[Smt-talk] Core music theory courses for undergraduates

[Conor Cook]

I went to a high school with integrated math, and while my math skills didn't suffer as a result, I couldn't for the life of me distinguish algebra from trigonometry from geometry (I'm figuring it out now :).  As seniors we had calculus, but up to that I was unaware of the distinctions.  This seems to be detrimental to math, at least for testing purposes, but would it be detrimental to music academics?  Who wouldn't want to see a joint fundamentals curriculum that mixes theory, aural skills, history, composition, etc.?  Of course, it may also confuse the students, like the math curriculum did me :)

Best,
Conor Cook
LaSalle Catholic Parishes

> On May 21, 2014, at 10:35 PM, "Ninov, Dimitar N" <dn16 at txstate.edu> wrote:
> 
> Dear Colleagues,
> 
> This interesting discussion reminds me about our conversation a year ago. Then we discussed specialization versus integration in the undergraduate curriculum.
> 
> I would like to reiterate my conviction that specializing in each fundamental discipline for a certain time eventually leads to a better integration of all disciplines in the mind and personal experience of the student/scholar, and results in higher professionalism. 
> 
> I have always dreamed of the following two types of mandatory curriculum which I once enjoyed at the conservatory in Sofia.
> 
> A. For majors in music education, performance and sound recording: 4 semesters of harmony, 4 semesters of solfege (fixed do), 2 semesters of counterpoint, and 1semester of analysis.
> 
> B. For majors in theory, composition, conducting, and musicology: 6 semesters of harmony, 4 semesters of solfege (fixed do), 4 semesters of counterpoint, 2 semesters of analysis.
> 
> The fourth semester of harmony for the general majors will be devoted to 20th century, but mostly to the music of Debussy, Ravel, Strauss, Stravinsky, Prokofiev, Shostakovitch, Bartok, Hindemith, Honegger, Orff, Messiaen, Britten, Copland, Gershwin, Enesku, and the like, which is the music that is most valued, sought after, performed and recorded today, the music which fills the hall and leaves a deep impact on professionals and music lovers alike. Serial music shall be studied for a much shorter time, and pitch set theory shall be mentioned in passing as a curious way of dealing with musical content, which does not require any musical capabilities on the part of the analyst.
> 
> This kind of curriculum may sound impossible for various reasons, ranging from state policy for credits, financing, general profile of the school, commercialism, time frame for graduation, etc. I understand this, do not complain, and I try to do my best within a four-semester integrated theory and four semester ear training. But since we share our vision of an ideal situation, I shared mine. If dreams left us, we would turn into dry instructors who only teach by the book, do not provoke the students to think critically, and cannot wait to go home after the lecture is over.
> 
> With best regards,
> 
> Dimitar
> 
> Dr. Dimitar Ninov, Lecturer
> School of Music
> Texas State University
> 601 University Drive
> San Marcos, Texas 78666
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