Corralling the Chorale: Multi-author article in the Journal of Music Theory Pedagogy

An article that focuses on concerns and concepts related to undergraduate music theory curricula, syllabi, and class planning.

Full article available (free access) here.

Note Doctors: The Music Theory and Pedagogy Podcast

Note Doctor hosts Paul, Jenn, and Ben welcome six music theory scholars (Chelsea Burns, William O'Hara, Marcelle Pierson, Katherine Pukinskis, Peter Smucker, and William van Geest) to discuss their forthcoming article in the JMTP entitled "Corralling the Chorale." In this wide ranging conversation, our guests reconsider what voice leading means and what its role should be in the undergraduate theory curriculum, as well as ask us to consider a wide range of factors and constituencies when making curricular changes..

Bringing Intersectionality Into Analysis

Society for Music Theory (New Orleans LA)

I was invited to give a mini keynote for the Committee on the Status of Women’s session at the annual conference of the Society for Music Theory (SMT) this November (2022) in New Orleans! In addition to my presentation, I will be a respondent for a set of lightning talks on the topic given by other Society members. The session will also feature live performance and breakout sessions to work together on analyses. This is a big year for the field of music, as the annual conferences for the American Musicological Society (AMS) and Society for Ethnomusicology (SEM) will hold their events concurrently in the same space as the SMT. I’m hoping for lots of cross-pollination across the disciplines as a way to connect and learn from one another.

Panel: Coralling the Chorale: Moving Away from SATB Writing in the Undergraduate Music Theory Curriculum

Society for Music Theory (Columbus OH)

Title: Repurposing the Chorale in the Theory Classroom

Theorists often endeavor to show the chorale’s relevance to Western Classical music, but typically stop short of demonstrating how four-part writing applies to students’ other musical activities. Given the substantial costs associated with four-part writing—whether in class, in grading, in instructors’ seeking out examples, in students’ completing assignments—it can be a risky investment. Failure to connect the topic with non-classroom-based musical practice jeopardizes losing the return, leaving students disenchanted and discouraged. In this paper, I show how chorale-style writing and analysis can be reimagined in a liberal arts program in order to relate to a wider array of musical interests. My aim here is not to minimize or abandon or the utility of the chorale, but rather to repurpose four-part writing for application in art music, jazz, pop, musical theater, film, and video game scores.

Although I introduce chorales late in the curriculum, we still spend significant time early on exploring the canonical rules of concert music. By first exploring historical practices of harmony and voice-leading in one-, two-, and three-voice contexts, my method establishes a stronger foundation and understanding of musical principles that reach well beyond the scope of Western Classical repertoire. I balance rule-based practice bookended by creative projects: first, a no-rules exploration of adding a second line to solos composed in the previous week’s homework, and then students write two-voice compositions in wider tonal and textural applications. When I assign creative work, the results have been as diverse as funk-inspired bass lines and Ligeti-like clusters. I encourage my students to find a balance between adhering to the rigidity of the historical practice and bending the rules to fit their aesthetic preferences; creative projects help them to see that utilizing some rules align with their tastes while others may not.

Through this early exploration of rules and potential departures from them, I lay groundwork for the flexibility that may be asked of them in other theory classrooms, performing ensembles, composition, and other creative practice. By the time I introduce four-part writing, we have already seen that some of the most compelling parts of music come when rules are eschewed or worked around, which is particularly relevant to Bach chorales. We discuss how different rules apply in different contexts--for students looking to improve their involvement performing in an ensemble, arranging for an a capella group, or music directing a Gilbert and Sullivan operetta, I find conversations such as these help them direct their theory work into musical practice.

My experience has shown that chorale-later architectures such as this one invite students from more diverse educational and musical backgrounds to engage with music from an analytical perspective without being hindered by the steep learning curve of chorale-based practices. Additionally, my method allows those who have completed AP Theory to approach work they may find over-familiar from an unfamiliar entry point, widening their views on theory and modes of interacting with music.

You can watch the full, six-author panel presentation (90 minutes) here.