Expanding the canon : black composers in the music theory classroom /

Call Number:

Other Number:

URL:

Keywords:

Notes:

Includes bibliographical references and index.Description based upon online resource; title from PDF title page (viewed Jan 4th, 2023)."Directly addressing the underrepresentation of Black composers in core music curricula, Expanding the Canon: Black Composers in the Music Theory Classroom aims to both demonstrate why diversification is badly needed and help faculty expand their teaching with practical, classroom-oriented lesson plans that focus on teaching music theory with music by Black composers. This collection of 21 chapters is loosely arranged to resemble a typical music theory curriculum, with topics progressing from basic to advanced and moving from fundamentals, diatonic harmony, and chromatic harmony to form, popular music, and music of the twentiethand twenty-firstcenturies. Some chapters focus on segments of the traditional music theory sequence, while others consider a single style or composer. Contributors address both methods to incorporate the music of Black composers into familiar topics, and ways to rethink and expand the purview of the music theory curriculum. A foreword by Philip Ewell and an introductory narrative by Teresa L. Reed describing her experiences as an African American student of music set the volume in wider context. Incorporating a wide range of examples by composers across classical, jazz, and popular genres, this book helps bring the rich and varied body of music by Black composers into the core of music theory pedagogy and offers a vital resource for all faculty teaching music theory and analysis."--Melissa Hoag (she/her/hers) is Associate Professor of music theory at Oakland University in Rochester, Michigan, where she has served as Coordinator of music theory since 2007. She has taught all levels of undergraduate and graduate music theory and aural skills, as well as courses on counterpoint, form, and twentieth- and twenty-first-century music. Her publications on counterpoint, pedagogy, and voice leading in Brahms have appeared in BACH, Music Theory Online, Journal of Music Theory Pedagogy, Gamut, Dutch Journal of Music Theory, and The Routledge Companion to Music Theory Pedagogy (ed. VanHandel). She serves as reviews editor for Journal of Music Theory Pedagogy and is a Question Leader for the AP music theory exam. In addition to a PhD in music theory, she also holds a certificate in Diversity and Inclusion through Cornell University.<P>Foreword -- <B>Philip Ewell</P></B><P></P><P>Introduction -- <B>Melissa Hoag</B> </P><P></P><P>Chapter 1. Our Field at its Best -- <B>Teresa Reed</B></P><P><I>Part One: Fundamentals and Diatonic Harmony </P></I><P>Chapter 2. Rethinking Music Fundamentals: Centering the Contributions of Black Musicians -- <B>Uzee Brown</P></B><P></P><P>Chapter 3. Change from the Middle, Right from the Beginning: Strategies for Incorporating Black Composers in a Music Fundamentals Course -<B> Robin Attas</P></B><P></P><P>Chapter 4. Rhiannon Giddens and Francis "Frank" Johnson in the First-Year Theory Classroom -- <B>Jan Miyake</P></B><P></P><P>Chapter 5. From Counterpoint to Small Forms: A Cross-Stylistic Approach to Centering Black Artists in the Theory Core -<B> Kristina L. Knowles and Nicholas J. Shea</P></B><P></P><I><P>Part Two: Chromaticism and other Advanced Topics </P></I><P>Chapter 6. Modal Mixture -- <B>Mitchell S. Ohriner</B> </P><P></P><P>Chapter 7. "Elite Syncopations" and "Euphonic Sounds": Scott Joplin in the Aural Skills Classroom -- <B>Amy Fleming</B> </P><P></P><P>Chapter 8. Modulation -- <B>Alan Reese</P></B><P></P><I><P>Part Three: Form </P></I><P>Chapter 9. A Jazz-Specific Lens: Methodological Diversity in the Music Theory Core -- <B>Ben Geyer </P></B><P></P><P>Chapter 10. Of Simple Forms and Firsts: On Francis Johnson and Harry Burleigh -- <B>Horace Maxile</B> </P><P></P><P>Chapter 11. A Trio of Art Songs on Texts by Langston Hughes -- <B>Melissa Hoag</B> </P><P></P><P>Chapter 12. Teaching Sonatas Beyond "Mostly Mozart" -- <B>Aaron Grant and Catrina Kim</P></B><P></P><I><P>Part Four: Popular Music</P></I><P></P><P>Chapter 13. Expanding the Scope of Analysis in the Popular Music Classroom -<B> Zachary Zinser</P></B><P></P><P>Chapter 14. Phrase Forms and Narrative Design in Janelle Monáe's <I>The ArchAndroid -- </I><B>Cora S. Palfy</B> </P><P><BR>Chapter 15. Diving Deeper into Rhythm and Meter Through Drum Parts in Twenty-First Century Pop -- <B>David Geary</B> </P><P></P><P>Chapter 16. Developing Contemporary Rhythm Skills Through Contemporary R&B -- <B>Trevor de Clercq</P></B><P></P><P>Chapter 17. Structural Shifts and Identity in Music by Ester Rada -- <B>Rosa Abrahams</P></B><P></P><I><P>Part Five: Twentieth-Century Music </P></I><P>Chapter 18. Inclusivity and the "Perfect Teaching Piece" in the Undergraduate Post-Tonal Classroom -- <B>Cara Stroud</B> </P><P></P><P>Chapter 19. Dream Variations: An Analytical Exploration of Florence Price's "My Dream" -- <B>Leigh VanHandel </P></B><P></P><P>Chapter 20. Teaching Twentieth-Century Stylistic Pluralism Through the Music of George Walker -- <B>Owen Belcher</B> </P><P></P><P>Chapter 21. Teaching Julia Perry's <I>Homunculus C.F.</I> -- <B>Kendra Preston Leonard</B><I></P></I>