2017 Conference Program

PEDAGOGY INTO PRACTICE - Tentative schedule 

Updated February 21, 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

9:00-9:30 Breakfast and Coffee Service

9:30-9:45  Opening Remarks

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


New Curricula, New Ideas

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

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  

1:00-3:00 Poster Session (see final page for listing)  Chair:   Rebecca Jemian, University of Louisville

3:00-3:30 Poster Discussion Session (with topical table leaders)

3:30-4:00  Break

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

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.  Dinner on your own.


Friday, June 2

9:00-9:30   Coffee 

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


Learning Strategies / Musical Borrowing

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 

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 on your own

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


From Musical Practice to the Theory Class


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

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

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

Keynote: Anna Gawboy, “The Art of Listening”


5:30 Dinner on your own


Saturday, June 3

9:00-9:30   Coffee 

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


Historically Informed Pedagogy

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

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)

12-1:30  Lunch on your own

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


Technologies for Learning 

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

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

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 

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

  1. The Mode Effect: Using Classroom Technology to Facilitate Learning in an Advanced Analysis Course - Brenda Ravenscroft (Queens University)
  2. Augmented-Sixth Chords and Tritone Substitutions, Structural Similarities and Contextual Differences - Julian Guillermo Brijaldo Acosta (University of Miami, Frost School of Music)
  3. Teaching Cadence Recognition - Samantha M. Inman (University of North Texas)


4:45-6 Closing Reception.   Dinner on your own.



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)
  6. What's in a National Anthem? - Rebecca Wade and Dina Rosas (Atlanta International School)

 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 and Samantha Waddell (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)