| Throughout the twentieth century, the delivery of academic instruction in many, if not most, disciplines has followed a single epistemological model. Simply put, the goal of instruction in this traditional setting is to help the learner master the important facts, attributes, and relationships inherent in a given knowledge domain. The delivery of instruction in the field of music theory, including the teaching of aural skills, is no exception. Recently, a new epistemological framework has surfaced which stands in stark contrast to the traditional model. This alternative theory of how we come to know is called constructivism, and although it is not in itself an instructional design strategy, it has had significant influence on the design of instruction in many fields and on many levels, from primary school mathematics to medical school curricula. In this dissertation, I argue that constructivism has great potential for implementation into aural skills curricula, which would suggest an alternative paradigm for aural skills instruction. The dissertation begins with a thorough discussion of the five fundamental tenets of constructivism, continues with a review of three instructional design models influenced by this theory, and highlights recent research in the field of music theory pedagogy which resonates well with the theory (whether explicitly or implicitly). It culminates with the presentation of an alternative curricular model in the form of a mock textbook unit that is consistent with constructivism's fundamental principles, demonstrating how it might fit into a larger undergraduate music theory curriculum. Finally, issues related to the implementation of this constructivist approach to aural skills instruction, such as assessment techniques as well as the changing role of instructors and students, are discussed. The dissertation concludes by considering some of the implications this approach might have on the training of graduate music theory students and offers some suggested areas for further study. |
