In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

Chinese music has one of the longest histories of development of all music cultures of the world. A system of music (theory) was formulated, in its unique way, but is differed fundamentally from its occidental counterpart. The discussion of this thesis focuses on the following two aspects: (1) the observations on those musical and non-musical factors, which had conditioned the course of development of Chinese music and (2) the analysis of selected examples to summarize the tonal structures and modal patterns, particularly, on the modal and modulatory analysis. A comparison of similarities and differences on melodic gesture between Chinese and Western tonal practice is also included in this study.

No description available.

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

This dissertation explores why undergraduate music theory students may not be motivated in their classes and how we can begin to improve music theory pedagogy by addressing the negative preconceptions surrounding the subject and changing student motivation. I will investigate student motivation in the core curriculum of music theory by studying students’ self-theories (that is, the mindsets that they bring to the study of the subject, which dictate whether they view a construct like intelligence or ability as being either malleable or fixed) and detailing how an instructional design specific to music theory may influence that self-theory. By drawing upon research in fields outside of music theory, such as psychology, mathematics, and video game design, I will show how our classrooms can be more motivating and engaging through the adoption of an instructional design that ultimately helps our students develop a stronger ability in music theory. I theorize that a model for improving student motivation begins with the Instructional Design for Incremental Self-Theory Adoption (IDISTA). This model introduces a new way of designing a course through different levels of focus based on a student-centered approach to teaching. By using IDISTA, teachers can design their courses in a way that encourages students to adopt a more malleable mindset as they pursue their studies in music theory. Based on my theoretical model of motivation, I propose that students will adopt a more malleable mindset that will lead to a change in motivation, and also to an increase in their music theory ability. These robust models provide an important and significant contribution to the field of music theory pedagogy by transforming the way instructors design and conceptualize their curricula. Most importantly, these models and their application in music theory pedagogy will improve the learning environment for our students and help them gain a new fluency in understanding music.

Thesis (M.M.)--Boston University

This dissertation explores the habits of thought that inform how music analysts conceptualize the music they study and how this conceptualization affects the kinds of claims they make and the discursive practices adopted to express them. I aim to clarify these issues in music-theoretical conceptualization with an eye toward mediating analytical disagreements by tracing the influence of two types of concepts used in contemporary music analysis. I differentiate what I call theoretical concepts, which refer to abstract, theoretical objects, from phenomenal concepts, which refer to elements of felt, musical experience. Drawing on theories of concepts from philosophy of mind, I argue that these concepts have a complex structure, featuring both a reference and mode of presentation. The musical concept Dominant, for instance, might be used as a phenomenal concept, referring to the conscious experience of hearing a dominant, or it might be used as a theoretical concept, referring to a kind of abstract object, presented as either the triad the leads to the tonic or the triad built on scale degree five. In analysis, the kinds of concepts that analysts use will determine the scope of their analyses as well as define what sorts of critiques are best deployed against them. I explore four different ways that these conceptual types are used. These case studies include conceptually simple theories that attempt to foreground one type of concept or another (from the formalized model proffered by Eugene Narmour, to the drawing-analyses of Elaine Barkin) as well as more common analytical strategies that rely on both kinds of concept in concert, such as Schenkerian analysis and transformational and neo-Riemannian theory. I enrich my study of analytical approaches with insights drawn from my own analytical practice, including a wide range of styles and composers (though foregrounding the complexity of tonal analysis especially) and close readings of various authors in different analytical traditions. In general, I am concerned less with testing the soundness of any given approach than with understanding what ways of conceptualizing music underlie them and how analysts coordinate these concepts in practice. I find that while most approaches rely on both types of concept in some combination, their differences come in the roles these concepts play in analytical methodology and the degree to which each type of engagement is foregrounded in practice.

Metaphor is an important tool for describing musical structure and interpretation. Recent research suggests that metaphor goes beyond a linguistic device; we use conceptual metaphor frameworks and cross-domain mapping based upon our embodied experiences to understand our world around us. I review the linguistic origins of metaphor theory and show how the purview of metaphor theory has recently extended into cognitive domains through a case study, primarily using the work of metaphor scholar Zoltán Kövecses. I then review how two prominent music theorists--Michael Spitzer and Lawrence Zbikowski--have developed current theories of metaphor to refine their approach to music analysis. These sources provide an effective backdrop into my case study of isomorphic conceptual underpinnings of metaphors used in two prominent analytical essays in music theory, Donald F. Tovey's, "Tonality" and David Lewin's "Music Theory, Phenomenology, and Modes of Perception." Finally I utilize conceptual metaphor and cross-domain mapping to support my analysis of the tonal role of C♯/D♭ in Beethoven String Quartet No. 7 in F Major, op. 59, no. 1, first movement, and hexatonic cycles in Schubert Piano Trio in E♭ Major, D. 929, first movement. My analyses aim to elucidate the isomorphic aspects of evocative and useful metaphors in music analysis that help us engage with music in a deeper, nuanced manner.

Thesis (Ph. D.)--Open University. BLDSC no. DX180682.

Thesis--Albert Ludwig Universität, Freiburg im Breisgau. / Vita. eContent provider-neutral record in process. Description based on print version record. "Literaturverzeichnis": p. 201-213.