We're nearing the end of another semester (and another school year) here at TTU and that means final exams, final papers, review sessions, and the like. It also means excuses.
We've switched harmony textbooks here at TTU. We currently use the Musician's Guide series, and I have to say that I feel my students have a better handel on partwriting this year, in contrast to the students I taught using Previous Harmony Textbook. I teach freshmen, and at the end of the semester, the students are writing comfortably with secondary dominants. Their final projects are short compositions accompanied by a paper, and at first glance, they look pretty good.
I'm also teaching our introduction to harmony class, which comprises a) music students who did not pass the placment exams; b) music minors; and c) non-majors with an interest in music. As a result of this unusual demographic, this class has posed some interesting pedagogical questions:
Here at TTU we also require all of our Master's students to endure a two-hour long oral exam. The exam committee consists of the student's applied teacher, one theory faculty member, and one history faculty member. The student's graduating is contingent upon their passing this exam. Most of what I bring to this exam involves score analysis. Generally I pick three scores from different historical periods and I ask students questions like this:
My thinking is that these are fundamental things that any undergraduate should be capable of, much less a graduate student. But most students struggle quite a bit with the theory portion of the exam. We do offer a graduate theory review course for students who do not pass the placement exam. I've taught this class in the past, and I know that the gentleman who teaches it presently gears the course somewhat towards these oral exams.
As I'm writing all of this, a theme is emerging. My question, I guess, is: what are the basic music-theoretical compentencies students need, and why does it seem like many textbooks/teachers (myself and my chosen textbooks included) not seem to address some of these things? Put another way, how does someone with a master's degree in vocal performance use theory? What does a music minor need to know about theory?
I recall hearing John Buccheri (formerly a theory professor at Northwestern University) say that "What musicians do all day is look at scores." That little remark has stuck with me for a number of years now--it's true. I've tried to let that shape my teaching, particularly recently, yet it's very hard to do with a population that can barely read bass clef.
Enough rambling. Good luck on your exams and final papers--whether you're taking them or grading them!
We've switched harmony textbooks here at TTU. We currently use the Musician's Guide series, and I have to say that I feel my students have a better handel on partwriting this year, in contrast to the students I taught using Previous Harmony Textbook. I teach freshmen, and at the end of the semester, the students are writing comfortably with secondary dominants. Their final projects are short compositions accompanied by a paper, and at first glance, they look pretty good.
I'm also teaching our introduction to harmony class, which comprises a) music students who did not pass the placment exams; b) music minors; and c) non-majors with an interest in music. As a result of this unusual demographic, this class has posed some interesting pedagogical questions:
Do I hold the non-majors (i.e., those that will not be continuing into the harmony sequence) to the same standard as I hold the music majors (i.e., those who will take harmony I next year)?
If a student demonstrates to me that she has a solid command of the material via the midterm and final exam, but has missed 37 classes, do I let her continue into Harmony I? What if she's a non-major?
What is the minimal amount of music-theoretical literacy that a non-major should have? Our last topic was dominant seventh chords. We did not (will not) discuss harmonic progression, partwriting, form, or anything like that (we use the Straus Elements of music text). I kind of feel like I've given them the tools but haven't taught them how to build things with those tools...
Here at TTU we also require all of our Master's students to endure a two-hour long oral exam. The exam committee consists of the student's applied teacher, one theory faculty member, and one history faculty member. The student's graduating is contingent upon their passing this exam. Most of what I bring to this exam involves score analysis. Generally I pick three scores from different historical periods and I ask students questions like this:
Using the information (score) in front of you, identify a possible genre, historical period, and composer.
Provide a Roman-numeral analysis of the first 8 measures (usually fairly straigtforward common-practice harmony)
Translate the names of the instruments on this large late-19th-c. orchestral score
What are the sounding pitches of the English horn/clarinet/French horn part?
(for vocalists) Read me the names of the pitches in the first phrase in soprano/alto/tenor clef.
Talk about the phrase structure of this piece.
My thinking is that these are fundamental things that any undergraduate should be capable of, much less a graduate student. But most students struggle quite a bit with the theory portion of the exam. We do offer a graduate theory review course for students who do not pass the placement exam. I've taught this class in the past, and I know that the gentleman who teaches it presently gears the course somewhat towards these oral exams.
As I'm writing all of this, a theme is emerging. My question, I guess, is: what are the basic music-theoretical compentencies students need, and why does it seem like many textbooks/teachers (myself and my chosen textbooks included) not seem to address some of these things? Put another way, how does someone with a master's degree in vocal performance use theory? What does a music minor need to know about theory?
I recall hearing John Buccheri (formerly a theory professor at Northwestern University) say that "What musicians do all day is look at scores." That little remark has stuck with me for a number of years now--it's true. I've tried to let that shape my teaching, particularly recently, yet it's very hard to do with a population that can barely read bass clef.
Enough rambling. Good luck on your exams and final papers--whether you're taking them or grading them!