Competency-Based Learning,
Gamification, and Peer-Tutoring: A Hybrid Model for Undergraduate Music
Theory Courses
Purpose of the study: to devise
a hybrid teaching and learning model for a music theory course that will
improve student success and satisfaction.
1.
Competency-based Learning
Definition
1. Flexible time
2. Multiple assessments
Grading
1. You will have 3 chances
on each module to assess the content
Each
re-assessment must be preceded by
correcting all mistakes on the previous assessment
2. You will get the grade
that you have the most of
For
example, if you have 4 A's and 3 B's on the modules, you will get an
A
3. If there is a tie, you
get the lower grade
For
example, if you have 3 Cs, 3Bs, and 1 A on the modules, you will get
a C
4. You cannot skip a letter
from your lowest grade
If you
have a C on any module, you cannot make an A
If you
have a D on any module, you cannot make a B
If you
have an F on any module, you cannot make a C
Assessments are not end results
until the student chooses that result or unless the student chooses
not to continue in the coursework.
Procedure
We will all start out together.
Then each of you will move at your own pace. You will:
1. Learn: content
from your book, from me, from tutors, from websites - your choice,
any or all
2. Practice: I'll
give you practice materials, you can work together, from interactive
websites, etc.
3. Assess: 3
assessments
will be available for each module
4. Feedback:
assessments
will be graded, but not corrected; you will correct each before
taking another
5. Lather, rinse, repeat
;-)
Assessments
Each assessment will have 4 parts:
1. Identification
2. Construction
3. Analysis
4. Composition
Compositions are due the next class
period after the assessment as long as that time period is more
than one day. For example, if a student takes an
assessment on Tuesday evening at a tutoring session, the
composition will be due in class on Friday (not Wednesday).
Late compositions will be assessed a penalty of 10 points per
calendar day.
Levels
1.
Master
· Master
students understand a concept to the degree that they can effectively
teach others how to understand and apply the concept.
· This
level does not correspond to a grade because Masters go above and beyond
all requirements and compensation.
2.
Expert
· Expert
students understand a concept thoroughly, apply it fluidly, and
consistently recognize it in context.
· This
level corresponds to a grade of “A.”
3.
Proficient
· Proficient
students can vary application based upon unique situations. This is a
higher level of competency.
· This
level corresponds to a grade of “B.”
4.
Competent
· Competent
students can perform tasks to basic standards. They will need
additional practice to get better/faster at applying the concept and
recognizing it in context.
· This
level corresponds to a grade of “C.”
5.
Novice
· A
novice is new to the concept. This student must be shown/taught the
basics and guided through the process to understanding.
· To
remain at this level is not a passing grade.
2.
Gamification
Definition
Adding game-like elements to
the learning process in non-game settings.
Levels
The levels as described above
will be posted and regularly updated. Each student will be
encouraged to "level up."
Gamer Identity
Each student will choose
his/her own name for identification on the leaderboard.
3.
Peer-tutoring
Definition
The acquisition of knowledge
and skill through active helping and supporting among status equals
Tutors
Students may volunteer to tutor
others in any module in which the tutor has reached at least
Proficient level.
Helping 2 students to level up
will make you eligible for Master level.
Tutees
Students may request
assistance at any time from me, from an intern (when available), or
from a peer-tutor.
Students may also work
together at any time except assessment to practice module concepts.
When taking a new assessment after being
tutored, allow the tutor to sign the top of the assessment for
credit.
4. Now
what?
Take this quiz!
You are the Captain of your own
Theory IV destiny
MODULES
Note: Each
module will have a composition component in the assessments.
Please be
creative in your compositions. Strings of whole notes will not
be accepted. Do not write in counterpoint.
Print this
Quick Facts Sheet. There are notes on several of the
modules below.
|
Module SC:
Secondary Chords
|
Definition: a
dominant (V or vii) function chord that is not the dominant chord in
the key. |
LEARN
Secondary dominants
Print this
Secondary leading tone chords
Print this
Toby Rush version
YouTube
example
Around the circle of 5ths
Secondary Dominant Song
Secondary
Dominants in Popular Music
PRACTICE
Secondary dominant Wksheet
(Construct)
Secondary dominant Wksheet Side B
(Identify)
Secondary chords
Interactive Practice (Identify)
Secondary chords
Interactive Practice (Construct)
Interactive Analysis Worksheet
|
Module
BC:
Borrowed Chords |
Definition: Using
chords 'borrowed' from the parallel key
Example: In the key of C, using an Eb
major chord that you 'borrowed' from C minor
Modal Interchange for Composition |
LEARN
Borrowed chords
Print this
Print this,
too!
See the handy table on this
Quick Facts Sheet
Mode mixture
Borrowed
Chord Explanation
with examples
PRACTICE
Interactive worksheet
This is great practice for the mid-term
Includes secondary chords, N6, and borrowed
chords
Text
Construct: Textbook 4.2 p.77
Analyze: Workbook p. 20-21
|
Module
N6:
Neapolitan 6th Chords |
Definition: A
major chord built on the flat 2nd scale degree Moonlight Sonata Excerpt |
LEARN
Neapolitan 6th
Print this
Introduction
Teoria Tutorial
Click through 3 pages
PRACTICE
Practice
constructing N6 chords
Note: When scoring in 4 parts, double the 3rd,
and the altered
pitch (b2) should resolve to the leading tone in the next chord
(normally a V). This is a diminished 3rd!! One of the
few places where it is acceptable to use this in traditional
voice-leading.
For example, in the key of C:
Double the F (the 3rd of the chord) and one of
them resolves to G (not both or parallel octaves!)
The Db (root of the chord) resolves to B (the
leading tone)
The Ab (5th of the chord) usually resolves to
G
|
Module
AD:
Altered Dominant Chords |
|
LEARN
SlideShare: altered-dominants
This link also includes practice after the
content |
Module A6:
Augmented 6th Chords |
Definition:
a chord that contains an
augmented 6th interval and resolves to the octave of the V chord
OK - here's your song parody
to the tune of "The Addams Family"
Augmented sixths
Augmented sixths
These are the tricks so we won’t mix
Augmented sixths.
Italian, French and German
Now here’s how to determine
The 3rd, we’ll be affirmin’
Just check the 4th and 5th.
Italian is completed,
A third is all that’s needed
And that note is repeated
In this augmented sixth.
The French one sounds so scary
The tritone’s customary
The tension’s temporary
In this augmented sixth.
The German is a jazz chord
Has 3 and 5, but not 4
It moves to tonic 6/4
In this augmented sixth.
The key to understanding:
The 6th will be expanding,
By half step will be landing,
It's easy to predict.
|
LEARN
Introduction
Augmented 6th
Print this
Open
Music Theory
Simple
explanation
Review
Teoria Tutorial
Construction
It6: Le Do Fi
Fr6: Le Do Re Fi
Gr6: Le Do Me Fi
PRACTICE
Practice
constructing Aug6 chords
Musical examples
Analysis of Mozart Rondo alla Turca |
Module
EC:
Extended Chords |
|
LEARN
PRACTICE
Practice
identifying extended chords
Practice
constructing extended chords
|
Module CM: Chromatic Modulation |
Wikipedia
gets it!
Chromatic
modulation using Gr6
Diminished 7th
modulations and the Swiss Army Pivot Chord |
Modulation by diminished 7ths Modulation by Neapolitan 6 Modulation by augmented 6ths Types of Modulation |
Composition Strategies |
Strategy for composing 8 measures
Do NOT string whole notes together and call it a composition!
Compose an 8 measure melody. An
antecedent-consequent phrase combination is a good structure, but
not required.
Harmonize the end with an authentic
cadence (required).
Add your chromatic harmony chord (or
chords). Remember that the chromatic chord can often be
substituted for a similar diatonic chord.
Fill in remainder of harmony of your
choice |
Substitutions
You all know how to write traditional
diatonic harmonic progressions. If you start with that, here
are some substitutions you can make:
V: make it an
altered dominant
ii: substitute a
N6
iv: substitute an
Aug6 (make sure
it resolves correctly to a V)
You can take any diatonic chord, make it
major and add a m7 and it becomes a
secondary dominant; take any chord and
make it a diminished 7th and it becomes a
secondary leading tone chord
(make sure they resolve to the correct chord)
Take any diatonic chord and change it to
the corresponding chord in the parallel key and it becomes a
borrowed chord
(Example: IV to iv or iv to IV) |
Created and Maintained by Vicky V. Johnson
|