Rethinking the "How": Developing Creativity in the Undergraduate Music Theory Classroom

Abstract

Over the last few decades, music educators have noted a decline in student engagement, understanding, and application of the material that is taught in the undergraduate music theory classroom. In response to this alarming trend, many teachers are calling for reform of the traditional curriculum in order to make music theory more relevant to the 21st-century student. Most notably, the College Music Society’s Task Force on the Undergraduate Music Major (TFUMM) has emphasized large-scale curricular change through the pillars of creativity, diversity, and integration across all aspects of university music programs, including the music theory curriculum (2016). This thesis, however, will argue that meaningful transformation must also occur at the classroom level. Without addressing what goes on in the day-to-day classroom environment—the “how” of pedagogy, changes to repertoire or curriculum design are unlikely to completely resolve issues of student disengagement and relevancy. By drawing on scholarship in creative music theory pedagogy and educational psychology, particularly the work of Timothy Chenette, Albert Bandura, and Benjamin Bloom, this thesis will explain the psychology of creativity and how it benefits our students to reframe music theory as a creative art. By revising TFUMM’s first pillar of creativity with Chenette’s definition of the concept as “the generation of novel ideas that are valuable and appropriate within a given domain,” I argue that a complete reform of the traditional curriculum does not completely address the issue of student disengagement, and that repositioning Chenette’s version of creativity as an essential component of every-day learning will prove even more beneficial for our students. To support this claim, this thesis first examines the limitations of current undergraduate theory curricula and evaluates existing reform efforts. Then, chapter two outlines Chenette’s six pedagogical strategies for fostering creativity in the classroom including: 1) the integration of knowledge and creative practice; 2) the use of productive examples; 3) the incorporation of downtime; 4) the encouragement of intrinsic motivation; 5) the cultivation of a safe learning environment; and 6) the promotion of collaboration. Finally in chapter three, the thesis presents three original classroom activities—Practical Modulation, Pick Your Path, and Musical Visualization—as models for implementing creative pedagogy within existing curricular structures. Ultimately, this study argues that integrating creativity into everyday classroom practice will enhance student learning, increase motivation, and make music theory more relevant to the diverse goals of music students. By reframing creativity as a fundamental aspect of music theory pedagogy, this thesis offers a practical and adaptable approach to improving undergraduate music education.