Content Posted in 2023
Absolute Pitch Perception and the Pedagogy of Relative Pitch, Elizabeth West Marvin
A Caplin-style Analysis of Beethoven's Piano Sonata in C major, op. 2, no. 3, movement I, Erik Heine
A Comparative Review of Five Music Fundamentals Textbooks, Carla R. Colletti
A Comparison of Four Sight-Singing and Aural-Skills Textbooks - Two New Approaches and Two Classic Texts in New Editions, William Marvin
A Comparison of Pedagogical Resources in Solmization Systems, Timothy A. Smith
A Comparison of Synthesized and Acoustic Sound Sources in Lower-Division Theory Courses, W. Kenton Bales and Roger E. Foltz
Acquiring Aural Interval Identification Skills Vs. Ordered Grouping, Ann K. Blombach and Regena T. Parrish
A Critical Review of Current Aural Skill Materials and Pedagogical Practices, Timothy Chenette, Stacey Davis, and Stanley V. Kleppinger
A Critique of Current Theoretical Practice: Terminnological Miscues, Gary Danchenka
A Different Approach to Teaching Melodic Dissonance, Robert Gauldin
A Different Species of Counterpoint, Justin London
A Gentle Whisper: Restorying the Narrative of Eleven Ministers to Create a Collective Voice in the Battle Against Burnout, Darrel Sears
A Guide to Advanced Harmony, Alexander Sanchez-Behar
A Guide to Books on College Teaching, L. Dee Fink
A Harmony-Based Heuristic Model for use in an Intelligent Tutoring System, John William Schaffer
Allen Cadwallader & David Gagne - Analysis of Tonal Music - A Schenkerian Approach, Marianne Wheeldon
Alphabet Dictation: An Alternative Strategy for Ear Training, David Løberg Code
A Model for Music Perception and Its Implication in melodic Dictation, Gary S. Karpinski
A Model of Common-Tone Connections Among Jazz Scales, Stefan Love
An Alternate Approach to Aural Training, Kate Covington
An Alternative Approach to Teaching the viio/V in Major and Minor Keys, Paula J. Telesco
Analysis and Performance of the Flute Sonatas of J.S. Bach: A Sample Lesson Plan, Cynthia Folio
Analysis as Multiplicity, Chris Stover
Analysis of Schubert and Schumann Song Cycles, Steven Laitz
An Aural Skills Approach to Context and Modulation in Tonal Music, Timothy S. Cutler
An Ecossaise Exercise: Lesson Plan and Materials for a Class in the Second Week on Tonicization, Jonathan Guez
An ExSPRT Systems Approach to the Assessment of Students Needing Remediation in Music Theory, Timothy A. Smith
An Intersection of Counterpoint and Harmony, Robert Gauldin
Announcement: 2009 Bruce Benward Student Analysis Competition Winners, JMTP Editorial Board
Announcement of the de Stwolinski Prize, The Editors
An Order-of-Procedure Approach to Linear Graphing, Edward Pearsall
A Pedagogical Approach to Minor Pentatonic Riffs in Rock Music, Guy Capuzzo
A Phenomenological Approach for Teaching 20th-Century Music Analysis, Gregory Danner
AP Music Theory and College: Coordinating the Curriculum, Jennifer Beavers and Stacey Davis
Applying Traditional and Proportional Aspects of Form to Atonal Music, Daniel J. Arthurs
Applying Traditional and Proportional Aspects of Form to Atonal Music, Daniel J. Arthurs
"Approach Strong Deliveress!" from George Crumb's Apparition - A Case Study in Analysis and Performance of Post-Tonal Music, Richard Bass
A Psychological Addendum to Takadimi: A Beat-Oriented System of Rhythm Pedagogy, Justin London, William Pelto, and John W. White
A Report on the 1992 CMS Theory Pedagogy Institute, Michael R. Rogers
A Revised Taxonomy for Music Learning, Deborah Rifkin and Philip Stoecker
Ark 1910, Lipscomb University
A‑R Music Anthology, James Zychowicz and A-R Online Editions
Arrangment as Analysis, Nicholas Cook
A Schenker Pedagogy, H. Lee Riggins
A Selected Bibliography of Source Materials for Current Music-Theorectical Systems, James Bennighof
Asking Good Questions: A Way Into Analysis and the Analytical Essay, Lynne Rogers
A Sonata-Theory Analysis of Mozart's Piano Sonata in B-flat, K. 333, I. Allegro, David Castro
A Species-Counterpoint Method Leading to Tonal Four-Part Writing, Ken Stephenson
A Systematic Approach to Invariance in Twelve-Tone Music, Timothy R. McKinney
Aural Skills, Pedagogy, and Computer Assisted Instruction - Past, Present, and Future, Deron McGee
Author’s Reply: Liberation of Solmization - Searching for Common Ground, Timothy A. Smith
Autism Spectrum Disorder: The Gap Between Specialized and General School Systems, Alexis Ketterman
Bach, Beck, and Bjork Walk into a Bar - Reclassifying Harmonic Progressions to Accommodate Popular Music Repertoire in the Traditional Music Theory Class, Nancy Rosenberg
Backlog 1922, Lipscomb University
Backlog 1923, Lipscomb University
Backlog 1924, Lipscomb University
Backlog 1925, Lipscomb University
Backlog 1926, Lipscomb University
Backlog 1927, Lipscomb University
Backlog 1928, Lipscomb University
Backlog 1929, Lipscomb University
Backlog 1930, Lipscomb University
Backlog 1931, Lipscomb University
Backlog 1932, Lipscomb University
Backlog 1933, Lipscomb University
Backlog 1934, Lipscomb University
Backlog 1935, Lipscomb University
Backlog 1936, Lipscomb University
Backlog 1937, Lipscomb University
Backlog 1938, Lipscomb University
Backlog 1939, Lipscomb University
Backlog 1940, Lipscomb University
Backlog 1941, Lipscomb University
Backlog 1942, Lipscomb University
Backlog 1943, Lipscomb University
Backlog 1944, Lipscomb University
Backlog 1945, Lipscomb University
Backlog 1946, Lipscomb University
Backlog 1947, Lipscomb University
Backlog 1948, Lipscomb University
Backlog 1949, Lipscomb University
Backlog 1950, Lipscomb University
Backlog 1951, Lipscomb University
Backlog 1952, Lipscomb University
Backlog 1953, Lipscomb University
Backlog 1954, Lipscomb University
Backlog 1955, Lipscomb University
Backlog 1956, Lipscomb University
Backlog 1957, Lipscomb University
Backlog 1958, Lipscomb University
Backlog 1959, Lipscomb University
Backlog 1960, Lipscomb University
Backlog 1961, Lipscomb University
Backlog 1962, Lipscomb University
Backlog 1963, Lipscomb University
Backlog 1964, Lipscomb University
Backlog 1965, Lipscomb University
Backlog 1966, Lipscomb University
Backlog 1967, Lipscomb University
Backlog 1968, Lipscomb University
Backlog 1969, Lipscomb University
Backlog 1970, Lipscomb University
Backlog 1971, Lipscomb University
Backlog 1972, Lipscomb University
Backlog 1973, Lipscomb University
Backlog 1974, Lipscomb University
Backlog 1975, Lipscomb University
Backlog 1977, Lipscomb University
Backlog 1978, Lipscomb University
Backlog 1979, Lipscomb University
Backlog 1980, Lipscomb University
Backlog 1981, Lipscomb University
Backlog 1982, Lipscomb University
Backlog 1983, Lipscomb University
Backlog 1984, Lipscomb University
Backlog 1985, Lipscomb University
Backlog 1986, Lipscomb University
Backlog 1987, Lipscomb University
Backlog 1988, Lipscomb University
Backlog 1989, Lipscomb University
Backlog 1990, Lipscomb University
Backlog 1991, Lipscomb University
Backlog 1993, Lipscomb University
Backlog 1994, Lipscomb University
Backlog 1995, Lipscomb University
Backlog 1996, Lipscomb University
Backlog 1997, Lipscomb University
Backlog 1998, Lipscomb University
Backlog 1999, Lipscomb University
Backlog 2000, Lipscomb University
Backlog 2001, Lipscomb University
Backlog 2002, Lipscomb University
Backlog 2003, Lipscomb University
Backlog 2004, Lipscomb University
Backlog 2005, Lipscomb University
Backlog 2006, Lipscomb University
Backlog 2007, Lipscomb University
Backlog 2008, Lipscomb University
Backlog 2009, Lipscomb University
Backlog 2010, Lipscomb University
Backlog 2011, Lipscomb University
Backlog 2012, Lipscomb University
Backlog 2013, Lipscomb University
Backlog 2014, Lipscomb University
Backlog 2015, Lipscomb University
Backlog 2016, Lipscomb University
Back to School - A Report on the Institute for Music Theory Pedagogy, John Check
Barton K. Bartle, Computer Software in Music and Music Education, Charles G. Boody
Bass Line Movable Do Modulation Paradigms, Jay Smith
Beyond Chord-Scale Theory - Realizing a Species Approach to Jazz Improvisation, Keith Salley
Beyond “Three Blind Mice”: An Exemplar for “Day 1” of Schenkerian Analysis, Andrew Aziz
Bibliography for General Pedagogy, Jennifer Snodgrass
Bridging Common Practice and the Twentieth Century- Cadences in Prokofiev's Piano Sonatas, Courtenay L. Harter
Cantus Firmi for Species Counterpoint: Catalog and Characteristics, John Hanson
Carolyn Wilson Digital Collections Content Policy, Lipscomb University
Carolyn Wilson Digital Collections Copyright Policy, Lipscomb University
Carolyn Wilson Digital Collections Preservation Policy, Lipscomb University
Carolyn Wilson Digital Collections Removal Policy, Lipscomb University
Carolyn Wilson Digital Collections Terms of Use and Privacy Policy, Lipscomb University
CD-ROMs, HyperCard,and the Theory Curriculum: A Retrospective Review, Alexander R. Brinkman
Chopin Prelude in C, Op. 28 no. 1: Reductive Analysis Worksheet, Gabe Fankhauser
Chopin’s Prelude In D major, Opus 28, No. 5: Analysis and Performance, Carl Scachter
Clara Schumann, Andante, Jennifer Snodgrass
Comparative Analytical Systems: A Review of Three Books, Michael R. Rogers
Competing Analyses as Pedagogical Strategy and Hugo Wolf's Das verlassene Mägdlein, Gordon Sly
“Composers Are Born and Not Made”: Some Preliminary Thoughts On How To Construct A Pedagogy For Music Composition, Michael Searby
Comprehensive Muscianship at San Diego State University, David Ward-Steinman
Computer-Assisted Instruction and Remedial Music Fundamentals, Mark Yeary
Conference Report: Pedagogy into Practice, J. Daniel Jenkins and Angela Ripley
Conference Report: Pedagogy into Practice 2, Elizabeth Sayrs
Connections in Modulations, Joseph P. Swain
Contemporary Musicianship Test 4 - Music Industry, Jennifer Snodgrass
Contention in the Classroom - Encouraging Debate and Alternate Readings in the Undergraduate Theory Class, Matthew Bribitzer-Stull
Contextual Ear Training, Paula Telesco
Cooperative Learning in the Music Theory Classroom, Lawrence M. Zbikowski and Charles K. Long
Corralling the Chorale, Chelsea Burns, William O'Hara, Marcelle Pierson, Katherine Pukinskis, Peter Smucker, and William Van Geest
Counterpoint in the Classroom: Pedagogical Considerations and a Detailed Review of Two Textbooks, Sarah Marlowe
Counterpoint is a Piece of Cake: Renaissance Improvisation in a Modern University Course (In honorem Petri N. Sutoris), Frauke Jürgensen
Creating Dynamic Media Examples: a Brief Tutorial, Sean Atkinson
Creative Sightsinging, H. Lee Riggins and Howard Irving
Critical Thinking for Composers, Paul Paccione
Cultivating Career Skills Through Public Music Theory and Community Engaged Learning, Aaron Grant
Cycling Through Polyrhythms, Nick Rissman
D. A. Kolb's Theory of Experiential Learning - Implications for the Development of Music Theory Instructional Material, Michael Lively
Dalcroze's Approach to Solfège and Ear Training for the Undergraduate Aural Skills Curriculum, Gregory Ristow, Kathy Thomsen, and Diane Urista
Derivational Analysis Step By Step, Arthur Komar
Developing Aural Skills - It's Not Just A Game, Deborah Rifkin and Diane Urista
Developing the Analytical Point of View - The Musical 'Agent', Gordon Sly
Developing the Musical Ear, J. Kent Williams
Development of a Cannabinoid Testing Method Using Blood Collection Cards and LC-MS/MS, Lindsey K. Reynolds and Matt J. Vergne
Dictation by Template: A New Approach for the Aural Skills Classroom, Jonathan Guez
Difficulty Factors in Melodic Perception, Jeffrey L. Gillespie
Discerning the Theme in a Galant Variation by Mozart: A Detective Story for the First Day of Theory Class, Jonathan Guez
Disrupting the School-to-Prison Pipeline: The Development of Strong, Stable Relationships, MacKiah Hoff
Dr. Candice McQueen, 18th President 2021-present, Lipscomb University
Ear Training and Integrated Aural Skills: Three Recent Texts, Gary S. Karpinski
Effective Questioning Strategies for the Music Theory Classroom, Scott Dirkse
Effects of Adverse Childhood Experiences in Relation to Domestic Violence Services, Mary Hill
Effects of Withania somnifera on Zebrafish, Diyari Bekhtyar
Either/Neither/Both: Teaching Formal Ambiguity in the Undergraduate Theory Core, Aaron Grant and Joan Huguet
Elements Associated with Success in the First-Year Music Theory and Aural-Skills Curriculum, M. Rusty Jones and Martin Bergee
Embodied Music Theory - New Pedagogy for Creative and Aural Development, Nicholas Bannan
Embodying the Image of God: A Call to Holistic Spiritual Formation, Katelyn Jo Hargrave
Embracing “the Teachable Moment”: Creative Warm-Ups, Pre-Teaching, and Their Role in the Music Theory Curriculum, Amy Lynne Engelsdorfer
Engaging Chopin’s Nocturnes: Model Composition and Nineteenth-Century Diminutions, Gilad Rabinovitch
Engaging Music - Essays in Music Analysis, ed. Deborah Stein reviewed, Gordon Sly
Enhancing Learning in an Advanced Analysis Course: the Flipped Model, Peer Learning, and the Mode Effect, Brenda Ravenscroft and Victoria Chen
Enhancing Sight-Singing Skills Through Reflective Writing: A New Approach to the Undergraduate Theory Curriculum, Lyle Davidson, Larry Scripp, and Alan Fletcher
Error Detection in the Aural Skills Class - Research and Pedagogy, Stacey Davis
Evaluating Student Work Using Models Derived from Those Used in Nationally Administered Examinations, Joel Phillips
Explaining Inversion in Twentieth-Century Theory, Laro L. Gingerich and Alice M. Lanning
Facilitating Group Composition for Large Ensembles through a Building Blocks Curriculum, Alexis C. Lamb
Faure's "Nocturne," Op. 43, No. 2, Jena Root
Five Recent Sightsinging Texts, Gary S. Karpinski
Flexibility in the Theory Classroom: Strategies for the Management of Diversity, David A. Damschroder
Forks in the Road - Teaching Scarlatti's Sonata in C Major (K.159, Longo 104), Stephen Slottow
Formalism in the Music Theory Classroom, Roger Mathew Grant
From the Classroom: A Low-Tech Tool for the Music Classroom, Joel Phillips
Fuel Your Fitness, Payton Carpenter
Galant Style Composition Using Koch's Versuch and Voice-Leading Schemata, Adem Merter Birson Merter Birson
Gary Karpinski - Aural Skills Acquisition, David Butler
Gathered Together: The Impact of In-Person Experiences in a Virtual Age, Consuela Knox
Getting Smarter in the Classroom- Interactive Whiteboards and Music Theory, Brent Yorgason
Global Perspective on Music Theory Pedagogy - Thinking in Music, Peter Schubert
G Major Music Theory, Gilbert DeBenedetti
God Our Neighbor: Discerning Our Calling By Discovering God's Life in Our Neighborhood, Wayne D. Beason II
G. P. Telemann’s Exercises in Singing, Keyboard-Playing, and Thoroughbass (ed. and trans. Derek Remeš), Derek Remeš
Graduate Instructor Peer Observation in Music Theory Pedagogy, Alyssa Barna and Sam Reenan
Graduate Music Theory Review- An On-Line Solution, William G. Harbinson
Group exercise: Three Chopin Preludes, Melissa Hoag
Guides to Better Classroom Teaching: A Review of Three Books and Additional Possibilities, L. Dee Fink
Harmonic Function and the Motion of the Bassline, Reed J. Hoyt
Harmony and Integrated Theory: Four Recent Texts, Mary Wennerstrom
Harnessing Technology to Open the Mind: Beyond Drill and Practice for Aural Skills, Charles Lord
Havalind Acts Volume 10 (1922-1923), Lipscomb University
Havalind Acts Volume 6 (1920), Lipscomb University
Havalind Acts Volume 9 (1921-1922), Lipscomb University
Hearing "What Might Have Been" - Using Recomposition to Foster Music Appreciation in the Theory Classroom, Melissa Hoag
Helping Non-Singers Overcome Fear and Anxiety in Aural Skills, Andrew Hannon
How Political Aspirations Conceived a Dramatic Linguistic Shift, Sean McConnell
How to Write a Jazz Composition's Chord Progression, Patricia Julien
I Got Isorhythm: Recreating the ars nova Motet in the Classroom, Justin Lavacek
Incorporating Popular Music in Teaching: Ideas for the Non-Expert, Timothy K. Chenette
Incorporating Sight-Singing, Melodic/Harmonic Dictation, and Formal Listening Skills into a First-Semester Aural Skills Course, Jenine Brown
Increasing Retention and Motivation: Making a Case for Conscious Long-Term Repetition and Leveraging Peer Learning, Brian Edward Jarvis and John Peterson
Indentifying Successful Dictation Strategies, Gray Potter
In Memoriam - Dorothy Payne, Stefan Kostka and Marie Rolf
In Memoriam: Gail Boyd de Stwolinski, Alice Lanning
In Memoriam: Richard Pierre ("Pete") Delone, Allen Winold
Inspired Accidents - Spontaneous Invention in Musical Performance (Master Teacher Column), Michael R. Rogers
Interval and Scale-Degree Strategies in Melodic Perception, William E. Lake
Interview with Anton Lüpkes, 5 July 1985, Anton Lüpkes and James Patrick Kelley
Interview with Benjamin G. Locher, 7 July 1985., Benjamin G. Locher and James Patrick Kelley
Interview with Bishop Albrecht Schönherr, 11 July 1985, Albrecht Schönherr and James Patrick Kelley
Interview with Bishop Kurt Scharf, 6 June 1986., Kurt Scharf and James Patrick Kelley
Interview with Dr. Ferdinand Schlingensiepen, 2 July 1985, Ferdinand Schlingensiepen and James Patrick Kelley
Interview with Dr. Franz Hildebrandt, 25 May 1986, Franz Hildebrandt and James Patrick Kelly
Interview with Eberhard Bethge, 28 May 1984, Part 1, Eberhard Bethge and James Patrick Kelley
Interview with Eberhard Bethge, 29 May 1984 Part 2, Eberhard Bethge and James Patrick Kelley
Interview with Eleni Immer, 5 July 1985, Eleni Immer and James Patrick Kelley
Interview with Emmi Bonhoeffer, 8 June 1984, Emmi Bonhoeffer and James Patrick Kelley
Interview with Ernest Gordon, 27 January 1986, Ernest Gordon and James Patrick Kelley
Interview with Ferdinand Immer, 5 July 1985, Ferdinand Immer and James Patrick Kelley
Interview with Franz von Hammerstein, 4 November 1986 Part 1, Franz von Hammerstein and James Patrick Kelley
Interview with Franz von Hammerstein, 4 November 1986 Part 2, Franz von Hammerstein and James Patrick Kelley
Interview with Frau Renate Bethge, 28 May 1984 Part 1, Renate Bethge and James Patrick Kelley
Interview with Frau Renate Bethge, 28 May 1984 Part 2, Renate Bethge and James Patrick Kelley
Interview with Fritz Keienburg, 7 June 1984, Fritz Keienburg and James Patrick Kelley
Interview with Gerrit Herlyn, 4 July 1985, Gerrit Herlyn and James Patrick Kelley
Interview with Gretel Schneider, Evamarie Schneider, and Paul Ulrich Schneider, 25 July 1985 Part 1, Gretel Schneider, Evamarie Schneider, Paul Ulrich Schneider, and James Patrick Kelley
Interview with Gretel Schneider, Evamarie Schneider, and Paul Ulrich Schneider, 25 July 1985 Part 2, Gretel Schneider, Evamarie Schneider, Paul Ulrich Schneider, and James Patrick Kelley
Interview with Gunter Jakob, 12 July 1985., Gunther Jakob and James Patrick Kelley
Interview with Hans-Christoph von Hase, 6 November 1986, Hans-Christoph von Hase and James Patrick Kelley
Interview with Harold Lockley and Ursula Lockley, 29 January 1986, Harold Lockley, Ursula Lockley, and James Patrick Kelley
Interview with Heinrich Vogel, 18 July 1985, Heinrich Vogel and James Patrick Kelley
Interview with Hermann Lutze, 23 June 1985, Hermann Lutze and James Patrick Kelley
Interview with Joachim Kanitz, 18 July 1985, Joachim Kanitz and James Patrick Kelley
Interview with Ludwig Beek and Günther van Norden, 22 July 1985 Part 1, Ludwig Beek, Günther van Norden, and James Patrick Kelley
Interview with Ludwig Beek and Günther van Norden, 22 July 1985 Part 2, Ludwig Beek, Günther van Norden, and James Patrick Kelley
Interview with Paul F. W. Busing and Mrs. Erika Busing, 31 August 1989, Paul F. W. Busing, Erika Busing, and James Patrick Kelley
Interview with Paul Louis Lehmann and Marion Lehmann, 1 January 1986 Part 1, Paul Louis Lehmann, Marion Lucks Lehmann, and James Patrick Kelley
Interview with Paul Louis Lehmann and Marion Lehmann, 1 January 1986 Part 2, Paul Louis Lehmann, Marion Lucks Lehmann, and James Patrick Kelley
Interview with Wilhelm Niesel and Gertrude Niesel, 26 July 1985, Wilhelm Niesel, Gertrude Niesel, and James Patrick Kelley
Interview with Winfried Maechler and Ingeborg Maechler, 27 January 1986, Winfried Maechler, Ingeborg Maechler, and James Patrick Kelley
Interview with Wolf-Dieter Zimmermann, Wolf-Dieter Zimmermann and James Patrick Kelley
Intrinsic Motivation: The Relation of Analysis to Performance in Undergraduate Music Theory Instruction, Elizabeth West Marvin
Introduction to Modes, Daniel Lee
Introductory Homework Assignments for Post-Tonal Analysis, David Castro
Ipad Apps for the Music Theory Classroom, Bradley Green
Is This Our Story? Is This Our Song?: DIscovering the Formational Experiences of Black Christians in Predominantly White Churches, Christopher Lynn Shields II
JMTP - Online Website Reviews, JMTP-Online Editorial Board
John A. Sloboda, The Musical Mind: The Cognitive Psychology of Music, Elizabeth West Marvin
Joseph N. Straus - Elements of Music reviewed, Michael Buchler
Keyboard Harmony: A Courseware System for Harmonic Skills Acquisition, Naphtali Wagner
Knowledge, Beliefs, and Practicies of NCAA Coaches and Sports Dietitians on Low Energy Availability, Laurel Card and Amy Banaszek
Letter To The Editor, David Damschroder
Letter To The Editor, Michael Rogers
License Agreement, Lipscomb University
Lipscomb Deed of Property for Nashville Bible College, David Lipscomb Sr. and Margaret Lipscomb
Lipscomb Media: Celebrating a Centennial of Journalism, Lipscomb University
Listening to Mozart: Perceptual Differences Among Musicians, Rita Aiello, J. S. Tanka, and Wayne C. Winborne
Listen Up! - Thought on iPods, Sonata Form, and Analysis without Score, Brian Alegant
Listen Up! - Thought on iPods, Sonata Form, and Analysis without Score, Brian Alegant
Logo as a Medium for Exploring Atonal Theory, J. Kent Williams
Mamlok on Day One: Strategies for Incorporating Recent Music Into the Early Undergraduate Music Theory Curriculum, Neal P. Endicott
Managing Competency-Based Grading in Music Theory, Richard A. Williamson
Mapping Voice Leading from Four through Forty Voices- A Tool for Pedagogy, Matthew S. Royal
Maximal Evenness as Conceptual Apparatus for a Course on Post-Tonal Theory and Analysis, Adam Ricci
Maximizing the Benefits of Using Familiar Music in Undergraduate Music Theory, Ivan Jimenez
Meditation and Action Observation Effect on Putting Performance, Austin Tyler Webb, Tanner Burris, and Trafton Houck
Melodic Dictation Scoring Methods - An Exploratory Study, Jeffrey L. Gillespie
Mid-Bar Downbeat in Bach’s Keyboard Music, Charles Burkhart
Mock Trials in the Music Theory Classroom, Angela Ripley
Modality-based Aural Skills Pedagogy: Ear-training Strategies for Post-tonal and Non-Western Musics, Yayoi Uno Everett
"Model Composition" Revisited: The Ragtime Project, Bruce Campbell
Modelling Professional Practice in Music Analysis with Computing, David Walker and William Renwick
Mode Mixture in John Mayer's Continuum, Gabe Fankhauser
Modern Harmony (Online Course), Alan Belkin
Modernizing the Minuet Composition Project, Nancy Rogers
Module 2 Exams, Jan Miyake
Muscianship at Northwestern, John Buccheri
Music Analysis: Purposes, Paradigms, and Problems, Allen Winold
MusicCog-99- A Workshop Symposium in Music Cognition, Edward Klonoski
MUSICOG 2001 at Ohio State, David Temperly
Music Theory 2 Syllabus, Jan Miyake
Music Theory and the Liberal Arts, Theodore K. Matthews
Music Theory Examples in Video Game Music, Brent Ferguson
Music Theory Pedagogy Bibliography, Mary Wennerstrom
Music Theory Pedagogy Curricula in North America: Training the Next Generation, Elizabeth West Marvin
Music Theory Remixed: A Blended Approach for the Practicing Musician, Kevin Holm-Hudson and Brad Osborn (Reviewer)
Music Theory Software for the Macintosh, Bruce B. Campbell
Music Theory Undergraduate Core Curriculum Survey: a 2017 Update, Barbara Murphy and Brendan McConville
Nashville Bible School Charter of Incorporation Amendment, Ike B. Stevens and Nashville Bible School, Board of Directors
Neil Gaiman's Elevated Fairy Tale: Childhood Trauma Through the Lens of Postmodernism, Faith Adams
Neonatal Abstinence Syndrome's Interaction with Foster Care: Exploring Challenges and Improving Outcomes, Kennedy E. Bradshaw
Nine Tips and Tools for Improving Student Performance in Freshman Music Theory, Mike Zachary
Nonwestern Music and Decolonial Pedagogy in the Music Theory Classroom, Molly Reid
Notating Rhythms in Simple and Compound Meters, Stephen Gosden
Noteflight as a Web 2.0 Tool for Music Theory Pedagogy, Brendan McConville
“Notehead Shorthand”: A Rhythmic Shorthand Method for Melodic Dictation Exercises, Jenine L. Brown
"One Step Up": A Lesson from Pop Music, Justin London
On Teaching Composition, Thomas Benjamin
On Teaching "Tonal Mirror Counterpoint"- A Guide to Concepts and Practice, David Carson Berry
Open Educational Resources for Undergraduate Music Theory, Kyle Gullings
Overall Structure and Design in a Variation Form, Anne Marie de Zeeuw
Part Writing, Prose Writing - An Investigation of Writing-to-Learn in the Music Theory Classroom, Bruce C. Kelley
Pedagogical Aspects of Chromaticism in 16th- and 18th-Century Counterpoint, Robert Gauldin
Pedagogic Applications of Fourier Analysis and Spectrographs in the Music Theory Classroom, John Latartara
Performance and Analysis Bibliography, Steven Laitz
Phrase and Cadence: A Study of Terminology and Defintion, Ann Blombach
Pitch-Class Poker, Lora L. Gingerich
Playing With Motives - Aural Skills Exercises for Tonal Structure, David Castro
Poetry Analysis in the Music Classroom - Wilfred Owen and Britten's War Requiem, Byron Almén
Postscript to "Absolute Pitch Perception and the Pedagogy of Relative Pitch" (JMTP vol. 21, 2007), Elizabeth W. Marvin
Post-Tonal Postcards: Communicating Analysis and Reflection through Prose Writing, Angela Ripley
Post-Tonal Solmization for Post-Tonal Aural Skills: Implementing Ordered Pitch-Class Intervals, David Geary and Robert Komaniecki
Predictive Validity of the "Ready of Not" System for the Assessment of Students Needing Remediation in Music Theory, Timothy A. Smith
Profiles, Perceptions, and Practices Related to Customizable Computer-Aided Instruction among Postsecondary Aural Training Instructors, Sheila Clagg Cathey and Jay Dorfman
Progressive Composition Assignments, William G. Harbinson
Promoting Diversity in the Undergraduate Classroom: Incorporating Asian Contemporary Composers’ Music in a Form and Analysis Course, Tomoko Deguchi
Promoting Metacognitive Reflection in Music Theory Instruction, Anna Ferenc
Putting Skills to Work: An Aural Analysis Project, Gary Potter
QALO: When is it Time to Exit?, Jeff Cohu
Racial Bias and Death Penalty Cases: A SOAR analysis of Post-Conviction, Ashley McIlvaine
Raising the Iron Curtain: Healing Collective Oppression through Literature, Alisa Chirkova-Holland
Readers’ Comments - Continuing The Dialogue: The Potential of Relative Solmization for the Music Theory Curriculum at the College Level, Micheál Houlahan and Philip Tacka
Readers’ Comments - Ending the Dialogue: Imaginary Solutions are No Solution, Timothy A. Smith
Readers’ Comments: Some Uses of Diatonic Interval Cycles for Recognizing Chord Inversion, David Pacun
Reader’s Response: The Americanization of Solmization - A Response to the Article by Timothy A. Smith ‘A Comparison of Pedagogical Resources in Solmization Systems’, Micheál Houlahan and Philip Tacka
Reclaiming Our Streets: A Framework for Mobility Justice, Calah Gipson
Recommendations for Atonal Music Pedagogy in General; Recognizing and Hearing Set-Classes in Particular, Robert D. Morris
Recomposition and the Sonata Theory Learning Laboratory, Andrew Aziz
Recorded Performances as Text in the Music Theory Classroom, Samuel Ng
Recovering the Art of Testimony, as Embodied within the Historical Black Church, as a Missionally Formative Practice, Christopher Cobbler
Reflections on Music Theory Pedagogy- Virtual and Archeological Known Unknowns, Jonathan Dunsby
Reframing Aural Skills Instruction Based On Research in Working Memory, Timothy K. Chenette
Remedial Theory Courses for Underprepared Students: An Experimental Program to Develop Successful Teaching and Learning Strategies, Isabel Baker and Anthony Kosar
Reply to Ryan McClelland's Article "Teaching Phrase Ryhthm through Minuets from Haydn's String Quartets," vol. 20, 2006, Miguel A. Roig-Francolí
Report on Pedagogy into Practice Conference, Patricia Burt, Greg McCandless, Jennifer Snodgrass, and Loretta Terrigno
Report on the 2010 Workshops in Music Theory Pedagogy at the University of Massachusetts Amherst, William Helmcke
Report on the 2016 Workshops in Music Theory Pedagogy at the University of Massachusetts Amherst, Morgan Markel and Nicholas J. Shea
Report on the 2019 Workshops in Music Theory Pedagogy at the University of Massachusetts Amherst, Emily Kenyon and Emily Schwitzgebel
Report on the First Institute for Music Theory Pedagogy Studies, Roger E. Foltz and Gary Wittlich
Report on the Institute for Music Theory Pedagogy Studies II, Roger E. Foltz
Repository of Sentence and Period Examples, Garreth Broesche
Research on Tonal Perceptions and Memory: What Implications for Music Theory Pedagogy?, Elizabeth West Marvin
Resolving V7/V to V or V7, Paula J. Telesco
Response to Roger's Review of: "To Doh or Not to Doh", Mary Jo Lorek and Randall G. Pembrook
Rethinking Music Literacy in the Undergraduate Theory Core, Rosa Abrahams
Rethinking the Teaching of Minor Scales and Keys, Paula J. Telesco
Review of Basic Post-Tonal Theory and Analysis by Philip Lambert, and Introduction to Post-Tonal Theory by Joseph N. Straus, Owen Belcher
Review of Bending the Rules of Music Theory: Lessons from Great Composers, Michael Baker
Review of Concise Introduction to Tonal Harmony by L. Poundie Burstein and Joseph N. Straus and The Musician’s Guide to Theory and Analysis by Jane Piper Clendinning and Elizabeth West Marvin, Rachel Mann and Katrina Roush
Review of Ear Training for Twentieth-Century Music by Michael Friedmann, William Thomson
Review of Gateways to Understanding Music by Timothy Rice and Dave Wilson, Kristin Taavola
Review of Jazz Theory Texts, Gary Potter
Review of Listen and Sing by David Damschroder, Michael R. Rogers
Review of Modal and Tonal Counterpoint: From Josquin to Stravinsky by Harold Owen, David L. Mancini
Review of Musical Theory for Musical Theatre, Music Theory Through Musical Theatre: Putting it Together, Music Essentials for Singers and Actors: Fundamentals of Notation, Sight-Singing, and Music Theory, and Music Fundamentals for Musical Theatre, Nathan Beary Blustein, Elizabeth Gerbi, and Deborah Rifkin
Review of Music Theory for Beginners, by R. Ryan Endris, Nicole E. DiPaolo
Review of Ralph Turek, The Elements of Music, Kenneth Stephenson
Review of Sight Singing, by Earl Henry, Timothy A. Smith
Review of The Musical Language of Rock by David Temperley, Christine Boone
Review of The Musicians’ Guide to Perception and Cognition by David Butler, Elizabeth West Marvin
Review of “The Music Kit” by Tom Manoff, Rosemary Killam
Review of The Norton CD-ROM MasterWorks: Interactive Music Guides for History, Analysis, and Appreciation, Vol. 1. By Daniel Jacobson and Timothy Koozin, Gary Wittlich and Elizabeth West Marvin
Review of The Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeffrey Swinkin, Daphne Tan, Stacey Davis, Timothy Koozin, David A. Rickels, and Philip Chang
Review of Theories and Analyses of Twentieth-Century Music, by J. Kent Williams, Richard Bass
Review of The Routledge Companion to Aural Skills Pedagogy, David Castro
Review of The Routledge Companion to Music Theory Pedagogy Edited by Leigh VanHandel, David Forrest, Jennifer Beavers, Kevin Clifton, David R. W. Sears, and Ann Stutes
Review of Three Twentieth-Century Texts, Joel Phillips
Review of To Doh or Not To Doh, Michael R. Rogers
Review of Understanding Post-Tonal Music and The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses, Allison Wente
Revisiting Theory Camp - Improving Student Success in Freshman Theory, Rebecca L. Atkins and Michael F. Murray
Rheinberger, Boulanger, and the Art of Teaching Composition, E. Douglas Bomberger
Rhythm Syllable Pedagogy- A Historical Journey to Takadimi Via the Kodály Method, Joshua Palkki
Robert Gaudlin, A Practical Approach to Sixteenth-Century Counterpoint (Prentice-Hall, 1985), Thomas Christensen
Sample analysis of Brahms, Ein Deutsches Requiem, IV, 'Wie lieblich sind deine Wohnungen' [How lovely is thy dwelling place], Melissa Hoag
Scale-Degree Function: A Theory of Expressive Meaning and Its Application to Aural-Skills Pedagogy, Steve Larson
Scale-Degrees Six and Seven in Minor, Stephen Gosden
Scanning Bass Patterns - A Middleground Path to Analysis, David Pacun
Schenkerian Analysis at the Sorbonne, Luciane Beduschi and Nicolas Meeús
Schenkerian Analysis for the Beginner, Benjamin K. Wadsworth
Schenkerian Analysis of Fugue: A Practical Demonstration, Sarah Marlowe
Search-Solve-Sing: A Group Presentation Model to Strengthen Practice and Performance Techniques in Upper-Level Aural Skills Classes, Allison Wente
"Send Help!": Aural Skills Instruction in U.S. Colleges and Universities, Randall G. Pembrook and H. Lee Riggins
Sequential Order for the Preparation, Presentation, Practice and Evaluation of Rhythmic and Melodic Concepts, Micheál Houlahan and Philip Tacka
Serving Musicians With Visual Impairment in the College Classroom - Building Bridges Toward Understanding, Jeffrey L. Gillespie
Set Class 014 and Schoenberg's Pierrot Lunaire, Gabe Fankhauser
Seven Dictation Templates of Increasing Difficulty, Jonathan Guez
Seven strategies for enabling student success in the first-year music theory sequence, Melissa Hoag
Sightsinging at New England Conservatory of Music, Lyle Davidson, Larry Scripp, and Joan Meyaard
Sight Singing Schubert: A Study in Solfege, Bruce Taggart
Simple and Compound Time Signatures Re-Examined, Paula Telesco
Society for Music Perception and Cognition Conference, James Mathes
Solfege Drills, Daniel Kazez
Solmization with Guidonian Hand: A Historical Introduction to Modal Counterpoint, Rosemary Killam
Some Basic Principles of Good Teaching, Miguel A. Roig-Francolí
Some Challenges in Teaching American-Based Harmony in French, Roxane Prevost
Some Guidelines for Writing Temporally Equidistant Three-Voice Canons in Sixteenth-Century Style, Steven Strunk
Some Personal Reflections on Past Methods of Teaching and What They Can Tell Us About Current and Future Initiatives, Robert Gauldin
Some Problems and Resources of Music Theory, David Lewin
Sonata Theory in the Undergraduate Classroom, Seth Monahan
Sound Experiments - The Use of Four-Voice Writing in the Study of Twentieth-Century Music, Mark Sallmen
Sound Thinking, Micheál Houlahan
So You Want to Write a Chord Progression? Teaching Core Music Theory Using the Phrase Model Handout, Daniel Stevens
Spelling Subdominant-Function Triads and Seventh Chords in Major and Minor Keys Utilizing a Patterned Approach, Paula J. Telesco
Spiritual Formation Through Visual Art in the Churches of Christ, Emily H. Bruff
Strategies for Introducing Pitch-Class Set Theory in the Undergraduate Classroom, Stanley V. Kleppinger
Strategies of Liberation and Empowerment in Maya Angelou's and Audre Lorde's Black Feminist Literature, Lydia Jernigan
Stravinsky's "Spring Rounds"- Primer for a Twentieth-Century Musical Aesthetic, Jena Root
Strict Use of Analytic Notation, Steve Larson
Striking the Right Chord (or applying first aid to the wrong one) in the Day of a Theory Teacher, Dorothy Payne
Student-Driven Music Theory: How the Question Formulation Technique can Promote Agency, Engagement, and Curiosity, Patricia Burt and Philip Duker
Studying Perle's Motivic Processes through Contour Transformation, Gretchen .. Foley
Submission Form, Lipscomb University
Suggestions for Teaching a Course in Music Listening, Robert Trotter
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory, Angela Ripley
Syllabus for Analysis of Post-1900 Music course, Melissa Hoag
Syllabus: Pedagogy of Music Theory, Jennifer Snodgrass
Symphonic Hearing: Mastering Harmonic Dictation Using the Do/Ti Test, Daniel Stevens
Table of Belonging: Exploring Social Reversal at St. Paul's Episcopal Church, Natalie Magnusson
Takadimi: A Beat-Oriented System of Rhythm Pedagogy, Richard Hoffman
Taking Stock of Collections - A Strategy for Teaching The Analysis of Post-Tonal Music, Brian Alegant and Gordon Sly
Tales from the Classroom - Why Do We Part Write?, Diane Follet
Teaching 3/8 As A Prelude To Teaching 6/8, Paula Telesco
Teaching Agency and Narrative Analysis - The Chopin Preludes in E Minor and E Major, Matt Bailey-Shea
Teaching Analysis of Chromatic Chords Through Chord Qualities, Carissa Reddick
Teaching Analytic Writing in the Form Classroom, Samantha M. Inman
Teaching Baroque Counterpoint Through Improvisation - An Introductory Curriculum in Stylistic Fluency, Michael Callahan
Teaching Classic Era Style Through Keyboard Accompaniment, Peter Silberman
Teaching Ear Training Using Medieval and Renaissance Music, Richard Devore and Ralph Lorenz
Teaching Elementary Aural Skills - How Current Brain Research May Help, Paula J. Telesco
Teaching Fugue à la Handel - Lessons for Princess Anne, Pamela I. Poulin
Teaching Half-Diminished and Fully-Diminished Leading-Tone 7th Chords: Using a Pattern-based Approach, Paula J. Telesco
Teaching Music Theory: New Voices and Approaches by Jennifer Snodgrass, Anthony J. Kosar
Teaching Non-Functional Tonality - A Part-Writing Approach, Matthew Santa
Teaching Phrase Rhythm through Minuets from Haydn's String Quartets, Ryan McClelland
Teaching Pitch Internalization Processes, Edward Klonoski
Teaching Secondary Dominant Triads and 7ths through the Circle of 5ths, Paula J. Telesco
Teaching Set Theory in the Undergraduate Core Curriculum, David Mancini
Teaching Sonata Expositions Through Their Order of Cadences, Mark Richards
Teaching Theory as Composition, Thomas Benjamin
Teaching Voice Leading in Tonal Music, Lisa Hanford Halasz
Teaching What We Do and How We Do It: Using a Miniconference Assignment to Dig Deep into Musical Analysis, Robin Attas
Teaching With Chopsticks and a Rhythm Clock, Paula Telesco
Teaching with Tablets, Jennifer Snodgrass
Teaching with Westergaard’s Counterpoint Rules, Fred Everett Maus
Textual Constructions in Music, Monte Tubb
The Americanization of Schenker Pedagogy?, William Rothstein
The Analysis and Composition of Polymorphic Canons, Robert Gauldin
The Analytic Process - A Practical Demonstration The Opening Theme from Beethoven's Op. 26, David Beach
The Analytic Process - A Practical Demonstration The Opening Theme from Beethoven's Op. 26, David Beach
The Archaeologist’s Paradise: Digging Through Solo- Polyphonic Ambiguity in the Counterpoint Classroom, Michael Callahan
The Babbler Volume 10 (1929-1930), Lipscomb University
The Babbler Volume 11 (1930-1931), Lipscomb University
The Babbler Volume 12 (1931-1932), Lipscomb University
The Babbler Volume 13 (1932-1933), Lipscomb University
The Babbler Volume 14 (1934-1935), Lipscomb University
The Babbler Volume 15 (1935-1936), Lipscomb University and Mary Ellen Evans
The Babbler Volume 16 (1936-1937), Lipscomb University and Bobby King
The Babbler Volume 17 (1937-1938), Lipscomb University and Louise Hooper
The Babbler Volume 18 (1938-1939), Lipscomb University, Nan Ray, and Imogene Fanning
The Babbler Volume 19 (1939-1940), Lipscomb University, Ed Sewell, and Frances Ray
The Babbler Volume 20 (1940-1941), Lipscomb University, Etha Green, Vivian Cullum, and Claude Stephenson
The Babbler Volume 21 (1941-1942), Lipscomb University, Allen Pettus, Pauline Jones, Paul Cantrell, Lucy Jacobs, Farris Stalcup, Billy Sanford, Billy Bonner, and Harry Robert Fox
The Babbler Volume 22 (1942-1943), Lipscomb University, Paul Cantrell, and Farris Stalcup
The Babbler Volume 23 (1943-1944), Lipscomb University
The Babbler Volume 24 (1944-1945), Lipscomb University, Telette McWhorter, Carolyn King, Ruth Lee, and Joy Hardeman
The Babbler Volume 25 (1945-1946), Lipscomb University, Joy Hardeman, Ann Loftin, and Opal Anderton
The Babbler Volume 26 (1946-1947), Lipscomb University, Paul Mills, Ann Loftin, Joe Sanders, Al Bartlett, Nat Long, James Matthews, and Bill Bonner
The Babbler Volume 27 (1947-1948), Lipscomb University, Paul Mills, Ann Loftin, Ralph Perry, Julia Bobbitt, Nat Long, and Bill Bonner
The Babbler Volume 28 (1948-1949), Lipscomb University, Julia Bobbitt, Paul Mills, Mary Nicholas, Neal Ellis, Hollis Parker, Nat Long, Jane Watson, and Miriam Clements
The Babbler Volume 29 (1949-1950), Lipscomb University, Julia Bobbitt, Mary Nicholas, Frances Cole, Hollis Parker, Bill Lambert, and Jennings Davis Jr.
The Babbler Volume 30 (1950-1951), Lipscomb University, Mary Nicholas Scott, Wayne Estes, Paul Cantrell, Bill Lambert, Jack Cochrane, Carolyn Branch, Donald Daughtery, and Beverly Brown
The Babbler Volume 31 (1951-1952), Lipscomb University, Wayne Estes, Carolyn Branch, Harriette Dickerson, Jack Cochrane, Henderson Hillin, and Alice Vernier
The Babbler Volume 32 (1952-1953), Lipscomb University, Carolyn Branch, Bob Sivley, Gerry Altizer, James Davey, Tom Trimble, and Wayne Estes
The Babbler Volume 33 (1953-1954), Lipscomb University, Bob Sivley, Peggie Herron, Anita Quandt, Evelyn Sliveman, and James Davey
The Babbler Volume 34 (1954-1955), Lipscomb University, Peggie Herron, Marry Lou Carter, George Patterson, and Cornelia Turman
The Babbler Volume 35 (1955-1956), Lipscomb University, Peggy Miller, Cornelia Turman, Mary Lou Carter, Anita Quandt, Benny Nelms, and Bill Banowsky
The Babbler Volume 36 (1956-1957), Lipscomb University, Cornelia Turman, Benny Nelms, Mary Lou Carter, Amanda Talley, Jean Reynolds, Bill Banowsky, and Ken Harwell
The Babbler Volume 37 (1957-1958), Lipscomb University, Benny Nelms, Amanda Flannery, Jeanette Arnold, Nancy Green, Shirley Hill, Ben Lynch, Bitsy Lawson, Sarah Taylor, Millie Moore, Nora Jean Vaughan, Ken Harwell, Jimmie Mankin, and Bob Gleaves
The Babbler Volume 38 (1958-1959), Lipscomb University, Amanda Flannery, Bob Gleaves, Nora Jean Vaughan, Doris Byrd, Millie Moore Monroe, Sara Reed, Cynthia Dilgard, Sarah Taylor, David Fowlkes, Mary Dobson, Donna Gardner, Emily Beauchamp, and James Hudson
The Babbler Volume 39 (1959-1960), Lipscomb University, Bob Gleaves, Carole Hollingsworth, Emily Beauchamp, Sara Reed, Carolyn Robertson, Donna Gardner, Peggy Holland, David Fowlkes, Linda Felts, Bobby Demonbreun, and Nadine King
The Babbler Volume 40 (1960-1961), Lipscomb University, Emily Beauchamp, Carole Hollingsworth, Marilyn McDowell, Donna Gardner, Carolyn Robertson, Bill Leavell, Ralph Stevens, Charlie Walton, Jack Welch, Peggy Holland, Linda Carpenter, Linda Felts, and Carroll Wells
The Babbler Volume 41 (1961-1962), Lipscomb University, Marilyn McDowell, Mary Elizabeth Wlborn, Genelle Hager, Ray Cozort, Mandy Goetz, Beth Donnell, and Wayne Walden
The Babbler Volume 4 (1923-1924), Lipscomb University
The Babbler Volume 42 (1962-1963), Lipscomb University, Carole Gass, Ginny Tomlinson, Sandra Richardson, Ray Cozort, Howard Johnson, Joyce Cornette, and Joan Cornette
The Babbler Volume 43 (1963-1964), Lipscomb University, Gay Evans, Carolyn Parnell, and Bill Hutcheson
The Babbler Volume 44 (1964-1965), Lipscomb University, Bill Hutchison, Carolyn Parnell, Karen Hall, Kaye Parnell, and Dykes Cordell
The Babbler Volume 45 (1965-1966), Lipscomb University, Kaye Parnell, Edwina Parnell, Kenny Barfield, Barbara Denkler, Elaine Daniel, Dykes Cordell, and Bill Gollnitz
The Babbler Volume 46 (1966-1967), Lipscomb University, Elaine Daniel, Bill Gollnitz, Byron Nelson, Edwina Parnell, Kenny Barfield, Barbara Hargis, and Ken Slater
The Babbler Volume 47 (1967-1968), Lipscomb University, Edwina Parnell, Kenny Barfield, Byron Nelso, Ken Slater, Bill Gollnitz, and Susie Harrell
The Babbler Volume 48 (1968-1969), Lipscomb University, Kenny Barfield, Lee Maddux, Ken Slater, and Gerald Jerkins
The Babbler Volume 49 (1969-1970), Lipscomb University, Gerald Jenkins, Lee Maddux, Linds Bumgardner, Randal Burton, and Deby Samuels
The Babbler Volume 50 (1970-1971), Lipscomb University, Lee Maddux, Deby Samuels, Linda Bumgardner, Katherine Dooley, Judi Crosby, and Ellen Gentry
The Babbler Volume 51 (1971-1972), Lipscomb University, Deby K. Samuels, and Ellen Gentry
The Babbler Volume 5 (1924-1925), Lipscomb University
The Babbler Volume 52 (1972-1973), Lipscomb University
The Babbler Volume 53 (1973-1974), Lipscomb University, Laura Lowrey, Mark Jordan, Brad Forrister, and John Hutcheson III
The Babbler Volume 54 (1974-1975), Lipscomb University, Joy-Lyn Bagley Key, Marha Templeton, Larry Bumgardner, Charlotte Walker, and John Hovious III
The Babbler Volume 55 (1975-1976), Lipscomb University, Larry Bumgardner, Charlotte Walker, Karen DeHart, and Betty Corlew
The Babbler Volume 56 (1976-1977), Lipscomb University
The Babbler Volume 57 (1977-1978), Lipscomb University
The Babbler Volume 58 (1978-1979), Lipscomb University
The Babbler Volume 59 (1979-1980), Lipscomb University and Lincoln Yarbrough
The Babbler Volume 60 (1980-1981), Lipscomb University and Glenda Tennant
The Babbler Volume 61 (1981-1982), Lipscomb University
The Babbler Volume 6 (1925-1926), Lipscomb University
The Babbler Volume 62 (1982-1983), Lipscomb University
The Babbler Volume 63 (1983-1984), Lipscomb University, Mary Lou Ratliff, Mark Elrod, Grant Rampy, Nina Jones, and Andy Lane
The Babbler Volume 64 (1984-1985), Lipscomb University
The Babbler Volume 65 (1985-1986), Lipscomb University
The Babbler Volume 66 (1986-1987), Lipscomb University
The Babbler Volume 67 (1987-1988), Lipscomb University
The Babbler Volume 68 (1988-1989), Lipscomb University
The Babbler Volume 69 (1989-1990), Lipscomb University
The Babbler Volume 70 (1990-1991), Lipscomb University
The Babbler Volume 71 (1991-1992), Lipscomb University
The Babbler Volume 7 (1926-1927), Lipscomb University
The Babbler Volume 72 (1992-1993), Lipscomb University
The Babbler Volume 73 (1993-1994), Lipscomb University
The Babbler Volume 74 (1994-1995), Lipscomb University
The Babbler Volume 75 (1995-1996), Lipscomb University
The Babbler Volume 76 (1996-1997), Lipscomb University
The Babbler Volume 77 (1997-1998), Lipscomb University
The Babbler Volume 78 (1998-1999), Lipscomb University
The Babbler Volume 79 (1999-2000), Lipscomb University
The Babbler Volume 80 (2000-2001), Lipscomb University
The Babbler Volume 81 (2001-2002), Lipscomb University
The Babbler Volume 8 (1927-1928), Lipscomb University
The Babbler Volume 82 (2002-2003), Lipscomb University
The Babbler Volume 83 (2003-2004), Lipscomb University
The Babbler Volume 84 (2004-2005), Lipscomb University
The Babbler Volume 85 (2005-2006), Lipscomb University
The Babbler Volume 86 (2006-2007), Lipscomb University
The Babbler Volume 87 (2007-2008), Lipscomb University
The Babbler Volume 88 (2008-2009), Lipscomb University
The Babbler Volume 89 (2009), Lipscomb University
The Babbler Volume 9 (1928-1929), Lipscomb University
The Backcycle Progression - A Supplement to the Omnibus Progression for the Study of Chromatic Harmony, Guy Capuzzo
The Case of the Tic Tac Toe-Playing Chicken: Programed Instruction and Behaviorism in Music Theory Pedagogy, Greg Pearsall and Anna Gawboy (Reviewer)
The Chromatic Singalong Project: Pop/Rock as a Framework for Sight-Singing Fluency, Jena Root
The Condition of Graduate Theory Review - Multilevel Analysis and the Pedagogy of Chord and Line, John S. Cotner
The Core Curricula in Music Theory - Developments and Pedagogical Trends, Elizabeth West Marvin
The Dictation Resource, Adam J. Kolek
The Discovery Channel: Using Techniques from Discovery Science to Teach Concepts in the Core Theory Sequence, Joshua Groffman
The Do/Ti Handouts, Daniel B. Stevens
The Efficacy of Shared Spiritual Practices Toward the Formation of Families at Mayfair Church of Christ in Huntsville, Alabama, Matthew P. Flynn
The Evaluation and Design of an Undergraduate Music Theory Placement Exam, Barbara Murphy
The Evolution of a Styles Simulation Course for Graduate Theory Students, Robert Gauldin
The Guide-Tone Method: An Approach to Harmonic Dictation, Jay Rahn and James R. McKay
The Hidden Curriculum in the Music Theory Classroom, Cora S. Palfy and Eric Gilson
The History of Music Theory and the Undergraduate Curriculum, Robert W. Wason
The Importance of License in the Pedogogy of Model Composition, Past and Present, Matthew Bailey-Shea
The Importance of Reading in Jane Austen's Novels, Leah Rice
The Improvisation of Figuration Preludes and the Enduring Value of Bach Family Pedagogy, Austin Gross
The Liability of Labels, Mary H. Wennerstrom
The Linguistic Reimagining of Natural Elements in Gerard Manley Hopkins' Nature Sonnets., Leah Rice
The Mini-lesson: Active Learning and Engagement in the Undergraduate Classroom, Anna Stephan-Robinson
The Nashville Number System: A Framework for Teaching Harmony in Popular Music, Trevor De Clercq
Theory Pedagogy: An Experiential Approach, Thomas Benjamin
The Power of Prediction Ear Training and the Scientific Method, Diane Follet
The Power of Prose: Writingin the Undergraduate Music Theory Curriculum, Deron L. McGee
The Rest Is Noise : A Historically Integrated Approach to Post-Tonal Pedagogy, Amy Fleming and Aaron Grant
The Rule of the Octave in First-Year Undergraduate Theory: Teaching in the Twenty-First Century with Eighteenth-Century Strategies, Olga Sánchez-Kisielewska
The Spice is Right: Evaluating the Spice and Herb Content of Congregate Meals, Tessa Vander Kamp and Tracy Noerper
The Spiritual Impact of Female Pastoral Leadership on Members of New Heritage Fellowship, Cheryl Russell
The Summer Graduate Analysis Course and Stravinsky's Symphony of Psalms, Gordon Sly
The Undergraduate Music Curriculum at Indiana University, Mary H. Wennerstrom
The Use of Binary Logic and Processing to Enhance Learning and Instruction in the Undergraduate Theory Classroom, Rudy Marcozzi
The Use of Caplin-Schoenberg Thematic Prototypes in Melodic Dictations, Michael Oravitz
Thinking in Sound - A Qualitative Study of Metaphors for Pitch Perception, Kathy A. Thompson
Thomas Benjamin, Counterpoint in the Style of J. S. Bach, Theodore O. Johnson
Three Exercises Involving Goldberg Canons, Jonathan Guez
Three Introductory Miniatures for an Undergraduate Twentieth-Century Analysis Course, Craig Cummings
Three Leçons in Harmony: A View from the Nineteenth-Century Paris Conservatory, Michael Masci
To Doh or Not To Doh - The Comparative Effectivenes of Sightsinging Syllable Systems, Mary Jo Lorek and Randall G. Pembrook
Tonal Markers, Melodic Patterns, and Musicianship Training, Part II- Contour Reduction, Laurdella Foulkes-Levy
Tonal Markers, Melodic Patterns, and Musicianship Training Part I: Rhythm Reduction, Laurdella Foulkes-Levy
Toward a Modular Theory Class, J. Wesley Flinn
Towards a Pedagogy of Gestural Rhythm, Roger Graybill
Transformational Healing Within an Incarcerated Exile Community, David W. Phipps Jr.
Transformational Theory in the Undergraduate Curriculum - A Case for Teaching the Neo-Riemannian Approach, Nora Engebretsen and Per F. Broman
Transforming Students into Theorists - The Chromatic Harmony Wiki Project, Joseph Plazak
Trends and Issues in Music Theory Teaching, Michael R. Rogers
Twenty Questions: An Introduction to Counterpoint, Linear Analysis, and Dissonance Treatment, Daniel B. Stevens
Undergraduate Learning and Teaching "In The Trenches"- The Development of a Peer Run Music Tutoring Center, Jennifer Snodgrass
Understanding Dotted and Undotted Notes, Paula Telesco
Understanding Sonata Form through Model Composition, Sylvia Parker
Unity and Constant in Mozart, Lisa Hanford
Upon Further Reflection - Teaching Inversion through Jean Papineau-Couture's Nuit, Philip Schubert and Brian Alegant
Uses of the Harmonic 6/5bin Sixteenth-Century Style Counterpoint, John Hanson
Using a New Taxonomy for Significant Learning in the Theory Classroom, Elizabeth Lena Smith
Using Bloom's Taxonomy to Develop an Approach to Analysis, James Caldwell
Using Species Counterpoint in the Undergraduate Theory Curriculum, David L. Mancini
Utilizing The Tone Row in Jazz Pedagogy- A Technique to Create Tonal Harmony in an Atonal Environment, Paul Musso
Video and Podcasting Tools for Blended, Flipped, and Fully-Online Music Theory Courses, Gregory R. McCandless and Anna Stephan-Robinson
Voice Leading in Mozart's Figured Basees for Attwood, Rosalie Athol Schellhous
Volume 1, Various Authors
Volume 10, Various Authors
Volume 11, Various Authors
Volume 12, Various Authors
Volume 13, Various Authors
Volume 14, Various Authors
Volume 15, Various Authors
Volume 16, Various Authors
Volume 17, Various Authors
Volume 18, Various Authors
Volume 19, Various Authors
Volume 2, Various Authors
Volume 20, Various Authors
Volume 21, Various Authors
Volume 22, Various Authors
Volume 23, Various Authors
Volume 24, Various Authors
Volume 25, Various Authors
Volume 26, Various Authors
Volume 27, Various Authors
Volume 28, Various Authors
Volume 29, Various Authors
Volume 3, Various Authors
Volume 30, Various Authors
Volume 31, Various Authors
Volume 32, Various Authors
Volume 33, Various Authors
Volume 34, Various Authors
Volume 35, Various Authors
Volume 36, Various Authors
Volume 4, Various Authors
Volume 5, Various Authors
Volume 6, Various Authors
Volume 7, Various Authors
Volume 8, Various Authors
Volume 9, Various Authors
War in Heaven: The Archdeacon's Embodiment of Charles Williams' Coinherence, Germeen Tanas
Warming Up To Root Perception, Ted Goldman
We Know It’s Important, But How Do We Do It? Engaging Beginning Aural Skills Students Through Meaningful Improvisation Activities, Jeffrey Lovell
Welcome to Theory Camp! More Than Simple Remediation, Jeff Gillespie
What Can Music Theory Pedagogy Learn From Mathematics Pedagogy?, Leigh VanHandel
What Did the West Wind See? Teaching Whole-Tone Scales through Debussy's "Ce qu'a vu le vent d'ouest", Angela Ripley
What is an Interval?, William Thomson
When the Victim is Male: An Organizational Approach to Combat Gender Bias Within the Criminal Justice System, Shelby Hobbs
When Words Create Music: The Spontaneous Art Song Workshop and Its Value in Teaching Improvisation, Amy Lynne Engelsdorfer
Why Doesn't Anyone Play Bars 1-11 of Tristan in Tempo?, Ira Braus
Why is Improvisation So Difficult?, William Porter
Why We Don’t Teach Meter, and Why We Should, Richard Cohn
William Toutant, Functional Harmony, Joseph Rivers
Worksheet: Spelling Fully-Diminished and Half-Diminished Quality Seventh Chords--Includes Answer Key, Paula J. Telesco
"Writ in remembrance more than things long past"- Cadential Relationships in Fauré's Mirages, op. 113, Clare Sher Ling Eng
YouTube Teaching Harmonic Rhythm, Joseph P. Swain
Zenith 1914, Lipscomb University
Zenith 1916, Lipscomb University
Zenith 1920, Lipscomb University