2017 Conference Program

PEDAGOGY INTO PRACTICE:  Teaching Music Theory in the 21st Century

Sponsored by the Gail Boyd de Stwolinski Center for Music Theory Pedagogy

Updated May 19, 2017


Wednesday, May 31

Travel to Lee University.  Vans to pick up attendees at Chattanooga airport.  


Thursday, June 1

9:00-6:00 Registration Table Open  (Main Lobby)

9:00-9:30 Coffee and Bagels  (Main Lobby)

9:30-9:45  Opening Remarks by Steve Laitz (The Juilliard School), Director of  Gail Boyd de Stwolinski Center for Music Theory Pedagogy  (Squires Recital Hall)

9:45-11:45  Paper Session (4 30-min papers, parallel sessions)

New Curricula, New Ideas  (Johnson Lecture Hall)

Chair:  Yayoi Uno Everett, University of Illinois, Chicago

  1. Towards a Curriculum in Public Music Theory – J. Daniel Jenkins (University of South Carolina)
  2. Designing a New Course: Team Teaching Music and Math – Christine Boone (University of North Carolina, Asheville)
  3. "We’ve taken the world apart but we have no idea what to do with the pieces”: Overhauling the theory curriculum – Matthew Heap (West Virginia University)
  4. Open Educational Resources (OER’S) in the Music Theory Classroom: A Curricular Redesign Travelogue – Kyle Gullings (University of Texas at Tyler)

 Student Engagement  (Room 207)

Chair:  Jena Root, Youngstown State University

  1. Mock Trials in the Music Theory Classroom – Angela Ripley (Baylor University)
  2. Music Theory Debate Club: A Case for Analytical Debates in Beginning Music Theory Courses - Benjamin Hansberry (Columbia University)
  3. Student Engagement through Online Textbook-Based Tools - Justin Hoffman (W.W. Norton)
  4. Engaging Students in the Theory Classroom Through Solo Repertoire – Alexander Trygstad (Eastman School of Music)


11:45-1:00 Lunch (Johnson Lecture Hall)

Lunch sponsored by Noteflight. Presentation by Jena Root, Associate Professor at Youngtown University and Consultant for Noteflight)

1:00-3:00 Poster Session (see final page for listing)  (Rooms 203 and 205)

Chair:   Rebecca Jemian, University of Louisville

3:00-3:30 Poster Discussion Session (Rooms 203 and 205)

Table leaders:  Patricia Burt (Harford Community College); Melissa Cox (Emory University); J. Daniel Jenkins (University of South Carolina); Rebecca Jemian (University of Louisville); Steve Laitz (The Juilliard School); Elizabeth Marvin (Eastman School of Music)

3:30-4:00  Break

4:00-6:00  Keynote Address I (includes 30-45 minute Q & A) (Squires Recital Hall)

Opening Introduction:  Steve Laitz, The Juilliard School and Director of the Gail Boyd de Stwolinski Center for Music Theory Pedagogy 

            Ken Bain, “Deep Learning”

6:00-7:30  Opening Reception.  Sponsored by the Gail Boyd deStwolinski Center for Music Theory Pedagogy (Room TBA)

Dinner on your own.


Friday, June 2

9:00-11:00 Registration Table Open (Main Lobby)

9:00-9:30   Coffee (Main Lobby)

9:30-11:30 Paper Session (4 30-min papers, parallel sessions)

 Learning Strategies / Musical Borrowing (Room 205)

Chair:  Adam Ricci, University of North Carolina at Greensboro

  1. Advocating for Integration of Metacognitive Strategies into Music Theory Instruction – Anna Ferenc (Wilfrid Laurier University)
  2. A Learning Taxonomy for Schenkerian Analysis – Benjamin K. Wadsworth (Kennesaw State University)
  3. Teaching Musical Borrowing in the Music Theory Classroom – Peter Silberman (Ithaca College)
  4. Can I Borrow a Feeling? Modal Mixture Reconsidered - Christopher Segall (College-Conservatory of Music, University of Cincinnati)

Singing and Moving in Aural Skills and Analysis Classes  (Room 207)

Chair:  Loretta Terrigno, The Juilliard School

  1. Reverse-Engineering Working Memory Tests to Generate Aural Skills Exercises - Timothy Chenette (Utah State University)
  2. We Know It’s Important, But How Do We Do It?  Engaging Beginning Aural Skills Students in Meaningful Improvisation Activities - Jeffrey Lovell (Lebanon Valley College)
  3. Incorporating Mindfulness-Related Techniques in the Aural Skills Classroom for Students with Absolute Pitch - Dana Kaufman (University of Miami, Frost School of Music)
  4. Dalcroze-inspired Analysis in Music Theory Classroom - Ji Hyun Woo (State University of New York at Fredonia)


11:30-1:00  Lunch (Johnson Lecture Hall)

Lunch sponsored by Oxford University Press.  Presentation by Richard Carlin, Senior Editor for Oxford University Press

1:00-3:30 Workshop session (3 45-min workshops, parallel sessions) 

From Musical Practice to the Theory Class (Room 205)

Chair:  Johnandrew Slominski, Eastman School of Music

  1. Teaching Counterpoint, Harmony, and Voice-Leading with Galant Schemas - Nathan Baker (Casper College)
  2. From History to Practice: Bringing 'Cadence et Marche' Pedagogy to Today’s Music Theory Classroom - Michael J. Masci (State University of New York at Geneseo)
  3. The Nashville Number System: A Pop(ular) Alternative to Roman Numerals and Figured Bass - Trevor deClercq (Middle Tennessee State University)

Strategies for College and High School Classrooms (Room 207)

Chair: Melissa Cox, Emory University

  1. Teaching Chorale Harmonization and AP Music Theory’s FR7 – Jane Piper Clendinning (College of Music, Florida State University)
  2. Workshop in Assessing and Evaluating Melodic Dictation – Gary S. Karpinski (University of Massachusetts, Amherst)
  3. From Harmonic Looking to Harmonic Listening: Harmonic Dictation via Harmonic Singing - Cynthia I. Gonzales (Texas State University) and Bonnie Smith (AP Music Theory Instructor at Churchill High School in San Antonio, TX)

3:30-4:00  Break

4:00-5:30  Keynote Address II  (Johnson Lecture Hall)

Opening Introduction:  Steve Laitz, The Juilliard School and Director of the Gail Boyd de Stwolinski Center for Music Theory Pedagogy

Keynote: Anna Gawboy (Ohio State University) “The Art of Listening”

 5:30 Dinner on your own



Saturday, June 3

9:00-11:00 Registration Table Open (Main Lobby) 

9:00-9:30   Coffee (Main Lobby)

9:30-11:00  Paper Session (3 30-min papers, parallel sessions)

Historically Informed Pedagogy (Room 205)

Chair:  Mary Arlin, Ithaca College emerita

  1. Chorales in J.S. Bach’s Pedagogy: A Method for Teaching  Undergraduate Music Theory Inspired by a New Source - Derek Remeš (Eastman School of Music)
  2. Improvisation as Analytical Pedagogy: The Concerto’s “Display Episode” Within a Sonata – Andrew Aziz (San Diego State University)
  3. The Rule of the Octave in the Freshman Music Theory Curriculum: Teaching in the Twenty-First Century with Eighteenth-Century Strategies - Olga Sánchez-Kisielewska (Northwestern University)

Re-envisioning Post-Tonal Theory and Analysis (Room 207)

Chair: Zachary Bernstein, Eastman School of Music

  1. Scuba Diving in the 21st Century:  Exploring the Goals of Analysis through Contemporary Repertoire as the Capstone to the Core - Nora Engebretsen (Bowling Green State University)
  2. Building a Bridge: Transitioning from Tonal to Post-Tonal Aural Skills in the Undergraduate Core Curriculum - David Geary and Robert Komaniecki (Indiana University)
  3. The Rest is Noise: A Modular, Historically Integrated Approach to Post-Tonal Pedagogy –  Amy Fleming and Aaron Grant (Eastman School of Music)


11:00-12:00  Workshop with Anna Gawboy (Keynote into Practice)  Johnson Lecture Hall

12-1:30  Lunch on your own

1:30-3:00  Workshop Session (2 45-min workshops)

 Technologies for Learning  (Room 205)

Chair:  Elizabeth Sayrs, Ohio University

  1. There’s an App for That: A Part-Writing and Analysis Tool for the Music Theory Classroom - Rachel Mitchell (University of Texas, Rio Grande Valley)
  2. Gamification and Repetition Pedagogy Components in the Web App, Picardy - Hermes Camacho and Alex Newton (Picardy Learning)

 Improvisation in the Aural Skills Classroom (Room 207)

Chair:  Susan Piagentini, Bienen School of Music, Northwestern University

  1. Parallel Period Improvisation in Undergraduate Aural Skills – James Sullivan (University of Evansville)
  2. Improvisation in Aural Skills: Building Connections and Musicianship - Tiffany Valvo (Syracuse University and Nazareth College)

 3:00-3:15  Break


3:15-4:45  Paper Session (3 30-min papers, parallel sessions)

Saturday PM:  Individual Differences and Assessment  (Room 205)

Chair: Deborah Rifkin, Ithaca College

  1. Music Analysis and Accessibility in the Music Theory Classroom - Shersten Johnson (University of St. Thomas)
  2. The Issue of Mixing vs. Grouping in Undergraduate Music Theory Pedagogy – Michael Callahan (Michigan State University)
  3. Assessing Assessments:  Research-Based Methods to Improve your Grading Practices – Sara Bakker (Utah State University)

Saturday PM:  Making Analysis Courses More Relevant (Room 207)

Chair:   Greg McCandless, Hayes School of Music, Appalachian State University

  1. Augmented-Sixth Chords and Tritone Substitutions, Structural Similarities and Contextual Differences - Julian Guillermo Brijaldo Acosta (University of Miami, Frost School of Music)
  2. Teaching Cadence Recognition - Samantha M. Inman (University of North Texas)

Dinner on your own-watch bulletin board for a possible site for dining together

                                                                                                                                                  End of Conference


Thursday Poster Session Titles

Aural Skills: Activities and Assessment

  1. Shaping the Undergraduate Aural Skills Class: A Comparison of Traditional Dictation Strategies and Informal Learning Strategies - Chelsea Brinda (Indiana University)
  2. Psychologically Inspired Ear Training Exercises: Incorporating Insights from Auditory Scene Analysis - Alfonso Meave (Universidad Nacional Autónoma de México) and Richard Parncutt (Karl-Franzens-Universität Graz)
  3. The Use of the Parallel Period in Aural Skills through Melodic Dictation and Error Detection - Alexander Amato (Stephen F. Austin State University, TX)
  4. Contracting Grades in Aural Skills; An Updated Model for Instruction and Evaluation - David Marvel (University of Tennessee, Knoxville)
  5. Scaling to Real Music: Rebuilding Aural Skills Pedagogy from the Ground Up - Philip Duker and Daniel Stevens (University of Delaware)

 Fundamentals, Form, and Harmony

  1. Sounds and skills vs. notes and drills: re-thinking our approach to music fundamentals - Joshua Groffman (University of Pittsburgh)
  2. Interdisciplinary Assignments in the Music Fundamentals Curriculum - Chelsey Hamm (Missouri Western State University)
  3. Classical Variation in the Undergraduate Curriculum – James Sullivan and Samantha Waddell (University of Evansville)
  4. Reshaping the Focus and Content of Freshman Music Theory:  Using the Keyboard as a Tool to Improve Student Learning - Barbara K. Wallace and Jennifer Weaver (Dallas Baptist University)
  5. One Bite at a Time: Writing in Harmony Class - Jennifer Shafer (University of Delaware and Temple University)
  6. Writing “Renegade” Parallelism in Initial Part-Writing Lessons - Gabriel Fankhauser (University of North Georgia)

 Post-Tonal Pedagogies

  1. Teaching Pitch-Class Sets Intuitively and Efficiently - Timothy Chenette (Utah State University)
  2. Techniques for Teaching the Reading of Atonal Melodies - Kent Cleland (Baldwin Wallace University)
  3. How to develop sight-singing, transposition, improvisation, and composition skills using a quasi 12-tone matrix - Ji Hyun Woo (State University of New York at Fredonia)

 Motivating Students

  1. Student Perceptions of Music Theory: Hidden Curricula in the Music Theory Classroom - Cora S. Palfy (Elon University)
  2. Malleable Mindsets: Reshaping Undergraduate Music Theory Curricula - Meghan Naxer (Kent State University)
  3. Peer Learning Strategies in the Flipped Music Theory Classroom - Hermes Camacho (Picardy) & Scott C. Schumann (Central Michigan University)

 Learning from Jazz, Popular, and World Musics

  1. Swing, Shuffle, Half-Time, Double: Beyond Traditional Time Signatures in Meter Classification for Pop/Rock Music - Trevor deClercq  (Middle Tennessee State University)
  2. Tetractys Modes and Third Substitutions: An Expanded Model of Harmonic Functionality - Nathan Baker (Casper College)
  3. Modular Loops: Toward an Integrated Theory Pedagogy for Cycle-Based Popular Music - Matthew Hough (University of California, Berkeley)
  4. World Music Theory and Analysis: Music from the Andes - Jane Piper Clendinning (College of Music, Florida State University)

 Textbooks and Technology

  1. #TEXTBOOKLESS: Creating your own Online Educational Resource - Kate Sekula (University of Sciences and Arts of Oklahoma)
  2. InQuizitive for Aural Skills: A Formative, Adaptive, Game-Based Learning Tool - Brent Yorgason (Brigham Young University)
  3. SmartMusic®: The Electronic Ear-Training Tutor that Delivers a Comprehensive Aural-Skills Curriculum - Cynthia I. Gonzales (Texas State University)