Click on a chapter title to download the chapter’s Supplemental Material from Dropbox. (Chapters without links do not have any Supplemental Materials.)<\/p>\n\n\n\n
1. Music Theory and Working Memory 2. Putting the Music in “Music Fundamentals”<\/a> 3. A Cornucopia of Accidentals<\/a> 4. Contouring as a Powerful Tool for Pitch Awareness<\/a> 5. Incorporating Melodicas Into the Music Theory Classroom<\/a> 6. Music Fundamentals Games<\/a> <\/p>\n\n\n\n 7. Introducing Musical Meter Through Perception<\/a> 8. Starting from Scratch: Representing Meter Using Simple Programming Tools<\/a> 9. \u201cComputer Programmed with Just One Finger\u201d: Transcribing Rap Beats with the Roland TR-808<\/a> 10. Rebeaming Rhythms: Helping Students \u201cFeel\u201d the Need for Correct Beaming<\/a> 11. Clapping for Credit: A Pedagogical Application of Reich\u2019s Clapping Music<\/em><\/a> 12. Hindustani T\u0101l:<\/em> Non-Western Explorations of Meter<\/a> <\/p>\n\n\n\n 13. Small-Scale Improvisation in the Music Theory Classroom<\/a> 14. The Cognitive and Communicative Constraints of Part-Writing 15. Voice-Leading Detectives<\/a> 16. Harmonic Sequences Simplified: The First Week of Instruction<\/a> 17. Grading the Song 18. Finding the Implied Polyphony in the Minuet II from Bach\u2019s Cello Suite No. 1 in G Major<\/em><\/a> 19. Using Tendency Tones to Teach the Morphology and Syntax of Chromatic Harmony 20. Apply Yourself! An Active Learning Lesson Plan for Introducing Secondary Dominants<\/a> 21. Plot Twists: Narrative Pivots and the Enharmonic Augmented-Sixth Chord<\/a> 22. Chromatic Mediants Through the Context of Film Music<\/a> 23. How to Analyze Chromatic Lament-Bass Harmonizations (Without Tears)<\/a> 24. Introduction to Common-Tone Diminished-Seventh Chords<\/a> 25. \u201cIt\u2019s an N, bro\u201d: Teaching Enharmonic Reinterpretation of Fully Diminished Seventh Chords by Ear<\/a> <\/p>\n\n\n\n 26. Defending the Straw Man: Modulation, Solmization, and What to Do with a Brain 27. Speaking Music 28. Finding Your Way Home: Methods for Finding Tonic 29. Error Detection in Aural Skills Classes<\/a> 30. In Search of Hidden Treasures: An Exercise in Symphonic Hearing<\/a> 31. An Aural Skills Introduction to Twelve-Tone Music: Dallapiccola\u2019s \u201cVespro, Tutto Riporti\u201d<\/a> <\/p>\n\n\n\n 32. Setting Sets Aside: Prioritizing Motive, Text, and Diversity in Post-Tonal Analysis Courses<\/a> 33. Teaching and Learning Early Twentieth-Century Techniques at the Keyboard<\/a> 34. Starting the Twentieth Century with a Bang! A Lesson Plan for Whole-Tone Scales in Tosca<\/i><\/a> 35. Twentieth-Century Polymodality: Scalar Layering, Chromatic Mismatch, and Symmetry<\/a> 36. Twelve-Tone Study Using Symbols in Dallapiccola\u2019s \u201cFregi,\u201d from Quaderno Musicale di Annalibera<\/em><\/a> 37. Integral Serialism: Analysis of Gerhard, String Quartet No. 1, mvt. 3<\/a> 38. Mapping Symmetry and Form in George Crumb\u2019s A Prophecy of Nostradamus<\/em><\/a> <\/p>\n\n\n\n 39. Principles of Form<\/a> 40. Recomposing Phrase Structure<\/a> 41. Teaching Musical Structure through Disney Songs<\/a> 42. From Theory to Practice: How to Compose a Sentence 43. Incorporating Latin-American Popular Music in the Study of Musical Form<\/a> 44. Binary Form through the Music of Underrepresented Composers<\/a> 45. A Form-Functional Approach to Binary Form Analysis<\/a> 46. Exploring Ternary Form through the Lens of Analysis-Performance in a Mozart Aria<\/a> 47. Sonata-Allegro Form: Understanding the Drama<\/a> 48. Concerto Form: Transforming a Sonata into a Concerto<\/a> <\/p>\n\n\n\n 49. Popular Music in the Classroom<\/a> 50. The Beatles\u2019 \u201cDay Tripper\u201d: A Tortured Stretching of the Twelve-Bar Blues<\/a> 51. Making Borrowed Chords \u2018Pop\u2019: Teaching Modal Mixture through Popular Music<\/a> 52. Chromatic Mediants in Popular Music<\/a> <\/p>\n\n\n\n 53. Challenges and Opportunities of Teaching Music Theory at Community Colleges (and Elsewhere) 54. More than just Four Chords: Teaching Music Theory and Aural Skills to Music Industry Majors<\/a> 55. Instructing a Range of Experiences Within the Music Theory Classroom 56. Music Theory Pedagogy and Public Music Theory<\/a> 57. Analytical Podcasting<\/a> 58. Designing for Access in the Classroom and Beyond<\/a> 59. Music Analysis and Accessibility in the Music Theory Classroom<\/a> 60. Accommodating Dyslexia in Aural Skills: A Case Study 61. Writing Exams Cooperatively With Students 62. What Should an Undergraduate Music Theory Curriculum Teach? (And, Alas, What Most of the Time We Don\u2019t) 63. Strategies for Revising Music Curricula for the Twenty-First Century: A Case Study 64. Putting it Together: Rethinking the Theory Curriculum<\/a> 65. Adapting the Aural Skills Curriculum: A Move Away from \u201cThe\u201d Right Answer 66. Cultivating Curiosity: Questions, Relevance, and Focus in the Theory Classroom<\/a> 67. Using Video Technology in Music Theory Assignments<\/a>
Leigh VanHandel<\/em><\/p>\n\n\n\n
Melissa Hoag<\/em><\/p>\n\n\n\n
Paula J. Telesco<\/em><\/p>\n\n\n\n
Jan Miyake<\/em><\/p>\n\n\n\n
Chelsey L. Hamm<\/em><\/p>\n\n\n\n
Stefanie Dickinson<\/em><\/p>\n\n\n\n
\n\n\n\nPart II Rhythm and Meter<\/h3>\n\n\n\n
Stanley V. Kleppinger<\/em><\/p>\n\n\n\n
Daniel B. Stevens<\/em><\/p>\n\n\n\n
Michael Berry<\/em><\/p>\n\n\n\n
Gene S. Trantham<\/em><\/p>\n\n\n\n
Jon Kochavi<\/em><\/p>\n\n\n\n
Anjni H. Amin<\/em><\/p>\n\n\n\n
\n\n\n\nPart III Core Curriculum<\/h3>\n\n\n\n
Diatonic Harmony<\/h5>\n\n\n\n
Nancy Rogers<\/em><\/p>\n\n\n\n
Daniel Shanahan<\/em><\/p>\n\n\n\n
Meghan Naxer<\/em><\/p>\n\n\n\n
Brent Auerbach<\/em><\/p>\n\n\n\n
Michael Baker<\/em><\/p>\n\n\n\n
Edward Klorman<\/em><\/p>\n\n\n\nChromatic Harmony<\/h5>\n\n\n\n
Stacey Davis<\/em><\/p>\n\n\n\n
Patricia Burt<\/em><\/p>\n\n\n\n
Jena Root<\/em><\/p>\n\n\n\n
Erik Heine<\/em><\/p>\n\n\n\n
Jason Britton<\/em><\/p>\n\n\n\n
Nicole Biamonte<\/em><\/p>\n\n\n\n
David Heetderks<\/em><\/p>\n\n\n\n
\n\n\n\nPart IV Aural Skills<\/h3>\n\n\n\n
Gary S. Karpinski<\/em><\/p>\n\n\n\n
Justin Mariner and Peter Schubert<\/em><\/p>\n\n\n\n
Tim Chenette<\/em><\/p>\n\n\n\n
Alexandrea Jonker<\/em>
Note: early printings of the book had an error where Figure 29.1 was printed incorrectly. The correct Figure 29.1 is available in the supplemental materials. <\/p>\n\n\n\n
Daniel B. Stevens<\/em><\/p>\n\n\n\n
David Geary<\/em><\/p>\n\n\n\n
\n\n\n\nPart V Post-Tonal Theory<\/h3>\n\n\n\n
Michael Buchler<\/em><\/p>\n\n\n\n
Lynnsey J. Lambrecht<\/em><\/p>\n\n\n\n
Christopher Doll<\/em><\/p>\n\n\n\n
Jos\u00e9 Oliveira Martins<\/em><\/p>\n\n\n\n
Joe Argentino<\/em><\/p>\n\n\n\n
Rachel Mann<\/em><\/p>\n\n\n\n
Natalie Williams<\/em><\/p>\n\n\n\n
\n\n\n\nPart VI Form<\/h3>\n\n\n\n
\u00c1ine Heneghan<\/em><\/p>\n\n\n\n
Eric Hogrefe<\/em><\/p>\n\n\n\n
Andrew Vagts and Douglas Donley<\/em><\/p>\n\n\n\n
<\/a>Andrew Schartmann<\/em><\/p>\n\n\n\n
Gabriel Navia and Gabriel Ferr\u00e3o Moreira<\/em><\/p>\n\n\n\n
Victoria Malawey<\/em><\/p>\n\n\n\n
Andreas Metz<\/em><\/p>\n\n\n\n
Elizabeth West Marvin<\/em><\/p>\n\n\n\n
Tom Childs<\/em><\/p>\n\n\n\n
Patrick Johnson<\/em><\/p>\n\n\n\n
\n\n\n\nPart VII Popular Music<\/h3>\n\n\n\n
John Covach<\/em><\/p>\n\n\n\n
Walter Everett<\/em><\/p>\n\n\n\n
Joshua Albrecht<\/em><\/p>\n\n\n\n
Victoria Malawey<\/em><\/p>\n\n\n\n
\n\n\n\nPart VIII Who, What, and How We Teach<\/h3>\n\n\n\n
Nathan Baker<\/em><\/p>\n\n\n\n
Jennifer Snodgrass<\/em><\/p>\n\n\n\n
Cora S. Palfy<\/em><\/p>\n\n\n\n
J. Daniel Jenkins<\/em><\/p>\n\n\n\n
William O\u2019Hara<\/em><\/p>\n\n\n\n
Jennifer Iverson<\/em><\/p>\n\n\n\n
Shersten Johnson<\/em><\/p>\n\n\n\n
Charlene Romano<\/em><\/p>\n\n\n\n
Jan Miyake<\/em><\/p>\n\n\n\n
Justin London<\/em><\/p>\n\n\n\n
Deborah Rifkin<\/em><\/p>\n\n\n\n
Matthew Heap<\/em><\/p>\n\n\n\n
Susan M. Piagentini<\/em><\/p>\n\n\n\n
Philip Duker<\/em><\/p>\n\n\n\n
Marcelle Pierson<\/em><\/p>\n\n\n\n