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Full-Text Articles in Music Theory
Promoting Metacognitive Reflection In Music Theory Instruction, Anna Ferenc
Promoting Metacognitive Reflection In Music Theory Instruction, Anna Ferenc
Music Faculty Publications
Since 1976 when John Flavell coined the term metacognition, a significant body of literature has emerged in psychology and education research documenting the importance of it to the process of learning and advocating its development through reflection to promote deeper, more thoughtful, and self-regulated learning. In the domain of music, discussions of reflection and/or metacognition appear particularly in literature on teacher training, music teaching at primary and secondary levels, and performance, but these topics are hardly addressed in research on music theory pedagogy. This article begins to redress this situation. It presents a theoretical overview of metacognition and reflection, describes …
Introducing The Learning Portfolio Into Music Theory Core Pedagogy, Anna Ferenc
Introducing The Learning Portfolio Into Music Theory Core Pedagogy, Anna Ferenc
Music Faculty Publications
Undergraduate music programs at North American institutions of higher learning typically require music majors to complete successfully a core grouping of theory courses in order to fulfill degree requirements. These courses are considered foundational not only for further study of music theory, but for all areas of music specialization because they provide students with basic analytical and musicianship skills necessary to understand musical organization in the western tradition. Although specific curricular content may vary from one institution to another, the theory core usually includes the study of diatonic and chromatic harmony, form and analysis, aural skills and possibly instruction in …
Froberger's Toccatas: Stylistic Considerations And Modern Editions, James W. Kosnik
Froberger's Toccatas: Stylistic Considerations And Modern Editions, James W. Kosnik
Music Faculty Publications
(First paragraph) The music of Johann Jakob Froberger is recognized by scholars and musicians to be of significant artistic achievement and historical interest. Yet, with the possible exception of the suites, few modern-day performances of his music are likely to be heard for several reasons: the music does not fulfill the requirement of easy and accessible listening; the music lacks a certain superficial brilliance, or the proper instruments are unavailable so that the music cannot be heard in its most authentic language. The most important reason, however, is our own lack of understanding of the correct performance style which prevents …