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<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>David et al,<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Chapter 2 of the Kostka-Payne Tonal Harmony text is fairly
thorough on writing rhythms correctly, including self tests and a workbook of
drills. My students have no concept of compound meter when they arrive and this
usually straightens them out.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>But we dumped this text this fall after using it for over 20
years, due to its prohibitive cost with workbook and 2 CD sets, and its focus
on microscopic “moments” in examples. We’re trying an anthology with complete
examples and opportunities to compose in the style, and the Blatter “Revisiting
Music Theory,” which is more than we need and often confusing in its pedagogical
directions. So we cover concepts as they come up in the examples, and use some
pop song examples as well to fill in when we need them. <o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Larry Barnes<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Professor of Music<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Transylvania University<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
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<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span
style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>
smt-talk-bounces@societymusictheory.org
[mailto:smt-talk-bounces@societymusictheory.org] <b>On Behalf Of </b>Howard
Cinnamon<br>
<b>Sent:</b> Sunday, September 26, 2010 2:02 PM<br>
<b>To:</b> Smt-talk@societymusictheory.org<br>
<b>Subject:</b> [Smt-talk] Rhythm notation pedagogy<o:p></o:p></span></p>
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<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;
font-family:"Arial","sans-serif"'>David,<br>
The only fundamentals text I have found that deals with beaming is the Zinn and
Hegenson “Basics of Music : Op. 1,” published by Thomson/Schirmer. It even has
drills to give them practice in proper beaming and discusses the
relationship to meter quite a bit. We use it in the fundamentals review courses
for our majors.<br>
Howard Cinnamon<br>
Coordinator of Music Theory,<br>
Hofstra University<br>
<br>
<br>
David:<br>
I would be interested in seeing how you tackled the problem.<br>
--<br>
Paul Beaudoin, PhD<br>
<br>
---- David Feurzeig <<u><span style='color:blue'><a href="mozojo@gmail.com">mozojo@gmail.com</a></span></u>>
wrote: <br>
<br>
=============<br>
Collective Wisdom:<br>
<br>
I find that entering students are ever more clueless regarding standard
practice for notating rhythm with proper respect to meter. My hunch is that
careless computer notation is to blame--including now second-order effects on
students who don't necessarily use digital notation tools themselves, but see
more and more abominably-notated rhythm in their band arrangements and other
parts.<br>
<br>
Oddly, I have not seen any standard theory or fundamentals texts that explains
standard beaming and grouping both fully and clearly. So I have done so myself,
in supplementary materials. Traditional practice is not all that hard to
codify, and once codified, not hard to impart. My question is, is anyone
familiar with any published text that *does* cover this adequately?<br>
<br>
Thanks for any enlightenment.<br>
<br>
David<br>
<br>
<br>
David Feurzeig<br>
University of Vermont<br>
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