![]() This apparent objectivity is, I think, the source of much of the anxiety that surrounds music theory in the undergraduate realm. Music theory, whose aim seems to Bribitzer-Stull to be “to articulate explanatory models for various kinds of music” from such seemingly objective “data” as motives and themes or elements of form, might appear to our students somehow detached from the act of performing, composing, and listening to this “data.” 2 The (mis)perception of theory as something that offers an “objective” way to look at music as a kind of “fly on the wall” implies a disconnection with the music that most students would likely find uncomfortable, given the intensity of the relationships that they forge with music in other aspects of their careers. In contrast to the seemingly “empirical” and “data-driven” theory class, even the musicology lecture might seem more inspirational to students because it appears to encourage them to actively construct associations between musical works from their aural experiences of those works in the present and/or from their understanding of the historical and cultural framework in which works were composed. 1 Reflecting on a question that we hear all too often from our students-“why do I have to do this stuff?”-Brubitzer-Stull suggests that theory’s undeserved bad reputation among many undergraduates as (in his terms) “objective, mathematical, and uncreative” often arises from their sense that theory is somehow detached from the kinds ofmusical experiences they that enjoy elsewhere-particularly in such “creative” environments as the instrumental or vocal studio, the choir or orchestra, or the composition class. In his recent challenge to instructors of music theory to “encourage debate and alternate readings in the undergraduate music theory class,” Matthew Bribitzer-Stull takes a moment to think upon the role played by music theory in the undergraduate musical curriculum. The view from music theory-Karen Fournier Maud Hickey: Response, “Identification of similar and different issues and critical issues related to pedagogy”.Mark Clague: “Utilization of learning principles and the impact on pedagogy in a musicology class”.Julie Evans: “Utilization of learning principles and the impact on pedagogy in an aural skills class”.Karen Fournier: “Utilization of learning principles and the impact on pedagogy in a music theory class”.They shared their thoughts in a panel at the National Meeting of CM in 2007 and addressed the following topics: This essay consists of reflections of music faculty who think deeply about such issues and offer principles of learning and pedagogical considerations within each of their fields, specifically music theory, musicology (music history), and music education. We have a responsibility to promote such dialogue as we strive to improve upon our learning and teaching so that our environments can be cultivated and enriched. Such potentially rich dialogue requires those who teach to reflect on and assess issues that affect students’ learning. ![]() Examining and discussing the generalities and discipline-specific aspects of learning can enrich dialogue within schools of music as issues about curriculum, pedagogy, and transfer of learning across the disciplines occur. While aspects of “how we learn,” and thus pedagogy, are applicable across disciplines, some considerations can be discipline specific. This literature contributes to our understanding about learning and how environments can be shaped for learning to occur and understanding to be solidified. ![]() One obvious starting point would be to explore the literature of educational psychology and the psychology of music teaching and learning, with a focus on learning theories, cognition and perception. The examination of pedagogy requires an investigation into principles of learning.
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