I just won a grant for grant from my university to re-develop the music theory curriculum. In our grant proposal, we emphasized two major developments: a more thorough integration between theory and performance, and a modular design that gives students flexibility and choice.
It’s not just the Greatest Hits of the Classical Era—there are some seriously deep cuts.
Scale degrees, accidentals, figures—let’s do it all. After obsessing over typographical details in my theory papers for over 10 years, I am distilling my tricks for anyone else who might like a hand making their papers look pretty.
The respondents claiming that we can easily detach racism from theory seem to be willfully deluding themselves and ignoring what Ewell said in the first place.
DON’T play a recording over external speakers, which the microphone will then pick up and put back into your video—this will distort the audio significantly.
There’s a connection between the growing acceptance of non-mainstream methodologies/repertoires and the growing number of marginalized people that have found success within our discipline.
A study in timbre narratives and instrumentation in 1980s pop / The Dynamics of the Job Interview / Pop Music Interest Group meeting: small-group breakout sessions / Webmasterly duties
I started using scheduling software to avoid a lot of the back-and-forth of scheduling.
I just uploaded two transcriptions I did of music from Sonic the Hedgehog 3: “Ice Cap Zone” and “Marble Garden Zone.”
S. Alexander Reed puts a little playlist together at the end of each of his chapters in his book Assimilate.
We are dedicating an entire course to pop and jazz music, thoroughly integrating theory and performance, and de-sequencing the curriculum.