[Smt-talk] Open Access

Mon Apr 30 06:11:23 PDT 2012

Dear Colleagues,
So many interesting threads right now, but alas it is finals week here. Probably for the best, since I could write far more than any of you would like to read on these matters! However, I have a few more thoughts on open access that I'd like to share.

First, thanks to Steve and Jennifer for the reminder about the JMTP site. It sounds like it has potential to do some great things, and I hope as well that there will be a substantial "community effort." Also, thanks to Yonatan for the list of open access music journals. Very helpful, and I hope to see the list grow as more journals move their material to the open web.

Putting vetted material on the web for free download, though, is only one facet of open access. The open-source software (OSS) community often contrasts "free as in beer" with "free as in speech" or "free as in freedom" when discussing what it means for software to be free. Free to download and use as is within certain terms of use is a very good thing (free as in beer). But free to manipulate, re-create, enhance, break, rebuild, and contribute brings a whole other set of benefits (free as in freedom). For one, open-source software problematizes the developer/user divide and puts forward more of a community of developers, users, and developer-users.

While the developer/user (author/reader, perhaps) model has its place in academia, I think the model of a community of developer-users (or simply "researchers" or "scholars" or "pedagogues") makes more sense of much of what we do as music scholars and teachers. Academic research and teaching often necessitate manipulation, re-creation, breaking, rebuilding, etc. But free-as-in-beer publishing doesn't fully promote that. Developer-users must still think about the difference between infringement and fair use, derivative v. transformative use, etc., and the vetting process means that new information cannot get out quickly.

However, there are a couple things we can do in the sense of "free as in freedom" publishing that can foster more of a developer-user community, to the benefit of our scholarship and teaching:

1) A small thing we can do is to license our materials (in print and especially on the web), whenever possible, with a Creative Commons BY license. Here's a great, short article on why that particular license makes good sense for humanities scholarship: http://nowviskie.org/2011/why-oh-why-cc-by/. (I hope the new JMTP site will use this license or something close to it in order to ensure the greatest possible potential for use of the materials hosted there.)

2) A more substantial thing we could do (which gets more toward what I believe Bob was suggesting) is to aggregate and "curate" as a society the material available on the open web relating to music theory (or along with our colleagues from other societies, music scholarship more generally considered). A great model for this comes from Digital Humanities Now and the Journal of Digital Humanities. Details can be found on their respective websites (http://digitalhumanitiesnow.org/how-this-works/ and http://journalofdigitalhumanities.org/about/), but in a nutshell, DHN aggregates content on the open web relating to the field of DH; editors pick the most substantial original work and label them "Editors Choice"; followers of DHN are driven to those articles where they provide comments, criticism, and questions for the authors; authors make revisions based on those comments; and the best revised articles are chosen by the editors for placement in the JDH (which is available for free in HTML, PDF, and ePub).

The combination of these two things means that new scholarship can get out fast, and the quality can be quite high (due to the high number of potential reviewers and the small percentage of submissions that ultimately make it into the journal, at least in the case of JDH). The peer review process is also entirely transparent, and the articles that are finalists but not chosen for the journal are still widely publicized and receive substantial review.

I hope these two specific ideas that are taking root in other fields will take off in music scholarship, as well. I'm planning on using CC-BY with my work whenever possible. I'd also love to be involved in laying the groundwork for something like DHN/JDH for music, if there is enough community interest and some potential collaborators.

Happy finals week!

Kris Shaffer, Ph.D.
Assistant Professor of Music Theory
Charleston Southern University
http://kris.shaffermusic.com
twitter: @krisshaffer

On Apr 29, 2012, at 8:11 AM, Steve Laitz wrote:

> 
> From: Steve Laitz <slaitz at esm.rochester.edu>
> Date: Fri, 27 Apr 2012 17:04:11 -0400
> To: "smt-talk at lists.societymusictheory.org" <smt-talk at lists.societymusictheory.org>
> Conversation: Open Access
> Subject: Re: Open Access
> 
> Jennifer, many thanks for reminding the SMT List of the website that JMTP has been developing over the past year (I’ve pasted below the announcement that I sent to the list in the fall).  The building of the site by the firm i-SolutionServices has taken longer than anticipated, but I can now say that we are within two weeks of launching what will be a multi-faceted and interactive repository of all manner of teaching materials, from bibliographies and assignments to syllabi and video teaching demonstrations.  And, there are multiple extensions of the vision to disseminate best practices, including our innovative tutoring program; Prof. Iverson provided the link to the announcement in her post.    
> 
> For this enterprise to succeed,  we must all take part in sharing and evaluating materials from a thoughtful and knowledgeable vantage point.  The JMTP site is not meant to replace textbooks, which have their place in the marketplace of materials and ideas, but to provide new formats that take advantage of the latest technologies.   These new materials gain their meaning and context by building on the collective work of many authors -- from the writings of Viktor Zuckerkandl, D.F. Tovey, Oswald Jonas, Edward T. Cone, and Wallace Berry, to Joseph Straus, Timothy Johnson, Richard Cohn, Steven Rings, and Dmitri Tymoczko.  Indeed, there is already a vast array of talent and innovation.  The JMTP site is meant to advance this work by multi-means, but, we can accomplish this only by a community effort.  
> 
> Steve Laitz
> Editor, the Journal of Music Theory Pedagogy
> Eastman School of Music
> University of Rochester
> 
> 
> Colleagues,
> 
> The open-access and web-based ideas being discussed on this thread are exciting, indeed. As I understood it, this was part of the function of the new theory pedagogy website being created under the auspices of the Gail Boyd DeStwolinski Center and the Journal of Music Theory Pedagogy; Press release: http://www.choralnet.org/view/297880 Any updates on that project?
> 
> __________________________
> Jennifer Iverson, Ph.D.
> Assistant Professor of Music Theory
> University of Iowa School of Music
> 2775 UCC
> (319) 384 3365
> jennifer-iverson at uiowa.edu <x-msg://108/jennifer-iverson@uiowa.edu> 
> Dear Colleagues,
> 
> I write to announce that the Journal of Music Theory Pedagogy, under the auspices of the Gail Boyd de Stwolinski Center for Music Theory Pedagogy at the University of Oklahoma, is currently building a new and vital website that will serve as a repository for all things relating to music theory pedagogy. The site will benefit instructors of all stripes, including those teaching theory at the high school level (e.g., AP, IB.), those working in the trenches of a school’s undergraduate core, and instructors who focus on graduate-level instruction ranging from matriculating (and quite possibly, remediating) MM and MA students, to advanced students in their final semesters of DMA and Ph.D. programs.  The site’s goals are to: 
> 1.  Create an attitude shift that would replace the typical undergraduate’s notion that theory is an odious enterprise with the reality that it is an activity that relies on critical thinking, invoking instincts and informed choices, and is a practice dependent upon the ability to differentiate between the commonplace norms of a given style and deviations that imbue a work with genius. To be sure, the site’s contents will allow us to reveal to students (and our applied faculty colleagues) how theory—and especially analysis—can:
>        a.  increase one’s all-around musicianship,
>        b.  inform performance, especially interpretation (through corroborating instincts, generating multiple interpretations, and clarifying anomalous events). 
>                               
> 2.  Improve teaching to ensure that both the specialist and non-specialist (e.g., performers who might not have taken theory classes since their undergraduate years--yet are often entrusted with teaching theory courses ranging from fundamentals to first and second year written and aural classes and even upper-level courses in form and counterpoint--are equipped with clear and up-to-date musical models, in a word, best practices.
> 
> The robust site is scheduled to go live December 31, 2011, in tandem with the publication of Volume 25 of the Journal of Music Theory Pedagogy (thus marking a quarter century of contributions to the pedagogy of music theory). The JMTP Website will house a vast array of information and amenities, the most important of which will include: 
> 
> *Supplements to the Journal, such as:
> e-versions of the current issue of the Journal and access to all back issues and individual articles
> access to scores and links to recordings of works discussed in articles
> video demonstrations of particular concepts, pedagogical approaches, etc 
> 
> *Pedagogical resources (lovingly referred to as “In the Trenches”). These will include:
> E-articles. These short, peer-reviewed articles may be presented in any number of formats (print, video, etc.). Topics may be wide ranging, including technology (CAI, web-based instruction, Blackboard, SmartBoard, Angel, etc.), analysis and performance, model composition, aural skills, etc. 
> 
> Sample analyses of the canon, lesson plans, assignments, etc. 
> 
> Institutional materials (syllabi, structure and philosophy of specific undergraduate core curricula, placement requirements, etc.) from a wide variety of school types (university, conservatory, community college, high school, etc.) 
> 
> Video teaching demonstrations. Topics range from introductory and well-circumscribed (e.g., how to introduce part writing, how to harmonize a chorale melody or a folk tune) to more-creative activities (e.g., teaching dictation from the repertoire, incorporating a keyboard component in the theory class), as well advanced topics (e.g., introduction to Schenkerian analysis, analysis and performance demonstrations, etc.). We encourage leading pedagogues in the field, emerging faculty, and students to submit their work. 
> 
> Open forum. This moderated topic-oriented forum will encourage free and ongoing discussions including the role of AP exams, NASM guidelines, curricular development, classroom management, as well as specific areas of curriculum design (fundamentals, tonal harmony, jazz and popular music theory, post-tonal aural skills, etc.). 
> 
> Textbook authors’ helpdesk. Textbook authors will provide pedagogical information and answer members’ questions. 
> 
> *Inter-institutional initiatives (peer tutoring programs, etc.). Music theory students will have the opportunity to work together on two separate projects:
> ·     Peer Tutoring.  Both undergraduate- and graduate-student tutors from various universities have agreed to make themselves available to any and all students via Skype two hours per week. Access to these tutors is free of charge.
> 
> ·     Collaborative Analysis.  Students from a pairing of universities will work together on analysis projects using resources such as Google docs and Skype.  The goal is to follow best practices in terms of collaborative learning so that students may develop multiple interpretations of a piece.
> 
> 
> *Upcoming events and opportunities (job opportunities, calls for papers, institutes, etc.)
> 
> 
> 
> The Website Editorial Board is comprised of energetic faculty members from diverse institutions and areas of specialty. They are:
> David Castro (St. Olaf College)
> Frank Doyle (Northport High School, Long Island)
> Melissa Hoag (Oakland University)
> Steve Laitz (Eastman School of Music)
> Jena Root (Co-Chair, Youngstown State University)
> Jennifer Snodgrass (Co-Chair, Appalachian State University)
>        
> It is crucial that there be a force in the field that allows easy access to cutting-edge and best-practice models of music theory pedagogy. This is perhaps especially so for the non-specialist who is teaching either college level theory or pre-college theory. Therefore we seek your generous assistance in providing materials for this site. Ownership of copyrighted material will be retained by the author. Contributors are encouraged to consider, but are by no means limited to, the following topics:
> ●      College-level Fundamentals and Music Theory classes for non-majors
> ●      Theory and Aural Skills Core
> ●      Commercial Music Theory (Jazz, Pop, Musical Theatre, etc.)
> ●      High School Music Theory (Fundamentals/Pre-AP, AP Music Theory, IB Music)
>  
> Below are the calls for materials for four major areas of the site. Please send submissions to ysumusictheory <mailto:ysumusictheory at gmail.com> @ <mailto:ysumusictheory at gmail.com> gmail <mailto:ysumusictheory at gmail.com> . <mailto:ysumusictheory at gmail.com> com <mailto:ysumusictheory at gmail.com>  (Dr. Jena Root, Dana School of Music, Youngstown State University). The author’s name and institutional affiliation should be included in the e-mail message, but should not appear anywhere in the submitted files.                        
>  
> CFP:  E-Articles
> We welcome contributions for e-articles that demonstrate best-practice models for teaching any aspect of music theory, ranging from the high school to the university classroom. Special consideration will be given to articles that address teaching "in the trenches"--that is, core music theory and aural skills classes often taught by junior faculty, non-theory-specialists (e.g. performer/teachers), and graduate assistants.  Due to the nature of e-articles, submissions that include audio, video, or other multimedia are of considerable interest. 
> Articles should be submitted as a zip file containing the following:
> 1. Body of the article, including links to media content in rich text or html format.
> 2. Linked media files within the same folder.
>  
> CFP:  Teaching Videos
> We welcome contributions for teaching videos that demonstrate best-practice models for teaching any aspect of music theory, ranging from the high school to the university classroom.
>  
> Contributors are encouraged to submit teaching demonstrations on subjects that range from introductory and well-circumscribed topics (e.g., how to introduce part writing, how to harmonize a chorale melody or a folk tune) to more creative activities (e.g., teaching dictation from the repertoire, incorporating a keyboard component in the theory class), to more advanced topics (e.g., post-tonal topics).
>  
> There will be two types of demonstrations: those that are solicited from leading figures in the field and those that are freely submitted. All will be peer reviewed. Submitted teaching demonstrations should ideally be 12-15 minutes in length, but no longer than 20 minutes. The demonstration should be accompanied by a 200-word abstract that includes the following information:
> 1. The topic being taught
> 2. Brief description of methodology used 
> 3. Pertinent background information on student population for which the teaching demonstration is intended (college-age music majors--if so, what year? high-school students? musical theater students?)
> 4. Related scores, graphics, assignments and assessment materials
>  
> Submissions should be in a Quicktime-compatible format. 
>  
> CFP:  Course Design Materials
> We welcome contributions for course syllabi, assignments, and exams that demonstrate exemplary and potentially novel approaches to course design for any aspect of music theory, ranging from the high school to the university classroom. Contributed syllabi can be for a single class or for a sequence of classes. Special consideration will be given to submissions that address the design and teaching of core music theory and aural skills classes, which are often taught by junior faculty, non-theory-specialists (i.e., performer/teachers), and graduate assistants.
>  
> Submissions should be in PDF format and accompanied by a 200-word abstract that includes any pertinent background information on the student population for whom the materials have been designed (e.g., high school AP, liberal arts college non-music-majors, conservatory seniors, etc.). Because these materials will appear on the JMTP website you may include links to supplementary information or materials that are integral to your course(s) or are helpful in understanding novel approaches. Please include all linked files with your submission.
>  
> CFP:  Sample Analyses
> We welcome contributions of innovative analyses for use as teaching supplements in the high school and university settings. Relevant analyses will focus on core music theory topics ranging from fundamentals through advanced concepts and are encouraged to embrace not only Western music, but also popular, jazz and world music, which would enrich the students’ classroom experience as well as provide a wealth of analytical materials for the instructor.
>  
> Special consideration will be given to analyses that are “classroom-ready” and include student handouts, outside assignments, and assessment materials. We encourage submission of works that incorporate the use of various multimedia and interactive formats such as color graphics, sound files (real or MIDI), or video/animation, which will enhance the presentation of an otherwise traditional article. 
>  
> Contributions should be relatively brief, roughly 2-3K words. The author is responsible for obtaining permissions, and, if required, paying fees incurred for copyrighted material.
>          
> Articles should be submitted as a zip file containing the following: 
> 1. Body of the article, including links to media content in rich text or html format.
>             
> 2. Linked media files within the same folder.
>  
>  
> 
> 
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org

-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20120430/faaaed06/attachment-0003.htm>