| layout | title |
|---|---|
default |
The Importance of Pitch-Class Set Theory in Today's Theory Class |
Pitch-class set theory has had an unquestionable impact on our discipline's history, and in turn, a significant influence on undergraduate music theory curricula for many years. Nevertheless, as we consider the growing body of repertoire that might be included in a post-tonal music course, class time becomes increasingly precious.
Consider the following questions while discussing the importance of pitch-class set theory in today's curricula:
- How much time should be spent on this methodology and the repertories that respond well to it?
- What repertories respond well to it?
- What do we want our students to learn about related compositional approaches, such as serialism? How much time should be spent on this methodology and the repertories that respond well to it?
- Given that our students often have little (if any) exposure to Western concert repertory post-1900, how important is it that Theory IV expose students to a wide array of compositional approaches and aesthetics?
- In broader conversations about music curricula, how can we best react to and work with those who dismiss post-tonal analysis as "worthless"?
Take notes in this Google Doc so that the rest of the group can benefit from your discussion when we reconvene.