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

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Routledge,, Abingdon, United Kingdom ; New York, United States, p.1 online resource (xvii, 267 pages) : (2022)

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(OCoLC)fst01030624, (OCoLC)fst01896513, Analysis, appreciation., bisacsh, Culturally relevant pedagogy., fast, Instruction and study., MUSIC / Ethnic, MUSIC / General, MUSIC / Instruction & Study / General, Music by black composers, Music theory


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 twentieth and twenty-first centuries. 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.