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This article focuses on three “hacks” to the traditional model of music theory instruction:standards-based grading(SBG),just-in-time teaching(JiTT), andthe inverted classroom. In SBG, students receive multiple grades in reference to clearly defined learning objectives rather than a single grade that may mask weaknesses by averaging them with strengths. JiTT assesses students’ understanding before class so that the instructor can adjust the lesson plan according to their needs. In the inverted classroom, students acquire a basic understanding of the material outside of class so that class time may be used for active engagement rather than lecture. These tools and the technologies that support them have the potential to help strengthen curricula, increase the impact that an instructor can have on undergraduate theory students, and in some cases reduce the amount of time an instructor must devote to achieving that impact. Any one of these hacks can be incorporated within an otherwise traditional music theory course and can work together synergistically. Both their modularity and their compatibility give them potential to increase instructor efficiency and effectiveness in a wide range of class settings. After describing the scholarly literature surrounding the three hacks as they have been incorporated in a variety of academic disciplines, the authors present four testimonials describing how the three hacks have been incorporated into four diverse music programs: a traditional school of music within a large state university, a large private institution with a focus on jazz and commercial music, a department of music in a mid-sized university, and a small, private university with music classes that combine theory and aural skills.
This article focuses on three “hacks” to the traditional model of music theory instruction:standards-based grading(SBG),just-in-time teaching(JiTT), andthe inverted classroom. In SBG, students receive multiple grades in reference to clearly defined learning objectives rather than a single grade that may mask weaknesses by averaging them with strengths. JiTT assesses students’ understanding before class so that the instructor can adjust the lesson plan according to their needs. In the inverted classroom, students acquire a basic understanding of the material outside of class so that class time may be used for active engagement rather than lecture. These tools and the technologies that support them have the potential to help strengthen curricula, increase the impact that an instructor can have on undergraduate theory students, and in some cases reduce the amount of time an instructor must devote to achieving that impact. Any one of these hacks can be incorporated within an otherwise traditional music theory course and can work together synergistically. Both their modularity and their compatibility give them potential to increase instructor efficiency and effectiveness in a wide range of class settings. After describing the scholarly literature surrounding the three hacks as they have been incorporated in a variety of academic disciplines, the authors present four testimonials describing how the three hacks have been incorporated into four diverse music programs: a traditional school of music within a large state university, a large private institution with a focus on jazz and commercial music, a department of music in a mid-sized university, and a small, private university with music classes that combine theory and aural skills.
I argue that current models of aural skills instruction are too strongly linked to music theory curricula. I examine harmonic dictation as a case study, demonstrating that the system of roman-numeral/inversion-symbol labels can interfere with our ability to determine what exactly students are hearing and can distract students from more directly perceptual goals. A pilot study suggests that focusing on bass lines and schemata may make our harmonic dictation training more relevant to perception. I propose that a skill is “truly aural” to the extent that it engages working memory with minimal knowledge-based mediation. Finally, I consider the current state of aural skills instruction and suggest a number of curricular revisions. The more radical proposals call for redesigning aural skills classes to focus on perceptual skills and relocating knowledge-mediated listening to the music theory classroom. Other proposals take a more measured approach to integrating perceptual skills with otherwise traditional curricula.
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