DepositRethinking Classical Tibetan Pedagogy

The following paper explores classical Tibetan language pedagogy as it’s generally practiced in the West, while suggesting a radical reinterpretation to that approach by providing alternatives based on the consensus of multidisciplinary research from second language education and linguistics, among others. Especial attention is paid to the importance of production processes (speaking and writing), phonology (listening and speaking), and environment (language exposure) and their roles in language learning contexts; these concerns lead us to the conclusion that the spoken language ought to be the basis for the study of sophisticated literature, even in a classical language context. We then turn toward the specific issues of Tibetan language literacy: the language diglossia; its history; why “classical” Tibetan is not a classic example of a classical language; and, briefly, how to overcome these obstacles in a Tibetan as a Second Language (TSL) educational context.

DepositPractical Tips for Feminist Pedagogy in Classics

On July 29th, 2016 the Women’s Classical Committee UK, with the support of the Council of University Classics Departments, hosted a workshop at the University of Birmingham titled ‘Classics and Feminist Pedagogy: Practical Tips for Teaching’ workshop. This is one of two reports that came out of that workshop and presents some practical tips for teaching, aimed primarily at PhDs and ECRs.

DepositDisability in Piano Performance Pedagogy: Resources for the Classroom

This pedagogical resource is based on a recent guest lecture I gave for an undergraduate course in piano performance pedagogy. I was asked to focus on disability issues, in particular. This resource is a work in progress, and is intended to be collaborative and exploratory. Please feel free to contact me if you would like an editable version of this resource.

DepositInscring medieval pedagogy: musica ficta in its texts

This dissertation focuses on the Medieval and Renaissance understandings of musica ficta in its repertorial and theoretical contexts (9th-16th cent.). Contrary to common understandings that musica ficta was linked primarily to the rules of counterpoint, therefore to polyphony, the author argues that musica ficta was found in earlier monophonic contexts that needed solutions mainly through solmization. The entire process of solmization is laid out, first regarding recta solmization and then moving to ficta solmization. The three main procedures for clarifying hexachords (mutation, permutation, and transmutation) are discussed. Each is addressed in detail; types and subtypes (such as ‘explicit,’ ‘implicit,’ and ‘indirect’ mutations), species (recta- and ficta-mutations), cases (‘regular’ and ‘irregular’ mutations, permutations by leap and stepwise, transmutations in upper- and subsemitone situations, as well as in propinquity) are identified and defined. The dissertation introduces to ficta scholarship notions of transmutation and of solmization by means of octave equivalence. In the latter, a momentary shift between two hexachords of the same kind (say, two C-hexachords in different octaves) may be solmized without an actual change between them (i.e., without mutation). ‘Transmutation’ is conceived as an umbrella term that encompasses other types short-range shifts between hexachords, borrowing from a different hexachord to permit solmization of a transitional step falling outside of its limits. This may happen, for example, when a step from an F-hexachord is solmized within a G-hexachordal gesture, allowing a momentary b-flat above a-natural. These concepts and terminology as promulgated in the language of medieval didactic writings are also considered in terms of coeval rhetorical and philosophical practices, in an attempt to assess conceptual backgrounds that inform approaches to both solmization and musica ficta by theorists, pedagogues, and performers.

GroupMusic History/Musicology Pedagogy Resource Hub

Recent conversation has revealed levels of frustration at teaching classes on subjects in which we have varying degrees of insider knowledge or specialization. It can be hard to locate, collect, and synthesize recent discoveries or current trends in scholarship with the pressures of lesson plans, grading, and student abilities looming overhead. Wouldn’t it be nice, […]

TopicJournal of Music History Pedagogy Issue 8.2

We have just published Issue 8.2 of the Journal of Music History Pedagogy, with articles by Kyle Fyr, Cristina Fava, Reba Wissner, Lei Ouyang Bryant, Nancy November, Andrew Granade, Katherine Leo, Laurie Semmes, Aaron Ziegel, Esther Morgan-Ellis, Laurie McManus, and Catherine Mayes. Here is the link: As you will see, the issue contains a […]

DepositLibrary Instruction for Digital Humanities Pedagogy in Undergraduate Classes

Digital humanities pedagogy has an experimental, DIY sensibility and uses technology to help students engage with course material. There is an ongoing conversation among faculty who share assignments and tools with one another and it is important for librarians to be a part of that. By partnering with professors who are teaching digital humanities techniques, librarians can build on their role as instructors and reflect the emerging identity of the library as an active and productive space on campus and not only a warehouse of primary and secondary sources. Furthermore, connecting the library to digital humanities work will create new ways for users to work with library collections and give the library a low-stakes way to experiment with emerging tools.