Annotating Taruskin and How It Went
In memoriam by Anna Zayaruznaya To use, or not to use? That is the problem. We teachers know what textbooks are and what they aren’t; what they enable…
In memoriam by Anna Zayaruznaya To use, or not to use? That is the problem. We teachers know what textbooks are and what they aren’t; what they enable…
Many music history teachers quickly gained facility in the new teaching formats and modes during the pandemic, but change has not stopped. A “new normal,” which can involve face-to-face and hybrid class settings, as well as temporary periods with remote delivery, both invites and requires new and more flexible pedagogical approaches.
Many of us college music professors have struggled to create writing assignments that meet our pedagogical goals and engage students. As music teachers, we need to create equitable assignments that meet our students where they are, help them gain the skills that will be necessary for their success, and meet our course general objectives for thinking and writing about music. In this post, I discuss the rhetorical analysis assignment I use in my music appreciation sections and how I scaffold the informal low-stakes writing and research skills necessary for students to be successful.
By Alexandria Carrico, Katherine Grennell, and James Deaville
Turn Your Evals into a Research Tool
by Dr. Sara Haefeli
By Colin Roust, University of Kansas This year marks the tenth anniversary of the AMS Pedagogy Study Group. With that auspicious date and the new website, I want…
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