"Integrated Music Learning" and Improvisation: Teaching Musicianship and Theory Through "Menus, Maps, and Models"

01 October 1995 easily be made theoretically consistent, pedagogically sound, and musically rewarding. 1Please address communications to Steve Larson/University of Washington/MUSIC/Box 353450/Seattle, WA 98195-3450/ [email protected]/(206) 543-9212. 2Plato,...

Tracing as an Analytical Approach in the Music Theory Classroom: Exploring Chopin's Mazurka in A-flat Major, Op. 17, no. 3

01 May 2020 As each melodic suspension resolves and then proceeds to the tonic, the music repeatedly succumbs to gravitational pull.6Steve Larson and Leigh VanHandel identify “gravity” as the weakest of their four musical forces. The melodic pattern 3–2–1, as seen...

A Theory of Pitch-Class-Set Extension in Atonal Music

01 October 2001 Over years of teaching pitch-class-set theory and analysis as part of undergraduate twentieth-century theory courses, I have often reflected (and heard perceptive students remark) on an apparent shortcoming of the system. At that stage of their...

Analyzing Improvised Jazz

01 October 1992 jazz analysis. A third analytic approach applies Schenker's analytic techniques to jazz solos. In a recent dissertation Steve Larson makes a strong case for the applicability of Schenkerian analysis to improvised jazz.8 Some analysts would never look...

Improvisation in the Aural Curriculum: An Imperative

01 October 1997 by doing, meeting Piaget's criterion that real learning is discovered and assimilated by active, personal involvement. Steve Larson discusses the importance of improvisation in teaching skills which will support students' music pursuits, whether...

Composers' Words, Theorists' Analyses, Ravel's Music (Sometimes the Twain Shall Meet)

01 October 2003 of a composer's musical thinking, either as expressed in sketches (Carl Schachter on Beethoven), or in words (Steve Larson on Bill Evans).2 Moreover, even when a composer's words mislead rather than lead, I suggest that they remain potentially useful to...

The Mind's Ear: I Hear Music and No One Is Performing

03 October 2005 who use their text are able to hear the interaction of musical lines in two- and three-part textures. Another analyst, Steve Larson, discusses how the ability to hear sound internally is basic for hearing tension and resolution. He describes the need...

The Topic of the Sacred Hymn in Beethoven's Instrumental Music

01 October 2007 Dynamics in Musical Expression," 295-309 and Candace Brower, "A Cognitive Theory of Musical Meaning," 334-38. Steve Larson provides the most comprehensive study to date of musical forces. See "Musical Forces and Melodic Patterns," 55-71; "Musical...

Performance Inquiry and Cognitive Science: A Search for Common Ground

01 October 2008 "Why Cognitive Linguistics Requires Embodied Realism." Cognitive Linguistics 13, no. 3 (2002): 245-63. Johnson, Mark and Steve Larson. "'Something in the Way She Moves' Metaphors of Musical Motion." Metaphor and Symbol 18, no. 2 (2003): 63-84. Kaastra,...

The Crystallization of the New, New Music at UCSD

01 October 2011 1. Ever-New California In 1966 work began on widening the road leading from a sleepy San Diego beach community, La Jolla Shores, up to the area where an infant university, the University of California San Diego (UCSD), was quickly developing. The road...

The Jersild Approach: A Sightsinging Method from Denmark

01 October 1996 Sightsinging teaching in the United States is not based on any universally adopted methodology or common set of principles and assumptions (as is the case, for example, with harmonic analysis, which is usually directed by the conceptual worlds of...