examines the recordings that the guitarist subsequently made of the Concierto de Aranjuez …

Andrés Segovia And Federico Moreno Torroba’S Danza Castellana, Julio Gimeno

Soundboard Scholar

The guitar’s early twentieth-century repertoire is of unique importance, containing as it does the first guitar pieces by non-guitarist composers known for their symphonic, operatic and chamber music. Many of these composers wrote for the pioneering Andalusian guitarist Andrés Segovia, and among the most prolific of them was Federico Moreno Torroba. In various memoirs and interviews, Segovia identified Torroba’s miniature Danza castellana as not only the first piece written for him by a non-guitarist composer but even the first such piece by anyone, predating, in Segovia’s telling, Falla’s 1920 Homenaje. This article challenges Segovia’s claim by recounting the details …

Aum314.1 Music For Non-Linear Narrative Example 2, Sae University College

Exemplars

HD / Exceeds Specification exemplar for AUM314.1 - Music for Non-Linear Narrative

Aum314.1 Music For Non-Linear Narrative Example 1, Sae University College

Exemplars

Exceeds Specification exemplar for AUM314.1 - Music for Non-Linear Narrative