[Smt-talk] Smt-talk Digest, Vol 64, Issue 13

[James Sobaskie]

It's always seemed to me that the daily involvement with harmony and
counterpoint had by pianists and guitarists tends to give them an edge
in theory, ear training, and composition studies, while the biggest
pedagogical challenge is convincing all of the others that they need to
compensate.  Glad to hear that these keyboard-oriented theory sequences
are achieving such great results – invoking the tactile, visual, and
aural modalities, as well as the imagination, all in real time, must
make the difference.


Jim Sobaskie




James William Sobaskie, Ph.D.
Book Reviews Editor, Nineteenth-Century Music Review
Associate Professor, Music Theory Coordinator
Department of Music
Mississippi State University
P.O. Box 6240
Mississippi State, MS 39762
USA


662.325.2871
jsobaskie at colled.msstate.edu
http://music.msstate.edu/faculty/staff.php?id=js1112
http://js1112.colled.msstate.edu/JamesSobaskie.pdf
http://journals.cambridge.org/action/displayMoreInfo?jid=NCM&type=eb



>>> Richard Cohn <richard.cohn at yale.edu> 05/06/14 8:16 AM >>>
Prof. Jablonsky is painting with an uncomfortably broad brush here. 
Some of the best music theorists I know have guitar as a primary
instrument, and some of the most accomplished music theory teachers I've
encountered teach from the guitar (and fumble at the piano). I'm tempted
to name names, but don't want to exclude anyone who belongs on the list
of theorist/guitarists, and so I'll just leave this assertion
unsupported. Their colleagues, and especially their students, know who
they are.  

There is a way around it, and it's called human ingenuity.

--Rick Cohn

 








 


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