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
1. Flexible time
2. Multiple assessments
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.
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 ;-)
Each assessment will have 4 parts:
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.
· 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.
· Expert students understand a concept thoroughly, apply it fluidly, and consistently recognize it in context.
· This level corresponds to a grade of “A.”
· Proficient students can vary application based upon unique situations. This is a higher level of competency.
· This level corresponds to a grade of “B.”
· 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.”
· 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.
Adding game-like elements to the learning process in non-game settings.
The levels as described above will be posted and regularly updated. Each student will be encouraged to "level up."
Each student will choose his/her own name for identification on the leaderboard.
The acquisition of knowledge and skill through active helping and supporting among status equals
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.
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
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.|
Secondary leading tone chords
Toby Rush version
Around the circle of 5ths
Secondary Dominant Song
Secondary Dominants in Popular Music
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
Print this, too!
See the handy table on this Quick Facts Sheet
Borrowed Chord Explanation
This is great practice for the mid-term
Includes secondary chords, N6, and borrowed chords
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
Click through 3 pages
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|
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"
These are the tricks so we won’t mix
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.
Open Music Theory
It6: Le Do Fi
Fr6: Le Do Re Fi
Gr6: Le Do Me Fi
Practice constructing Aug6 chords
Analysis of Mozart Rondo alla Turca
Module EC: Extended Chords
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
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
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