Michael R. Rogers
Assuming michael is required, and r is required, and rogers is required, the following 21 results were found.
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original. 62See George Lakoff and Mark Johnson, Metaphors We Live By, and Philosophy in the Flesh. 63bid., 3. 64See Michael R. Rogers, Teaching Approaches in Music Theory, 74; See also John D. White and William Lake, Guidelines for College Teaching of...
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Integration, Diversity, and Creativity in Current Music Theory Pedagogy Research
The Manifesto presents a number of claims about the current teaching practices of music theory and aural skills faculty across the country. In pursuit of a greater understanding of the current pedagogical practices in music theory as reflected by...
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Students Evaluate Music Theory Courses: A Reddit Community Survey
Abstract Undergraduate music programs are currently reexamining the place and value of theory study. While some have argued for this core subject to be dissolved and absorbed by related courses, others defend that music theory is a non-negotiable core...
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Poking the Pillars: A Preliminary Evaluation of Integration, Diversity, and Creativity
An earlier version of this article was presented as part of the special session, "Integration, Diversity, and Creativity: Reflections on the 'Manifesto' from The College Music Society," at the Society for Music Theory annual meeting, St. Louis, October...
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Abstract Following the end of World War I, Marcelle Soulage (1894-1970) engaged in an intense effort to launch her career as a composer in Paris through performing her music as a pianist at different salons, musical societies, and on the burgeoning...
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The Jersild Approach: A Sightsinging Method from Denmark
of the fourth in William Thomson's "Emergent 'Dissonance' and the Resolution of a Paradox," in this issue. authors: Michael R. Rogers author_ids: 906 authors: Michael R. Rogers author_ids: 906
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Abstract The literature of the early part of the twentieth-century poses a unique set of pedagogical challenges when introducing it to the undergraduate population. On the one hand, there are elements that continue in the common-practice tradition,...
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The Rich Messiness of Music: Teaching Theory in Music with Contradiction and Paradox
Education. 4Quoted in W.R. Hartston and P.C. Wason, The Psychology of Chess (London: Batsford, 1983), 62. authors: Michael R. Rogers author_ids: 906 authors: Michael R. Rogers author_ids: 906
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Non-Tech Teaching in a Technological Age
ourselves that desire for advancement in all modes of teaching -- new and old -- is an unceasing quest. authors: Michael R. Rogers author_ids: 906 authors: Michael R. Rogers author_ids: 906
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[i]Linear-Derived Harmony[/i], by Arthur Komar
teachers should keep a copy of Linear-Derived Harmony on the bookshelf for ready reference at all times. authors: Michael R. Rogers author_ids: 906 authors: Michael R. Rogers author_ids: 906
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Critical Thinking in Music Teaching
and significance of the knowledge, why it is so, and to recall it spontaneously and use it when relevant. authors: Michael R. Rogers author_ids: 906 authors: Michael R. Rogers author_ids: 906
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How Much and How Little Has Changed? Evolution In Theory Teaching
"How does one become an ideal theory teacher?" First, make yourself musical and then just teach naturally. authors: Michael R. Rogers author_ids: 906 authors: Michael R. Rogers author_ids: 906
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Improvisation in the Aural Curriculum: An Imperative
Improvisation has long been a part of the music curriculum, at least in certain areas of study. It is a staple of jazz studies where students learn the skill through ensembles and specific courses. Organists are taught improvisation as a means of...
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A Taxonomy of Sentence Structures
Abstract In his 1967 Fundamentals of Musical Composition, Arnold Schonberg described the sentence as a basic tool for organizing themes. Over the past thirty years, a growing number of scholars have been reexamining Schoenberg's concept of the sentence...
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The Mind's Ear: I Hear Music and No One Is Performing
"He is a good musician, who understands the music without the score, and the score without the music. The ear should not need the eye, the eye should not need the (outward) ear."1 Hearing music in the mind's ear, without any sound source present, is a...
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Introducing Musical Meaning through Popular Music
Abstract When analyzing challenging texted art music, all too often the act of labeling a concept (for example, “common-tone modulation”) can mislead students into thinking that the label is the end of the story. Several factors, such as difficulty in...
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Your Turn to Lead: Cultivating Student Leadership in Music Theory and Aural Skills
Introduction Universities and colleges aspire to equip students for leadership in their professions, and institutions frequently include leadership education in their statements of mission and purpose. According to Susan Komives and Matthew Sowcik...
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Creativity in the College Music Classroom: Guidelines for Effective Integration
Abstract We have many reasons to focus on developing student creativity in the course of music study, including demonstrating relevance to a culture that values creativity, promoting student self-actualization and adaptability, increasing engagement in...
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The Kindergarten Approach to Arranging Music: Using Technology to Stimulate Creativity
Introduction At the 2013 ATMI National Conference, the CMS/ATMI Music Technology Lecture treated attendees to the research of Mitchel Resnick. In his lecture, Resnick, who directs the Lifelong Kindergarten Group at the Massachusetts Institute of...
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Music Teacher Education in America (1753-1840): A Look at One of its Three Sources
In his address at the formation of the Society for Music Teacher Education in San Antonio in 1982, Charles Leonhard described American music teacher education as "a hybrid growing out of three traditions in higher education: the liberal arts tradition,...
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