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Book Details

  • Paperback
  • Bookstore's Wholesale Price: $32.00
  • Forthcoming: June 2019
  • ISBN: 978-0-393-64032-8
  • Territory Rights: Worldwide

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Norton Guide to Teaching Music History

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Matthew Balensuela (Author)

 

The ultimate resource for teaching any music history course

This collection of 21 essays from leading teachers and scholars covers everything from teaching historical periods to enlivening the classroom. It is both a resource for current music history teachers and an ideal text for history pedagogy courses.

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Offers a variety of perspectives on music history pedagogy

This collection is a timely voice in the ongoing conversation about the undergraduate music curriculum and the role of history and survey courses. C. Matthew Balensuela, founding editor of the Journal of Music History Pedagogy, has assembled a wide range of essays. Each is written by a teacher-scholar offering practical advice as well as broader philosophical considerations.

A text for music history pedagogy courses

This is the ideal textbook for the music history pedagogy course taken by many graduate students. Its essays cover a wide range of topics applicable to many different teaching situations, and each essay reflects the most recent scholarship in the expanding field of music history pedagogy.

A valuable resource for current or future teachers

With suggestions for innovative classroom techniques, creative assignments, writing activities, and so much more, this text offers something for teachers of every experience level.

    1.     C. Matthew Balensuela, DePauw University • “Teaching Music History: Reconsiderations and Opportunities”

    2.     J. Peter Burkholder, Indiana University • “Renewing the Survey”

    3.     Margot Fassler, University of  Notre Dame • “Medieval Religious Women and Their Music Books: Online Resources for Teaching and Learning ”

    4.     Richard Freedman, Haverford College • “The Renaissance, Music, and the Critical Classroom”

    5.     Wendy Heller, Princeton University • “Listening to the History of Baroque Music”

    6.     Melanie Lowe, Vanderbilt University • “Contrapuntal Histories: Teaching Historical Multivalence in the Music of the Eighteenth Century”

    7.     Walter Frisch, Columbia University • “Reflections on Teaching Nineteenth-Century Music”

    8.     Joseph Auner, Tufts University • “Learning from Contemporary Music”

    9.     Jessie Fillerup, University of Richmond • “What If?  Counterfactual Thinking and Primary Source Study”

    10.     Stephanie P. Schlagel, University of Cincinnati • “Beyond Foundational Knowledge: Worksheets as Low-Stakes Formative Assessment in Music History Classes”

    11.     Sara Haefeli, Ithaca College • “A Survey of Writing Pedagogies in the Music History Classroom”

    12.     Misti Shaw, Indiana University • “Information Literacy in Music: Opportunities for Integration in Music History Assignments and Curricula"

    13.     Kevin R. Burke, Florida Institute of Technology • “Navigating the EdTech Marketplace: When to Jump and When to Pass”

    14.     Daniel Barolsky, Beloit College • “Performers and Performances as Music History: Moving Away from the Margins”

    15.     Matthew Baumer, Indiana University of Pennsylvania • “Quizmasters, Lecturers, and Facilitators: A Qualitative Study of Methodologies in Music History Survey Courses”

    16.     Douglass Seaton, Florida State University • “Teaching Based ‘Off Of’ the Canon”

    17.     Melanie Zeck, Center for Black Music Research • “The Transformation of Black Music Pedagogy: A Fifty-Year History”

    18.     Gillian M. Rodger, University of Wisconsin–Milwaukee • “Feminist Pedagogy in Musicology: Its History and Application in Teaching”

    19.     Stephen C. Meyer, University of Cincinnati • “Teaching Across Difference: Music History Pedagogy in an Era of Polarization”

    20.     Brian C. Thompson, Chinese University of Hong Kong • “Adapting the Survey for a Changing Environment”

    21.     Andrew Dell’Antonio, The University of Texas at Austin • “Cripping the Music History Classroom: Disability, Accommodation, and Universal Design for Learning”