[Smt-talk] Core music theory courses for undergraduates

[Ildar Khannanov]

Dear Dimitar and the List,

what you have presented has been also the second part of my dream (in addition to pre-conservatory training). These questions, if raised, should be addressed nationwide. The two innovations are feasible and economically solid (they will require less in comparison with current spending). However, it has to be done simultaneously, as a national reform in musical education.

With all that, I understand and appreciate Michael Rogers' position. He came to Peabody last year to give a guest lecture. His point was that a good teacher must be able to teach music to any student, from any walk of life. So, for me, what I do in the classroom does not seem bleak and boring at all. The current system allows for freedom and variety and the most successful students give you so much that the desirable reforms of the system do not seem to be urgent.

Here, at Peabody, we have recently implemented a Theory Elective (replacement of the 6th semester of the core theory sequence). Students enjoy these electives since each professor comes up with the most original and unusual topics. I taught last year Advanced Harmonization, and this year it was Music Theory in the Context of Western Culture.

This innovation did not adversely affect the whole system. We have 6 semesters of theory. First year is dedicated to part-writing. During this year we offer three levels, for advanced, medium and remedial levels. In the second and the third years we offer theory by periods and styles (Baroque in the Fall and Classical in the Spring). It used to be that we have had each stylistic period for a semester, including Romantic and 20th-century in the third year. Now we have compressed the style periods from 4 semesters to 3 semesters and used the last one for an elective. 
Ear training has been reformed not long time ago. Students take it five days a week for 25 minutes, around noon. This way ear training becomes a daily feast of musicianship. A separate course allows to focus on methods of solfege and other specific aspects of aural skills.

In addition, we have a separate thread for keyboard theory for all students. The system seems to work very well.

Best,

Ildar Khannanov
Peabody Institute, Johns Hopkins University
solfeggio7 at yahoo.com
On Thursday, May 22, 2014 9:03 AM, "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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