This study aimed to investigate the effects of using dynamic geometry software while teaching by guided discovery compared to paper-and-pencil based guided discovery and traditional teaching method on sixth grade students&rsquo / van Hiele geometric thinking levels and geometry achievement. The study was conducted in one of the private schools in Ankara and lasted six weeks. The sample of the study consisted 47 sixth grade students in the school. The present study was designed as pretest-posttest control group quasi-experimental study.In order to gather data, Geometry Achievement Test (GAT) and Van Hiele Geometric Thinking Level Test (VHL) were used. At the end of the research, the data were analyzed by means of analysis of covariance. The results of the study indicated that there was a significant effect of methods of teaching on means of the collective dependent variables of the sixth grade students&rsquo / scores on the POSTVHL after controlling their PREVHL scores, and there was a significant effect of methods of teaching on means of the collective dependent variables of the sixth grade students&rsquo / scores on the POSTGAT after controlling their PREGAT scores.

My inquiry, centered on the applied practice of teaching, confronts the detachment that often disassociates the intellectual study of music theory from the physical experience of music. This pedagogical detachment, perceived as a split between opposing views of knowledge, privileges positivist science over interpretive art (Aróstegui, 2003), producing written competencies that have little or no musical meaning (Rogers, 2004). Endeavouring to re-attach music theory and the music it was initially intended to explain (Dirié, 2014), I constructed four Listening Guides to align with the intermediate-level theory curriculum of the Royal Conservatory of Music. Their construction incorporates elements of design research along with an underlying framework derived from the Kodály Method’s four-step instructional process. Given my multi-faceted personal/professional interactions with music theory, my research project is presented in the form of a quest narrative that weaves together my story and the stories of participant teachers who established the Listening Guides’ potential usefulness through reviewing and implementing interactions. This narrative, as a creative representation of arts-based research practices (Leavy, 2015), is derived from the blurring of specific cognitive findings and less definable aesthetic knowings (Greenwood, 2012). My data, both the prototypical data I designed and the empirical data I collected from focus group discussions with my participants, are filtered through an a/r/tographic lens that acknowledges the coexistence of my artist/researcher/teacher identities. The analysis of our aggregate narrative, as an exploration of music theory pedagogy with, about, in, and through music, relies on the evaluative tools of educational criticism (Eisner, 1991). Unfolding in a mostly linear climb, my quest for a fully integrated music/theory (art/science) pedagogy reaches its apex in the understanding that a music-logic organization confounds the subject-logic of traditional teaching approaches. Thus, my inquiry challenges the customary practices of scientific knowledge-building with a model for artistic “ways-of-knowing” in music theory pedagogy.