[Smt-talk] Core music theory courses for undergraduates

Wed May 21 09:23:39 PDT 2014

Dear Anna and the List,

from my 18 years of experience in the USA and previous knowledge of the topic I can suggest something that may seem fantastic yet is feasible and, in a long run, ultimately productive.

The theory disciplines (rudiments, diatonic harmony, classical forms, basic strict and free counterpoint, and ear training) should be introduced at an earlier age. All the textbooks that I have seen and used (including a venerable Kostko and Payne) are better suited for the 14-17 year olds. For more detailed proof of this I refer to a wealth of information in professional child psychology (e.g. Boris Teplov, The Psychology of Musical Talent).

Of course, this was impossible to implement just some ten years ago. However, in 2014, nothing can keep you from establishing a distant learning program in local magnet schools. Contemporary technology can compensate for some technical difficulties of such programs.

So, the ideal plan will be:

1) To establish an early-age theory training network at the local magnet schools and/or at the preparatory school at your conservatory (if there is one). The graduates from these schools will comprise the core of your incoming students. Their level of preparation will significantly exceed the average level. The rest of your incoming students will have to catch up. At least, they will see what is the benchmark level of skills, acceptable at your school.
This pre-college program will include 4 to 6 semesters of ear training done by your junior faculty and/or GAs; 4 semesters of tonal harmony; 2 semesters of classical forms and analysis; 2 semesters of counterpoint; 6 semesters of musical literature. You could employ some of your graduate students here, as a form of teaching practicum.

2) At the undergraduate level, for BM students, you can introduce more specialized and more in-depth courses that will benefit your students and will make you a top music school. For example, instead of a part-writing course, you could introduce a four-semester course in harmony by styles and periods, using the method of model composition, keyboard improvisation and heavy reading and writing component. Instead of going over the classical forms, at this level you can introduce a class in analysis, appropriate for the college level. And, of course, you can spend more time in the classes teaching atonal, pre-tonal, non-common-practice music and a smorgasbord of courses on performance, interpretation, period music, etc. You can also lighten up the theory requirements for the majors that need more time for other aspects of training, without compromising their academic training in theoretical disciplines.

So, here are my two cents. 

Best,

Ildar Khannanov
Peabody Institute, Johns Hopkins University
solfeggio7 at yahoo.com
On Wednesday, May 21, 2014 11:44 AM, David Froom <dfroom at smcm.edu> wrote:

From another non-conservatory:

At St. Mary's College of Maryland, we require four semesters of Theory (meets four hours, earns three credits) and four semesters of Ear Training (meets two hours, earns 1 credit). They are separate classes (3 days/week theory, 2 days/week ear training), together adding up to six hours of meeting time for four credits.

The first three semesters theory are 

review of fundamentals and introduction to diatonic harmony; 
diatonic harmony into the beginnings of chromaticism; 
19th century harmony. 

These classes include discussion of form, but necessarily not in a lot of depth.

The fourth semester alternates. One year it is a class in 20th century theory. The next year it is a class in Form. Most of the serious students take one for the requirement, one as an elective. Among our electives (offered as possible) there is also a counterpoint class -- though it is a scramble in that class to cover, in one semester, both 16th and 18th century.

We've tried, over the years, a variety of scenarios, including one teacher for theory and ear training, starting with species counterpoint, bigger emphasis on form in the three semesters with 20th century for all in the fourth, or even having the third semester be ⅔ chromatic harmony, ⅓ counterpoint. For now, what I wrote above is what we've settled on. Changes to this have had to do with the combined pedagogical viewpoint of those of us teaching it (as people have come and gone). There are two of us for theory, plus an adjunct for ear training, and all of us have other things we need to teach. We also face pressure to figure out a way to keep class sizes up, which, in a small liberal arts college setting, becomes increasingly difficult as one gets to the classes for juniors and seniors. Thus, the every-other year plan for some of the classes.

David Froom
Professor of Music
St. Mary's College of Maryland

> On Wed, May 21, 2014 at 8:44 AM, Anna Gawboy <gawboy.2 at osu.edu> wrote:
> Dear colleagues,
> 
> My institution has recently begun to contemplate a revision of the entire undergraduate curriculum. I'm curious how much time other schools devote to core theory (i.e., those courses required of all undergraduate music majors) and the basic format for their delivery.
> 
> Are theory and aural skills integrated or taught in separate classes? Are keyboard skills included or taught separately? 
> 
> How many semesters/quarters of theory are required?
> 
> How many credit hours are assigned to each class, and how much time does each class meet per week? 
> 
> Many thanks in advance,
> Anna Gawboy
> 
> -- 
> 
> Dr. Anna Gawboy Assistant professor of music theory
> Ohio State University School of Music
> 304A Hughes Hall | 1899 College Road Columbus, OH 43210-1234
> 614-292-2044 Office
> gawboy.2 at osu.edu osu.edu
> 
> 
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> -- 
> Michael Klein
> Chair, Department of Music Studies
> Professor of Music Studies
> Temple University
> Boyer College of Music and Dance
> 316 Presser Hall
> michael.klein at temple.edu
> 
> http://www.youtube.com/user/MLKPianist
> 
> Intertextuality in Western Art Music: http://www.iupress.indiana.edu/product_info.php?products_id=21727
> 
> Music and Narrative since 1900: http://www.iupress.indiana.edu/product_info.php?isbn=978-0-253-00644-8
> 
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