Building Bridges - Same and Different Issues Across Music Theory, Music History, and Music Education

Building Bridges: Same and Different Issues Across Music Theory, Music History, and
Music Education
Author(s): Mark Clague, Julie Evans, Karen Fournier, Maud Hickey and Betty Anne
Younker
Source: College Music Symposium, Vol. 49/50 (2009/2010), pp. 140-153
Published by: College Music Society
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Building Bridges: Same and Different Issues
Across Music Theory, Music History,
and Music Education
Mark Clague, Julie Evans, Karen Fournier,

Maud Hickey and Betty Anne Younker
Introduction - Betty Anne Younker
examination of pedagogy requires an investigation into principles of learning.

One obvious starting point would be to explore the literature of educational psy-
chology and the psychology of music teaching and learning, with a focus on learning
theories, cognition and perception. This literature contributes to our understanding about
learning and how environments can be shaped for learning to occur and understandin
to be solidified. While aspects of "how we learn," and thus pedagogy, are applicable
across disciplines, some considerations can be discipline specific. Examining and dis
cussing the generalities and discipline-specific aspects of learning can enrich dialogue
within schools of music as issues about curriculum, pedagogy, and transfer of learnin
across the disciplines occur. Such potentially rich dialogue requires those who teach
to reflect on and assess issues that affect students' learning. We have a responsibility
to promote such dialogue as we strive to improve upon our learning and teaching s
that our environments can be cultivated and enriched. This essay consists of reflection
of music faculty who think deeply about such issues and offer principles of learning
and pedagogical considerations within each of their fields, specifically music theor
musicology (music history), and music education. They shared their thoughts in a pan
at the National Meeting of CM in 2007 and addressed the following topics:
1. Karen Fournier: "Utilization of learning principles and the impact on

pedagogy in a music theory class"
2. Julie Evans: "Utilization of learning principles and the impact on pedagogy
in an aural skills class"
3. Mark Clague: "Utilization of learning principles and the impact on peda-
gogy in a musicology class"
4. Maud Hickey: Response, "Identification of similar and different issues and
critical issues related to pedagogy"
The view from music theory - Karen Fournier
In his recent challenge to instructors of music theory to "encourage debate and alter-
nate readings in the undergraduate music theory class," Matthew Bribitzer-Stull takes
a moment to think upon the role played by music theory in the undergraduate musical
BUILDING BRIDGES 141
curriculum.1 Reflecting on a question t

"why do I have to do this stuff?" - Brubitz
reputation among many undergraduates
[therefore] uncreative" often arises from
from the kinds ofmusical experiences th
"creative" environments as the instrume
the composition class. In contrast to the
class, even the musicology lecture migh
it appears to encourage them to actively
from their aural experiences of those work
ing of the historical and cultural frame
theory, whose aim seems to Bribitzer-St
various kinds of music" from such seem
or elements of form, might appear to o
performing, composing, and listening to
something that offers an "objective" way
implies a disconnection with the music that
able, given the intensity of the relationship
of their careers. This apparent objectivity i
that surrounds music theory in the unde
and I (and many others who teach theor
as a data-driven, quasi-mathematical, scie
myth that can be exploded very easily b
musical practices that are indisputably "cre
that our theoretical knowledge about m
ences as performers, composers, listeners
knowledge, in turn, helps to explain and
Although his article is intended primarily
and between students and their professor)
Stull offers an interesting insight into the
that our ultimate objective as theory ins
skills so that the undergraduate musicia
work." He maintains that:
Good analytic skills are one of the best tools we, as teachers, can impart to the
future music scholars in our classes. Perhaps more importantly, though, these
same skills - skills that require the ability to weigh different alternatives and to
present effective arguments - are of great value to all students, the majority of
whom, it goes without saying, will not go on the make a living in music theory.3
'Bribitzer-Stull, "Contention in the Classroom."

2Ibid., 21-22.
3Ibid.
1 42 COLLEGE MUSIC SYMPOSIUM
His argument makes little differentiation betwee

make our students perform in the theory classroom -
aural reproduction, harmonic and formal analysis -
that all of these activities should ultimately point t
analysis. In this way, Bribitzer-Stull contends, music t
which students deepen their understanding of thei
and the promise that theory provides the path tow
used as a motivator for undergraduate students w
the value of music theory. It provides, in other wor
of "why do I have to do this stuff?"
The concept of "motivation" in the theory classro
West Marvin, who suggests that "students learn be
intrinsic interest in a subject, rather than by exter
ments."4 Marvin argues that the typical music stu
predated by years of preparatory lessons, recitals,
already displays what she describes as an "intrinsic int
curiosity about this particular subject that has driv
how to create (or to recreate) music through performa
then, we need to tap this curiosity and to demonst
we aim to develop in the classroom will fit into th
Thus far, my discussion has focused exclusive
faced by music theory instructors, but has not offere
obstacles (both similar and different) that are faced by
sub-disciplines that comprise the discipline of mus
nor a specialist in music education, any comments
gogical challenges that face those who teach in tho
I will leave such observations to my counterparts in
upon the fruitful idea of "building bridges across
this panel, not only as a way to fend off some of t
students bring into the theory classroom but, and p
to position theory instruction at the core of musical e
then, I would like to suggest ways that analysis, as an
tion, might be used to motivate students whose ma
than music theory. (We assume that the few theor
course of each year come already-motivated to pur
address not only bridge-building between music the
also suggest ways to build bridges to a body of stud
comprise the bulk our classes - specifically, perfor
In many music programs, performance majors te
classroom, and the question for this component of
"how does this stuff apply to my studio lessons?"
these students, the apparent fixation of music theo
incorrect impression, in my view, that arises from suc
4Marvin, "Intrinsic Motivation," 47.
BUILDING BRIDGES 1 43
as voice-leading or the analysis of tona

engagement with music that we seem t
gested, these students are often highly
placed on valuable practice time by act
irrelevant to, the creative pursuit of e
question, then, becomes how to motiva
complement to their performance studies,
practice time. As Bribitzer-Stull suggests,
is through analysis - specifically, I sugg
the analysis of short examples (in fresh
theory) taken from the repertoire of th
semester. This, of course, places some d
us to adapt each semester to a new popu
repertoire that they bring to bear on the
Students are, in my experience, thrilled t
discover concrete examples of abstract t
and tend to feel inspired to hunt for furt
I have asked students to bring their fav
the class for our study or, if they feel
(or the complete works) for the class. M
performances within the theory class h
during the semester, the act of perform
also forges a tangible link between mu
strengthened by attendance at local con
in the theory classroom is to prepare an
attend that performance as a class. In
touchstone work for a variety of conc
course on twentieth-century analysis, an
towards the end of the semester, the st
their appreciation of the piece was enha
When connections between performan
described, above, it is important to ensure
overlooked in the theory classroom. Th
"data-driven" can arise when theory inst
expense of the historical and cultural ba
received. To bridge the gap that often o
theory and musicology, we could imag
these courses in lock-step, with species c
music history or chromaticism and the
But concepts associated with music theor
same way, and the same pace, as they d
rists, build a bridge to music history? How
with the promise that music theory wil
versa? It seems to me that the answer i
to draw examples from established musical repertoir

each musical work that we encounter in theory class has
origin. For this purpose, I tend to mine the students
use in my theory classes, so that I can establish a clea
and musicology (as practice embedded in history). Th
as we often encounter concepts in music theory that mi
those on offer in the musicology text. Regardless of
each music example should be provided with some h
brief discussion of the composer, a sense of who the
speculations about compositions choices, compari
period or of the same type, and so on. While it may
to discuss the historical origins of each piece in detail
provide some context for the pieces that we analyze
few measures.
Another important constituency of students that we tend to encounter in our classes
are future music educators who, as budding high-school band, orchestra, and choir
directors, will teach music theory as a part of their careers. As with the performance
and musicology majors who comprise our classes, music educators bring a host of
specific questions to the theory classroom that we, as university theory instructors,
should strive to answer. Specifically, these students are concerned about pedagogical
issues. They want to know, for example, how to construct a viable theory curriculum
for their students, how to make seemingly abstract theoretical concepts workable in
their classrooms, and how to connect music theory to music making. As university in-
structors, we share those concerns and can present answers to these questions through
our own pedagogical behaviors. If our aims and objectives are clearly delineated in the
syllabi that we provide to our students, our curricula can serve as potential models for
others who seek to teach music theory. If our explanations and illustrations of theoreti-
cal concepts are clear, our method of presenting these concepts can be imitated and
adapted by the future teachers that we teach. Similarly, the kinds of exercises that we
provide to our students to reinforce what we present in the classroom should also aim to
serve as examples for aspiring teachers of what constitutes "practice" in music theory.
To appeal to well-worn, but apt, phraseology, we lead by example and can therefore
motivate those students whose interests lie in theory pedagogy with strong teaching
that they can emulate in their own classrooms.
In the preceding discussion, I have outlined some preliminary strategies that we,
as music theory pedagogues, can use to motivate students to engage with music theory
as a component of their creative musicianship. Part of this motivation comes, as my
discussion has suggested, from our attempts to demystify music theory in the classroom,
and to provide a context for theory that reaches beyond the part- writing and analyti-
cal skills that we seek to develop and perfect in the theory classroom. I would like to
conclude my remarks with the suggestion that we, as professors whose experience with
music far exceeds that of our students, have already built bridges across the disciplines
in our own work - as a music theorist, for example, my work relies heavily upon my
understanding of how works are performed, the historical and cultural background
that lies behind the works that I exam

instructional tools for those who seek
music scholars, we already embody inte
of us seek to answer force us to reach
seems to me, then, that the logical step w
as soon as they commence their studies, r
own connections between music theory
leagues in the other sub-disciplines that
will go a long way towards answering
stuff?" because "this stuff' will becom
what music can mean from their respecti
history, and music education.
A View from Aural Skills Cla
Each academic year I begin by asking
1 . How can I connect with my aural

2. Am I willing to continue to make
styles among my students?
3 . How can I most effectively address t
year students will have about aural
4. Will I effectively help them to tak
5. Do I have the courage to keep taki
Just mentioning the words "aural ski

borders on severe anxiety and a profound
a music student will take, aural skills w
in students' training and abilities that
of music. On the other hand, reaching
positively affect every part of their m
about my teaching and create a positive e
reinforcement in the following books
findings and follow up with my own o
Jerome Bruner continues to inspire m
(for both teacher and student), present
empowering students to take more resp
eloquently writes about teachers as m
the subject in order to ignite excitement
To meet my standards, each aural skil
up out of their seats to add a kinesthe
games to reinforce the material and I s
5See Bruner, The Process, and The Culture.
146 COLLEGE MUSIC SYMPOSIUM
we are developing and refining. On the subject o

the necessary "teacher" attribution of being a risk ta
risks; thus the importance of doing what is expect
My students like the fact that I am a violinist, n
they laugh at those moments when the register
for me and I do not think about dropping it dow
advantage of those lighter moments. At different
times when I will ask a student to play a melody f
ask another student in the class to offer strategie
the blackboard. If one approach does not work as
different strategies. And as I am working at the b
example where I hear what I call anchor pitches (t
rhythmic patterns. If I get stuck, my students wi
of this are obvious. My students know from the st
stand right beside them.
Bruner also discusses the importance of the studen
of learning to the point that the "meta" level of
processes and learning is critical. The role of the t
level is necessary if the student is indeed to under
derstanding to new environments.
A report published in 1 999 by National Research
of their key findings about how learners learn and h
insights were revealed in this report, three areas o
implications for how we teach: (1) the student's pr
the student's development of a strong foundation
to retrieve and apply what they have learned; and
her own learning. The last of these resonates with
In an aural skills class, preconceptions are abun
boring and focus on material that will be useless outs
of the curriculum - they believe they will never b
and that dictation is hopeless. Some believe still th
sight-read or do any of the other aural skills, then
to acknowledge all of these preconceptions, encour
and perhaps replace them at some point once the
the material and developed strong skills.
In reference to the second point, more experien
standing of the course material are able to see, for ex
and relationships that less experienced students wi
approaches to learning concepts, the novice studen
skills in a variety of contexts. I strongly believe th
with concepts or the ability to retrieve informatio
I call a students' comfort zone - the place in their
confident, and rebuild again from that point. Taki
6Donovan, Bransford, and Pellegrino, eds., How People Learn.
ing will always result in greater conf

to openly discuss strategies frequently
themselves and monitor their own pro
I was fascinated with the findings in
cuses on the contradiction between the
(developing inner hearing) and the ide
learn these skills well, a student must
in detail that the brain's capacity is q
information in [its] working memory
This has serious implications for the stud
that describes aural skills, it would be
does a student experience cognitive ove
At what point is a student's ability to f
process? How do we know how much is
lose them? For the novice aural skills s
so overwhelmed so quickly. Again, it is
process, to empower them to experime
to guide them with possibilities, but en
Students often ask me: how do we master these aural skills and how can we feel
comfortable with the material? I offer my students a detailed syllabus. We discuss our
goals for the semester. When I see fear in their eyes, we then discuss the journey and
how we will master each set of skills. I share with them that we will create strategies,
that we will evaluate and re-evaluate our processes constantly. We will take risks and
not be afraid to ask questions; we will build a community and create an environment
for each other that is comfortable and supportive. We will make mistakes, big ones!
And we will analyze those errors and find solutions that will help us to improve. Each
of us will help another to learn some skill in class at some point because we all have
strengths. We must use those strengths to help others, because we learn in more depth
when we teach others. We will have collaborative activities that may be team assign-
ments in class or homework. Teams will bring ideas/ strategies to class - we share - we
compare. There is no right or wrong answer in this context. We will energize each other,
even at our lowest moments. And, oh yes, and when I say we will have fun, that is when
my students begin to question my validity!
Finally, practical application is a driving force behind my aural skills curriculum. But
what does that mean in a classroom with such diversity? Not only are we as educators
challenged by the novice - that student who has never even heard of aural skills - but
we also must take into account that instrumentalists and vocalists, for example will bring
very different skills into the class setting. And, there are many programs, like mine at
Western Michigan University, that must accommodate, in the same class music perfor-
mance majors, music education majors, music therapy majors, musical theatre majors
and music minors. When I ask myself how this diverse group of students will ever leave
my class with meaningful and practical skills that will contribute to their proficiency
as a musician, I quickly realize that my attention to their individual needs is critical.
7Knowlton, "An Andragogical Approach," 1 .
Firstly, aural skills performance exams allow me to h

better assess their skill level, their prior experience,
strategies that may be successful. Secondly, I establi
these areas at the beginning of each semester. I enga
about the success of their students and how I might
studies. Lastly, I am able to assess many of my strat
myself in my capacity as a symphony musician and
same in their applied studio or ensemble rehearsals.
sional discussions about the merit of a set of skills
can then make decisions to eliminate or continue to
final thought: helping my students develop self-confide
The rewards are immeasurable. I enjoy every mome
A View from Musicology - Opportunities fo

Collaboration - Mark Clague
Musicology courses are suffocating under their ow

of material that comprises our increasingly global s
decade. Yet the confines of music education stay the
requirements to engage with this musical bounty rem
twenty-four-hour day and undergraduate credit loa
School of Music, Theatre & Dance, for example, wha
sequence in Western European music history (mediev
and romantic/twentieth-century) is today compres
with the other two courses retooled to address World and American music. Such devel-
opments are both exciting and paralyzing. Certainly, music students are exposed to a
wider range of inspiring music, yet the lasting impact and usefulness of this introduc-
tion is continually threatened by dilution. This "crisis," if indeed we can call it that, is
a measure of musicology's remarkable success as a field in bringing new knowledge
into focus. Yet, this success makes teaching well increasingly difficult. Under these
overloaded circumstances, how can musicology inspire the next generation of musi-
cians with a thorough knowledge of the past - with what is arguably the raw material
of their creativity, the grist of musical artistry?
One resource to confront the increasing gap between time required and time avail-
able lies within (or rather through) the walls of our schools of music. While musicology
departments in larger schools usually function independently (almost militantly so),
it may be that collaboration with our colleagues in music theory, education, composi-
tion, and performance offer the greatest opportunity to expand the range, impact, and
effectiveness of musical learning. Most musicologists (this author included) would
argue vehemently in defending the position of their discipline within NASM curriculum
guidelines. Artistic expression and even originality is built on a foundation of know-
ing the past. The recitalist must know the full range of his or her repertory inside and
out, its stylistic development and historical context, in order to program a compelling
concert. The ability of artists to reach

from the podium or a public school teac
ability to think cogently about how art
communicate these insights to others -
musicology coursework. Yet, if this is true
composition, and performance inform m
By opening my classroom and course d
cal of related disciplines in a school of
student learning in musicology. Rather
impact of my teaching in hopes that fi
reminded of experiences in their study o
professional endeavors. The most obviou
between music history and theory. Even
been classroom connections between these
or the development of harmonic languag
and keys. Indeed, in some schools these c
ing coursework or hybrid classes. Althou
courses, I use musical analysis in every c
to prepare students to write papers that re
argumentation. "If sound was not import
Recently, I have found that requiring st
work (including form, harmony, textur
quality of the writing by providing a b
cal claims. I require that analytical diagr
disciplinary blurring might even take th
ogy and theory courses in which studen
results in a new musical work performe
Another strategy that confronts our sur
skills. If teachers cannot cover everyth
come their own teachers and thus cont
the semester ends. The information age
and, especially, the assessment of source
a range of often wildly divergent and u
faculty) know what to believe? Building
I use experiential learning as much as po
In sum, I cast my students in the roles of
past to more fully understand how the h
My hope is that students will experienc
of the stories they tell, and thus become m
This hands-on exploration can take the s
tions for which one student offers a pri
topic that he or she has found using the
"Living Music," an online oral history
students in the work of historians. Each
world (broadly defined), transcribes a recording o

text online, accompanied by supporting documenta
transcription process when students must decide wh
or "urn" verbatim, or whether the interview subject is
of spoken language into written. Although it result
and format, I do not enforce a single editorial prac
Rather each student must make his or her own dec
represented. Interviewers quickly come to understan
appear either the genius or the fool. Furthermore,
the transcript before publication, these informants
control over the result. The dynamics of such negot
ethical dilemmas into the mix that fuel classroom discussion: what does the researcher
do if the interview subject misrepresents or modifies his or her original comments to
place them in a more sympathetic light? Is such distortion unusual or characteristic of
those who write history?
"Living Music" further exemplifies the connections possible across departmental
boundaries as faculty and others representing a range of aesthetic and disciplinary
perspectives are interview subjects. As the students themselves recruit their informants
(subject to instructor approval), they naturally and with no concern violate and cross
all sorts of institutional fault lines. Students interview teachers and practitioners from
across the world of music and gain insight into how working musicians draw upon a
range of skills, including musicology, in their day-to-day work. One of the specific
questions interviewers are directed to explore is the usefulness of history in their sub-
ject's professional lives. This sense that students are doing "real" work and enhancing
their own network and knowledge of the field serves as better motivation than grades
in making "Living Music" a success. Such oral history projects could be developed
at every music school in every town in the United States and do much to expand our
knowledge of everyday music making by all sorts of musical people not typically
written about in the New York Times.
Direct collaboration between academic and performance faculty is not only pos-
sible, but can be hugely rewarding. In 2006, Professor Arthur Greene, a colleague in
The University of Michigan's piano department, invited me to participate in a project
to present the complete solo piano works by Fryderyk Chopin. In addition to planning
and coordinating talks at the start of each of the nine recitals, I opened up a new area
of my own research to examine the use of Chopin's music in Hollywood films and I
gave a scholarly talk for a culminating symposium. It was most gratifying to see how
the university community, particularly local residents, embraced the project. Attendance
soon became standing room only at each performance and we had to place additional
chairs in the hall onstage to accommodate even a part of the overflow. That the city's
fire marshal came to inspect our arrangement gives a sense of the impact and notori-
ety of the project. It was wonderful to see performance majors and graduate-student
theorists and musicologists working together while gaining experience in how to speak
8Examples of the more than 1000 interviews completed to date can be found online at http://sitemaker.umich.edu/
livingmusic.
with audiences in informative and a

repeatedly greeted their efforts offered
The University of Michigan Chopin Pr
in the school's history. Everyone learn
and students experienced the power of
The challenge to an interdepartmenta
educators are trained as gladiators mo
ground in high school ensemble pro
prime motivator. We are indoctrinate
for their higher chairs or defend ours
a characteristic example.) Musicians ar
the curricula of schools of music are a
academics and performance. Yet, I often f
committees than in the minds and hear
of music that serve as the models and t
partmental divisions not only shape ac
If under such divisive influence faculty t
but as separate "turf to be defended, o
that face our students is diminished. R
across university divisions such as to o
be essential to our students' futures
One Music Educator s Perspec
All of the writers in this paper have

all teach, and while we might teach from
teach music. Yet
tea the dialogue about
discussions (if we are so lucky to even
essay we hear from a music theorist, a
see the value of building bridges across
and are not afraid to try innovative ways
tion faculty members are looked upon
all, we are supposed to be teaching stu
there are outstanding teachers who are
have gleaned and refined or searched for,
really really good! The writers of this
be a shared concern of all stakeholders
the music educators, because we are al
issue for all and the disposition to que
one we need to cultivate in our future
the scholarship of pedagogy, and recen
the Advancement of Teaching, coined t
a recent text. He points out:
Scholarly teaching is what everyone of us should

we are with students in a classroom or in our off
conducting discussions, all the roles we play ped
In 1990, Ernest Boyer published a landmark e

higher education. His report expanded the view of
tional scientific discovery of new knowledge to inc
the scholarship of application, and the scholarship
the seeming dichotomy between "research" and "te
completely accepted by the higher education comm
the forefront of discussion in colleges and universi
The writers in this essay show interest in, attent
inquiry about teaching that all college music profes
tion faculty certainly does not own the key to good
open up the dialogue perhaps. The job of those of us in
with the latest research about how people learn. Th
of how people learn has changed dramatically in the
Dewey's writings in the middle of the twentieth centu
of this paper to write about these changes and cove
pedagogy,11 the bigger question to be raised is: who
disseminated for teachers in higher education? How
build bridges for learning more holistically and in
In other words, how can we cultivate a "commu
school? One way to begin is by creating an awarenes
scholars. How many universities require a course of
How many cross-discipline pedagogy courses exist
model inquisitiveness about teaching? What if the f
the theory professor? What if the music educatio
hearsal? And so on. The key to cross-discipline brid
lie in starting that first discussion and then plantin
Bibliography
Boyer, Ernest L. Scholarship Reconsidered: Priorities of the Professoriate. San

Francisco: Jossey-Bass, 1990.
Bransford, John D., Ann L. Brown, and Rodney R. Cocking, eds. How People
Learn: Brain, Mind, Experience, and School. Washington, DC: National Acad-
emies Press, 1999.
9Schulman, Teaching, 166.

l0To read views for and against Boyer's premise, see responses to an Oct. 2, 2007 posting from Inside higher ed:
http://www.insidehighered.com/news/2007/10/02/wcu.
"The ideas offered by the authors above are good starting points for creative teaching ideas. For a comprehensive
report on latest theories of learning see How people learn (Bransford, Brown, and Cocking, 1999). The entire text is
available at: http://www.nap.edu/html/howpeoplel/
Bribitzer-Stull, Matthew. "Contention

Altemate Readings in the Undergradu
ry Pedagogy 17 (2003): 21-39.
Bruner, Jerome. The Culture of Educat
Press, 1996.
Donovan, M. Suzanne, John D. Bransford, and Jame

ple Learn: Bridging Research and Practice. Wash
emies Press, 1999.
Knowlton, Dave S. "An Andragogical Approach for R
Aural Theory Tasks." Visions of Research in Music
1-17.
Marvin, Elizabeth West. "Intrinsic Motivation: The Re

mance in Undergraduate Music Theory Instruction.
Pedagogy 8 (1994): 47-57.
Schulman, Lee S. "Forum: Teaching as Community P
gogical Solitude." In Learning from Change: Landm
ing in Higher Education from Change Magazine, 1
DeZure, 24-27. London: Kogan Page, 2000.
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Building Bridges: Same and Different Issues Across Music Theory, Music History, and

Mark Clague, Julie Evans, Karen Fournier,

Introduction - Betty Anne Younker

examination of pedagogy requires an investigation into principles of learning.

1. Karen Fournier: "Utilization of learning principles and the impact on

The view from music theory - Karen Fournier

curriculum.1 Reflecting on a question t

'Bribitzer-Stull, "Contention in the Classroom."

His argument makes little differentiation betwee

4Marvin, "Intrinsic Motivation," 47.

as voice-leading or the analysis of tona

to draw examples from established musical repertoir

that lies behind the works that I exam

A View from Aural Skills Cla

Each academic year I begin by asking

1 . How can I connect with my aural

Just mentioning the words "aural ski

we are developing and refining. On the subject o

6Donovan, Bransford, and Pellegrino, eds., How People Learn.

ing will always result in greater conf

7Knowlton, "An Andragogical Approach," 1 .

Firstly, aural skills performance exams allow me to h

A View from Musicology - Opportunities fo

Musicology courses are suffocating under their ow

concert. The ability of artists to reach

world (broadly defined), transcribes a recording o

with audiences in informative and a

One Music Educator s Perspec

All of the writers in this paper have

Scholarly teaching is what everyone of us should

In 1990, Ernest Boyer published a landmark e

Boyer, Ernest L. Scholarship Reconsidered: Priorities of the Professoriate. San

9Schulman, Teaching, 166.

Bribitzer-Stull, Matthew. "Contention

Donovan, M. Suzanne, John D. Bransford, and Jame

Marvin, Elizabeth West. "Intrinsic Motivation: The Re

cisco: Jossey-Bass, 2004.

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